2024 Youth Music Culture The Greater Bay Area (YMCG) by 香港管弦樂團 The Hong Kong Philharmonic Orchestra

目录 03

组织机构

工作团队

活动简介

音乐总监的信

艺术委员会主席

音乐总监

承办单位

导师团队

粤港澳大湾区（广东）国际青年音乐周乐团

音乐会及活动

日程

官方网站：www.ymcgchina.com

组织机构

艺术委员会

主办单位

主

席

广东省文化和旅游厅

余

隆

支持单位

委

员（按姓氏首字母排序）

香港特别行政区文化体育及旅游局

黄

屹

广州交响乐团音乐总监

澳门特别行政区政府文化局

李伟纲

上海四重奏第一小提琴

深圳市文化广电旅游体育局

廖国敏

澳门乐团音乐总监兼首席指挥

林大叶

深圳交响乐团音乐总监

承办单位

聂

冰

深圳交响乐团艺术委员会主席

广州交响乐团

王

健

大提琴家

星海音乐厅

王

敬

香港管弦乐团首席

香港管弦乐团

王

磊

澳门乐团

许健华

澳门乐团有限公司董事、澳门青年交响乐团理事长

深圳交响乐团

阎惠昌

香港中乐团音乐总监

杨

星海音乐厅副主任

震

香港演艺学院教授

协办单位

余其铿

广州交响乐团名誉团长

北京国际音乐节艺术基金会

冢本添铭

香港管弦乐团艺术策划总监

组织委员会主

任

李

斌

执行委员会

广东省文化和旅游厅党组书记、厅长

副主任杨

树

香港特别行政区政府文化体育及旅游局副秘书长

梁惠敏

澳门特别行政区政府文化局局长、澳门乐团有限公司董事长

丁中元

深圳市文化广电旅游体育局副局长

员

唐国华

广东省文化和旅游厅二级巡视员

邹七飞

广东省文化和旅游厅财务处处长、一级调研员

程

广东省文化和旅游厅交流合作与推广处副处长（主持工作）

薇

蔡健斌

香港特别行政区政府文化体育及旅游局首席助理秘书长（文化）

林恩诺

香港特别行政区政府文化体育及旅游局助理秘书长（文化）

郑继明

澳门特别行政区政府文化局副局长

张少燕

深圳市文化广电旅游体育局对外文化交流处处长

林清波

深圳市文化广电旅游体育局艺术处处长

陈

广州交响乐团团长

擎

王冬云

星海音乐厅主任

何黎敏怡

香港管弦乐团 50 周年庆典顾问、前行政总监

冯天云

澳门乐团有限公司行政总监

聂

深圳交响乐团艺术委员会主席

冰

主

任

陈

擎

广州交响乐团团长

副主任

广东省文化和旅游厅一级巡视员

郭黄颖琦

委

指挥家、中国音乐家协会副主席、中国音协交响乐团联盟主席、广州交响乐团终身荣誉音乐总监

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

王冬云

星海音乐厅主任

何黎敏怡

香港管弦乐团 50 周年庆典顾问、前行政总监

冯天云

澳门乐团有限公司行政总监

罗

滨

深圳交响乐团副团长

委

员

陈智敏

广州交响乐团副团长、广州青年交响乐团团长

杨

星海音乐厅副主任

震

胡铭尧

香港管弦乐团市场推广总监

孙仲佳

澳门乐团艺术策划及教育行政人员

石大川

深圳交响乐团团长助理

史振江

北京国际音乐节艺术基金会副秘书长

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

执行委员会秘书处

服务统筹：杨曹威 / 邓明子

秘书长

香港管弦乐团

陈智敏

乐团事务总监：陈韵妍

广州交响乐团副团长、广州青年交响乐团团长

乐谱管理：何思敏舞台及制作经理：谭学臻

副秘书长石大川

深圳交响乐团团长助理

唐丽琳

广州交响乐团对外联络部主任

闭嘉丽

星海音乐厅演出项目部总监

汪

加

澳门乐团乐队人事经理

黄傲轩

香港管弦乐团人事经理

乐谱管理助理：陈添欣乐团事务助理经理：李颖欣数码媒体制作主任：卢达智舞台及制作主任：黄永昌艺术行政见习生：杜凯婷项目统筹：杨皓敏 50 周年庆典项目统筹：梁颖宜

工作团队

传媒关系及传讯经理：许秀芳市场推广经理：杨璞

广州交响乐团

市场推广助理经理：周恺琍

项目统筹：陈智敏

编辑：吴致宁

统筹协助：唐丽琳甘诗琪导师事务：徐丹谷秋蓉王颖学员事务：杨艺何楠卞晓乐

深圳交响乐团

谱务管理：常云青

行政办公室：谭建林杨帆于佳民

音乐会及活动统筹：周倩琪梁颖岚凌志睿李佳

舞台总监：马洪刚

项目宣传：陈琼玲钱晓萱邓朗然吴芸梁智辉

现场考试：官勇向瑞雪李远琦张思悦邱芯怡

舞台管理：汤有富郝璐瑶

宣传：刘晓艳

行政事务：陈欢谢春仪符嘉

乐队统筹：陈翔宇吴臻

财务统筹：梁文坤

乐务：张瀚之符力

录音录像及摄影：邓奕坚王礼瑜赵兵李乐为罗宇罡

对外联络（广州）：黎颖涛

星海音乐厅项目统筹：闭嘉丽罗倩文许韬统筹协调：于新冶方洁珠谭伟郭宗威吴智麟杨晗王倩军项目执行：杜振宇谷潇传播策划：谢奕娟卓玲梁韵琪宣传协助：廖莹莹丁芳芳王亚雯陈惠龄星海会：

张静李昊王蓉

平面设计：周健文何志明影音制作：蔡亚敏李建通罗彬票务统筹：蔡丽娜罗艳市场合作：谭慧馨张宇制作执行：黄璇技术支持：陶峰雷渊禄吴晓丹高雪峰舞台技术统筹：陈韵琳彭小珊灯光音响：王建宏麦家豪聂伟翔陈嘉辉何瑞宏潘永享舞台监督：陈耘李东城 6

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

2024 粤港澳大湾区（广东）国际青年音乐周

音乐总监的信

由广东省文化和旅游厅主办、广州交响乐团和星海音乐厅共同承办、著名指挥家

2024 年，我初次担任粤港澳大湾区（广东）国际青年音乐周（YMCG）的音乐总监。我深感荣幸，受到余隆大师

余隆先生担任艺术委员会主席、著名大提琴家马友友担任艺术总监、已连续举办

的邀请，将跟随前任艺术总监马友友先生的足印，承继前人的积淀，带领来自亚洲并超越亚洲范围的青年音乐家们，

六届的广东国际青年音乐周（简称“YMCG”），在 2023 年迎来了新的发展机遇，

共同为高水平的管弦乐演奏而努力。

升格成为粤港澳大湾区（广东）国际青年音乐周（简称仍为“YMCG”）。YMCG 是原广东国际青年音乐周的英文标识和简称，由青年（Youth）、音乐（Music）、

此次，我将与 YMCG 乐团携手演绎莫扎特的《降 E 大调小提琴与中提琴交响协奏曲》以及德沃夏克的《E 小调第

文化（Culture ）、广东（Guangdong ）这四个核心关键词的英文首字母组成。

九交响曲（自新大陆）》。我们有幸邀请到两位世界级的独奏家薇尔德·弗朗与阿米哈·格罗斯兹同台演奏莫扎特的经

现在，G 则是大湾区（the Greater Bay Area，简称 GBA ）的第一个字母。从

典之作。德沃夏克的交响曲备受听众喜爱，音乐家们将借此机会展开热烈讨论，反复锤炼演奏细节，并在演出中展现

广东到粤港澳大湾区概念提升的背后，是不忘本来、吸收外来、面向未来，建设

风采。一切美好由此开启，未来五年的音乐之旅即将展开。让人心潮澎湃的是，在首场 YMCG 广州音乐会上，我将指

中华民族现代文明，深化拓展对外传播，让中国故事、湾区声音传遍四面八方的

挥作曲家梁皓一先生创作的《天穹之志：大湾华章》全球首演，对此我感到非常激动。

初心。届时，来自柏林爱乐乐团、维也纳爱乐乐团、圣切契利亚国立音乐学院管弦乐团、伦敦交响乐团等顶级乐团的优从 2024 年起，YMCG 将由大湾区内五大国际知名音乐机构：来自广东的广州交

秀管弦乐演奏家将共聚一堂。我们的音乐导师团队将以小组形式与青年音乐学子密切互动，并与 YMCG 乐团一同参与

响乐团、星海音乐厅、深圳交响乐团，来自香港特别行政区的香港管弦乐团和来

音乐会的排练和正式演出。能够与众多来自国际顶级交响乐团、拥有不同文化背景的卓越音乐家们一同演奏，是一次

自澳门特别行政区的澳门乐团共同承办。新的 YMCG 仍由著名指挥家、YMCG

千载难逢的机会。

项目发起人余隆先生担任艺委会主席，著名指挥家丹尼尔·哈丁则将担任 20242028 五届 YMCG 的音乐总监。

在 2024 年的 YMCG 活动中，我们将深入探寻在管弦乐团中演奏的内涵，探索组建世界一流交响乐团的关键要素。为此，我们制定了一个方案，让青年音乐学员有机会参与到完整的交响乐团演奏排练，以及分声部排练和室内乐小组

YMCG 项目在 2017 年首次举办时，中国权威专业媒体《音乐周报》曾以“翻开中

演奏中。在此期间，学员均会获得全明星阵容的导师们的指导。除了演奏交响乐曲目之外，我非常期待学员们组成各

国交响乐崭新的一页”为题做了深度报道。多年来，YMCG 项目还获得国际业界

种小型重奏组，共同演绎莫扎特、德沃夏克、施特劳斯以及卢托斯拉夫斯基、伊贝尔以及马尔科姆·阿诺德的作品。

广泛关注，包括美国 Strings ，Violin Channel , 英国 The Strad , Gramophone ,

BBC Music Magazine , 澳洲 Limelight 等专业媒体都曾派代表在广州驻场作专题

我非常期待在音乐周期间为大家举行公开活动，让学员们和公众可以向一众导师提出问题。这将会是非常有趣的交流，我们将聆听并比较不同导师的回答，与大家分享各位导师的独特见解。此外，我将与我敬重的余隆大师一起，

报道。2023 年 7 月，YMCG 项目获得“中国音乐艺术推动力量”奖。

共同举行一场关于指挥生涯的对话，分享我自己从职业生涯初期到同时作为指挥家和飞行员的“斜杠”人生！在 YMCG，我们拥抱好奇心，追求卓越，不懈演奏，珍视这条由音乐连接起来的特殊纽带。我很高兴能与如此优秀的青年音乐学子和同事一起参与这个项目，热切期待在广州与大家相会！

丹尼尔·哈丁 2023.12

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

余隆艺术委员会主席

发行专辑《奥尔夫：布兰诗歌》（DG120 周年北京紫禁

1964 年，余隆生于上海的音乐世家。他音乐上的启蒙与

城太庙音乐会现场录音）、6 月发行专辑《门道》以及在

授业恩师正是他的外祖父、著名作曲家丁善德。其后，他

2021 年 7 月发行专辑《大地之歌》。2019 年，余隆率

求学上海音乐学院；继而负笈西行，入读并毕业于著名的

上海交响乐团世界巡演，亮相 BBC 逍遥音乐节、阿姆斯

柏林高等艺术大学。九十年代初，余隆出任北京中央歌剧

特丹音乐厅、爱丁堡国际艺术节、拉维尼亚艺术节以及卢

院常任指挥及香港市政局年度歌剧指挥。

塞恩音乐节。驰骋乐坛数十载，余隆大师的成就备受肯定。2010 年，在 2003 年至 2023 年担任广州交响乐团音乐总监期间，

他获评“年度中国文化人物”、2013 年获颁“中华艺文奖”。

余隆大力扩展乐团的保留曲目，带领乐团拓宽国际演出版

为表彰余隆对中外文化交流及中国音乐发展的贡献，中央

图，先后到访欧洲、美洲、澳洲、非洲、中东等地。同时，

音乐学院向他授予荣誉院士证书。

他也不遗余力履行音乐教育的使命。2005 年至 2007 年，广州交响乐团创办广东国际音乐夏令营，并邀请著名指挥

在国际上，余隆大师获得的荣誉同样显赫。其中包括

大师夏尔·迪图瓦任音乐总监，以及玛塔·阿格里奇和加

2002 年由德国万宝龙文化基金会颁发的“万宝龙卓越

里·格雷夫曼等著名艺术家组成导师团队。2017 年 1 月，

艺术成就奖” ，以及 2003 年获颁的“法兰西文学艺术

广州交响乐团创办首届广东国际青年音乐周，在演出与教

骑士勋章”。2005 年，意大利政府授予余隆“共和国骑

育的对话中“开启世界与中国交响乐新的篇章”。音乐周由

士勋章”；2014 年，受法国政府颁授代表最高荣誉的

余隆亲自担任艺术委员会主席，并由世界著名大提琴家马

“法国荣誉军团勋章”；2015 年，获美国大西洋理事会

友友担任首位艺术总监。

“全球公民奖”以及耶鲁大学音乐学院的“桑福德奖章”； 2016 年，余隆被选为美国艺术与科学院的外籍荣誉院

作为指挥家、音乐活动家的余隆，被《纽约时报》称为“中

余隆大师熠熠生辉的职业生涯多次开创了中国乐团先河。

国音乐版图上最有影响力的人物。”他的艺术人生因为引

2005 年 2 月至 4 月，余隆率领中国爱乐乐团进行了规模

领中国古典音乐事业的纵深发展、推动中国音乐家与作曲

空前的环球世界巡演，历时四十多天，跨越北美和欧洲，

家登上国际舞台而熠熠生辉。在中国芸芸交响乐团之林，

这在中国乐团出访史上前所未有。2014 年，他带领中国

余隆是多支中国顶级乐团的“掌门人”：中国爱乐乐团的艺

爱乐乐团在伦敦皇家艾尔伯特大厅的 BBC 逍遥音乐节献

术总监，上海交响乐团的音乐总监。他也身兼香港管弦乐

演，数以百万计的英国观众通过不同的方式观看了音乐会

团首席客座指挥、上海夏季音乐节联合总监。早于 1998 年，

的转播。2008 年，余隆麾下的中国爱乐乐团，在教宗本

他创办了北京国际音乐节并担任艺术总监至 2017 年，后

笃十六世亲临现场见证下，首登梵蒂冈保罗六世礼堂演出，

又继续担任艺术委员会主席至今。在执掌广州交响乐团长

是中国交响乐团中的第一次，这场意义非凡的音乐会也是

达 20 年之后，余隆于 2023 年卸任广州交响乐团音乐总

增进东西文明交流互动的里程碑式事件。

国际舞台上的余隆，同样地位显赫，炙手可热。世上最受

士，同年获得德意志联邦共和国十字勋章；2018 年，

瞩目的管弦乐团，如纽约爱乐乐团、芝加哥交响乐团、费

余隆又被授予香港演艺学院荣誉博士学位。

城管弦乐团、洛杉矶爱乐乐团、蒙特利尔交响乐团、巴黎管弦乐团、班贝格交响乐团、汉堡国家歌剧院乐团、柏林广播交响乐团、北德广播交响乐团、慕尼黑爱乐乐团、悉尼交响乐团、BBC 交响乐团、英国爱乐乐团、东京爱乐乐团和新加坡交响乐团都曾经在余隆的指挥下演出。

监一职，并将继续担任广州交响乐团终身荣誉音乐总监和广州交响乐团艺术委员会主席。此外，余隆还担任中国音

自 2009 年始，余隆大师执掌上海交响乐团至今，成就斐

乐家协会副主席及中国音乐家协会交响乐团联盟主席。

然。2014 年，上海交响乐团音乐厅落成；同年，余隆与上海音乐学院及纽约爱乐乐团一道，共同创建上海乐队学

2023-2024 乐季，余隆受邀执棒费城管弦乐团和纽约爱

院。这是中国第一所为管弦乐手设立的研究教育机构。此

乐乐团；在国内，余隆与著名钢琴家斯蒂芬·霍夫 (Stephen

外，应纽约爱乐乐团邀请，余隆作为该乐团国际顾问委员

Hough), 小提琴家莱昂尼达斯· 卡瓦科斯（Leonidas

会的成员，与其他 11 位音乐倡导者和音乐大使协力推动

Kavakos）朱利安·拉什林（Julian Rachlin）, 男中音歌

各国音乐家及音乐机构深化国际交流。2016 年，两年一

唱家马蒂亚斯·戈内（Matthias Goerne）, 女高音歌唱家

度的音乐盛事“上海艾萨克·斯特恩国际小提琴比赛”成功

奥尔加·佩列佳特科（Olga Peretyatko）等艺术家合作

举办。

演出。2023 年 11 月 , 余隆将执棒由上海交响乐团与纽约

爱乐乐团联合委约艾伦·齐格曼（Aaron Zigman）、马

2018 年 6 月，余隆与德意志留声机公司（DG）签订独家

克·坎贝尔（Mark Campbell）新创作的清唱剧作品《上海！

代理合同，成为了 DG 旗下首位中国指挥家，为上海交响

上海！》的世界首演。

乐团取得全球发行与供应的合作关系，并在 2019 年 1 月

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

丹尼尔 • 哈丁音乐总监《丑角》《法斯塔夫》以及《费加罗的婚礼》等歌剧，

录制布里顿的作品，也因此荣获 1998 年“年度震撼大奖”。

乐团进行大型巡演。此外，他还在德国柏林和巴登 - 巴登

并因在《丑角》中的精湛指挥而荣获意大利音乐评论家

丹尼尔·哈丁为 BR Klassik 录制的舒曼《歌德浮士德的情景》

市执棒柏林爱乐乐团进行演出。他首次与克里夫兰管弦乐

奖“佛朗哥· 阿比亚蒂 ” 奖。丹尼尔· 哈丁曾执棒维也纳

以及马勒《第六交响曲》同样备受好评。他与弗兰克·彼得·齐

团和捷克爱乐乐团合作，并再次受邀执棒法国广播爱乐乐

爱乐乐团，在萨尔茨堡音乐节中献演歌剧《阿里阿德涅

默尔曼携手录制的马勒《第一交响曲》和贝多芬《小提琴

团、斯卡拉爱乐乐团以及德累斯顿国家管弦乐团，并在维

在纳克索斯岛》《唐·乔万尼》以及《费加罗的婚礼》；

协奏曲》已由柏林爱乐唱片公司发行。他经常与法国唱片

也纳国家歌剧院献演《乡村骑士》和《丑角》。

在伦敦科文特花园皇家歌剧院指挥《螺丝在拧紧》和《伍

品牌 Harmonia Mundi 合作，最近与瑞典广播交响乐团

采克》；在慕尼黑的巴伐利亚国家歌剧院指挥《后宫诱

录制有包括马蒂亚斯·戈埃内的《瓦格纳选集》、马勒《第

2002 年，丹尼尔·哈丁荣获法国政府授予的文学与艺术

逃》；在柏林国家歌剧院指挥《漂泊的荷兰人》；在维

五交响曲》和《第九交响曲》、勃拉姆斯《德意志安魂曲》

骑士勋章，并于 2017 年获提名法国文学与艺术军官勋章。

也纳艺术节上指挥《魔笛》；在维也纳国家歌剧院指挥《佩

以及近期发行的布里顿作品专辑。

2012 年，他当选为瑞典皇家音乐学院院士。2021 年，丹

利亚斯与梅丽桑德》；以及在维也纳河畔剧院指挥《伍

尼尔入选英国女王新年授勋名单，获颁大英帝国司令勋章。

采克》。丹尼尔·哈丁与法国普罗旺斯艾克斯国际音乐节

在 2022/23 乐季，丹尼尔·哈丁率领荷阿姆斯特丹皇家音

有着紧密的合作，并曾在该音乐节上指挥《女人心》《唐·乔

乐厅管弦乐团、巴伐利亚广播交响乐团以及瑞典广播交响

此外，他还持有商业飞行员执照。

万尼》《螺丝在拧紧》《茶花女》《尤金·奥涅金》以及《费加罗的婚礼》。丹尼尔·哈丁曾执棒维也纳爱乐乐团和巴伐利亚广播交响乐团，为德意志留声机公司分别录制了马勒《第十交响曲》和奥尔夫《布兰诗歌》，均广受赞誉。他也曾指挥马勒室内乐团和不来梅德意志室内爱乐乐团，为维珍 / 百代唱片分别录制了马勒《第四交响曲》和勃拉姆斯《第三交响曲》和《第四交响曲》；与伦敦交响乐团合作录制《比利·巴德》，并荣获格莱美最佳歌剧录音奖；指挥马勒室内乐团丹尼尔·哈丁现任瑞典广播交响乐团音乐和艺术总监。他曾于 2016 至 2019 年间担任巴黎管弦乐团音乐总监； 2007 至 2017 年间，丹尼尔兼任伦敦交响乐团首席客座指挥。他指挥马勒室内乐团 20 余年，荣获该乐团的终身 “桂冠指挥”头衔。2020 年，他受邀出任瑞士罗曼德管弦

录制的《唐·乔万尼》和《螺丝在拧紧》荣获 2002 年“年度震撼大奖”、“查理·柯罗斯学院奖”以及“英国留声机奖”；执棒挪威室内乐团并携手挪威女高音苏威·克林格布，共同合作录制波兰作曲家维托尔德·卢托斯瓦夫斯基的作品；与英国男高音伊恩·博斯特里奇和布里顿小交响乐团合作

乐团 2021/22 和 2022/23 乐季的驻团指挥。2024 年，他将担任粤港澳大湾区（广东）国际青年音乐周（YMCG）音乐总监，任期五年。丹尼尔·哈丁经常执棒世界顶级交响乐团，其中包括维也纳爱乐乐团、柏林爱乐乐团、阿姆斯特丹皇家音乐厅管弦乐团、巴伐利亚广播交响乐团、德累斯顿国家管弦乐团、伦敦交响乐团以及斯卡拉爱乐乐团。2005 年，他指挥的新版《依多美尼欧》拉开了米兰斯卡拉歌剧院的演出季帷幕。后来，他陆续指挥了《莎乐美》《囚徒》《乡村骑士》 12

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

广州交响乐团

承办单位（排名不分先后）

星海音乐厅

承办单位

音乐总监：黄屹

的乐团”为题予以了报道和评论。2019 年受邀参加“坦托

星海音乐厅于 1998 年落成开业，是当今中国最具影响力

作为中国首屈一指的城市音乐文化地标，星海音乐厅常年

广州交响乐团创建于 1957 年，是中国目前最具艺术水准

拉之冬”艺术节，成为首支在沙特阿拉伯举行音乐会的中

的演出场馆之一，也是中国自然声场效果最好的专业音乐

致力于让音乐和艺术更广泛而深入地走进人们的日常生

国乐团。随后，乐团还举行了史上第七次欧洲巡演。走过

厅之一。

活。星海音乐厅两大驻厅乐团广州交响乐团和广东民族乐

和艺术活力的大型交响乐团之一。作为迄今为止唯一在世界五大洲留下“音乐足迹”的中国乐团，是国内外业界和媒体眼中“中国最具声望的乐团之一”（《中国日报》）和“连接中国音乐传统与创新的节点”（英国《金融时报》）。指挥家黄屹在 2023 年 9 月接替中国音乐家协会交响乐团联盟主席、指挥家余隆成为广州交响乐团第三任音乐总监。余隆被《纽约时报》誉为“中国音乐版图上最有影响力的人物”，因其担任广州交响乐团音乐总监 20 年（20032023）期间带领乐团所取得的卓越成就，他被乐团授予“终身荣誉音乐总监”称号，并担任乐团的艺术委员会主席。广州交响乐团是中国最早实行音乐季模式运作的职业乐团之一，2023/2024 音乐季是乐团的第 27 个音乐季。乐团多次受文化部和广东省派遣出访世界各国。2006 年应邀在多哈举行的第 15 届亚运会开 / 闭幕式上演奏。曾 20 多次受邀参加香港艺术节、澳门艺术节和澳门国际音乐节，

世界各地的“音乐足迹”印证了乐团作为“音乐使者”为传播

团的音乐季、星海音乐厅年度音乐大赏、广州爵士音乐节、

中国文化和促进粤、港、澳、台等地文化交流所做出的努

这座坐落在广州珠江之畔二沙岛的音乐厅，以中国著名音

周日音乐下午茶、周末民乐坊、星海会普及讲座等各类音

力和贡献。

乐家冼星海的名字命名，拥有 1518 座的交响乐演奏大厅、

乐会与艺术拓展活动，让更多市民走进音乐、理解音乐、

461 座的室内乐演奏厅、100 座的艺术沙龙空间、可容纳

爱上音乐。

近年发展呈多元化。2005-2007 年连续举办了三届由指

200 人的音乐空间，以及可容纳数千人的音乐文化广场。

挥大师迪图瓦担任音乐总监的“中国广东国际音乐夏令营”。

星海音乐厅配备了世界一流的巨型管风琴、多架演奏级三

从 1998 年起，星海音乐厅伴随着广州交响乐团、广东民

2010 年 11 月在“广州亚运会”期间举办了“广东亚洲音乐节”。

角钢琴、竖琴、定音鼓等大型乐器，装备了先进的录音制

族乐团等一批本地优秀乐团和艺术家们 26 年的坚持耕耘，

与多个世界著名芭蕾舞团合作演出过十余部芭蕾舞剧，制

作设备。其温暖、自然、清晰的自然声场，已成为业界公

使广州成为中国音乐文化的重镇。凭藉一流的声场、优质

作及参与演出过多部经典歌剧。2011 年 12 月创建了中国

认的标杆。

的服务和精心的市场培育，星海音乐厅为广州这座城市培

首个由职业乐团培训及管理的青少年乐团——广州交响乐

育出了一批又一批热爱音乐的乐迷，也见证了广州音乐文

团附属青少年乐团（2016 年 8 月更名为广州青年交响乐

历经 26 年的蓬勃发展，星海音乐厅已成为广东省著名的

化生活的蓬勃发展。作为中国最具活力的标志性演出场馆

团）。从 2017 年起每年定期举办的“广东国际青年音乐周”，

文化品牌、广州市的城市名片，吸引了维也纳爱乐乐团、

之一，星海音乐厅将秉承“引领、传承、创新、家园”的理

于 2023 年升格为“粤港澳大湾区国际青年音乐周”，该项

伦敦交响乐团、德累斯顿国家管弦乐团、纽约爱乐乐团等

念，深耕艺术普及惠民，线上线下融合并进，行稳致远，

目由余隆担任艺委会主席，在 2017 年 1 月首次举办时即

世界级表演艺术团体，以及马泽尔、斯威特兰诺夫、帕尔

开创未来。

被业界称为“翻开中国交响乐崭新的一页”，并于 2023 年

曼、穆特、马友友、郎朗等世界级音乐家，他们无不对星

获得“中国音乐艺术推动力量”奖。

海音乐厅的一流音效和专业服务赞誉有加。

并于 2012 年首次赴台湾巡演。2017 年在中英建交 45 周年之际首次进入英国巡演，英国《卫报》以“有极高修养

注：广交第一个乐季于1998年5月开始，至次年3月结束，这种安排持续了5个乐季。第6个音乐季是乐团史上最特殊的音乐季，从2003年3月至8月结束，作为调整音乐季档期安排的过渡乐季。从第7个音乐季起，广交乐季从9月开始至翌年7月结束。

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

香港管弦乐团

承办单位

音乐总监：梵志登

斯基、佩特连科、奥班斯基、宁峰、基特宝、卡华高斯、

香港管弦乐团（港乐）获誉为亚洲最顶尖的古典管弦乐团之一。在为期 44 周的乐季中，乐团共演出超过 150 场音

澳门乐团

承办单位

音乐总监兼首席指挥：廖国敏

王健、谭盾、丹尼尔．欧伦、意大利都灵皇家歌剧院、英

除了委约新作，更灌录了由作曲家谭盾和盛宗亮亲自指挥

澳门乐团是本地的职业音乐表演团体，融汇中西文化，演

立陶宛国家歌剧院、韩国室内乐团等。

作品的唱片，由拿索斯唱片发行。

绎古今经典。

英国著名古典音乐杂志《留声机》年度管弦乐团大奖，成

港乐的教育及社区推广计划一向致力将音乐带到学校、医

澳门乐团前身为澳门室内乐团，1983 年由圣庇护十世音

乐团经常获邀到国内外演出，近年更以中国代表身份参加

为亚洲首个获此殊荣的乐团。

院、户外等不同场所，每年让数以万计儿童和家庭受惠。

乐学院区师达神父等创建，2001 年起扩建为双管编制的

2015 年奥地利布鲁克纳音乐节，2016 年受邀参加日本《狂

拉特里、诹访内晶子等。港乐积极推广华裔作曲家的作品，

国国家芭蕾舞团、费城交响乐团、拉脱维亚国家歌剧院、

乐会，把音乐带给超过 20 万名观众。2019 年港乐赢得

2021 年，港乐和香港演艺学院联合宣布创办“管弦乐精英

管弦乐团，定名为“澳门乐团”，现今已发展成为 50 余人

热の日》音乐祭，2017 年及 2019 年参与深圳“一带一路”

梵志登是现今乐坛最炙手可热的指挥之一，他自 2012/13

训练计划” ，由太古慈善信托基金“信望未来”计划赞助，

的中型乐团，由来自 10 多个不同国家及地区的优秀青年

国际音乐季，足迹已遍及内地三十多个城市、海外地区包

乐季起正式担任港乐音乐总监一职，直到 2023/24 乐季。

旨在为演艺学院音乐学院的毕业生提供专业培训，促进

音乐家组成。2008 年 9 月至 2022 年 1 月由吕嘉担任音

括奥地利、瑞士、匈牙利、葡萄牙、西班牙、美国、日本

完成音乐总监任期后，梵志登将以桂冠指挥身份继续与乐

他们在管弦乐领域的事业发展。

乐总监兼首席指挥。自 2022 年 2 月 1 日起，澳门乐团

及韩国等。2018 年 3 月乐团首赴缅甸作文化交流演出，

由特区政府全资拥有的澳门乐团有限公司负责营运，自

同年 10 月，乐团更参演上海国际艺术节，以精湛的演出

纽约爱乐乐团音乐总监。余隆由 2015/16 乐季开始担任

太古集团自 2006 年起成为港乐的首席赞助，也是本团历

2023-24 乐季起由廖国敏担任音乐总监兼首席指挥。澳

以及精致细腻的演奏风格，获外界一致好评，彰显澳门文

首席客席指挥。廖国敏于 2020 年 12 月正式担任驻团指挥。

来最大的企业赞助。太古集团透过支持港乐，积极推广艺

门乐团未来将持续提升专业水平，为市民和游客带来高质

化建设成果。2019 年为庆祝中葡建交四十周年及澳门回

术活动，在艺术水平上精益求精，并推动本地的文化参与

素及不同类型的古典经典音乐活动。

归二十年，乐团赴葡萄牙巡演，同年 12 月参加澳门举行

团合作。此外，由 2018/19 乐季开始，梵志登正式成为

在梵志登干劲十足的领导下，乐团在艺术水平上屡创新高，

和发展，以巩固香港的国际大都会美誉。

在国际乐坛上绽放异彩。港乐由 2015 至 2018 年间连续

的“庆祝澳门回归祖国二十周年文艺晚会”。乐团经常与众多国际知名音乐家、指挥家及艺术团体合作，

四年逐一呈献《指环》四部曲歌剧音乐会。这四年的浩瀚

港乐获香港政府慷慨资助，以及首席赞助太古集团、香港

包括普拉西多·多明戈、克里斯提安·齐玛曼、斯蒂芬·科

澳门乐团是澳门文化传播大使，重要的文化名片。透过音

旅程由拿索斯现场录音，非凡演出赢得了观众及乐评的赞

赛马会慈善信托基金和其他支持者的长期赞助，成为全职

瓦谢维奇、波里斯·别列佐夫斯基、利奥尼达斯·卡瓦科斯、

乐作为媒介，定期出访大湾区、海内外宣扬澳门是乐团的

誉。乐团更因此勇夺《留声机》年度管弦乐团大奖。

乐团，每年定期举行古典音乐会、流行音乐会及推出广泛

巴瑞·道格拉斯、塞尔吉奥·阿佐里尼、基里尔·格斯坦、伊万·马

重要使命。此外，乐团将更多步近校园、小区及弱势社群，

而全面的教育和社区计划，并与香港芭蕾舞团、香港歌剧

丁、尤利安娜·阿芙迪娃、汉·克拉格鲁德、舒德芬．弗拉

进行小区音乐推广，大大拓展古典音乐观众的层面，更为

院、香港艺术节等团体合作。

达尔、马里奥· 布鲁奈罗、傅聪、郎朗、张永宙、宁峰、

年轻音乐人才实现音乐梦想。

港乐曾在中国内地多个城市展开巡演。为庆祝香港特区成立 20 周年，港乐于 2017 年前赴首尔、大阪、新加坡、墨尔本和悉尼巡演。于 2023/24 乐季，港乐将会到访超

港乐最初名为中英管弦乐团，后来于 1957 年改名为香港

过 18 个城市作世界巡演。

管弦乐团，并于 1974 年职业化。港乐是注册慈善机构。

近年和港乐合作的指挥家和演奏家包括：毕美亚、丹尼夫、艾逊巴赫、巴孚·约菲、奥罗斯科 – 埃斯特拉达、佩多高 16

香港管弦乐团由香港特别行政区政府资助，亦为香港文化中心场地伙伴香港管弦乐团首席赞助：太古集团

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

深圳交响乐团

承办单位

导师团队马丁·扎罗德克

小提琴

马丁·扎罗德克于 1971 年出生于维也纳。六岁开始跟随在维也纳爱乐乐团担任小提琴演奏的父亲克里斯蒂安学习小提琴，随后师从维也纳音乐与表演艺术大学的恩斯特·科瓦西奇以及格拉茨音乐与表演艺术大学的阿尔弗雷德·斯塔。 1989 年，扎罗德克在莱奥本举办的奥地利音乐比赛中夺冠，并从维也纳音乐高中毕业。1991 年，他在维也纳音乐厅以独奏的身份首次登台与维也纳室内乐团合作演奏。现任维也纳爱乐乐团第一小提琴演奏员。

音乐总监：林大叶

意大利米特费斯特音乐节等著名音乐节。

沐浴改革开放的春风，深圳交响乐团在这样的大时代背景

多年来，国内外著名艺术家都与乐团有过成功合作。

下，应运而生。深圳交响乐团艺术委员会主席是国家一级演奏员、小提琴经过 40 多年的不懈追求，深圳交响乐团成为国内外业界

家聂冰。著名指挥家余隆担任艺术顾问，德国指挥大师克

的一支劲旅，跨越海内外，让深圳的声音在国际大舞台上

里斯蒂安·爱华德为荣誉音乐总监，著名音乐家谭盾为荣

频频传播，赢得同行们的尊重。所到之处，好评如潮，他

誉首席指挥。这是一支被人羡慕的最佳组合，一个雍容豪

们被公认为中国优秀职业交响乐团之一，成为深圳这座城

华的古典精英阵容。

赫尔穆特·泽赫特纳

小提琴

奥地利小提琴演奏家赫尔穆特·泽赫特纳出生于下奥地利州，曾在下奥地利音乐学校小提琴比

市的一张靓丽名片。深圳交响乐团一向重视民族交响乐作品的创作，精心组织著名指挥家姚关荣、张国勇、俞峰、克里斯蒂安·爱华德

创作的大型原创作品《英雄颂》《我的祖国》《人文颂》

历任乐团首席指挥、音乐总监。2016 年 8 月起，著名青

《神州和乐》《交响山歌·客家新韵》等受到了业界专家、

年指挥家林大叶出任音乐总监兼首席指挥。

听众和媒体多方好评，获奖频频。

自 1987 年起，乐团每年进行巡回演出，足迹遍布中国大

新的时代，书写乐团新的座标：打造具有国际影响力的“亚

江南北及台湾、香港和澳门地区。并先后出访欧、亚、北

洲一流交响乐团”。

赛中夺冠，由此开启他的音乐生涯。1973 年从奥地利的高中毕业后，赫尔穆特在维也纳音乐与表演艺术大学跟随弗兰茨·萨莫希尔学习小提琴，并于 1980 年取得文凭；师从弗里德里希·诺伊曼学习作曲；师从卡尔·奥斯特雷彻和奥特马·苏伊特纳学习指挥，并于 1982 年取得文凭。自 1980 年起，赫尔穆特在维也纳国家歌剧院管弦乐团担任小提琴演奏员。1983 年加入维也纳爱乐乐团，担任第二小提琴声部首席。求学期间，赫尔穆特已致力于组建青少年管弦乐团并担任指挥，并出任罗塞瑙 / 茨韦特尔音乐

美、非四大洲，场场得到赞誉，一路收获好评。 “追求一流，服务大众，立于时代潮头，演出、创作双轮驱动” 乐团先后在德国柏林爱乐音乐厅、捷克布拉格斯梅塔那音

是乐团艺术建设的坚定理念。为此，乐团将改革不止，创

乐厅、巴黎荣军院圣路易大教堂、联合国科教文组织总部、

新不已，攻坚克难，勇攀高峰，不断奏出深圳（中国）的

美国肯尼迪艺术中心等著名音乐厅演出，受邀包括北京国

“好声音”，为弘扬华夏文明、传播时代先进文化、为深圳

际音乐节、深圳文博会艺术节，土耳其伊斯坦布尔音乐节、

鼎力打造的文化建设以及宏伟的“中国梦”，做出应有贡献。

工场音乐夏令营导师。1997 年，他受邀担任阿特高国际管弦乐学院弦乐系主任。 1985 年起，赫尔穆特担任维也纳音乐与表演艺术大学管弦乐教育课程负责人。他定期指挥韦伯恩小交响乐团音乐会，并为多位指挥家组织彩排韦伯恩交响乐团的节目，包括里卡多·穆蒂、皮埃尔·布列兹、弗朗兹·威尔瑟 - 莫斯特、基里尔·佩特连科、伯特兰·德·比利、克劳迪奥·阿巴多、姆斯季斯拉夫·罗斯特罗波维奇、祖宾·梅塔以及丹尼尔·哈丁。 2008 年 3 月，赫尔穆特被任命为维也纳音乐与表演艺术大学“管弦乐教育”系教授。

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

阿米哈·格罗斯兹

洛林·坎佩

中提琴

低音提琴

阿米哈·格罗斯兹有着不同寻常的履历。职业生涯之初，他是耶路撒冷弦乐四重奏创团成员，

洛林·坎佩被公认为是同时代中极为优秀的低音提琴演奏家，经常与欧洲顶尖的管弦乐团合作

随后担任柏林爱乐乐团中提琴首席至今。同时，他也是著名的独奏家。

演出，并在世界各地进行室内乐演奏和独奏。

格罗斯兹最初学的是小提琴，11 岁时改学中提琴。他在耶路撒冷跟随大卫·陈学习，在法兰克

2012 年，洛林被巴黎国立高等音乐舞蹈学院录取，师从堤维西·巴赫贝教授。2016 年，洛林

福和柏林师从塔贝亚·齐默尔曼，随后在特拉维夫师从哈伊姆·陶布，后者塑造了阿米哈·格罗

获得硕士学位，并在接下来的一年里师从德国曼海姆大学的佩特鲁·尤卡教授。

斯兹的音乐风格。阿米哈·格罗斯兹从小获得多项奖金和奖项，是耶路撒冷音乐中心“青年音乐目前，洛林受邀与由指挥家提奥多·库伦奇思指挥的永恒音乐合奏团和乌托邦管弦乐团一同演出，

家乐团”成员，该项目专为杰出的青年音乐人才而设。

还作为客座首席与伦敦交响乐团和瑞典广播交响乐团同台演出。格罗斯兹经常在阿姆斯特丹音乐厅、苏黎世音乐厅、伦敦威格莫尔音乐厅以及卢森堡爱乐音乐厅等全球最负盛名的音乐厅呈现高水准的演奏，也经常在德国石荷州音乐节、依云音乐节、韦

洛林曾荣获利奥波德·贝兰国际音乐大赛和“Bass 2014”荷兰阿姆斯特丹国际低音提琴比赛一

尔比耶音乐节、代尔夫特室内音乐节、BBC 逍遥音乐节以及乌得勒支国际室内音乐节等顶级

等奖。2017 年，她在 FMAJI 青年演奏家音乐节获得了音乐节奖和当代作品最佳诠释奖。同年，

音乐节上献演。

她还获得了乔瓦尼·博特西尼国际比赛亚军。

2021/22 乐季，阿米哈·格罗斯兹获邀担任乌得勒支国际室内音乐节艺术总监。

2015 年至 2022 年，担任法国广播爱乐乐团的低音提琴联合首席。

马丁·门金

加雷思·戴维斯

大提琴

长笛

1967 年，马丁·门金出生于德国明斯特。当马丁还是海因里希·席夫和大卫·格林格斯的学生时，

杰出长笛演奏家，毕业于英国市政厅音乐及戏剧学院。加雷思于 2000 年应邀担任伦敦交响乐

已在德国及国际多个比赛中获奖。他曾参加马友友、鲍里斯·佩尔加门席科夫、亚诺什·斯塔克、

团长笛首席至今，期间他曾与多位杰出的指挥家合作并录制唱片，包括瓦列里·捷杰耶夫、科林·戴

齐格弗里德·帕尔姆、艾萨克·斯特恩、美艺三重奏和阿尔班·贝尔格弦乐四重奏团的大师班，

维斯爵士、伯纳德·海廷克、安德列·普列文、马里斯·扬松斯、姆斯季斯拉夫·罗斯特罗波维奇

其音乐训练由此日臻完善。1994 年，他担任北德广播交响乐团的大提琴首席。1996 年加入柏

和皮埃尔·布列兹。卡尔·詹金斯曾为他专门创作了协奏曲，录制的唱片由 EMI 唱片公司发行。

林爱乐乐团。

除音乐会外，加雷思还活跃于伦敦的录音室，曾参与录制《星球大战》《哈利·波特》《守护者联盟》《水形物语》等多部电影原声带。

马丁·门金和他的同事们成立了不同的重奏组进行室内乐表演创作，其中最著名的是享有盛誉的“柏林爱乐 12 把大提琴”重奏团，由他担任总监。

除精湛的演出之外，加雷思还在市政厅音乐及戏剧学院教授研究生。他还是作家和电台节目主持人——他曾为伦敦交响乐团和《BBC 音乐杂志》撰稿，主持过一系列音乐会演前讲座。他还为英国广播公司广播三台撰稿并主持节目，为古典音乐电台制作纪录片。他的处女作《精彩必将继续》由艾略特和汤普森出版社发行，英国《金融时报》和《古典音乐》杂志将其评为年度图书。加雷思是威廉·海恩斯专属乐器演奏家。

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

法比安·图安德

莫班文

双簧管

大管

法比安·图安德生于法国梅斯，1996 年以第一名毕业于巴黎区立音乐学院，随后进入知名的巴

莫班文自 2010 年起加盟香港管弦乐团担任首席大管，并活跃于香港及区内的表演和教学。他

黎国立高等音乐舞蹈学院深造。2001 年是图安德履历中举足轻重的一年，他考入巴黎国立高

在港乐的独奏表演包括：韦伯大管协奏曲、海顿交响协奏曲、泰勒曼大管及木笛双重协奏曲、

等音乐舞蹈学院硕士独奏课程，师从莫瑞斯·布格。随后，荣获众多国际音乐奖项，在佩特里

莫扎特大管协奏曲。作为客席独奏家，他曾经受邀与新加坡交响乐团、奥克兰爱乐乐团、纽约

托里的“朱塞佩·托马西尼”国际比赛和土伦国际音乐比赛中，乃至布拉格之春国际音乐比赛上

爱乐乐团、辛辛那提交响乐团以及香港国际室内乐音乐节合作演出。作为教育工作者，他分别

均获奖。

是香港中文大学和香港演艺学院的教职员。

至此，图安德在全球开始了双簧管演奏职业生涯。他受邀出任伦敦交响乐团、巴伐利亚国家歌

在加入港乐前，莫班文就读茱莉亚音乐学院，师随莉卡莱尔。他活跃于 PUFF! 木管五重奏的

剧院、巴伐利亚广播交响乐团、荷兰皇家音乐厅管弦乐团、法国国家管弦乐团和法国广播爱乐

室乐演奏，并积极参与每年夏季举办的音乐节演出，包括太平洋音乐节、琉森音乐节夏令营、

乐团等欧洲顶级乐团的客席双簧管首席。

美国青年乐团、意大利卢卡歌剧院及音乐节等。莫班文来自美国的辛辛那提。

2004 年起，图安德担任米兰斯卡拉剧院管弦乐团和斯卡拉爱乐乐团双簧管首席。2022 年起，他在圣切契利亚国立音乐学院管弦乐团担任双簧管首席。图安德还热衷于教学工作，他曾在里昂国立高等音乐学院教授双簧管，随后成为瑞士卢加诺音乐学院首席教授，并与英国皇家音乐学院密切合作。目前，他在瑞士洛桑高等音乐学院教学。

艾尔高

克里斯托弗·帕克斯

单簧管

圆号

艾尔高是意大利单簧管演奏家和指挥家，目前是香港管弦乐团低音单簧管副首席。艾尔高于

克里斯托弗·帕克斯目前担任瑞典广播交响乐团圆号独奏，也是约翰·威尔逊乐团和伦敦小交响

2015 年移居亚洲，此前在佛罗伦萨路易吉·凯鲁比尼音乐学院学习单簧管，并以优异成绩毕业。

乐团的圆号首席。此前，克里斯托弗曾任英国皇家爱乐乐团圆号独奏以及伦敦爱乐乐团第三

艾尔高曾在西班牙马德里皇家歌剧院担任低音单簧管演奏员，随后在伦敦交响乐团连续七年担

圆号。

任低音单簧管演奏员。作为单簧管演奏家，艾尔高在瓦莱里·捷杰耶夫、伯纳德·海廷克、科林·戴维斯爵士、西蒙·拉特尔爵士、丹尼尔·哈丁、安德里斯·尼尔森斯、埃萨 - 佩卡·萨洛宁、安德烈·普列文、尤里·特米尔卡诺夫、谢米扬·毕契科夫、洛林·马泽尔、梵志登等著名指挥家的执棒下，曾经与欧洲室内乐团、伦敦爱乐管弦乐团、英国 BBC 交响乐团、伦敦小交响乐团、圣彼得堡爱乐管弦乐团、达拉斯交响乐团、悉尼交响乐团、圣切契利亚国立音乐学院管弦乐团、罗马歌剧院、威尼斯凤凰剧院管弦乐团等众多乐团合作。

伦敦爱乐管弦乐团、伦敦皇家歌剧院、慕尼黑爱乐乐团以及欧洲室内乐团等世界一流乐团合作演出。作为独奏家，他曾与伦敦交响乐团、伦敦爱乐管弦乐团、英国皇家爱乐乐团、英国广播公司苏格兰交响乐团、瑞典广播交响乐团和英国极光交响乐团合作，在丹尼尔·哈丁、约翰·威尔逊、克劳斯·麦凯莱和杰南德里亚·诺塞达等著名指挥家的执棒下演出。

同时，艾尔高在室内乐演奏方面也十分精彩：2013 年，他与伦敦康科德重奏团合作，首次亮相伦敦威格莫尔音乐厅；他还与伦敦交响乐团木管重奏组在瑞士、意大利和英国演奏及录制莫扎特的《大组曲》。

作为圆号首席，克里斯托弗·帕克斯经常与柏林爱乐乐团、伦敦交响乐团、巴伐利亚广播交响乐团、

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

克里斯托弗曾就读于曼彻斯特的切塔姆音乐学院和伦敦市政厅音乐与戏剧学院。2011 年至今，他一直担任市政厅音乐与戏剧学院教授。

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

汉内斯·劳宾

卡尔·托尔森

小号

打击乐

汉内斯·劳宾受其父亲启蒙开始学习小号。他曾在德国青少年音乐比赛中的独奏组和室内乐组

卡尔·托尔森的音乐生涯始于瑞典的弗拉姆奈斯音乐学校。他随后前往瑞典斯德哥尔摩皇家音

获得三项冠军。1974 年，他在布拉格协奏曲（Concertino Praga）比赛中获二等奖。

乐学院深造，师从安德斯·洛金。自年轻时起，卡尔·托尔森就积极投身现代室内乐演奏，专注打击乐重奏。

1971 年至 1976 年，汉内斯加入了德国联邦青年交响乐团，同时也在弗莱堡音乐学院求学，师从罗伯特·博登罗德教授。

求学期间，他便与各大乐团合作，其中包括斯德哥尔摩皇家爱乐乐团、斯德哥尔摩皇家歌剧院管弦乐团、瑞典北雪平交响乐团以及他后来的任职瑞典广播交响乐团。卡尔曾与多个乐团在欧

1976 年 9 月，汉内斯在北德广播交响乐团担任小号演奏员，两年后成为小号首席。16 年后，

洲、亚洲和美国开展巡演。2000 年至 2010 年间，他每年都与维兰西科重奏团合作巡演，共

汉内斯出任斯图加特音乐学院教授。自 1995 年 1 月起，他一直在由洛林·马泽尔执棒下的慕

同演奏巴洛克时期的音乐。

尼黑巴伐利亚广播交响乐团担任特邀小号首席；自 2003 年 10 月起，在马里斯·扬松斯麾下与该乐团合作。自 1996 年 10 月起，他在慕尼黑音乐与戏剧学院担任教授。

2006 年，卡尔·托尔森加入瑞典广播交响乐团，并担任打击乐声部首席至今。在日常乐团工作及教学中，卡尔·托尔森充分运用自身多年的演奏经验，展现出优秀的领导能力以及人际关

汉内斯与他的两个兄弟，还有时任英国室内乐团管风琴演奏家、指挥家的西蒙·普雷斯顿共同

系处理能力。他在古典乐、电影配乐以及流行乐方面拥有丰富的录音经验。

录制了两张唱片。此外，他还作为德国铜管重奏团的成员与赫尔穆特·瑞林等指挥家合作演出，为 EMI 唱片等多家公司录制专辑。

在音乐事业以外，卡尔·托尔森也热爱飞行事业，并拥有民航飞行员的第二职业身份。

汉内斯曾以独奏家身份在委内瑞拉巴赫音乐节、俄勒冈巴赫音乐节等欧洲所有重要的音乐节上演奏。 2003 年，汉内斯担任 ARD 慕尼黑国际音乐大赛评委会成员。

乔纳森·雷斯

长号

乔纳森·雷斯作为巴黎管弦乐团长号首席，是同时代中不可多得的长号演奏家。2015 年，乔纳森在著名的 ARD 慕尼黑国际音乐大赛中夺得亚军。 1988 年，乔纳森在家乡普罗旺斯艾克斯开启他的长号学习生涯，后赴里昂国立音乐舞蹈学院师从米歇尔·贝克特继续深造，于 2010 年以最高分的成绩毕业。不久后，乔纳森加入法国国家管弦乐团，担任联合长号首席直至 2014 年。乔纳森在法国国内外定期举办大师课。他对管弦乐充满热忱，这份赤子之心让他得以指导青年管弦乐团，如韦尔比耶音乐节青年管弦乐团等青少年乐团。乔纳森非常热衷于室内乐，2015 年以来，他就是巴黎铜管五重奏中的一员。2019 年，该乐团发行了专辑《屋顶上的铜管》。乔纳森经常与韦尔比耶音乐节室内乐团、巴黎当代乐团、世纪乐团、巴黎国家歌剧院管弦乐团、爱沙尼亚节日管弦乐团、首尔爱乐乐团等合作演奏。此外，乔纳森曾在布拉格之春国际音乐比赛中夺冠。

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

2024 粤港澳大湾区（广东）国际青年音乐周乐团

2024 粤港澳大湾区（广东）国际青年音乐周乐团名单

（此名单按照姓氏字母顺序排位）

乐团首席

林瑞沣

小提琴

图为 2020 广东国际青年音乐周乐团合照

2024 粤港澳大湾区（广东）国际青年音乐周乐团由 80

乐周都会组建一支交响乐团，成员全部为 30 岁以下的青

余位 30 岁以下的青年音乐家组成。这批优秀的青年音乐

年音乐家。首届音乐周的成功举办即被业界称为“翻开中

家是从来自中国、俄罗斯、美国、日本、韩国、新加坡、

国交响乐崭新的一页”。2023 年，已连续举办 6 届的广

菲律宾、德国、奥地利、英国、法国等国家和地区的 70

东国际青年音乐周迎来了新的发展机遇，升格成为粤港澳

所知名音乐学院、综合大学，以及近 20 支职业乐团的应

大湾区（广东）国际青年音乐周。同年 7 月，音乐周获得“中

征者中遴选出来的。乐团成员中的 50 多位来自包括中央

国音乐艺术推动力量”奖。

蔡雅萱

陈泽谦

陈颖蕾

崔世龙

胡妙可

胡融思

姜成卓

李立贤

梁洛珩

李秉璋

黎悦阳

李卓伦

李宗润

林

辰

林诗毓

刘

刘煦婧

卢

陆逸帆

李叔泳

音乐学院、中国音乐学院、上海音乐学院、天津茱莉亚学院、波士顿新英格兰音乐学院、纽约茱莉亚学院、英国圣

粤港澳大湾区（广东）国际青年音乐周乐团是一个富有朝

三一拉邦音乐舞蹈学院、德国魏玛李斯特音乐学院、维也

气、以乐会友、充满文化碰撞和交流的大家庭。而从广东

纳国立音乐与表演艺术大学、新加坡杨秀桃音乐学院、韩

到粤港澳大湾区概念提升的背后，更是不忘本来、吸收外

国庆熙大学等，以及粤港澳大湾区内三所最重要的音乐学

来、面向未来，建设中华民族现代文明，深化拓展对外传

院：香港演艺学院、广州星海音乐学院、香港中文大学（深

播，让中国故事、湾区声音广为流传的初心。

圳）音乐学院在内的国内外知名音乐院校，其余 20 多位则来自 16 支中国职业乐团。

2024 年 1 月，这支集结于粤港澳大湾区文化中心城市广州的全新乐团，将由音乐总监丹尼尔·哈丁执棒，在广州

粤港澳大湾区（广东）国际青年音乐周的前身，为创办于

的星海音乐厅、深圳音乐厅及香港文化中心音乐厅举行三

2017 年并每年定期举办的广东国际青年音乐周。每届音

场交响音乐会。

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

婷

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

婕

大提琴

王诗羽

张济云

徐

睿

张若怡

徐堉杰

周思睿

阳

奥

叶栩伶陈小姗

陈叙淇

陈志生

黄柏浩

金小驰

田

王紫薇

黄泰城

张迪祺

张铭祯

邓芳婷

康博文

刘晓怡

李龙翔

李心怡

徐丽

张金

朱愉清

中提琴

野

低音提琴

陈劭晢

任晟达

朱思韦

陈奕玮

田以耐

蒋

哲

黄宇俊

吴民主

黄泽翘

吴承展

长笛

朱译诺

陈雪

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

宋宛霖

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

杨语熙

双簧管

金予圣

长号

马凯汶

慕家彤

朱一睿

单簧管

熊柯安

张良姿

苏冠熹

唐都督

唢呐马玮谦

笛子巫致廷

大号

周棣

杨莹

大管

李俊鹏

龙振宇

打击乐

梁结慧

张聪

圆号

郭玉荣

蒋小宇

何洛贤

曹郡麟

郑景文

小号

杜巧雪 30

特邀

王天佑

竖琴陈潼忻

杨焕翊

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

指挥崔琳涵

2024 粤港澳大湾区（广东）国际青年音乐周开幕音乐会 2024.1.21（星期日 /Sun.）20:00 星海音乐厅交响乐演奏大厅

“有些人认为指挥家应是天生的，无法被后天培养。崔琳涵正是这种理念的化身。”——安德鲁·梅洛

指挥：崔琳涵小提琴：林瑞沣

2021 年，崔琳涵斩获著名的马尔科国际指挥大赛亚军，并迅速蜕变成为备受乐坛瞩目的艺术新星。凭借自然且饱满的表现力为核心的指挥艺术，崔琳涵

演奏：广州交响乐团

曾与洛杉矶爱乐乐团、丹麦国家交响乐团、韩国交响乐团、卢瓦尔河谷大区

* 特邀香港管弦乐团、澳门乐团及深圳交响乐团音乐家加盟，

国立管弦乐团、特兰西瓦尼亚国家爱乐乐团、香港小交响乐团、加拿大节日

以“粤港澳大湾区节日乐团”的形式共同开启 YMCG 新篇章。

交响乐团、星海音乐学院交响乐团、皮博迪交响乐团和印第安纳大学指挥乐团合作演出。作为助理指挥，崔琳涵在 50 多场国际名团的音乐会中担任了重要角色，并与张弦、莱昂·弗莱舍等多位名家进行合作。崔琳涵在 2019-2020 乐季被录用为巴尔的摩交响乐团的指挥研究员，担任马琳·阿尔索普的助理指挥。

周天

2022 年，崔琳涵入选了洛杉矶爱乐乐团 2022/23 乐季杜达梅尔指挥计划，

《都会》（广州交响乐团委约）

担任古斯塔夫·杜达梅尔的助理指挥，并执棒洛杉矶爱乐乐团演出多场音乐会。

(1981-）约翰内斯·勃拉姆斯

崔琳涵出生于沈阳，自 4 岁起开始学习钢琴。18 岁时，作为唯一一位被星海

D 大调小提琴协奏曲，作品 77

(1833-1897）

音乐学院录取的指挥专业学生，崔琳涵开始了其指挥生涯。目前，崔琳涵正

1. 不太快的快板

在亚瑟·法根的指导下攻读印第安纳大学音乐学院管弦乐指挥专业的博士学位。

2. 柔板

她在广州星海音乐学院完成了本科学业，随后在巴尔的摩皮博迪音乐学院获

3. 活泼而不太快，嬉戏的快板

得硕士学位。崔琳涵也曾在大师班中与美国国家交响乐团合作。

小提琴：林瑞沣

——— 中场休息 ———

安东宁·德沃夏克 (1841-1904）

G 大调第八交响曲，作品 88 1. 充满活力的快板 2. 柔板 3. 优雅的小快板 4. 不太快的快板

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

小提琴林瑞沣

粤港澳大湾区节日乐团师从著名小提琴演奏家，教育家徐惟聆教授。10 岁起师从上海音乐学院附中

粤港澳大湾区节日乐团由大湾区内四支国际知名乐团：广州交响乐团、深圳交响乐团、香港管弦乐团和澳门乐团的音

弦乐科主任周铭恩副教授。2012 年考入上海音乐学院附中小提琴专业学习，

乐家组成，于 2018 年 12 月在广州海心沙亚运公园举行的“广东省庆祝改革开放 40 周年文艺晚会”中首次亮相。

2018 年 9 月专业推免直升上海音乐学院小提琴本科，2022 年 9 月保送直升上海音乐学院小提琴研究生。现担任新古典室内乐团、上海音乐学院交响乐

2022 年 8 月，粤港澳大湾区节日乐团曾再次集结于广州和中国特色社会主义先行示范区深圳，在“第二届粤港澳大湾

团首席。

区文化艺术节开幕式”和“第十八届中国（深圳）文博会艺术节专场音乐会”中，演出由著名指挥家余隆先生和中国音协交响乐团联盟推动国内 23 支乐团共同委约著名作曲家赵麟创作的鸿篇巨制交响音诗《千里江山》，生动展现出人文湾区、

林瑞沣屡获殊荣：2014 年 1 月荣获香港第四届国际小提琴专业比赛第一名；

活力湾区的风采。

2015 年 11 月荣获文化艺术院校奖第十一届全国小提琴青少年比赛专业组第一名及中国作品演奏奖；2019 年 9 月入选首批上海音乐学院“登峰人才”计划。同年 10 月荣获第十二届中国音乐金钟奖小提琴比赛金钟奖；2020 年 10 月在第二十三届北京国际音乐节被授予“青年音乐家奖”。林瑞沣先后与中国爱乐乐团、上海交响乐团、广州交响乐团、杭州爱乐乐团、贵阳交响乐团、西安交响乐团、昆明聂耳交响乐团、苏州交响乐团、上海爱乐乐团、哈尔滨交响乐团、天津交响乐团等合作演出。 2020 年 10 月受邀在第二十三届北京国际音乐节闭幕式“中国爱乐乐团成立二十周年庆典音乐会”中与著名指挥家余隆合作，担任独奏小提琴的演出；同年 11 月再度与指挥家余隆合作，在“保利文化二十周年·中国爱乐二十周年全国巡演”中担任南京与上海两场音乐会的独奏。2021 年 4 月受邀担任广州交响乐团 20/21 乐季演出的独奏，与指挥家余隆合作。2022 年在上海艾萨克·斯特恩国际小提琴大赛中，成为唯一内地“决赛奖金获得者”。

星海音乐厅交响乐演奏大厅

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

曲目介绍

该曲题献给首演担任独奏的约阿希姆，尽管事前的练习并不足够，但首演仍相当成功，颇获佳评，莱比锡的乐评人阿尔弗雷德·多费尔（Alfred Dorffel）在《莱比锡新闻报》上撰文报道：“第一乐章未能让听众注意到作品中新颖之处，但第二乐章则予人留下非常真实的印象，终乐章则充满了欢乐。”首演便能赢得好评的原因在于作品的交响性，独奏小提琴在曲

周天

《都会》（广州交响乐团委约）

中并不占主导地位，但却和乐队合二为一。尽管如此，独奏小提琴仍极具炫技效果，双弦、三弦，快速的把位变换，及快速乐句等等都用上了；但这些技巧没有一样是纯粹被用作为炫技目的，而是完全被融合进乐曲的结构中，在这个结构中不同主题以交响形式呈现、变化、发展，旋律也具有沉思性，或小夜曲般的田园风格；而非常严肃的乐句与其他嬉戏、谐

“南越千年事，兴怀一旦来。歌钟非旧俗，烟月有层台…” ——《广州试越台怀古》

谑的乐句并行出现，最明显的是在第二乐章中。整体而言，该曲如同勃拉姆斯前一年夏天所写的第二交响曲，充满了

作品从黄滔的诗中有感而发，力图用五音繁会的交响音乐语言来展现一个千年都会的调性：繁华与市井并存，古旧与现代交织；它既有热闹、喧嚣的一面，也有轻盈、恬静的一面。当我们听到乐曲里中国民族音调与现代和声、爵士节拍的结合时，我们是否也听到了一个千年都会的声音？

有如“阳光灿烂”般，无忧无虑的欢愉喜悦。全曲由三个乐章构成，乐思富于变化，有深度，明快、沉着而有份量，规模比较大，结构严密，音乐充实，富有交响性。第一乐章：采用严格的古典奏鸣曲形式结构，按照两个呈示部的古老写法。乐曲开门见山呈示出宽广悠长的主部主题，

《都会》由广州交响乐团委约，为其建团 65 周年创作。

旋律悠长，甜美的双簧管轻盈地奏出应和乐句，像是缕缕白云随着向上移动的音调飘浮上升。在于副部主题出现前，还

华裔作曲家周天 1981 年生于杭州，毕业于上海音乐学院附中、柯蒂斯音乐学院（学士）、茱莉亚音乐学院（硕士）、南加州大学（博士），师从著名作曲家珍妮佛·夕格顿和克里斯托弗·劳斯。2018 年，他凭借《乐队协奏曲》获第 60 届格莱美奖“最佳当代古典音乐作曲家奖”提名，成为获此殊荣的第一位华人。2019-2020 乐季任上海交响乐团驻团艺术家。 2019 年获北京国际音乐节“年度艺术家”奖。现任密歇根州立大学音乐学院作曲系副教授。与他合作的知名音乐家和乐团包括：梵志登、王羽佳、余隆、王健、路易·朗格莱、纽约爱乐乐团、伦敦爱乐乐团、匹兹堡交响乐团、马勒室内乐团、辛辛那提交响乐团、墨尔本交响乐团、新加坡交响乐团、香港管弦乐团、中国爱乐乐团、香缇克利尔合唱团等。《华尔街日报》称“周先生的管弦乐作品完成了两件重要的事情：它们提醒我们如何从从前到达现在，并通过向那些可能已经被遗忘的贡献者致敬来延续历史。” 周天提供

运用了三个不同性格的小主题，使整个乐章更为丰富动人。进入第二呈示部，独奏小提琴先奏出一段快速华彩性的导奏，情深意长地“唱”出了宽广的主部主题，渐渐形成独奏与乐队竞逐的氛围，才和第一小提琴交替奏出副部主题，旋律富于歌唱性、抒情性和戏剧性，像是唱给恋人的一首真挚情歌。展开部将两个主题发挥，最后独奏小提琴的上行音阶，突然将情绪拉紧，乐队全奏，情绪变得奔放华丽，形成高潮，独奏小提琴炫技性华彩主导着发展，带入再现部。再现部的音乐几乎是顺序再现呈示部中的所有素材，只是在调性、和声与配器等方面有所变化。独奏小提琴演奏一段技巧性的华彩乐段，最后独奏小提琴以激动的双音、八度音，奏出主部主题音调，豪迈地结束第一乐章。（勃拉姆斯在总谱中并没有为华彩乐段写下任何音符，至今留传下来的即兴性华彩乐段达十六、七种之多，用得最多的是约阿希姆的版本，不少著名小提琴家也留下自己作的华彩乐段。）第二乐章：三部曲式。这是北国孤寂幽香的乐章，音乐贯穿着深挚而静观的情绪，优美柔和的慢板，安逸恬静的气氛使人联想到勃拉姆斯创作这首协奏曲的环境——凉爽怡人的避暑胜地珀特沙赫。结构精确，旋律细腻，加上并不复杂调技巧，洋溢着典雅的醇香。主题开始时由悦耳柔美的双簧管奏出，富于歌唱性，色彩温和淡雅，朴素的牧歌风味突出动人，是勃拉姆斯著名的抒情曲调，独奏小提琴装饰主题，或加以变奏，或与乐队竞逐演奏，中段由明朗的 F 大调转到 f 小

勃拉姆斯

D 大调小提琴协奏曲，作品 77

调，独奏小提琴偏离原来的情绪，显得不大安定，时或昂扬、时或颓丧；并存着两种不同的音型，时或温雅、时或确断、

这是勃拉姆斯创作成熟期的代表作，长期以来，与贝多芬的《D 大调小提琴协奏曲》、门德尔松《E 小调小提琴协奏曲》，

后，重现主部主题，双簧管和独奏小提琴交替演奏出迷人的田园主题旋律，主题经过两次反复后，独奏小提琴以有若华

并称为“古典三大著名小提琴协奏曲”。这首小提琴协奏曲情绪乐观，开朗，基调明快，意境开阔，是勃拉姆斯少有的，洋

彩般的旋律助奏，并逐渐主导发展，再将情绪拉紧，最后与乐队再融合，在优美恬静的牧歌声中结束第二乐章。

时或感情强烈、时或镇定自若，像是朦胧的雾霭，色调变得晦暗，表情丰富，情绪激动，表现复杂的内心活动。情绪高涨

溢着激情生命力，对生活充满理想憧憬的作品。然而，实质上，这并非当时勃拉姆斯生活现实的写照，这只是作曲家和第三乐章：不正规的回旋曲式。回旋曲主题的素材源于匈牙利的吉卜赛民俗音乐，性格幽默、轻快，富有活力，节奏强烈，

常人一样，心中常存对美好生活向往追求的一种梦想折射而已。

富于火热奔放的舞蹈性，由独奏小提琴用双音奏出后，以独奏或合奏反复多次，乐队以壮大的气势将主题加以反复，整勃拉姆斯独一无二的小提琴协奏曲，于 1879 年元旦在莱比锡新年音乐会首演，由约阿希姆独奏小提琴，勃拉姆斯亲自指挥，

个乐章气氛比前两个乐章轻松。独奏小提琴在本乐章中有更多的炫技性的表现，在独奏小提琴奏出华彩弦技性波浪似

翌年首次出版。这首作品的诞生和约阿希姆有着直接的关系。约阿希姆当年是汉诺威宫廷乐队的首席小提琴，他向勃拉

的快速音群后，第一副题在独奏小提琴上出现，开始时以双音、八度音奏出，短小轻捷，富有幽默感，像是舞者的愉快戏

姆斯介绍了不少小提琴协奏曲，这让勃拉姆斯动了意念要为约阿希姆写一部真正动人，又能发挥他的高度技术的大作品。

谑。在回旋曲主题再度出场后，独奏小提琴优美地奏出第二副题，这个副题旋律平缓，性格温静，激昂的情绪得到缓和，

勃拉姆斯是位专业的钢琴家，对小提琴演奏技巧不大谙熟，所以在创作这首协奏曲的过程中，约阿希姆扮演了非常重要

像是欢舞中的一个短暂休息。在第一副题及回旋曲主题相继再现后，独奏小提琴在弦乐组伴随下，优美地奏出旋律平缓，

的角色，对小提琴独奏声部提出了不少意见，包括第一乐章中独奏的华彩乐段。

性格温静的第二副题。及后独奏小提琴八度音重现第一副题戏谑音调，及回旋曲主题，独奏小提琴与乐队竞逐，情绪激增，又形成群舞的火热场面，在独奏小提琴简短的华彩乐段后，进入加快速度的结束部。结束部先用回旋曲主题，接着用第

勃拉姆斯创作该曲的念头于 1874 年 9 月已酝酿，但一直要到 1878 年在风光绮丽的沃尔特湖（Wörthersee）畔小城

一副题的素材构成，最后以明亮的 D 大调主和弦结束全曲。

珀特沙赫（Portschach）避暑时才实现。勃拉姆斯前一年也在这景色宜人的乡间避暑，创作了第二交响曲。他在给友人的信中描述这地区为“未被玷污的净土，各种旋律在空中飞舞，你必须非常小心才不会践踏到这些旋律。”由此不难见出，今晚所奏这这两首伟大名曲和奥地利南部，接近捷克（现是斯洛伐克）的卡林西亚（Carinthia）地区的优美乡间景象具有密不可分的关系。

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

德沃夏克

G 大调第八交响曲，作品 88

行的《繁茂的草地》，牧歌风的旋律；此一率真朴实的主题，出现不同一般的发展，有时逐渐被英雄性的色调装饰，以第

德沃夏克（Antonín Dvořák, 1841-1904）是继斯美塔那后，捷克音乐史上的另一位伟大的作曲家，他既继承了斯美塔

安的附点节奏，当弦乐以最强奏反复后，增强音势造成高潮，用于木管乐器的手法极为精致，具有非凡魅力。不久，第一、

那要复兴捷克民族音乐文化的事业，将之发扬；另一方面他身处欧洲民族观念思潮高涨的年代，形成德沃夏克对国家无比热爱的精神，并成为他作品中的灵魂所在！而他的音乐能赢得世人的无限钟爱，亦正是他这种对国家无比热爱的精神转化成音乐时，将波希米亚的田园浪漫色彩深深地感染到不同的民族，引发大家的共鸣。他的《G 大调第八交响曲》第

二小节的节奏型为基础构成急速的进行曲步调。抒情性的第二主题，由木管以最弱的力度奏出四小节的主动机，带有不第二主题接续再现，展开部简短几乎全被省略。由于引子的主题被安排在发展部和再现部开始时再三出现，田园诗意的画面同英雄性因素结合，也就成为此一乐章的最大特点。

八交响曲是写于 1889 年的成熟期作品，乐曲基调满含着波希米亚的乡土田园浪漫色彩，这种动人的力量尤为明显。

第二乐章：柔板，降 E 大调，2/4 拍

孕育于波希米亚原野

治下的悲剧情怀。第二乐章开始更仿如听到贝多芬的《英雄》交响曲中的葬礼进行曲般的回声一样。为此，这一乐章便

波希米亚（Bohemia）原是古中欧地名，包括现时连同布拉格在内的捷克共和国中西部地区，但广义上也常指包括捷克摩拉维亚（Moravia），和西里西亚在内的整个捷克地区。波希米亚亦是古中欧国家，曾为神圣罗马帝国中的一个王国，随后成为奥地利哈布斯堡王朝的一个省。波希米亚地区的统治和宗教都曾引发不少战争，亦产生不少英雄传奇故事，十五世纪便曾出现罗马教廷以火刑处死直言进谏的布拉格大学教授胡斯，导致波希米亚乡民愤而皈依胡斯教派的传奇故事。德沃夏克生于布拉格附近的拉霍奇夫斯镇，卒于布拉格，他的血液中全是波希米亚的山川田园、文化风情，这部作品中散发的波希米亚乡土田园浪漫色彩，便融入了英雄的气质和个人的浓情。德沃夏克的交响曲共有九部，在世时其中五部以出版时间先后为序编号，现今改按创作时间先后编号。《G 大调第八交响曲》第八交响曲 1889 年写出，1890 年 2 月 2 日由作曲家亲自指挥国家剧院管弦乐团（The Orchestra of the National Theater）在布拉格首演。1892 年出版时列为第四交响曲，由于在英国出版，故有“英格兰交响曲”之称。英国人相当喜爱他的作品，对他的音乐，均给予很高评价，他为了答谢剑桥大学赠予名誉博士荣衔，便安排指挥他自己的

这部交响曲尽管情绪明朗乐观，第二乐章仍带有一些伤感片段，仿如是笼罩在作曲家祖国的黑夜和在哈布斯堡王朝统兼有史诗般雄伟和抒情性的画面。本乐章用单一主题构成，由庄严、虔敬，带有沉思与悼念意味，却有如夜曲般温馨的抒情主题开始。主题的呈现很像作曲家早些时候创作的钢琴曲集《诗意的画面》中的《在古老的城堡》，这与最后乐章有如胡斯战歌的引子主题存在着联系。这段音乐增添了史诗性内容。接着乐章的主题衍化成进行曲式的英雄赞歌，由木管乐器（长笛和双簧管）和独奏小提琴相继奏出，快速的下行音列在旋律进行的长音中屡次插入，鼓声号声不绝，音乐情绪显得更加活跃，主题中一个动机交错发展，掀起高潮，展现英勇威武；继后英雄的自由之歌改由小提琴接奏，再现先前温婉可亲的气氛，以情调优美温馨的画面结束。第三乐章：优雅的小快板，G 小调 -G 大调，3/8 拍此一乐章并无戏剧性内容，是让人感到亲切的抒情音乐，仿如是笼罩着诗意的轻纱，但整个乐章的节奏感却有如一首斯

《安魂弥撒曲》和这首交响曲，作为象征性的学位论文。

拉夫舞曲一样。

1889 年夏天，四十八岁的德沃夏克在波希米亚的维索卡的别墅（Vysoká u Příbramě），一气呵成完成这首交响曲的

第一段音乐的基本主题采用德沃夏克典型的抒情诗音调写成，有如民谣般可爱的主题，旋律进行典雅如歌，圆舞曲式的

钢琴谱，回到布拉格后编配管弦乐，由 8 月 26 日动笔到 11 月 8 日全曲完成，只用了两个半月！

节奏，将此带着冥想般的主题添加上活力。中段出现 G 大调牧歌般的木管新主题，同样典雅和深具民间气质，近似纯朴

这首交响曲可说是德沃夏克陶醉于大自然的音响、明媚的风光与生命脉动的节奏中，很自然地孕育出来的作品，是把他

主题有着音调上的关联，又和第一乐章的第一主题相呼应，并借此强调本乐章的民间场面特色。乐章的尾声取材自中段

热爱的波希米亚乡土色彩及感情，投放到音乐中的乐曲。为此，这部交响曲在德沃夏克所有交响曲中，内容同他个人牵涉最多，也最独特。曲中反映的完全是平静的心境以及欢乐与自傲的感觉。分享他在大自然中所获得的新鲜明朗而愉悦的感受，还有哺育他的捷克民间音乐，整部作品包含着他对祖国大地及人民和艺术的热爱之情，像是从波希米亚的原野

无华的民歌，是作曲家自十五年前创作的独幕歌剧《老顽固》中优美的托尼克咏叹调借用过来，这段旋律和终章的第一主题，节拍和速度更换变得十分决断有力。第四乐章：不太快的快板，G 大调，3/8 拍

和捷克民间直接产生出来。

最后乐章的结构是奏鸣曲形式与变奏曲的独特结合，长大且自由，情调爽朗欢乐。由小号像战斗性号召的响亮光辉信号

交响曲巧妙地音诗化

很多相似之处，再一次强调音乐形象具有的勇武一面。第一主题呈示时进行四次变奏，在乐队全奏时，更掀起一阵阵欢

曲引子开始。第一主题的旋律，在音调和气质上都接近第一乐章的第一主题，带有明显舞蹈性，同胡斯战歌在音调上有

乐曲采用四个乐章的传统结构，却有某些不同一般的特点，用不同的方式来表达其意念。各个乐章采用常见的奏鸣曲形式、三段体曲式，和回旋曲形式为基础，然而细节上却有很重要而有趣的偏离。乐曲的编制中亦采用了较少使用的短笛和英国管。可以说，德沃夏克独创的、才华横溢的作曲技巧在此显露无遗，是将交响曲巧妙地音诗化的作品。

乐的狂潮。第二主题是戏谑性的小曲，在不同的乐器上不断传递，逐渐积蓄力量和威势，获得短暂的戏剧性发展，这既是第二主题的变奏，亦类似奏鸣曲形式的发展部。再现部开始前，再听到引子主题的召唤，然后第一主题及其四次变奏又依序重现，但色彩比前更加柔和、更加明朗，第二主题则全被省略掉，最后结束全曲的民间节日欢乐画面来自第一主题的一个变形。

这首交响曲四个乐章都散发着浓厚的民族气息，将波希米亚人的性格率直地表现出来。其中的第三乐章，是迷人的斯拉夫舞曲，不时会抽出来在音乐会中单独演奏。欣赏这部描写祖国的大自然，纯朴的民族性，荣光映照的史迹的交响曲，

撰文：周凡夫

可将之视为由四幅音画构成的音诗。第一乐章：充满活力的快板，G 小调 -G 大调，4/4 拍引子是一个独立主题，分别于呈示部、发展部和再现部之前按次出现，丰富了乐章所采用的奏鸣曲形式；引子风格是哀伤的小调，但主题具有史诗般宏伟的气质，又接近庄严的圣咏；同时，最后乐章的引子亦使原来像田园诗般的音乐带有英勇的戏剧性，为此，有人亦将之喻为是德沃夏克的“英雄”交响曲。引子后的第一主题，长笛奏出快活的曲调，有如农村少女晨光时在田野劳动所唱的歌曲，在摩拉维亚和斯洛伐克十分流 38

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

“乐聚·畅谈”音乐活动

2024 粤港澳大湾区（广东）国际青年音乐周室内乐音乐会 1&2

音乐人生对对碰 2024.1.24 （星期三）20:00 星海音乐厅室内乐演奏厅嘉宾：余隆丹尼尔·哈丁

2024.1.25（星期四） 20:00

余隆与哈丁之间的对话，

2024.1.27（星期六） 20:00

探索丹尼尔·哈丁的艺术人生与飞行体验。

地点星海音乐厅室内乐演奏厅演奏

青年音乐家职业规划

2024 粤港澳大湾区（广东）国际青年音乐周乐团学员两场室内乐音乐会将由 YMCG 青年音乐家们演奏从古典时期到现代的各种作品，

2024.1.26（星期五）11:00-12:30

乐团的所有声部将在音乐会中展示他们在音乐周期间的学习成果。

广州交响乐团排练厅

* 曲目信息将于音乐会当天在广州交响乐团微信公众号发布

嘉宾：丹尼尔·哈丁与导师团队丹尼尔·哈丁携明星导师与青年音乐家探讨职业规划。

明星音乐家面对面 2024.1.26 （星期五）20:00 星海音乐厅室内乐演奏厅嘉宾：丹尼尔·哈丁及导师团队丹尼尔·哈丁将与导师团队就音乐教育问题进行小组讨论，包括如何在当今世界激发青年学生的兴趣、如何增加青少年对古典音乐的了解、如何在学习乐器的过程中获得成功和乐趣以及其他相关话题。图为在星海音乐厅室内乐厅内举行的“乐聚·畅谈”活动现场 40

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

丹尼尔·哈丁与 2024 粤港澳大湾区（广东）国际青年音乐周乐团音乐会 2024.1.28（星期日 /Sun.）20:00 星海音乐厅交响乐演奏大厅 2024.1.30（星期二 /Tue.）20:00 深圳音乐厅演奏大厅 2024.1.31（星期三 /Wed.）20:00 香港文化中心音乐厅指挥：丹尼尔·哈丁小提琴：薇尔德·弗朗中提琴：阿米哈·格罗斯兹演奏：2024 粤港澳大湾区（广东）国际青年音乐周乐团

梁皓一

《天穹之志：大湾华章》（广州交响乐团委约，1 月 28 日广州站世界首演）

(1995-）沃尔夫冈·阿马德乌斯·莫扎特

降 E 大调小提琴与中提琴交响协奏曲，K.364

(1756-1791）

1. 庄严的快板 2. 行板 3. 急板小提琴：薇尔德·弗朗中提琴：阿米哈·格罗斯兹

——— 中场休息 ———

安东宁·德沃夏克 (1841-1904）

E 小调第九交响曲，作品 95（自新大陆 ) 1. 柔板 - 很快的快板 2. 广板 3. 谐谑曲，十分活跃的 4. 火热的快板

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

指挥丹尼尔·哈丁

中提琴阿米哈·格罗斯兹

乔治·埃内斯库国际音乐节、萨尔兹堡音乐节以及布拉格之春音乐节。作为一名小提琴独奏家，她经常在卡内基音乐厅、阿姆斯特丹皇家音乐厅、维也纳金色大厅、柏林爱乐音乐厅、威格莫尔音乐厅、苏黎世音乐厅以及布鲁塞尔波扎尔音乐厅等知名艺术殿堂演出，并在北美地区参与温哥华独奏系列、波士顿名人系列和旧金山音乐会等演出。薇尔德还是华纳古典的独家艺术家，其唱片荣获多个奖项，包括爱迪生古典音乐奖、法国 “金音叉”奖、德国唱片大奖、法国唱片大奖以及两项留声机奖。薇尔德出生于挪威，十二岁时便受到指挥大师马里斯·扬颂斯邀请，首次亮相于奥斯陆爱乐乐团。她曾在奥斯陆的巴勒特音乐学院学习，于汉堡国立音乐与戏剧学院师从科里亚·布拉赫教授，在德国克伦贝格学院师从安娜·楚玛申科教授。

简介见第 11 页

简介见第 19 页

小提琴薇尔德·弗朗 2012 年，经评委一致认可，薇尔德·弗朗荣获瑞士信贷青年艺术家奖，并藉

2024 粤港澳大湾区（广东）国际青年音乐周乐团图为 2020 广东国际青年音乐周乐团合照

此机会首次登上琉森音乐节，与伯纳德·海廷克执棒的维也纳爱乐乐团同台演出。深厚的音乐才情和出色的抒情表达令薇尔德跻身成为同时代独具个性的卓越小提琴家之一。她一直与世界顶级的交响乐团保持合作，包括柏林爱乐乐团、阿姆斯特丹皇家音乐厅管弦乐团、伦敦交响乐团、欧洲室内乐团、洛杉矶爱乐乐团、布达佩斯音乐节管弦乐团以及奥斯陆爱乐乐团。薇尔德本乐季的演出亮点包括回归巴伐利亚广播交响乐团、苏黎世音乐厅管弦乐团、阿姆斯特丹皇家音乐厅管弦乐团和柏林爱乐乐团，以及与圣切契利亚音乐学院管弦乐团首次同台合作。她还将进行国际巡演，与弗拉基米尔·尤洛夫斯基执棒的巴伐利亚国立管弦乐团、菲利普·赫尔维格执棒的巴塞尔室内乐团、以及 B'rock 室内乐团合作演出。此外，她还担任法国广播电台的驻台艺术家，携手法国国家管弦乐团和法国广播爱乐乐团亮相巴黎。薇尔德曾与众多指挥家合作，其中包括西蒙·拉特尔爵士、伯纳德·海廷克、

简介见第 25 页

赫尔伯特·布隆斯泰特、埃萨 - 佩卡·萨洛宁、马里斯·扬颂斯、弗拉基米尔·阿什肯纳齐、伊万·费舍尔、马克西姆·埃梅里亚尼切夫、雅各布·赫鲁沙、弗拉基米尔·尤洛夫斯基、曼弗雷德·霍内克、提奥多·库伦奇斯、丹尼尔·哈丁、安东尼奥·帕帕诺、拉哈夫·沙尼、帕沃·耶尔维、尤里·捷米尔卡诺夫等。薇尔德对室内乐充满热忱，是一位杰出的室内乐演奏家，薇尔德经常出现于琉森音乐节、伦敦 BBC 逍遥音乐节、韦尔比耶音乐节、洛肯豪斯音乐节、

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

曲目介绍梁皓一

是优美而令人难忘的音乐。但一如莫扎特很多优美动人的音乐，在音乐里总会带着一点儿感伤，这个乐章同样可以感受得到，那可是他当时现实生活的悲情境遇的自然流露呀。

《天穹之志：大湾华章》（广州交响乐团委约）

《天穹之志：大湾华章》是一部充满活力的音乐作品，展现了大湾区内丰富的文化传统所带来的美丽、深度和凝聚力。作曲家梁皓一旨在唤起大湾区的壮丽的景象，将细致与大胆融合在音符间。作品中的抒情主题和节奏变化颂扬着大湾区的多样性，却深深扎根于中国传统。音乐随着富有感染力的节奏跃动，勾勒出一幅生动的音乐画卷，展现了该地区文

第三乐章：急板，回旋曲式全曲最简短的终章，以轻快舞曲表达莫扎特独特的回旋曲风格，开头的回旋曲主题重现两次。独奏小提琴与中提琴以快速节奏推进，成就此一连绵不断，令人精神振奋的回旋曲乐章。曲中旋律明快，圆号和双簧管都有表演机会。乐队齐奏轻快活泼，两件独奏乐器，你追我逐，活力充沛，在音色上的强烈对比，明确诉说他们担任主角。在独奏部分出现后，简短的管弦乐齐奏，富有光彩、明亮地将全曲终结。

化的多彩活力。作曲家梁皓一经常将中国传统元素与其他音乐传统相融合，创造出和谐交融的音乐，象征着不断演变的新时代精神。梁皓一提供

德沃夏克

E 小调第九交响曲，作品 95（自新大陆 )

德沃夏克《E 小调第九交响曲（自新大陆）》所展示的，基本上是一个壮丽的世界，那却是从伯恩斯坦当年所处的五十年

莫扎特

降 E 大调小提琴与中提琴交响协奏曲，K.364

莫扎特 1777-1778 年间，前赴巴黎旅游，这次曼海姆、巴黎的旅程令他获益良多，也启发他对曲体的重新认识，这首小提琴与中提琴交响协奏曲，可说是莫扎特“独一无二”的作品，就是旅程归来后，约经过半年时间，于 1779 年夏天写成，是他担任萨尔茨堡宫廷乐团乐正时的作品，显然受了当时欧洲最负盛名的高水平曼海姆乐团和乐风影响，第一乐章主题便具有曼海姆乐派作曲家卡尔·斯塔米茨（Karl Stamitz, 1745-1801）的影子。

晚年德沃夏克名利双收，德国、捷克、奥地利、英国各学术机构争相授予荣耀头衔，美国纽约音乐学院也慕名邀他去担任院长。德沃夏克于 1892 年赴任，成为继柴可夫斯基后，第二个来到美国的欧洲重要作曲家。德沃夏克在美国逗留到 1895 年返回故乡，担任捷克布拉格音乐学院的院长，并专注民族音乐研究工作。1903 年德沃夏克完成歌剧《亚美达》（Armida）后，1904 年 5 月，积劳成疾，因脑溢血突然去世，享年六十三岁。德沃夏克能成为捷克音乐史上的伟大作曲家，一方面是他对斯美塔那的作品作过深入研究，并能不断在波希米亚的民

对中提琴的迷醉莫扎特这首交响协奏曲，从形式到内容的设计，都可说是匠心独运，将小提琴和中提琴这两件提琴乐器的特性充分发挥，展现出莫扎特音乐于优美中隐含着感伤阴影的艺术特性，亦让他这部作品成为同类作品中的伟大经典。莫扎特擅奏键盘乐器，对小提琴造诣亦深，写作这首作品时，对演奏中提琴更是迷醉，在莫扎特的作品中虽没有中提琴独奏曲，但除了这首交响协奏曲，他还有两首小提琴与中提琴二重奏（K.423，和 K.424）。他创作这首交响协奏曲时，亦很有创意地让中、小提琴以音乐对话的方式来表现，大大增加两件独奏乐器的互动效果，加深了音乐的整体深度。深明中提琴和小提琴一齐合作时，按乐器本身性能，只能退居第二位。为此，为了音响、音色上的需要，莫扎特便特意将中提琴独奏的分谱以 D 大调写成，让独奏的中提琴先将定弦全部调高半音，再以 D 大调之记谱演奏，乐队以降 E 大调演奏时，中提琴不仅能与其他乐器的音色融合，加以中提琴之琴弦张力增加，乐器发出较明亮音色，近于小提琴，亦增强了中提琴的表现力。这是一种特别的尝试，但是现在的演奏者多不再采用这种方式演奏，而是直接拉奏降 E 大调。此外，在这首协奏曲中莫扎特还亲自写下了华彩部分，使得音乐的呈现更为完整。莫扎特以 D 大调写成中提琴分谱，有意让中提琴在运指上较易发出更丰盈的音质，还有一重考虑，是让音色较朴厚的中提琴，得以与小提琴分庭抗礼，利用华丽开扬的小提琴音色，与深沉平稳的中提琴色彩，将两种不同色调的乐器声音，巧妙地表现出华丽当中总带一点阴影的莫扎特的艺术特性，这正是莫扎特追求纯净音乐之美的特色所在。

间音乐中汲取创作养份，得以继承斯美塔那要复兴捷克民族音乐文化的事业，将之发扬。另一方面是他身处的大时代，正是欧洲民族观念思潮高涨的年代，他一生经历的，亦正是捷克长时间对抗奥地利哈布斯堡王朝，争取民族自决，谋求独立，复兴波希米亚文化的岁月。由此也就形成德沃夏克对国家无比热爱的精神，并成为他作品中的灵魂所在！德沃夏克一生写下大量各种音乐体裁、形式的作品，这些作品的基本特色大都保持着民间音乐的特点和典型的民族色彩。风格纯朴生动，散发着鲜明的爱国精神，“旋律美”堪称是德沃夏克作品中至为引人入胜的元素，但亦有人认为他的作品较缺乏思想深度。但不容否认的是，他的作品早已形成独特的音乐风格，影响力广及整个欧陆，对后来的作曲家带来很大冲击。《自新大陆》背景德沃夏克在美国的四年间（1892 年至 1895 年春），创作了不少民族色彩鲜明的重要作品，除《新大陆》交响曲外，还有弦乐四重奏《美国》、以及大提琴协奏曲等。其中当以 1893 年完成的《自新大陆》交响曲最为轰动。他的第九《自新大陆》交响曲，打破民族界限，成为全球各个民族在心灵上均能感应得到共鸣的作品，是今日在世界各地音乐舞台上演出次数最多的交响曲之一，亦是备受不同年龄阶层的爱乐者欢迎，能列入百听不厌的世界名曲中。当年《自新大陆》交响曲以黑人灵歌与印第安民谣为素材，实时便赢得美国人的心，报纸上的评论亦实时喝彩：“平静的美国人一下子都疯狂了，像世界上最易激动的意大利人那样喝彩。”

第一乐章：庄严的快板，奏鸣曲式风格雄伟，乐曲开始有如交响曲同样的形式，响亮的和弦很能实时将人的主意力吸引着。无论独奏还是乐队部分都写得很丰富，兼具交响曲与协奏曲的特性及风格，开始一大段合奏后，独奏小提琴与中提琴在管弦乐的声响中，以齐奏形式进入，亮丽的开头以八度音展开，然后展开充实对话，既有沉思，亦有较富戏剧性部分。在圆号与双簧管出现后，乐曲推向一个典型的曼海姆式渐强高潮，乐章终结前，两件独奏乐器的华彩乐段，很是吸引。第二乐章：行板，奏鸣曲式音色情调灰暗、伤感、抒情的慢板音乐。两件独奏乐器以集乐章开始时的主题对答地将乐曲扩充发展，美丽动人心弦，

代向后倒退回五、六十年前德沃夏克眼中的美国景观。

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

对于这部交响曲，德沃夏克曾很自豪的说：“任何人只要有鼻子，必可以嗅到美国味！”（Everyone who has a nose must smell America.）。他在接受纽约先导报（New York Herald）访问时也强调：“我深信未来美国的音乐是建立在黑人旋律的基础之上”。德沃夏克有此“预言”，是因为当时美国音乐院校的作品多是欧洲曲风的延续，德沃夏克主张必须开创出美国人自己的音乐道路，于是身体力行，将黑人灵歌与印第安民谣的音乐，融入其作品内，创作了《自新大陆》交响曲。

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

《自新大陆》特色德沃夏克在《自新大陆》交响曲中，将美国新大陆的黑人民谣和他在欧洲的故乡波希米亚的民族音乐特色相互交融，手法奇特，效果撼人心弦，感人力量之深，至今超过百年，丝毫没有减退。这可以说是德沃夏克来到美国后，大量接触到美国的多元文化，在他的作品中融入美国原住民及黑人灵歌（Soul Music）的节奏与旋律的成果。可以说是十九世纪跨文化音乐创作取得成果的先驱例子。据说创作此曲时，德沃夏克刚好待在一个波希米亚人聚居的美国小镇，就勾起他的

2024 粤港澳大湾区（广东）国际青年音乐周大师班

乡愁，因此在这首作品中加入了波希米亚民谣狂放潇洒的元素。由于波希米亚与巴尔干的民歌，与中国传统音律具有共通之处，为此，中国听众听来便会有中国五声音阶的熟悉感。

2024.2.1 香港演艺学院

《自新大陆》交响曲全曲分四个乐章。四个乐章既构成前后对比效果，又有内在联系统一。第一乐章：柔板，很快的快板，e 小调，2/4 拍奏鸣曲式以大提琴及圆号的缓慢导奏，带着微弱叹息，在乐队全奏，定音鼓擂动下，小提琴颤音进入共有三个主题的呈示部。圆号奏出第一主题（琶音动机），有如展现美国拓荒时代大自然的壮丽景貌。长笛及双簧管奏出舞曲音调的第二主题，欧陆农村舞曲风格，虽有感伤味，但节奏强烈。长笛奏出第三主题，这段“灵歌主题”，作曲家表示“只是想模仿美国风格创作曲调”，但黑人音乐味道明显，有人认为一是源自黑人著名灵歌《轻轻的摇，可爱的马车》（Swing Low，Sweet Chariot），另一说法则是源自一首黑人世俗歌曲。呈示部反复后，进入以琶音动机及灵歌动机发展的展开部，再现部将呈示部三个主题顺次做出压缩重现，最后加上灵歌动机及琶音动机写成的尾声结束这个乐章。

10:00-12:00 音乐厅

10:30-12:00 演奏厅

14:00-16:00 音乐厅

14:00-16:00 演奏厅

长号大师班

弦乐大师班

小号大师班

长笛大师班

乔纳森·雷斯

阿米哈·格罗斯兹

汉内斯·劳宾

加雷斯·戴维斯

长号

中提琴

小号

长笛

马丁·门金

第二乐章：广板，降 D 大调，4/4 拍，复三部曲式

大提琴

第二乐章广板最为著名，据说这是作曲家读了美国十九世纪著名诗人朗费罗的叙事诗《海华沙之歌》后，对美国内陆的大自然景象的幻想，深有所感而创作。曲中以英国管独奏的五声音阶主题，富有歌唱性的旋律，优美深情，情调上融和了黑人音乐及作曲家故国波希米亚风情。后来美国学者费舍尔（William Fisher）将这段旋律填上歌词，改编为合唱曲，成为家喻户晓的歌曲《归故乡》（Goin' Home）。这段慢板音乐悲伤缓慢，将作曲家遥念故国的乡愁，发挥得淋漓尽致，成为全球各个民族在心灵上均能感应得到共鸣的作品，即使在“乡愁感”似乎已随着信息科技的发达而减退的今日，撼人

免费入场，需预先登记

心弦的感人力量丝毫未减。乐曲开始由铜管及木管奏出低沉庄严的导奏，英国管便独奏出“思乡主题”。双簧管及长笛奏出的中段主题旋律以动机重复手法写成，忽弱忽强，忧愁悲苦，急切呼唤，如内心激荡的思乡情绪。双簧管断奏的连接段中，在乐队全奏后，首乐章的琶音及灵歌动机（第一及第三主题）与本乐章开始之英国管“思乡主题”旋律融合后，再现改由圆号奏出主部的“思乡主题”。第三乐章：谐谑曲，十分活跃的，e 小调，3/4 拍，复三部曲式此一乐章据说则是受到朗费罗叙事诗《海华沙之歌》中印第安人的舞蹈场面启发创作。在序奏后的主部以木管带出舞蹈主题，及歌唱主题构成。舞蹈主题轻快活跃，舞蹈节奏，富有生气，歌唱主题旋律悠长婉转，富有歌唱性，与“思乡主题”近似。中段的轻盈舞曲主题，木管奏出，节奏富有弹性，捷克民间舞蹈风格；另一个婀娜舞曲主题，弦乐先行奏出，妙曼轻松，舞蹈节奏构成。再现主部后的尾声仍可听到第一乐章的主题片段。第四乐章：火热的快板，e 小调，4/4 拍奏鸣曲式这是一个气势宏大雄伟的乐章。奋斗般的引子后，进入呈示部，乐队全奏出威武雄壮，宏大的进行曲风格的音乐，有如大地尽在脚下的气势。此一主题经过变奏反复，抒情如歌的副题出现，柔美抒情，富有歌唱性。结束部由乐队全奏出英雄性的威武音乐结束呈示部。展开部以呈示部奋进式主题材料，加上次乐章“思乡主题”材料和第三乐章舞蹈性主题，以及首乐章主部动机写成。再现部将呈示部的奋进式主题变化再现，在抒情如歌主题再现后进入乐队全奏，有如凯歌般的尾声，以无比壮丽的音乐结束全曲。撰文：周凡夫香港演艺学院 50

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

日程安排时间

日程安排日程安排

地点

时间

日程安排

1 月 20 日星期六 15:00-

学员抵达

地点

1 月 29 日星期一外商·艺龙酒店

10:00-12:00

外展活动

14:00-16:00

1 月 21 日星期日

1 月 30 日星期二

16:30-17:30

学员欢迎仪式

广交排练厅

20:00

2024 粤港澳大湾区（广东）国际青年音乐周开幕音乐会

星海音乐厅交响乐演奏大厅

17:00-18:00

20:00

走台

1 月 22 日星期一 10:00-12:00

声部排练

广交排练厅 / 排练室

14:00-17:30

声部排练 + 室内乐排练

广交排练厅 / 排练室

19:30

导师学员交流活动

待定

1 月 23 日星期二 10:00-12:00

声部排练

广交排练厅 / 排练室

14:00-18:00

室内乐排练 + 交响乐团排练

广交排练厅 / 排练室

丹尼尔·哈丁与 2024 粤港澳大湾区（广东）国际青年音乐周乐团深圳音乐会

10:00-12:30

交响乐团排练

广交排练厅

14:00-18:00

交响乐团排练 + 声部排练

广交排练厅 / 排练室

20:00

乐聚·畅谈 1：音乐人生对对碰

星海音乐厅室内乐演奏厅

深圳音乐厅演奏大厅

1 月 31 日星期三 17:30-18:30

2024 粤港澳大湾区（广东）国际青年音乐周闭幕音乐会走台

香港文化中心音乐厅

20:00

2024 粤港澳大湾区（广东）国际青年音乐周闭幕音乐会

香港文化中心音乐厅

2 月 1 日星期四 10:00-12:00 14:00-16:00

1 月 24 日星期三

广州市文旅地标

大师班

香港演艺学院

最终日程安排以通知为准

特别鸣谢社区演出合作伙伴：

1 月 25 日星期四 10:00-12:00

室内乐排练 / 室内乐音乐会 1 走台

广交排练厅 / 排练室 / 星海音乐厅室内乐厅

14:00-16:30

交响乐团排练

广交排练厅

20:00

室内乐音乐会 1

星海音乐厅室内乐演奏厅

粤剧艺术博物馆广东省博物馆广州塔广州城港旅游发展有限公司

1 月 26 日星期五 11:00-12:30

工作坊：青年音乐家职业规划

广交排练厅

14:00-18:00

交响乐团排练 + 室内乐排练

广交排练厅 / 排练室

20:00

乐聚·畅谈 2：明星音乐家面对面

星海音乐厅室内乐演奏厅

1 月 27 日星期六 10:00-12:00

室内乐排练 / 室内乐音乐会 2 走台

广交排练厅 / 排练室 / 星海音乐厅室内乐厅

14:00-18:00

交响乐团排练

广交排练厅

20:00

室内乐音乐会 2

星海音乐厅室内乐演奏厅

1 月 28 日星期日 10:00-13:00

20:00

丹尼尔·哈丁与 2024 粤港澳大湾区（广东）国际青年音乐周乐团音乐会（首站）走台丹尼尔·哈丁与 2024 粤港澳大湾区（广东）国际青年音乐周乐团音乐会（首站）

星海音乐厅交响乐演奏大厅

2024 粤港澳大湾区（广东）国际青年音乐周 YMCG

Contents 03

Organizational Structure

Working Team

2024 YMCG Overview

A Letter from the Music Director

Chairman of Artistic Committee

Music Director

Organizers

Faculty Members

2024 YMCG Orchestra

Concerts and Activities

Schedule

Official website: www.ymcgchina.com

Organizational Structure

Wang Dongyun, Director, Xinghai Concert Hall Vennie Ho, Hong Kong Philharmonic Orchestra 50th Anniversary Consultant, Former Executive Director Jacky Fong Tin Wan, Executive Director, Macao Orchestra Company, Limited Nie Bing, Chairman of Artistic Committee, Shenzhen Symphony Orchestra

Presenter Department of Culture and Tourism of Guangdong Province Supporting Organizations Culture, Sports and Tourism Bureau of the Government of the Hong Kong Special Administrative Region Cultural Affairs Bureau of the Government of the Macao Special Administrative Region Culture, Radio, Television, Tourism and Sports Bureau of Shenzhen Municipality Organizers Guangzhou Symphony Orchestra Xinghai Concert Hall Hong Kong Philharmonic Orchestra Macao Orchestra Shenzhen Symphony Orchestra

Chairman Long Yu, Conductor; Vice President, China Musicians Association; Chairman, League of China Orchestras; Honorary Music Director for Life, Guangzhou Symphony Orchestra Members (in alphabetical order) Huang Yi, Music Director, Guangzhou Symphony Orchestra Li Weigang, First Violinist, Shanghai Quartet Lio Kuokman, Music Director and Principal Conductor, Macao Orchestra Lin Daye, Music Director, Shenzhen Symphony Orchestra Nie Bing, Chairman of Artistic Committee, Shenzhen Symphony Orchestra Wang Jian, Cellist Jing Wang, Concertmaster, Hong Kong Philharmonic Orchestra Ray Wong, Professor, Hong Kong Academy for Performing Arts Jimson Kin Wa Hoi, Board Member, Macao Orchestra Company, Limited; President, Macao Youth Symphony Orchestra Association Yan Huichang, Music Director, Hong Kong Chinese Orchestra Yang Zhen, Vice Director, Xinghai Concert Hall Yu Qikang, President Emeritus, Guangzhou Symphony Orchestra Timothy Tsukamoto, Director of Artistic Planning, Hong Kong Philharmonic Orchestra

Co-organizer Beijing Music Festival Arts Foundation

Organizing Committee Director Li Bin, Director, Department of Culture and Tourism of Guangdong Province Deputy Directors Yang Shu, Level 1 Bureau Rank Official, Department of Culture and Tourism of Guangdong Province Mrs Vicki Kwok, JP, Deputy Secretary for Culture, Sports and Tourism, Government of the Hong Kong Special Administrative Region Leong Wai Man, Director, Cultural Affairs Bureau of the Government of the Macao Special Administrative Region; Board Chair, Macao Orchestra Company, Limited Ding Zhongyuan, Deputy Director for Culture, Radio, Television and Tourism Bureau of Shenzhen Municipality Committee Members Tang Guohua, Level 2 Bureau Rank Official, Department of Culture and Tourism of Guangdong Province Zou Qifei, Level 1 Researcher, Director of Finance Division, Department of Culture and Tourism of Guangdong Province Chen Wei, Deputy Director of International Exchange and Cooperationf Division , Department of Culture and Tourism of Guangdong Province (preside over the work) Mr George Tsoi, Principal Assistant Secretary for Culture, Sports and Tourism (Culture), Government of the Hong Kong Special Administrative Region Miss Grace Lam, Assistant Secretary for Culture, Sports and Tourism (Culture), Government of the Hong Kong Special Administrative Region Cheang Kai Meng, Vice Director, Cultural Affairs Bureau of the Government of the Macao Special Administrative Region Zhang Shaoyan, Director of Cultural Exchanges and Collaborations Division, Culture, Radio, Television ,Tourism and Sports Bureau of Shenzhen Municipality Lin Qingbo, Director of Division for Arts Divison, Culture, Radio, Television ,Tourism and Sports Bureau of Shenzhen Municipality Chen Qing, President, Guangzhou Symphony Orchestra 4

Artistic Committee

2024 Youth Music Culture The Greater Bay Area (YMCG)

Executive Committee Director Chen Qing, President, Guangzhou Symphony Orchestra Vice Directors Wang Dongyun, Director, Xinghai Concert Hall Vennie Ho, Hong Kong Philharmonic Orchestra 50th Anniversary Consultant, Former Executive Director Jacky Fong Tin Wan, Executive Director, Macao Orchestra Company, Limited Luo Bin, Vice President, Shenzhen Symphony Orchestra Members Chen Zhimin, Vice President, Guangzhou Symphony Orchestra; President, Guangzhou Symphony Youth Orchestra Yang Zhen, Vice Director, Xinghai Concert Hall Dennis Wu, Director of Marketing, Hong Kong Philharmonic Orchestra Harris Shuen, Macao Orchestra Artistic Planning and Education Shi Dachuan, Assistant to the President, Shenzhen Symphony Orchestra Shi Zhenjiang, Vice Secretary, Beijing Music Festival Arts Foundation

2024 Youth Music Culture The Greater Bay Area (YMCG)

Executive Committee, Office of the Secretaria Secretary-General Chen Zhimin, Vice President, Guangzhou Symphony Orchestra; President, Guangzhou Symphony Youth Orchestra Vice Secretaries-General Shi Dachuan, Assistant to the President, Shenzhen Symphony Orchestra Tang Lilin, Director, Foreign Affairs Department, Guangzhou Symphony Orchestra Bi Jiali, Program Director, Xinghai Concert Hall Wong Ka, Macao Orchestra Personnel Manager, Macao Orchestra Company Limited Joseph Wong, Orchestra Personnel Manager, Hong Kong Philharmonic Orchestra

Working Team Guangzhou Symphony Orchestra Project Administration : Chen Zhimin Administrative Support : Tang Lilin, Gan Shiqi Faculty Affairs : Xu Dan, Gu Qiurong, Wang Ying Student Affairs : Yang Yi, He Nan, Bian Xiaole Librarian : Chang Yunqing Concert and Activities Coordination : Zhou Qianqi, Liang Yinglan, Ling Zhirui, Li Jia Project Promotion : Chen Qiongling, Qian Xiaoxuan, Deng Langran, Wu Yun, Liang Zhihui Stage Management : Tang Youfu, Hao Luyao Administrative Affairs : Chen Huan, Xie Chunyi, Fu Jia Financial Administration : Liang Wenkun Audio, Visual Recording and Photography : Deng Yijian, Wang Liyu, Zhao Bin, Li Lewei, Luo Yugang

Hong Kong Philharmonic Orchestra Director of Orchestral Operations : Vanessa Chan Librarian : Betty Ho Stage & Production Manager : Camille Tam Assistant Librarian : Chan Tim-yan Assistant Orchestral Operations Manager : Apple Li Digital Media Producer : Arthur Lo Stage & Production Officer : Issac Wong Arts Administration Assistant : Ellie To Project Coordinator : Liz Yeung Project Coordinator-50th Anniversary : Vanessa Leung Media Relations & Communications Manager : Emily Hui Marketing Manager : Michelle Yeung Assistant Marketing Manager : Olivia Chau Publications Editor : Jaren Ng

Shenzhen Symphony Orchestra Executive Office : Tan Jianlin, Yang Fan, Yu Jiamin Stage Manager : Ma Honggang Audition: Guan Yong, Xiang Ruixue, Li Yuanqi, Zhang Siyue, Qiu Xinyi Project Promotion : Liu Xiaoyan Orchestra Coordination : Chen Xiangyu, Wu Zhen Stage Personnel : Zhang Hanzhi, Fu Li External Affairs(Guang Zhou) : Li Yingtao

Xinghai Corcert Hall Project Supervisor : Bi Jiali, Luo Qianwen, Xu Tao Project Support : Yu Xinye, Fang Jiezhu, Tan Wei, Wu Zhilin, Guo Zongwei, Yang Han, Wang Qianjun Programming : Du Zhenyu, Gu Xiao Publicity : Xie Yijuan, Zhuo Ling, Liang Yunqi Publicity Support : Liao Yingying, Ding Fangfang, Wang Yawen, Chen Huiling Xinghai Club : Zhang Jing, Li Hao, Wang Rong Graphic Designer : Zhou Jianwen, He Zhiming Multimedia Studio : Cai Yamin, Li Jiantong, Luo Bin Sales & Ticketing : Cai Lina, Luo Yan Marketing Cooperation : Tan Huixin, Zhang Yu Printing Coordinator : Huang Xuan IT Support : Tao Feng, Lei Yuanlu, Wu Xiaodan, Gao Xuefeng Stage Supervisor : Chen Yunlin, Peng Xiaoshan Sound & Lighting : Wang Jianhong, Mai Jiahao, Nie Weixiang, Chen Jiahui, He Ruihong, Pan Yongxiang Stage Manager : Chen Yun, Li Dongcheng Front of House Manager : Yang Caowei, Deng Mingzi

2024 Youth Music Culture The Greater Bay Area (YMCG)

A Letter from the Music Director

2024 is my first year as Music Director of Youth Music Culture The Greater Bay Area. It was a great honour to be asked by Maestro Long Yu to follow in the footsteps of Yo-Yo Ma, to build on his legacy, and to bring together young musicians from Asia and beyond, and to work together in the pursuit of excellence in orchestral performance.

Presented under the auspices of the Department of Culture and Tourism of Guangdong Province and organized by the Guangzhou Symphony Orchestra and Xinghai Concert Hall with renowned Maestro Long Yu heading its Artistic Committee, Youth Music Culture Guangdong (YMCG) launched in 2017 and was held for six consecutive years (2017–2022) with cellist Yo-Yo Ma serving as Artistic Director. In 2023, Youth Music Culture Guangdong was upgraded and renamed Youth Music Culture the Greater Bay Area (retaining the acronym YMCG); it has also garnered national recognition, having won the China Music Arts Promotion Award. YMCG now extends beyond Guangdong Province into the Greater Bay Area, deepening and expanding outreach and dissemination, reinforcing the original aspiration of ensuring that Chinese stories, Greater Bay Area stories and Guangdong stories reach the four corners of the world.

In 2024, the YMCG Orchestra and I will perform Mozart’s Sinfonia Concertante and Dvorak’s Symphony No. 9 "From The New World". We will be joined by world class soloists Vilde Frang and Amihai Grosz to perform the Mozart. The Dvorak symphony is one of the most beloved in the orchestral repertoire, it gives us the chance to let the musicians shine whilst discussing and working on many fundamental elements of orchestral performance. It is the perfect starting place for our journey together over the next five years. I am excited to open the concerts with a special world premiere of "Aureate Skylines" written by composer Elliot Leung. We will be joined by top orchestral musicians from many of the world’s great orchestras, including the Berliner Philharmoniker, Wiener Philharmoniker, Orchestra dell'Accademia Nazionale di Santa Cecilia and the London Symphony Orchestra, among others. Our faculty of musicians will work closely with the students in small groups, as well as sitting within the orchestra during the rehearsals and performances. It’s a once in a lifetime opportunity to be surrounded by this level of excellence from such a variety of international orchestras and cultures.

Beginning in 2024, YMCG will be Co-organized by five internationally-renowned music institutions based in the Greater Bay Area: the Guangzhou Symphony Orchestra (GSO), Xinghai Concert Hall and Shenzhen Symphony Orchestra in Guangdong Province; the Hong Kong Philharmonic Orchestra from the Hong Kong SAR and the Macao Orchestra from the Macao SAR. The new YMCG continues to have its founder Maestro Long Yu heading its Artistic Committee, while Maestro Daniel Harding serves as incoming Music Director and will continue this role until 2028.

In 2024 will begin to explore what it means to play in an orchestra, and we will discover what are the key ingredients of a world class orchestra. We’ve created a programme that offers our students the opportunity to play in full symphonic rehearsals, as well as in focused sectionals and smaller chamber groups, all the while being coached by an all-star faculty of musicians. In addition to our work on the symphonic repertoire, I look forward to working with a variety of smaller ensembles on repertoire by Mozart, Dvorak and Strauss, as well as Lutoslawski, Ibert and Malcolm Arnold.

At the inaugural YMCG in 2017, China’s Music Weekly heralded the event as “opening a new page in the Chinese symphonic world.” Since then, YMCG has attracted much international attention. Writers have visited Guangzhou to report on YMCG, having published stories in such outlets as Strings and The Violin Channel (USA), The Strad , Gramophone and BBC Music Magazine (UK) and Limelight (Australia).

I look forward to hosting an open event during the residency, where our students can pose questions to our faculty members. It will be fascinating to hear and compare the variety of responses, and share with the students the different perspectives our coaches bring. In another event, my esteemed colleague Maestro Long Yu and I will join in a conversation about the life of a conductor, sharing insights from the early days in one’s career, through to managing a dual life as conductor and airline pilot! At YMCG we will celebrate curiosity, excellence, hard work, and the unique bond that communication through music can provide. I am thrilled to be part of this project with such wonderful students and colleagues, and I look forward to seeing you all in Guangzhou. Daniel Harding December 2023

2024 Youth Music Culture The Greater Bay Area (YMCG)

Chairman of Artistic Committee Long Yu

Conservatory of Music and the New York Philharmonic, which also named Maestro Yu an honorary member of their International Advisory Board, a 12-member network of advocates and ambassadors gathered to connect the Philharmonic with individuals and institutions in their home countries. Two years later, he launched the biennial Shanghai Isaac Stern International Violin Competition, a result of his relationship with the Stern family dating from the violinist’s appearance at the Beijing Music Festival in 2000 marking the 20th anniversary of his groundbreaking China tour. In June 2018, Maestro Yu became the first Chinese conductor to sign an exclusive relationship with Deutsche Grammophon, offering the Shanghai Symphony Orchestra a global release and distribution partnership, and leading to the recording releases of Orff: Carmina Burana (Live from the Forbidden City) (January 2019) and The Song of the Earth (July 2021). In 2019, he led the orchestra on a tour of the United States and Europe, with performances at the BBC Proms and Amsterdam’s Concertgebouw as well as the Edinburgh, Lucerne and Ravinia festivals.

Hailed by The New York Times as “the most powerful figure in China’s classical music scene,” the conductor and impresario Long Yu has devoted his illustrious career to steering China’s growing connection to classical music while familiarizing international audiences with the country’s most eminent musicians and composers. Maestro Yu currently holds the top position in China’s most prominent orchestras—Artistic Director of the China Philharmonic Orchestra in Beijing and Music Director of Shanghai Symphony Orchestra—as well as Principal Guest Conductor of the Hong Kong Philharmonic Orchestra. He is also co-director of Shanghai’s Music in the Summer Air (MISA) festival and Chair of the Artistic Committee of the Beijing Music Festival, an annual autumn event that he founded in 1998 and served as Artistic Director until 2017. After 20 years at the helm, Maestro Yu recently stepped down as Music Director of Guangzhou Symphony Orchestra and is now Honorary Music Director for Life and the Chair of the Artistic Committee. He is currently Vice President of the China Musicians Association and Chairman of its recently established League of China Orchestras. This 2023/2024 season, international guest appearances bring Maestro Yu together with The Philadelphia Orchestra and New York Philharmonic, and at home he performs with renowned artists including pianist Stephen Hough, violinist Leonidas Kavakos, Julian 10

Rachlin, baritone Matthias Goerne and soprano Olga Peretyatko, among others. In the fall, he gives the world premiere of Aaron Zigman and Mark Campbell’s Émigré with the Shanghai Symphony Orchestra (SSO), cocommissioned by the SSO and New York Philharmonic. In one of his earlier career highlights, Maestro Long Yu led the China Philharmonic Orchestra on an international tour from February to April 2005. Within 40 days they appeared in 22 cities throughout North America and Europe. This was the first time a Chinese symphony orchestra gave performances in the two continents in China’s history. In 2014, Maestro Yu led the China Philharmonic—the first orchestra from China—at the BBC Proms at London’s Royal Albert Hall, a concert viewed by millions of people across the United Kingdom. And, under Maestro Yu’s baton, the China Philharmonic Orchestra became the first Chinese orchestra to perform at the Vatican’s Paul VI Auditorium, a concert attended by Pope Benedict XVI marking a giant step in bridging East and West.

As Music Director of the Guangzhou Symphony Orchestra from 2003 to 2023, Maestro Yu expanded the orchestra’s repertoire and touring outreach to Europe, the United States, Australia, Africa and the Middle East, as well as helped grow its educational mission. Between 2005 and 2007, the GSO organized the Canton International Summer Music Academy with a distinguished faculty including Martha Argerich and Gary Graffman. In January 2017, the GSO inaugurated Youth Music Culture Guangdong (now Youth Music Culture the Greater Bay Area), a performance and educational initiative “opening a new page in the Chinese symphonic world” with Yo-Yo Ma as its first Artistic Director and Maestro Yu leading its Artistic Committee. Also a towering figure on the international stage, Maestro Yu has conducted many highly acclaimed orchestras throughout the world, including the New York Philharmonic, Chicago Symphony Orchestra,

Philadelphia Orchestra, Los Angeles Philharmonic, Montreal Symphony Orchestra, Orchestre de Paris, Bamberg Symphony Orchestra, Staatsoper Hamburg, Berlin Radio Symphony Orchestra, NDR Elbphilharmonie Orchestra, Munich Philharmonic, Sydney Symphony Orchestra, BBC Symphony Orchestra, Philharmonia Orchestra, Tokyo Philharmonic and Singapore Symphony Orchestra. Born in 1964 into a Shanghai musical family, Maestro Yu received his early musical education from his grandfather, the renowned composer Ding Shande, later continuing his studies at the Shanghai Conservatory and the Hochschule der Kunst in Berlin. In the early 1990s, he was appointed Principal Conductor of the Central Opera House in Beijing and served as its conductor for three consecutive years, as well as Conductor of the Urban Council of Hong Kong and served as its annual opera conductor. Among his achievements in China, Long Yu was named the 2010 Person of the Year in the Arts Field and was also granted the 2013 China Arts Award and an Honorary Academician from the Central Conservatory of Music for his dedication to cultural exchange and music development in China. Internationally, Maestro Yu received the Arts Patronage Award of the Montblanc Cultural Foundation in 2002. A year later, he was named a Chevalier dans L’Ordre des Arts et des Lettres. In 2005, the Italian government honored him with the title of L’onorificenza di Commendatore dell’Ordine al Merito. He was awarded France’s highest order of merit by joining the Légion d’Honneur in 2014. The following year, Maestro Yu received the prestigious Global Citizen Award from the Atlantic Council and the Samuel Simons Sanford Award from the Yale School of Music. In 2016, he was elected a Foreign Honorary Member of the American Academy of Arts and Sciences and also awarded the Order of Merit of the Federal Republic of Germany. In 2018, he was conferred an Honorary Doctorate from the Hong Kong Academy for Performing Arts.

Since taking the reins of the Shanghai Symphony Orchestra in 2009, Maestro Yu’s initiatives have included the 2014 opening of Shanghai Symphony Hall. That same year, he founded the Shanghai Orchestra Academy, China’s first post-graduate training program for orchestral musicians, in partnership with the Shanghai 2024 Youth Music Culture The Greater Bay Area (YMCG)

2024 Youth Music Culture The Greater Bay Area (YMCG)

Music Director Daniel Harding Dresden Staatskapelle, London Symphony Orchestra, and the Orchestra Filarmonica della Scala. In 2005 he opened the season at La Scala, Milan, conducting a new production of Idomeneo. He later returned to conduct Salome, Il Prigioniero, Cavalleria Rusticana and I Pagliacci (for which he was awarded the prestigious Premio della Critica Musicale ‘Franco Abbiati’), Falstaff and Le nozze di Figaro. He has conducted Ariadne auf Naxos, Don Giovanni and Le nozze di Figaro at the Salzburg Festival with the Wiener Philharmoniker; The Turn of the Screw and Wozzeck at the Royal Opera House, Covent Garden, Die Entführung aus dem Serail at the Bayerische Staatsoper, Munich, Der fliegende Holländer at the Deutsche Staatsoper Berlin, Die Zauberflöte at the Wiener Festwochen, Pelléas et Mélisande at the Wiener Staatsoper and Wozzeck at the Theater an der Wien. Closely associated with the Aix-en-Provence Festival, he has conducted new productions of Così fan tutte, Don Giovanni, The Turn of the Screw, La Traviata, Eugene Onegin and Le nozze di Figaro.

Daniel Harding is the Music and Artistic Director of the Swedish Radio Symphony Orchestra. He was Music Director of the Orchestre de Paris from 2016 – 2019 and Principal Guest Conductor of the London Symphony Orchestra from 2007 – 2017. He is honoured with the lifetime title of Conductor Laureate of the Mahler Chamber Orchestra, with whom he has worked for over 20 years. In 2020, he was named Conductor in Residence of the Orchestre de la Suisse Romande for the 2021-22 and 2022-23 seasons. In 2024 he will take up the position of Music Director of the Youth Music Culture The Greater Bay Area (YMCG, CHINA) for a five-year term.

The Turn of the Screw (awarded the “Choc de l'Année 2002”, the “Grand Prix de l'Académie Charles Cros” and a Gramophone award) with the Mahler Chamber Orchestra; works by Lutosławski with Solveig Kringelborn and the Norwegian Chamber Orchestra and works by Britten with Ian Bostridge and the Britten Sinfonia (awarded the "Choc de L'Annee 1998”). For BR Klassik he has released critically acclaimed recordings of Schumann Szenen aus Goethes Faust and Mahler Symphony No. 6. His performances of Mahler Symphony No. 1 and Beethoven Violin Concerto with Frank Peter Zimmerman are available on the Berliner Philharmoniker label. A regular collaborator with Harmonia Mundi, his latest recordings with the Swedish Radio Symphony Orchestra include ‘The Wagner Project’ with Matthias Goerne; Mahler Symphonies no. 5 & 9, Brahms Ein Deutsches Requiem and a newly released Britten disc.

The 2022/23 season sees Daniel embark on major tours with the Royal Concer tgebouw Orchestra, Symphonieorchester des Bayerischen Rundfunks and the Swedish Radio Symphony Orchestra; he also appears with the Berliner Philharmoniker in Berlin and BadenBaden. He makes debuts with the Cleveland Orchestra and Czech Philharmonic Orchestra as well as returning to the Orchestre Philharmonique de Radio France, Filarmonica della Scala, Dresden Staatskapelle and to the Wiener Staatsoper for Cavalleria Rusticana and I Pagliacci. In 2002 Daniel was awarded the title Chevalier de l'Ordre des Arts et des Lettres by the French Government and in 2017 nominated to the position Officier Arts et Lettres. In 2012, he was elected a member of The Royal Swedish Academy of Music. In 2021, he was awarded a CBE in the New Year Honours. He is a qualified airline pilot.

His recordings for Deutsche Grammophon, Mahler Symphony No. 10 with the Wiener Philharmoniker and Orff ’s Carmina Burana the Symphonieorchester des Bayerischen Rundfunks both received widespread critical acclaim. For Virgin/EMI he has recorded Mahler Symphony No. 4 with the Mahler Chamber Orchestra, Brahms’ Symphonies Nos. 3 & 4 with the Deutsche Kammerphilharmonie Bremen; Billy Budd with the London Symphony Orchestra (winner of a Grammy Award for best opera recording), Don Giovanni and

He is a regular visitor to the world’s foremost orchestras, i n c l u d i n g t h e Wi e n e r Ph i l h a r m o n i k e r, B e r l i n e r Philharmoniker, Royal Concertgebouw Orchestra, Symphonieorchester des Bayerischen Rundfunks,

2024 Youth Music Culture The Greater Bay Area (YMCG)

Guangzhou Symphony Orchestra

2024 YMCG Organizers (listed in no particular order)

Xinghai Concert Hall

2024 YMCG Organizers

Huang Yi, Music Director Since its founding in 1957, the Guangzhou Symphony Orchestra (GSO) has developed into one of China’s most artistically superb and vibrant orchestral institutions. It is the first and only Chinese symphony orchestra to have toured and performed on five continents, receiving acclaim as “one of China’s most prestigious music ensembles” (China Daily) and “China’s nexus of musical tradition and innovation” (Financial Times of London). In September 2023, Huang Yi becomes GSO’s third Music Director, succeeding Long Yu, Chairman of the China Musicians Association’s League of China Orchestras, who was hailed by the New York Times as “the most powerful figure in China’s Western classical music scene.” In recognition of Yu at the helm of the GSO for two brilliant decades (2003–2023), the GSO bestowed the title of “Honorary Music Director for Life” to him as he continues to chair its artistic committee. The GSO is also one of the first orchestras in China to institute a professional concert season, and 2023/2024 marks its 27th season. The GSO was sent on numerous tours by the Ministry of Culture and the Guangdong Provincial Government, performing at internationally renowned venues all over the world. In 2006, the GSO was invited to perform in both the opening and closing ceremonies of the 15th Asian Games in Doha, Qatar. The orchestra has also appeared more than 20 times at the Hong Kong Arts Festival, Macao Arts Festival and Macao International Music Festival. In 2012, the GSO made its Taiwan debut. In 2017, the GSO made its sixth European tour, visiting London, Manchester and Birmingham on the occasion of the 45th anniversary of the establishment of diplomatic relations between China and the United Kingdom, where it was headlined in The Guardian as a “highly accomplished band.” In 2019, the GSO was invited to take part in the “Winter in Tantora” Festival, becoming the first Chinese orchestra to perform in Saudi Arabia. Later that month, the GSO embarked on its seventh European tour. The orchestra not only fulfills its role as cultural ambassador abroad, but also promotes meaningful exchange within the Pearl River Delta region and across the Taiwan Straits.

Since its inauguration in 1998, Xinghai Concert Hall, named after the prominent Chinese composer Xian Xinghai, remains a dominant player among the sector, a much storied venue in the musical landscape in China for its much-acclaimed acoustics. In the 2023/2024 season, Xinghai Concert Hall presents a series of performances and special events across its two halls and two indoor spaces: the Symphony Hall (1,518 seats), the Chamber Hall (461 seats), the Art Salon Space (100 seats) and the Music Space (200 seats). Outside the building stretches a Music Cultural Square, capable of holding public occasions for up to thousands. Home to several cherished musical instruments–notably the pipe organ, concert grands, harps and percussions–as well as state-of-the-art recording facilities, the Hall has become the envy of the world. Yet at home it stands firmly as the cultural calling card of the municipality of Guangzhou and the province of Guangdong by having musical phenomena like the Vienna Philharmonic, London Symphony, Dresden Staatskapelle, New York Philharmonic, Lorin Maazel, Yevgeny Svetlanov, Itzhak Perlman, Anne-Sophie Mutter, Yo-Yo Ma, and Lang Lang, etc. perform across its stages for the local residents. Together with two of its resident orchestras, Guangzhou Symphony Orchestra and Guangdong National Orchestra, the Hall makes music accessible to the general public with a string of rich outreach programmes: Annual Music Highlights, Guangzhou Jazz Festival, matinée concerts, lectures, workshops, etc. For a quarter of a century, the Hall has served as a beacon in the sea of music, fostering both musicians and those who appreciate their performances.

The GSO has also diversified its mission and programs in the past decade. Between 2005 and 2007, the orchestra organized the Canton International Summer Music Academy with Maestro Charles Dutoit as music director. The GSO hosted the Canton Asian Music Festival, held at the Xinghai Concert Hall, in November 2010 on the occasion of the 16th Asian Games. The GSO has also collaborated with the world’s leading ballet and opera companies, appearing both in the pit and in concert renditions. In December 2011, the GSO established its affiliate youth orchestra, later renamed the Guangzhou Symphony Youth Orchestra (August 2016), the first amateur youth orchestra administered by a professional orchestra in China. Since 2017, the GSO has organized its annual Youth Music Culture Guangdong, renamed in 2023 Youth Music Culture the Greater Bay Area, with Long Yu serving as chair of its artistic committee. At its inauguration in January 2017, YMCG immediately garnered acclaim for “opening a new page in the Chinese symphonic world.” In 2023, it received the China Music Arts Promotion Award.

Note: The GSO launched its inaugural performance season in May 1998, each extending to the following March, which continued for five seasons. The sixth season was unique, lasting between March and August of 2003 as a transitional period to adjust its schedule. Beginning with the seventh season, the GSO season extended from September to the following July.

2024 Youth Music Culture The Greater Bay Area (YMCG)

Hong Kong Philharmonic Orchestra (HK Phil)

2024 YMCG Organizers

Macao Orchestra

2024 YMCG Organizers

Jaap van Zweden, Music Director

Lio Kuokman, Music Director and Principal Conductor

The Hong Kong Philharmonic Orchestra (HK Phil) is recognised as one of Asia’s foremost classical orchestras. Presenting more than 150 concerts over a 44-week season, the HK Phil attracts more than 200,000 music lovers annually. The HK Phil won the prestigious UK classical music magazine Gramophone’s 2019 Orchestra of the Year Award – the first orchestra in Asia to receive this accolade.

The Macao Orchestra (OM) is a local professional orchestra with a repertoire of Chinese and Western classics throughout the times.

Jaap van Zweden, SBS, one of today’s most sought-after conductors, has been the orchestra’s Music Director since the 2012/13 Season, a position he will hold until the end of the 2023/24 Season. Following his tenure as Music Director, he will hold the title of Conductor Laureate. Jaap van Zweden has also been Music Director of the New York Philharmonic since the 2018/19 Season. Yu Long has been Principal Guest Conductor since the 2015/16 Season. Lio Kuokman, JP, was appointed Resident Conductor in December 2020. Under the dynamic leadership of Jaap van Zweden, the HK Phil has attained new heights of artistic excellence, receiving international critical acclaim. The orchestra successfully completed a four-year journey through Wagner’s Ring Cycle, performing and recording one opera from the cycle annually from 2015 to 2018. The concert performances were well received, and the live Naxos recordings were praised by critics, and garnered the Gramophone Orchestra of the Year Award 2019. The HK Phil has toured extensively across Mainland China. The orchestra undertook a major tour in 2017 to Seoul, Osaka, Singapore, Melbourne and Sydney in celebration of the 20th anniversary of the establishment of the Hong Kong Special Administrative Region. In the 2023/24 Season, the orchestra will embark on global tours to more than 18 cities. Conductors and soloists who have recently performed with the orchestra include Anja Bihlmaier, Stéphane Denève, Christoph Eschenbach, Paavo Järvi, Andrés Orozco-Estrada, Tarmo Peltokoski, Vasily Petrenko, Krzysztof Urbański, Ning Feng, Boris Giltburg, Leonidas Kavakos, Olivier Latry and Akiko Suwanai. The HK Phil promotes the work of Hong Kong and Chinese composers through an active commissioning programme, and it has released recordings on the Naxos label featuring Tan Dun and Bright Sheng, each conducting their own compositions. The HK Phil runs diverse education and community programmes in schools, hospitals and outdoor spaces, bringing music into the hearts of tens of thousands of children and families every year. Founded in 2021, “The Orchestra Academy Hong Kong”, funded by “TrustTomorrow” of The Swire Group Charitable Trust and co-directed with The Hong Kong Academy for Performing Arts, aims at enhancing professional training for graduates from HKAPA’s School of Music and facilitating their career development in the orchestral field. The Swire Group has been the Principal Patron of the HK Phil since 2006. Through this sponsorship, which is the largest in the orchestra’s history, Swire endeavours to promote artistic excellence, foster access to classical music, stimulate cultural participation in Hong Kong, and enhance Hong Kong’s reputation as one of the great cities in the world.

In 1983, Father Áureo de Castro of the St. Pious X Academy of Music and a group of music lovers founded the Macao Chamber Orchestra. In 2001, the Macao Chamber Orchestra was extended into an orchestra with double winds and it was renamed the Macao Orchestra. Today, it is a medium-sized orchestra of around 50 outstanding musicians from more than ten countries and regions. From September 2008 to January 2022, Maestro Lu Jia served as Music Director and Principal Conductor of the Orchestra. Since 1 February 2022, Macao Orchestra (OM) has been managed by the Macao Orchestra Company, Limited, which is wholly owned by the Macao SAR Government. Starting from 2023-24 concert season, Lio Kuokman serves as Music Director and Principal Conductor of the orchestra. Macao Orchestra will continue enhancing its professionalism and offering the public a rich diversity of classical musical events.

The Orchestra collaborates regularly with numerous internationally renowned musicians, conductors and ensembles including Plácido Domingo, Krystian Zimerman, Stephen Kovacevich, Boris Berezovsky, Leonidas Kavakos, Barry Douglas, Sergio Azzolini, Kirill Gerstein, Iván Martín, Yulianna Avdeeva, Henning Kraggerud, Stefan Vladar, Mario Brunello, Fou Ts’ong, Lang Lang, Sarah Chang, Ning Feng, Jian Wang, Tan Dun, Daniel Oren, the Teatro Regio Torino, the English National Ballet, the Philadelphia Orchestra, the Latvian National Opera, the Lithuanian National Opera and Ballet Theatre, and the Korean Chamber Orchestra, etc. In addition, OM has regularly been invited to perform in Mainland China and overseas, participating in the 2015 Austria Bruckner Festival as China’s representative and attending the music festival “La Folle Journee au Japon” in Japan in 2016. In 2017 and 2019, the Orchestra also participated in the “Belt and Road” International Music Season in Shenzhen, leaving its footprints in at least 30 cities across China as well as Austria, Switzerland, Hungary, Portugal, Spain, the U.S.A., Japan and Korea, etc. In March 2018, OM made its first tour in Myanmar for cultural exchange and in October of the same year the Orchestra participated in the Shanghai International Arts Festival, receiving acclaim from the audience with its exquisite performance and refined, subtle performance style while demonstrating Macao’s cultural achievements. In celebrating the 40th Anniversary of the Establishment of Diplomatic Relations between China and Portugal and the 20th Anniversary of Macao’s Return to the Motherland, OM made a Portugal tour in 2019, and in December of the same year, the Orchestra performed in the gala performance which celebrated the 20th anniversary of Macao’s return to the motherland. The Macao Orchestra is the city’s cultural ambassador and important cultural name card. OM shoulders the important mission of regularly touring in the Greater Bay Area and promoting Macao both in the home country and abroad. In addition, the Orchestra will promote music at community level, bringing music to campuses, communities, and disadvantaged groups, trying to greatly expand the audience for classical music, and help younger talents to realise their musical dreams.

Thanks to a significant subsidy from the Government of the HKSAR and long-term funding from Principal Patron Swire, the Hong Kong Jockey Club Charities Trust and other supporters, the HK Phil now boasts a full-time annual schedule of core classical repertoire and innovative popular programming, extensive education and community programmes, and collaborations with, amongst others, Hong Kong Ballet, Opera Hong Kong and the Hong Kong Arts Festival.

Originally called the Sino-British Orchestra, it was renamed the Hong Kong Philharmonic Orchestra in 1957 and became fully professional in 1974. The HK Phil is a registered charitable organisation.

The Hong Kong Philharmonic Orchestra is financially supported by the Government of the Hong Kong Special Administrative Region and is a Venue Partner of the Hong Kong Cultural Centre. Swire is the Principal Patron of the Hong Kong Philharmonic Orchestra.

2024 Youth Music Culture The Greater Bay Area (YMCG)

2024 YMCG Organizers

Shenzhen Symphony Orchestra (SZSO)

Faculty Members Martin Zalodek

Violin

Martin Zalodek was born in Vienna in 1971. At the age of 6 he got first instructions on the violin from his father Christian, who was violinist in the Vienna Philharmonic Orchestra. He continued his studies with Ernst Kovacic at the Vienna University of Music and with Alfred Star at the University of Music in Graz. In 1989 he won the first price at the Austrian music competition in Leoben and graduated from the Musikgymnasium in Vienna. In 1991 he gave his debut as a soloist at the Wiener Konzerthaus with the Vienna Chamber Orchestra.

Lin Daye, Music Director Bathed in the spring breeze of reform and opening up, Shenzhen Symphony Orchestra (SZSO) was founded under the background of this era. After 40 years of hard work and 40 years of unremitting pursuit, Shenzhen Symphony Orchestra has become a strong force in the industry at home and abroad. It has spread the voice of Shenzhen on the international stage and won the respect of its peers. SZSO is recognized as one of the outstanding professional symphony orchestras in China and has become a beautiful business card for Shenzhen. Famous Chinese conductors Yao Guanrong, Zhang Guoyong, Yu Feng and Christian Ehwald have served as principal conductors and music directors of the orchestra. Since August 2016, the famous young conductor Daye Lin has served as the music director and chief conductor. The orchestra has toured regularly around China since 1987, making stops in many cities as well as Hong Kong, Macao and Taiwan regions of China. On the international stage, it has toured the four continents of North America, Europe, Asia and Africa successively and has received international acclaims. In October 1997, the orchestra was invited to Europe and was the first orchestra from China to perform at the Berlin Philharmonie Hall and Smetana Hall in the Czech Republic, In January 2007, the orchestra was also the first orchestra from Asia to perform at the. The orchestra has performed in prestigious concert halls such as the Berlin Philharmonie Hall in Germany, the Smetana Concert Hall in Prague, the Cathedral of Saint-Louis des Invalides in Paris, UNESCO Headquarters City Hall, and the Kennedy Center in the United States. Among its invitations include the Beijing International Music Festival, the Shenzhen Art Festival of ICIF, Istanbul Music Festival,

International Izmir Festival, Mittelfest and other prominent music festivals. Throughout the years, the orchestra had successful collaborations with famous artists from home and abroad. National first-level per former and violinist Bing Nie is the current chairman of the orchestra artistic committee. His expert management thinking and benevolence and scientific management mode, showing humanistic feelings and wining the support of the orchestra. The music director is the distinguished conductor Daye Lin, who has deeply rooted and carried forward the German and Austrian classicism in the orchestra. Long Yu is artistic advisor, German conductor Christian Ehwald is honorary music director, and famous musician Dun Tan is principal honorary conductor. This is the best combination and a graceful and classic elite team. SZSO has focused on actively supporting the works of local composers. Noteworthy pieces are the premieres of the Choral Symphony “Ode to Heroes”, “My Motherland”, “Ode to Humanity”, “Harmony of the Divine Land” and “Symphonic Folksongs, Hakka Rhyme”, which have received critical acclaims from professional musicians, audiences and the media. In the new season and new era, the new blueprint of the orchestra will be written: to become one of the Asia’s leading orchestra with international influence. “Being the finest orchestra, performing public service, standing at the forefront of the times and driven by performing and innovation” is the motto for the orchestra’s artistic construction. Shenzhen Symphony Orchestra will not only reform, but also innovate, overcome difficulties, constantly play out the “good voice” of Shenzhen (China), and make due contribution to the dissemination of the Chinese civilization, the advanced culture of the times, and the development of Shenzhen's cultural undertakings and the “China Dream”.

2024 Youth Music Culture The Greater Bay Area (YMCG)

Helmut Zehetner Violin Helmut Zehetner, born in Lower Austria, began his musical career as a violinist with a 1st prize at the competition of the n.ö. Music Schools Competition. After graduating from high school in Austria (1973), he studied violin with Franz Samohyl (diploma 1980), composition with Friedrich Neumann and conducting with Karl Österreicher and Otmar Suitner (diploma 1982) at the University of Music and Performing Arts Vienna. Since 1980 violinist in the Vienna State Opera Orchestra, 1983 member of the Vienna Philharmonic Orchestra, leader of the 2nd violins. During his studies he conducted and founded youth and student orchestras, lecturer and director of summer academies ("Musikfabrik Rosenau/Zwettl"). In 1997 he took over the direction of the string department at the International Orchestra Institute Attergau. Since 1985 head of the course "Orchestra Education" at the University of Music and Performing Arts Vienna. He regularly leads concerts with the Webern Sinfonietta and organizes and prepares programmes of the Webern Symphony Orchestra (WSO) for conductors like Riccardo Muti, Pierre Boulez, Franz Welser-Möst, Kirill Petrenko, Bertrand de Billy, Claudio Abbado, Mstislav Rostropovich, Zubin Metha and recently Daniel Harding. Appointment to university professor for “Orchestra Education” at the University of Music and Performing Arts Vienna in March 2008.

2024 Youth Music Culture The Greater Bay Area (YMCG)

Amihai Grosz Viola

Lorraine Campet Double Bass

Amihai Grosz looks back on a very unusual career path: At first a quartet player (founding member of the Jerusalem Quartet), then and until today Principal Violist with the Berlin Philharmonic Orchestra, and also a renowned soloist.

Recognized as one of the finest double bassists of her generation, Lorraine Campet performs regularly with Europe's leading orchestras, and as a chamber musician and soloist throughout the world.

Initially, Amihai Grosz learned to play the violin, before switching to the viola at age 11. In Jerusalem, he was taught by David Chen, later by Tabea Zimmermann in Frankfurt and Berlin as well as in Tel Aviv by Haim Taub, who had a formative influence on him. At a very early age, he received various grants and prizes and was a member of the “Young Musicians Group” of the Jerusalem Music Center, a program for outstanding young musical talents.

Lorraine was accepted at the Paris CNSM in 2012, in Thierry Barbé's class. She received her Master’s degree in 2016 and went on to study for one year with Petru Iuga at the University of Mannheim in Germany.

Internationally, he can be heard regularly at the most prestigious concert halls such as the Concertgebouw Amsterdam, the Tonhalle Zurich, the Wigmore Hall in London and the Philharmonie Luxembourg, as well as at leading festivals including the SchleswigHolstein Music Festival, the Evian, Verbier and Delft Festivals, the BBC Proms and the Utrecht International Chamber Music Festival. In the season of 21/22 Amihai Grosz has been appointed as Artistic Director of the International Chamber Music Festival Utrecht.

She is currently invited to perform with Music Aeterna Orchestra and Utopia Orchestra conducted by Teodor Currentzis, as well as with the London Symphony Orchestra and the Swedish Radio Orchestra, as guest Principal. She has been awarded the first prize for both the Leopold Bellan International Competition and the International Double Bass Competition in Amsterdam “Bass 2014”. In 2017, she won both the Festival Prize and the Prize for best interpretation of a contemporary piece at the FMAJI. The same year she also won second prize at the International Giovanni Bottesini Competition. From 2015 to 2022, she was co-principal bass for the Orchestre Philharmonique de Radio France.

Martin Menking Cello

Gareth Davies Flute

Martin Menking was born in 1967 in Münster, Germany. Already when still a student of Heinrich Schiff and David Geringas, he won numerous national and international competitions. He rounded off his musical training in master classes with Yo-Yo Ma, Boris Pergamenschikov, Janos Starker, Siegfried Palm, Isaac Stern, the Beaux Arts Trio, and the Alban Berg Quartet. In 1994, he became Principal Cellist of the North German Radio Symphony Orchestra in Hamburg, joining the Berlin Philharmonic in 1996.

Gareth Davies is one of the flutists of his generation. He studied at the Guildhall School of Music and Drama. In 2000, Gareth was invited to become Principal Flute with the London Symphony Orchestra where he has remained ever since. During his time there, he has played and recorded with many of the great conductors including Gergiev, Sir Colin Davis, Haitink, Previn, Jansons, Rostropovich and Boulez. A recording of a concerto by Karl Jenkins, written especially for him is available on EMI. As well as concert work, he is very active in the studios of London and can be heard on many film soundtracks including Star Wars, Harry Potter, Rise of the Guardians, The Shape of Water and many others.

Menking is involved in making chamber music with his colleagues in a number of different formations, most notably the 12 Cellists of whom he is managing director.

As well as performing, Gareth also currently teaches postgraduate students at the Guildhall School of Music and Drama. Gareth also works as a writer and presenter. He has written articles for the LSO and also for BBC Music Magazine and as well as presenting a series of pre-concert talks and interviews with conductors and soloists. He has written and presented programs on Radio 3 as well as a documentary for Classic FM. His first book, The Show Must Go On , published by Elliott and Thompson was chosen as a book of the year in the Financial Times and Classical Music magazine. Gareth is a Wm S Haynes artist.

2024 Youth Music Culture The Greater Bay Area (YMCG)

Fabien Thouand Oboe

Benjamin Moermond Bassoon

Born in Metz, France, Fabien Thouand obtained the first prize at the Paris Conservatory in 1996; he was then admitted to the prestigious Conservatoire National Supérieur de Musique de Paris. From 2001, he successfully undertook admission to the soloist Master degree with Maurice Bourgue, still at the CNSM in Paris. Decisive year since he won numerous international awards, winning the Petritoli, Toulon and even the Prague Spring competitions.

Benjamin Moermond has been the Hong Kong Philharmonic Orchestra’s Principal Bassoonist since joining in 2010. He is an active performer in Hong Kong and throughout the region. As a soloist he has performed Weber’s Concerto for Bassoon in F, Haydn's Sinfonia Concertante, Telemann's Double Concerto for Bassoon and Recorder and Mozart's Sinfonia Concertante with the HK Phil. As an invited guest he has performed with the Singapore Symphony Orchestra, Auckland Philharmonia Orchestra, New York Philharmonic, Cincinnati Symphony Orchestra and Hong Kong International Chamber Music Festival, and has served on the faculty of the Chinese University of Hong Kong and the Hong Kong Academy for the Performing Arts.

Then he began a relevant and uninterrupted international career and was invited as Principal Oboe in the greatest European orchestras, such as the London Symphony Orchestra, the Bayerischen Staatsoper, the Symphonieorchester des Bayerischen Rundfunk, the Royal Concertgebouw Orchestra, the Orchestre National de France and the Philharmonic of Radio France.

Benjamin is a graduate of The Juilliard School and is originally from Cincinnati, US.

In 2004, he became Principal Oboe of the Orchestra of the Teatro alla Scala in Milan and of the Filarmonica della Scala until recently, in 2022, received Principal Oboe at the Orchestra dell’Accdemia Nazionale di Santa Cecilia. In addition to an intense concert activity, he demonstrates a strong interest in teaching. He was invited to teach oboe at the Conservatoire Nationale Supérieure de Musique de Lyon before becoming a principal professor at the Conservatorio della Svizzera Italiana di Lugano, also actively collaborating with the Royal College of Music of London. Today, he joins the Haute École de Musique in Lausanne.

Lorenzo Antonio Iosco Clarinet

Christopher Parkes Horn

Lorenzo Antonio Iosco is an Italian clarinetist and conductor based in Hong Kong where he is the Associate Principal Bass Clarinet of the Hong Kong Philharmonic Orchestra. Before moving to Asia in 2015, he studied the clarinet at the Luigi Cherubini Conservatory in Florence from where he graduated with Distinction. He then became a member at Madrid Opera House Teatro Real in Spain for three years and London Symphony Orchestra for seven years, respectively.

Christopher Parkes is Solo horn of the Swedish Radio Symphony Orchestra. He was previously solo horn of the Royal Philharmonic, 3rd horn of the London Philharmonic and is also principal horn of the John Wilson Orchestra and Sinfonia of London.

As a clarinetist, Lorenzo also worked extensively with Chamber Orchestra of Europe, Philharmonia, BBC Symphony Orchestra, London Sinfonietta, St Petersburg Philharmonic Orchestra, Dallas Symphony Orchestra, Sydney Symphony Orchestra, Orchestra dell'Accademia Nazionale di Santa Cecilia in Rome, Opera di Roma, Orchestra del Teatro La Fenice in Venice, under the baton of renowned conductors such as Valery Gergiev, Bernard Haitink, Sir Colin Davis, Sir Simon Rattle, Daniel Harding, Andris Nelsons, Esa-Pekka Salonen, André Previn, Yuri Temirkanov, Semyon Bychkov, Lorin Maazel and Jaap Van Zweden.

He has appeared as a soloist with orchestras including the London Symphony, Philharmonia, Royal Philharmonic, BBC Scottish, Swedish Radio Symphony and Aurora, with conductors including Daniel Harding, John Wilson, Klaus Mäkelä and Gianandrea Noseda.

He performs regularly as principal horn with orchestras such as the Berlin Philharmonic, London Symphony, Bavarian Radio Symphony, Philharmonia, Royal Opera House, Munich Philharmonic and the Chamber Orchestra of Europe.

Chris studied at Chetham’s School of Music in Manchester and the Guildhall School of Music and Drama in London. He has been a Professor at the Guildhall since 2011.

As soloist he performed all major clarinet repertoires in Europe and Asia. Chamber music highlights include his London Wigmore Hall debut in collaboration with the London Conchord Ensemble in 2013, and performing as well as recording Mozart’s Gran Partita with the LSO woodwind ensemble in Switzerland, Italy and at LSO St. Lukes in London.

2024 Youth Music Culture The Greater Bay Area (YMCG)

Hannes Läubin Trumpet

Karl Thorsson Percussion

Hannes Läubin got his first lessons on the trumpet from his father. He won three first prices at “Jugend Musiziert” as soloist and in chamber music groups. At the competition “Concertino Praga” he won the 2nd Price in 1974.

Karl started his musical journey at the Framnäs music school and later continued his education at the Royal school of music in Stockholm with Anders Loguin. From a young age, he dedicated himself to contemporary chamber music, focusing on percussion Ensembles.

From 1971 to 1976 he was member in the “Bundesjugendorchester”, and also youth student at the Musikhochschule Freiburg, his teacher was Prof. Robert Bodenröder.

While studying, he collaborated with different orchestras, including the Royal Stockholm Philharmonic Orchestra, the Royal Opera, Norrköping Symphony Orchestra and his future home scene, the Swedish Radio Symphony Orchestra. Karl has been touring through Europe, Asia and USA with different orchestras, among others a barock Ensamble Villancico with whom he was touring annually between 2000 and 2010.

In September 1976 he was engaged as third trumpet player in the Radio Symphony of Hamburg, where he got 2 years later Principal Trumpet. After 16 years he was appointed the professor at the Musikhochschule Stuttgart. Since January 1995 he plays as freelance principal trumpet in the Radio Symphony Munich with Lorin Maazel, since October 2003 with Mariss Jansons. In October 1996 he was appointed the professor at the Musikhochschule Munich. With his two brothers and Simon Preston as organ player and conductor of the English Chamber Orchestra he had two recordings of CDs, also as a member of German Brass with EMI and different labels with Helmuth Rilling and other conductors.

Karl has been a member and a section leader of the Swedish Radio Symphony Orchestra since 2006. He has been using years of experience, exceptional leadership, and relationshipbuilding skills in his everyday orchestra work as well as teaching. He has an extensive recording experience in classical and film music as well as pop music. In addition to his musical career, he is also an aviation enthusiast and has a second career as an airline pilot.

As soloist he played at all important festivals in Europe, at the Bachakademie Venezuela and the Oregon Bach Festival. In 2003 he was a member of the jury at the ARD Musikwettbewerb Munich.

Jonathan Reith Trombone Principal trombone of the Orchestre de Paris, Jonathan is one of the most talented trombone player of his generation. In 2015 he won a 2nd prize at the prestigious international competition of the ARD Munich. After starting the trombone study in Aix-en-Provence where he was born in 1988, Jonathan Reith continues his musical studies at the National Conservatory of Music of Lyon with Michel Becquet and graduated with the highest marks in 2010. Shortly after he joined the Orchestre National de France as co-principal trombone, a position he held until 2014. Jonathan gives regular master classes in France and abroad. His love for orchestra gives him the opportunity to teach youth orchestra such as Verbier festival junior orchestra and One Korea Youth orchestra. Very involved in chamber music project, Jonathan Reith plays since 2015 in the Paris Brass Quintet. They released in 2019 Les cuivres sur le toit. He regulary appears with ensemble such as Verbier festival chamber orchestra, Ensemble les Dissonances, Ensemble intercontemporain, Ensemble les siècles, Orchestre national de l'Opéra de Paris, Estonian Festival Orchestra, Seoul philharmonic Orchestra. Jonathan is also laureate of the Prague Spring Festival International Competition. 24

2024 Youth Music Culture The Greater Bay Area (YMCG)

2024 Youth Music Culture the Greater Bay Area (YMCG) Orchestra

2024 YMCG ORCHESTRA

(Names are listed in alphabetical order)

Concertmaster

Lin Ruifeng

Violin

The Photo of 2020 YMCG Orchestra

The 2024 Youth Music Culture the Greater Bay Area (YMCG) Orchestra comprises more than 80 members, all under the age of 30. These outstanding young musicians come from 70 renowned conservatories and universities in such countries as China, Russia, the United States of America, Japan, Korea, Singapore, the Philippines, Germany, Austria, the United Kingdom and France, and some are selected from nearly 20 professional orchestras. More than 50 members have received training at the Central Conservatory of Music, China Conservatory of Music, Shanghai Conservatory of Music, Tianjin Juilliard School, Boston’s New England Conservatory of Music, New York’s Juilliard School, England’s Trinity Laban Conservatoire of Music and Dance, Germany’s University of Music FRANZ LISZT Weimar, Austria’s University of Music and Performing Arts Vienna, Singapore’s Yong Siew Toh Conservatory of Music and Korea’s Kyung Hee University, in addition to three major conservatories in the Greater Bay Area: the Hong Kong Academy for Performing Arts, Xinghai Conservatory of Music and School of Music, The Chinese University of Hong Kong, Shenzhen. The YMCG Orchestra also includes more than 20 young musicians from 16 of China’s professional orchestras. Youth Music Culture the Greater Bay Area’s predecessor was Youth Music Culture Guangdong, founded in 2017 and immediately heralded as “a new page for the 26

Chinese symphonic world.” Since then, a new orchestra is formed annually with YMCG participants. In 2023, YMCG welcomed a new development after six years in the running, elevating its scope as Youth Music Culture the Greater Bay Area (retaining the acronym YMCG). In July that year, YMCG garnered national recognition, winning the China Music Arts Promotion Award. The YMCG Orchestra is filled with vitality, befitting the energy of Guangdong’s position at the forefront of China’s reform and opening up policy. Here, friendships are made through music and a large extended family is fostered by cultural fusion and exchange. The expansion from Guangdong to the Greater Bay Area acknowledges the project’s origin, continuing its external engagement, projecting into the future, building a modern culture that is distinctly Chinese while deepening and extending promotion and outreach, so that the original aspirations of Chinese stories and voices of the Greater Bay Area are broadcast to the world. Beginning in January 2024, a brand new orchestra will gather in the core cultural hubs of the Greater Bay Area led by Music Director Daniel Harding, performing in Guangzhou’s Xinghai Concert Hall, Shenzhen Concert Hall and the Hong Kong Cultural Centre Concert Hall respectively.

2024 Youth Music Culture The Greater Bay Area (YMCG)

Cai Yaxuan

Chan Chak Him Joshua

Chan Weng Loi

Cui Shilong

Hu Miaoke

Hu Rongsi

Jiang Chengzhuo

Lee Lap Yin

Leung Lok Hang

Li Bingzhang

Li Yueyang

Li Zhuolun

Li Zongrun

Lin Chen

Lin Shiyu

Liu Ting

Liu Xujing

Lu Jie

Lu Yifan

Sookyoung Lee

2024 Youth Music Culture The Greater Bay Area (YMCG)

Cello

Wang Shi-Yu

Zhang Jiyun

Xu Rui

Zhang Ruoyi

Xu Yujie

Zhou Sirui

Yang Ao

Ye Xuling Chen Xiaoshan

Chen Xuqi

Chen Zhisheng

Huang Baihao

Jin Xiaochi

Tian Ye

Wang Ziwei

Wong Tai Shing Calvin

Zhang Diqi

Zhang Mingzhen

Deng Fangting

Kang Bowen

Lau Hiu Yee

Li Longxiang

Li Xinyi

Xu Li

Zhang Jin

Zhu Yuqing

Viola

Double Bass

Chan Shiu Chit

Ren Shengda

Zhu Siwei

Chen Yiwei

Tin Yee Loi Taylor

Jiang Zhe

Wong U Chon

Minju Oh

Wong Chak Kiu

Wu Chengzhan

Flute

Zhu Yinuo

Chen Xue

2024 Youth Music Culture The Greater Bay Area (YMCG)

Song Wanlin

2024 Youth Music Culture The Greater Bay Area (YMCG)

Yang Yuxi

Oboe

Jin Yusheng

Trombone

Ma Kaiwen

Zhu Yirui

Mu Jiatong

Clarinet

Xiong Ke’an

Zhang Liangzi

Su Guanxi

Tang Dudu

Suona Ma Wai Him

Dizi Wu Chih-ting

Tuba

Yang Ying

Zhou Di

Basson

Li Junpeng

Long Zhenyu

Percussion

Zhang Cong

Liang Jiehui

Horn

Guo Yurong

Jiang Xiaoyu

Loren Ho

Tsao Chun Lin

Zheng Jingwen

Trumpet

To Hau Suet Venus 30

Guest

Wang Tianyou

Harp Chen Tongxin

Yang Huanyi

2024 Youth Music Culture The Greater Bay Area (YMCG)

2024 Youth Music Culture the Greater Bay Area Opening Concert

Cui Linhan, conductor “Some believe conductors are born, not made. Cui Linhan is human embodiment of that idea.” – Andrew Mellor

2024.1.21(Sun.)20:00 Symphony Hall, Xinghai Concert Hall

Conductor Cui Linhan has established herself as a sought-after artist who, in 2021, won second prize in the Malko International Conducting Competition and third prize in the Korean Symphony Orchestra Conducting Competition. With natural expressivity at the core of her work, her experience includes performances with the Los Angeles Philharmonic, Baltimore Symphony Orchestra, Danish National Symphony Orchestra, Korean Symphony Orchestra, Orchestre National des Pays de la Loire, Guangzhou Symphony Orchestra, Transylvania State Philharmonic Orchestra, Hong Kong Sinfonietta, Canada Festival Orchestra, Toronto Artists Symphony Orchestra, Xinghai Symphony Orchestra, Peabody Symphony Orchestra, and Indiana University Conductor’s Orchestra. During the 2019-2020 season, Cui was appointed Conducting Fellow by the Baltimore Symphony Orchestra where she had the privilege of serving as Marin Alsop’s cover conductor. In the 2022-2023 season, she was named a Dudamel Fellow, serving as a cover conductor and conducting concerts with the Los Angeles Philharmonic. She made her debut with Guangzhou Symphony Orchestra in 2023, and will conduct the same orchestra again in the opening concert of Youth Music Culture The Greater Bay Area 2024.

Cui Linhan, conductor Lin Ruifeng, violin Guangzhou Symphony Orchestra *Joined by musicians from the Hong Kong Philharmonic Orchestra, Macao Orchestra and Shenzhen Symphony Orchestra as the Greater Bay Area Festival Orchestra to launch the new YMCG

Metropolis (GSO Commission)

Zhou Tian (1981-)

Johannes Brahms (1833-1897)

Violin Concerto in D major, Op.77 1.Allegro non troppo 2.Adagio 3.Allegro giocoso, ma non troppo vivace

Cui currently holds the position of Artistic Director of the Toronto Artists Symphony Orchestra and Principal Conductor of the Palermo Classica Festival in Italy.

Lin Ruifeng, violin

She was born in Shenyang, China, and began her piano study at the age of four. She started conducting at age eighteen when she was the only accepted student at the Xinghai Conservatory, China, studying with Mr. Liu Ming. She is currently pursuing doctoral studies in orchestral conducting at the Indiana University Jacobs School of Music, under the guidance of Arthur Fagen. She also holds a Master of Music degree from the Peabody Conservatory, where she studied with Marin Alsop.

——— Intermission ———

Antonín Dvořák (1841-1904)

Symphony No.8 in G major, Op.88 1. Allegro con brio 2.Adagio 3.Allegretto grazioso 4.Allegro ma non troppo

2024 Youth Music Culture The Greater Bay Area (YMCG)

Lin Ruifeng, violin

The Greater Bay Area Festival Orchestra Lin Ruifeng is currently studying with China’s famous violinist and educator Vera Tsu Weiling. He serves as the concert master of the Shanghai Conservatory of Music Symphony Orchestra, as well as the Novus-Classica Camerata. In 2012, he was admitted to the High School Attached to Shanghai Conservatory of Music where he studied under Professor Zhou Mingen.

The Greater Bay Area Festival Orchestra includes musicians from four internationally renowned ensembles in the Greater Bay Area: Guangzhou Symphony Orchestra, Shenzhen Symphony Orchestra, Hong Kong Philharmonic Orchestra and Macao Orchestra. The orchestra made its debut in December 2018 at the “Guangdong Province Concert in Celebration of the 40th Anniversary of Reform and Opening Up” held at the Guangzhou Haixinsha Asian Games Park.

Lin has won numerous awards, to name a few: In 2014 he won the first place in the 4th International Violin Competition in Hong Kong; In 2015, he won the first prize of the 11th China National Violin Youth Competition and the Chinese Works Performance Award; In 2019 he was selected into the “Dengfeng Talent” program of the Shanghai Conservatory of Music, and in the same year he won the “Golden Bell” violin competition; In October 2020, he was awarded the “Young Musician Award” at the 23rd Beijing International Music Festival.

In August 2022, the Greater Bay Area Festival Orchestra reunited in Guangzhou and Shenzhen—the demonstration area of socialism with Chinese characteristics—on the occasion of the Opening Ceremony of the 2nd Greater Bay Area Arts Festival and a special concert at the 18th China (Shenzhen) International Cultural Industries Fair, performing Zhao Lin’s A Thousand Miles of Rivers and Mountains , a symphonic poem co-commissioned by 23 Chinese orchestras, a project spearheaded by the League of China Orchestras and Maestro Long Yu. Zhao’s symphonic poem captures and presents the cultural splendor and lively environment of the Greater Bay Area.

Lin has performed with China Philharmonic Orchestra, Shanghai Symphony Orchestra, Guangzhou Symphony Orchestra, Hangzhou Philharmonic Orchestra, Guiyang Symphony Orchestra, Kunming Nie Er Symphony Orchestra, Xi’an Symphony Orchestra, Suzhou Symphony Orchestra, Shanghai Philharmonic Orchestra, Harbin Symphony Orchestra, Tianjin Symphony Orchestra and so on. In October 2020, he was invited to cooperate with Maestro Long Yu as solo violin in the 20th Anniversary Celebration Concert of China Philharmonic Orchestra at the closing ceremony of the 23rd Beijing International Music Festival. In November of the same year, he cooperated with conductor Long Yu again and performed as soloist in two concerts in Nanjing and Shanghai as part of the “20th Anniversary of Poly Culture & 20th Anniversary of China Philharmonic National Tour”. In April 2021, he was invited to collaborate with Guangzhou Symphony Orchestra under the baton of Long Yu. In 2022, he became the only “prize winner” from China mainland in the “Isaac Stern International Violin Competition” in Shanghai.

Symphony Hall of Xinghai Concert Hall

2024 Youth Music Culture The Greater Bay Area (YMCG)

Notes on the Program Zhou Tian

Metropolis (GSO Commission)

The work comes from the poems of Huang Tao's feeling, trying to show the tone of a thousand years: prosperity and market coexist, old and modern interwoven; it has both a lively, noisy side, but also a light, quiet side. When we hear the combination of Chinese national tones and modern harmony and jazz beat in the music, do we also hear a sound that will last for a thousand years? "Metropolis" was created by the Guangzhou Symphony Orchestra for the 65th anniversary of its founding. Grammy-nominated Chinese-American composer Zhou Tian seeks inspiration from different cultures and strives to mix them seamlessly into a musically satisfying combination for performers and audience alike. His music — described as “absolutely beautiful…utterly satisfying” (Fanfare), “stunning” (the Cincinnati Enquirer), and “a prime example of 21st-century global multiculturalism” — has been performed by leading orchestras and soloists in the United States and abroad, such as Jaap Van Zweden, Yuja Wang, Jian Wang, the New York Philharmonic, Pittsburgh Symphony, Mahler Chamber Orchestra, Melbourne Symphony, Hong Kong Philharmonic, and Shanghai Symphony, where he recently served as Artist-in-Residence. Provided by Zhou Tian

Johannes Brahms

Violin Concerto in D major, Op.77

THE COMPOSER The promise of a career as a virtuoso pianist beckoned, but Brahms did not follow that path and forged an early career conducting ladies’ choirs and teaching impressionable females who largely occupied themselves gazing adoringly at their handsome tutor. His career as a composer came about almost, as it were, by accident when he toured Europe as accompanist to the noted Hungarian violinist Ede Reményi. The improvised accompaniments Brahms provided for Reményi’s virtuoso accounts of Hungarian melodies attracted so much attention that he was persuaded to write them down and publish them as piano duets, and it was with these Hungarian Dances that his composing career properly began. His travels with Reményi took him in June 1853 to Göttingen where the pair of them met up with another noted violinist, Joseph Joachim, and while Reményi soon went his own way, Brahms returned a few weeks later to Göttingen where a deep personal friendship grew up between Joachim and himself which was to result, some 20 years later, in the work we hear tonight.

played in an overheated concert hall.” He went on to make several suggestions aimed at simplifying the demanding solo part (the monstrous difficulties in the solo part prompting one famous Viennese violinist – Joseph Hellmesberger – to describe the work as “a concerto against the violin”). But, with the exception of the passages of multi-stopping, Brahms ignored most of Joachim’s suggestions for the work’s premiere, which was given in Leipzig on 1 January 1879 by the city’s Gewandhaus Orchestra conducted by Brahms and with Joachim as soloist. However, this was not deemed a great success (one critic dismissing it as “rubbish”), and for the work’s Vienna debut a fortnight later, he incorporated several of Joachim’s ideas. That was a public (if not a critical) success and the concerto soon went on to become one of the most popular in the repertory. THE MUSIC Composed during a summer vacation in Pörtschach on the shores of the beautiful Lake Wörth the Violin Concerto exudes lyricism and beauty from almost every bar. Beginning with a simple ascending and descending sequence of the notes of a D major triad (with an added sixth), the first movement is based on the four contrasting themes outlined in the extended orchestral introduction. The gloriously exuberant flourish with which the soloist enters heralds the start of a substantial dialogue between soloist and orchestra culminating in a cadenza composed by Joachim. “The most beautiful oboe solo in the whole of orchestral music”, is how the British writer Antony Hopkins described the concerto’s second movement. Brahms himself was less sure, describing it as a “poor adagio” taking the place of the two middle movements he had originally planned. In a straightforward, three-part structure, the movement’s lyrical theme is given out by the oboe accompanied by wind instruments, the strings entering to set the scene for the appearance of the soloist in an ornamented version of the theme. After some momentary increase in tension the movement reverts to the calm, tranquil beauty of its opening bars with a delectable duet between solo violin and oboe. The third movement is in the customary Rondo form and celebrates in its ebullient double-stopped theme both Brahms’ and Joachim’s shared experiences of Hungarian music. The brief cadenza at the end of this movement was composed by Brahms: the modification of the original speed indication (from “Allegro giocoso”) was one of the changes requested by Joachim. By Dr Marc Rochester, provided by the HK Phil

THE BACKGROUND Although Joachim had often asked Brahms to write him a concerto, Brahms was clearly reluctant, claiming his poor understanding of the instrument prevented him from embarking on such a project: “It is a very different matter writing for instruments whose nature and sound one only knows in passing or hears in one’s mind, and writing for an instrument that one knows as thoroughly as I know the piano.” He may also have been daunted by the prospect of putting himself up for comparison with his great musical hero, Beethoven. Only two years earlier his first symphony had been completed, its lengthy gestation the result of his anxiety to live up to the example set by Beethoven, and he clearly studied Beethoven’s great concerto for the instrument before setting out on his own, which he cast in the same key. PERFORMANCE HISTORY When it came to the solo part, Brahms sought the advice of Joachim, who told him: “Most of the material is playable – some of it, in fact, quite originally violinistic – but I wouldn’t care to say whether it can be comfortably 36

2024 Youth Music Culture The Greater Bay Area (YMCG)

Antonín Dvořák

Symphony No.8 in G major, Op.88

THE COMPOSER Antonín Dvořák was born in the tiny Bohemian village of Nelahozeves on 8 September 1841. He showed considerable musical promise as a child, but was sent away to serve his apprenticeship in the butcher’s trade. He showed no interest whatsoever in this, and eventually his father was persuaded to allow him to study at the Prague Organ School. He spent several years scraping a living as a church organist, music teacher and viola player, but, determined to succeed as a composer, he submitted a large portfolio of works by way of application for a state grant for “the young, poor and talented painters, sculptors and musicians from the Austrian half of the Empire”. He received the princely sum of 400 gold Florins, but more importantly, came to the attention of one of the judges on the awards panel, Johannes Brahms. So impressed was Brahms that he wrote to his own publisher, Fritz Simrock of Berlin, urging him to sign up the young Czech composer. Almost immediately, Dvořák’s music became hot property, it sold well, he achieved fame and fortune, and died an extremely wealthy man in Prague on 1 May 1904. THE BACKGROUND By 1884 Dvořák was wealthy enough to build a house in the small village of Vyoská, some 50kms from Prague. He spent virtually every summer there, including the summer of 1889 during which he composed most of his Eighth Symphony. He completed it back in Prague that November. Its blend of innocence, folk melody, drama and grandeur seem to reflect the countryside around Vyoská, and Dvořák was so proud of the work that he submitted it as his Doctoral thesis to the University of Cambridge (which he was awarded in 1891) as well as to the Prague Conservatory – formerly the Organ School – to which he was appointed Director also in 1891. PERFORMANCE HISTORY The first performance of the Eighth Symphony was given on 2 February 1890 in Prague by the National Theatre Orchestra conducted by the composer. For many years it remained the composer’s best-loved work. THE MUSIC The first movement starts with a sombre cello melody in a minor key answered by a happy little flute in a major one, before the volume and speed increase and the main theme, a kind of jovial march, breaks out. The second movement calls to mind the rolling hills and richly-scented pine forests which surround Vyoská, and there is a typically rustic peasant dance in the middle of this otherwise tranquil movement. However, the gentle dance which starts the third movement is far more refined, while the charming and delightful central section is a particularly fine melody which Dvořák had used in his opera The Stubborn Lovers composed in 1874. A more extrovert dance pops up just before the movement gives way to the fourth movement which is built around the traditional Czech dance, the Furiant.

By Dr Marc Rochester, provided by the HK Phi

Music & Dialogue The Meaning of Life and Music 2024.1.24 (Wed.) 20:00 Chamber Hall, Xinghai Concert Hall Guests: Long Yu, Daniel Harding A conversation between Long Yu and Daniel Harding, led by Long Yu, exploring Daniel's life and professional activities in music and aviation.

Career Planning for Young Musicians 2024.1.26 (Fri.) 11:00-12:30 GSO Rehearsal Hall Guests: Daniel Harding and Faculty Members Daniel Harding and the Faculty Members will discuss career planning with young musicians.

Face-to-Face with Renowned Musicians 2024.1.26 (Fri.) 20:00 Chamber Hall, Xinghai Concert Hall Guests: Daniel Harding and the Faculty Members An evening with Daniel Harding and the members of the faculty. Daniel Harding will lead a panel discussion with the faculty on the subject of music education. The discussion will include aspects such as how to inspire young students in today’s world, how to increase knowledge of classical music in teenagers, how to “Music & Dialogue”in the Chamber Hall of Xinghai Concert Hall succeed and find enjoyment in learning a musical *乐团成员除声部首席、副首席和助理首席外，其他人员按照姓氏拼音排列。 instrument, and other related topics. Apart from Principals, Associate Principals and Assistant Principals, musicians in the orchestra are listed in alphabetical order.

2024 Youth Music Culture The Greater Bay Area (YMCG)

2024 Youth Music Culture The Greater Bay Area Chamber Concert 1&2

Daniel Harding & 2024 YMCG Orchestra in Concert 2024.1.28 (Sun.) 20:00 Symphony Hall, Xinghai Concert Hall 2024.1.30 (Tue.) 20:00 Symphony Hall, Shenzhen Concert Hall

2024.1.25 (Thur.) 20:00 2024.1.27 (Sat.) 20:00 Chamber music hall, Xinghai concert hall

2024.1.31 (Wed.) 20:00 Hong Kong Cultural Centre Concert Hall Daniel Harding, conductor Vilde Frang, violin Amihai Grosz, viola 2024 YMCG Orchestra

2024 YMCG Orchestra Participants

Two concerts of chamber music featuring the young musicians from the YMCG course playing an eclectic programme of music stretching from the classical period though to the contemporary. All sections of the orchestra will be represented, in groups large and small, in this showcase of their work during the residency. Programme Information will be released on the day of the concert on Guangzhou Symphony Orchestra's WeChat.

Elliot Leung (1995-)

Aureate Skylines (GSO Commission, World Premiere in Guangzhou on January 28th)

Wolfgang Amadeus Mozart (1756-1791)

Sinfonia Concertante for Violin, Viola and Orchestra in E-flat major, K.364 1. Allegro maestoso 2.Andante 3.Presto

Vilde Frang, violin Amihai Grosz, viola

——— Intermission ———

Antonín Dvořák (1841-1904)

2024 Youth Music Culture The Greater Bay Area (YMCG)

Symphony No.9 in E minor, Op.95, “From the New World” 1. Adagio- Allegro molto 2.Largo 3.Scherzo, Molto vivace 4.Allegro con fuoco

Daniel Harding, conductor

Introduction in page 11

Amihai Grosz, viola

Introduction in page 19

Vilde Frang, violin In 2012 Vilde Frang was unanimously awarded the Credit Suisse Young Artists Award which led to her debut with the Wiener Philharmoniker under Bernard Haitink at the Lucerne Festival. Her profound musicianship and exceptional lyricism has elevated her as one of the leading and most individual violinists of her generation. She continues to appear regulary with the world’s leading orchestras including the Berliner Philharmoniker, Concertgbouw Orchestra, London Symphony Orchestra, Chamber Orchestra of Europe, Los Angeles Philharmonic, Budapest Festival Orchestra and Oslo Philharmonic Orchestra. Highlights of the current season include return visits to the Symphonieorchester des Bayerischen Rundfunk, Tonhalle Orchestra Zurich, Concertgebouw Orchestra and Berliner Philharmoniker plus her debut with Orchestra dell’ Accademia di Santa Cecilia. She also embarks on international tours with the Bayerische Staatsorchester and Vladimir Jurowski, Basel Kammerorchester conducted by Philippe Herreweghe, and B’rock Orchester, plus she is Artist in Residence at Radio France, appearing in Paris throughout the season with both the Orchestre National de France, and Orchestre Philharmonique de Radio France. Vilde has enjoyed collaborations with conductors including Sir Simon Rattle, Bernard Haitink, Herbert Blomstedt, Esa-Pekka Salonen, Mariss Jansons, Vladimir Ashkenazy, Ivan Fischer, Maxim Emelyanychev, Jakub Hrůša, Vladimir Jurowski, Manfred Honeck, Teodor Currentzis, Daniel Harding, Antonio Pappano, Lahav Shani, Paavo Järvi and Yuri Temirkanov.

2024 Youth Music Culture The Greater Bay Area (YMCG)

A keen and prominent chamber musician, Vilde regularly appears at the Lucerne Festival, BBC Proms in London, fesitvals in Verbier, Lockenhaus, George Enescu Festival, Salzburg Festival and the Prague Spring Music Festival. She also appears regularly in recital at the Carnegie Hall, Concertgebouw, Vienna Musikverein, Philharmonie Berlin, Wigmore Hall, Tonhalle Zurich and the Bozar in Brussels, as well in North America as part of the Vancouver Recital Series, Boston Celebrity Series and San Francisco Performances. Vilde Frang is an exclusive Warner Classics artist and her recordings have received numerous awards, including the Edison Klassiek Award, “Diapason d’Or” by Diapason Magazine, Deutsche Schallplattenpreis, Grand Prix du Disque and two Gramophone Awards. Born in Norway, Vilde was engaged by Mariss Jansons at the age of twelve to debut with Oslo Philharmonic Orchestra. She studied at Barratt Due Musikkinstitutt in Oslo, with Kolja Blacher at Musikhochschule Hamburg and Ana Humachenco at the Kronberg Academy. Vilde performs on a 1734 Guarneri del Gesu, generously loaned to her by a European benefactor.

Notes on the Program Elliot Leung

Aureate Skylines (GSO Commission)

“Aureate Skylines” is a vibrant piece that showcases the beauty, depth, and unity that arise from the myriad of cultural traditions found within The Greater Bay Area. Leung aims to evoke the grandeur of the region, blending the delicate and introspective with the bold and energetic. The lyrical themes and rhythmic variations celebrate diversity within the region, yet all deeply rooted in Chinese traditions. The piece pulsates with the infectious rhythms, creating a musical tapestry that reflects the region’s cultural mosaic vibrancy. Leung often combines traditional Chinese motifs and scales with elements from other musical traditions, creating a harmonious blend that represents the evolving nature of a new generation. Provided by Elliot Leung

Wolfgang Amadeus Mozart

Sinfonia Concertante for Violin, Viola and Orchestra in E-flat major, K.364

This Sinfonia Concertante was written for solo violin, viola and orchestra. It was probably first performed in Salzburg towards the end of 1779 and ranks as one of his most sublime creations.

2024 YMCG Orchestra The Photo of 2020 YMCG Orchestra

By August 1777 Mozart had served eight years as Konzertmeister at Salzburg, five of those under Prince-Archbishop Hieronymus, Count von Colloredo. Having grown increasingly frustrated with his duties, Mozart begged for leave and was, instead, dismissed by Colloredo. On 23rd September he set off, accompanied by his mother, in search of a new position and on 30th October arrived in Mannheim. It soon became obvious that there was nothing suitable there but Mozart was reluctant to leave Mannheim. This reluctance was more personal than musical. He had fallen in love with 17-year-old Aloysia Weber the daughter of a music-copyist. Mozart’s father, Leopold, did not approve. He wrote demanding that they leave at once and travel on to Paris. Mozart grudgingly obeyed, and on 23rd March 1778, after nine wet and stormy days on the road, Mozart and his mother arrived in Paris. Their time in the French capital was not a happy one. The only permanent job he was offered was a humble organist’s post in Versailles and, to cap it all, his mother, who had herself been desperately unhappy in the city, for ill and died. Leopold wrote instructing to Mozart to swallow his pride, head back to Salzburg and beg Colloredo to reinstate him (which he did). Miserable as they were, however, Mozart’s travels were far from fruitless. He had been particularly impressed with the orchestra at Mannheim which, unlike the Salzburg court orchestra, comprised players each of whom was a virtuoso in his own right. They frequently performed concertante works with two or more of them taking solo roles, and we can safely assume that Mozart, who boasted that he could “adopt and imitate all forms and styles of composition”, would have tried his hand as several such worse, although they have subsequently been lost. However on his return to Salzburg Mozart set to work on another which has survived and ranks as one of these most sublimed creations. The exact circumstances of the first performances of his Sinfonia Concertante for violin and viola are not known, but it seems probably it was first performed in Salzburg towards the end of 1779 with Mozart’s deputy concert-master, Antonio Brunetti, and Joseph Hafeneder as the soloists. There is little in the jolly first movement to hint at the sadness surrounding the work’s composition. Among the many delights in the orchestral introduction a pair of horns enter into a charming dialogue with a pair of oboes before the solo duo emerge with a wealth of opulent themes. To project it above the orchestral viola, Mozart writes the solo viola part scordatura – sounding a tone above normal – giving it an unusually pleading character, which is highlighted in the profound second movement. With his desperately ad, clearly deeply heartfelt theme, this movement seems to reflect Mozart’s sorrow at the death of his mother, his lost love, and his shattered dreams. All gloom is lifted with the bubbling third movement in which the two solo instruments chase each playfully around and abetted by the orchestra, who take the opportunity to give a final airing of the delightful dialogue between horns and oboes we heard at the work’s very outset.

Introduction in page 25

By Dr Marc Rochester, provided by the HK Phil

2024 Youth Music Culture The Greater Bay Area (YMCG)

Antonín Dvořák

Symphony no. 9 in E minor, op. 95,“ From the New World”

THE COMPOSER Aaron Copland may have been keen to create a genuinely American musical language in his Clarinet Concerto, but the idea was not new. A full six decades earlier, Congress had given its support to a project aimed at achieving just such a goal; although in the event, that produced very different, if arguably more spectacular, results. In 1892 the Americans planned a series of celebrations to mark the 400th anniversary of Christopher Columbus’s discovery of the “New World” and of European involvement in their country. As part of the celebrations, a National Conservatory of Music was founded in New York and it was decided to invite Dvořák to become the Director. His brief was, as he himself put it, “to show them the way to the promised land, a land of new and autonomous art; in short, I’m to create a national American music!” He began his work at the National Conservatory on 1 October 1892, and made his American conducting debut to huge acclaim three weeks later. THE BACKGROUND Three months after first arriving on American soil, Dvořák started work on his ninth symphony, in which he intended to make use of that new “national American music”. Dvořák believed that it was from the black and indigenous peoples that any uniquely American music originated and he was keen to show that such music deserved serious consideration. He did not actually borrow any authentic folk melodies for the symphony but, in his own words, “I tried only to write in the spirit of those national melodies”. This caused such a stir that when the news was announced that he was planning an “American” symphony, everyone clamoured for some idea as to what it would contain. Was it going to be a great work in the European model, or was it going to be a motley collection of melodies from native American and African slave communities? To this day, critics and musicologists seek evidence of genuine folk melodies in the work, but it seems that all the fine tunes in the symphony are original ideas by Dvořák himself. Only at the very last moment did he decide to give the symphony a title – “From the New World” – which, he explained, was meant to convey “impressions and greetings from America”. PERFORMANCE HISTORY Rumours about this new “American” symphony attracted huge interest and whipped the public into a frenzy of anticipation. Both the New York Herald and the New York Daily Tribune ran long articles about the composer and his new symphony (which, incidentally, was originally published as Dvořák’s “fifth”). Its premiere, which was given by the New York Philharmonic under Anton Seidl on 16 December 1893, was unique in all Dvořák’s experience and probably no other purely orchestral work has been so enthusiastically received either at its premiere or since.

2024 YOUTH MUSIC CULTURE THE GREATER BAY AREA MASTERCLASSES 1 FEB 2024 Hong Kong Academy of Performing Arts 10:00-12:00 Concert Hall

10:30 -12:00 Recital Hall

14:00-16:00 Concert Hall

14:00-16:00 Recital Hall

Trombone Masterclass

Strings Masterclass

Trumpet Masterclass

Flute Masterclass

Jonathan Reith Trombone

Amihai Grosz Viola

Hannes Läubin Trumpet

Gareth Davies Flute

Martin Menking Cello

Free Admission with Registration

THE MUSIC Despite his personal and financial success, Dvořák remained desperately homesick and left New York for good after just three years. Feelings of melancholy and loneliness are immediately evident with the subdued start of the first movement. A stern, dance-like idea builds to an agitated climax after which comes an athletic theme introduced by the horns before the flute plays a memorable theme possibly inspired by the Spiritual “Swing Low, Sweet Chariot”. Solemn, hymn-like brass chords open the second movement and gradually subside to give room for the muted strings to provide a lovely cushion of sound above which one of the most gorgeous solos ever written for the cor anglais unfolds with total tranquillity. Dvořák, while confirming that this melody was entirely original, did concede that it had been inspired by the legend of the great Red Indian chief, Hiawatha, beside the grave of his beloved Minnehaha. The third movement is a vigorous dance which has its origins firmly rooted in the music of Dvořák’s native Bohemia, but at the same time has strong affinities with the second movement of Beethoven’s ninth symphony. Also showing the influence of Beethoven’s ninth, the fourth movement harks back to various themes from the earlier movements all wrapped up in an exuberant outpouring of fiery energy culminating in a triumphant statement from the brass (above rolling timpani) of the movement’s opening theme. But that’s not quite the end of it; the final chord drifts away longingly as if we have gone full circle and despite all the excitement and novelty of the New World, Dvořák still hankers after the Old. By Dr Marc Rochester, provided by the HK Phil

Hong Kong Academy for Performing Arts 48

2024 Youth Music Culture The Greater Bay Area (YMCG)

Schedule Time

Schedule Activity

Location

Time

Saturday 1/20/2024 15:00-

YMCG Participants Arrive Hotel

Location

Monday 1/29/2024 Imperial Traders Elong Hotel

10:00 - 12:00

Outdoor Activities

14:00 - 16:00

Sunday 1/21/2024 16:30-17:30

Students Orientation

GSO Rehearsal Hall

20:00

YMCG Opening Concert

Symphony Hall, Xinghai Concert Hall

Monday1/22/2024 10:00 - 12:00

Sectional Rehearsal

GSO Rehearsal Hall / Rooms

14:00-17:30

Sectional Rehearsal & Chamber Music Rehearsal

GSO Rehearsal Hall / Rooms

19:30

Exchange Activities

TBD

Tuesday 1/23/2024

Tuesday 1/30/2024 17:00-18:00

Dress Rehearsal for Shenzhen Concert

Symphony Hall, Shenzhen Concert Hall

20:00

Daniel Harding and 2024 YMCG Orchestra Shenzhen Concert

Symphony Hall, Shenzhen Concert Hall

Wednesday 1/31/2024 17:30 - 18:30

Dress Rehearsal for YMCG Closing Concert

Hong Kong Cultural Centre Concert Hall

20:00

YMCG Closing Concert

Hong Kong Cultural Centre Concert Hall

Thursday 2/1/2024 10:00 - 12:00

10:00 - 12:00

Sectional Rehearsal

GSO Rehearsal Hall / Rooms

14:00 - 18:00

Chamber Music Rehearsal + Orchestra Rehearsal

GSO Rehearsal Hall / Rooms

Wednesday 1/24/2024 10:00 - 12:30

Orchestra Rehearsal

GSO Rehearsal Hall

14:00 - 18:00

Orchestra Rehearsal + Sectional Rehearsal

GSO Rehearsal Hall / Rooms

20:00

Music + Dialogue: The Meaning of Life and Music

Chamber Music Hall, Xinghai Concert Hall

Thursday 1/25/2024 GSO Rehearsal Hall / Rooms/

10:00 - 12:00

Chamber Music Rehearsal / Dress Rehearsal for Chamber Music Concert 1

14:00 - 16:30

Orchestra Rehearsal

GSO Rehearsal Hall

20:00

Chamber Music Concert 1

Chamber Music Hall, Xinghai Concert Hall

Guangzhou Cultural and Tourism Landmarks

14:00 - 16:00

Master Class

Hong Kong Academy for Performing Arts

Final schedule is subject to change

Special thanks to community performances partners: Cantonese Opera Art Museum Guangdong Museum Canton Tower Guangzhou Chenggang Tourism Development Co., Ltd

Friday 1/26/2024 11:00 - 12:30

Workshop for all participants and faculty: Discussion on career development and other related matters

GSO Rehearsal Hall

14:00-18:00

Orchestra Rehearsal + Chamber Music Rehearsal

GSO Rehearsal Hall / Rooms

20:00

Music + Dialogue: Face-to-Face with Renowned Musicians

Symphony Hall, Xinghai Concert Hall

Saturday 1/27/2024 GSO Rehearsal Hall / Rooms/Chamber Music

10:00 - 12:00

Chamber Music Rehearsal / Dress Rehearsal for Chamber Music Concert 2

14:00-18:00

Orchestra Rehearsal

GSO Rehearsal Hall

20:00

Chamber Music Concert 2

Chamber Music Hall, Xinghai Concert Hall

Hall, Xinghai Concert Hall

2 Sunday 1/28/2024

10:00-13:00

Dress Rehearsal for Symphonic Concert

Symphony Hall, Xinghai Concert Hall

20:00

First Stop Guangzhou: Daniel Harding & 2024 YMCG Orchestra in Concert

Symphony Hall, Xinghai Concert Hall

2024 Youth Music Culture The Greater Bay Area (YMCG)