節目
孟德爾遜《寂靜的海與順風的航行》，作品 27
寂靜的海：慢板－
順風的航行：活潑的甚快板－莊嚴的快板
安德森 大提琴協奏曲《禱告》 （2018-2019）（亞洲首演）
由法國電台、香港小交響樂團、伯明翰市交響樂團、 挪威室樂團、瑞典室樂團及洛桑室樂團委約
－中場休息 15 分鐘－
布拉姆斯 D 大調第二交響曲，作品 73 從容的快板 不太慢的慢板－相同速度但優雅地 優雅的小快板（像小行板的）－不太匆忙的急板－原速 精神奕奕的快板
Programme
Mendelssohn Calm Sea & Prosperous Voyage, Op 27
Meeresstille: Adagio –
Glückliche Fahrt: Molto allegro e vivace – Allegro maestoso
Julian Anderson Litanies (2018-2019) (Asian première)
Concerto for Cello & Orchestra
Commissioned by Radio France, Hong Kong Sinfonietta, City of Birmingham Symphony Orchestra, Norwegian Chamber Orchestra, Swedish Chamber Orchestra & Orchestre de Chambre de Lausanne
– 15-minute intermission –
BrahmsSymphony No 2 in D, Op 73
Allegro non troppo
Adagio no troppo – L’istesso tempo ma grazioso
Allegretto grazioso (quasi andantino) –Presto ma non assai – Tempo Primo
Allegretto con spirito
場地規則 House Rules
各位觀眾 Dear Patrons ： 為了令大家對今次演出留下美好印象，我們希望各位切勿 在場內攝影、錄音或錄影，亦請勿吸煙或飲食。在節目進 行前，請關掉手提電話、其他響鬧及發光的裝置。多謝各 位合作。
In order to make this performance a pleasant experience for the artists and other members of the audience, please refrain from recording, filming, taking photographs, and also from smoking, eating or drinking in the auditorium. Please ensure that your mobile phones and any other sound and light emitting devices are switched off before the performance. Thank you for your kind co-operation.
Hong Kong Sinfonietta
問卷調查 Audience Survey
感謝您蒞臨欣賞香港小交響樂團的演出，現誠邀您提供對是次音樂會的 意見。請登入網頁或於前台索取並填妥問卷，將有機會獲得精美紀念品 一份。
Thanks for coming to our concert! We would love to have your feedback. Please complete our questionnaire online or at the reception for a chance to win a limited edition gift.
桂冠音樂總監 Music Director Emeritus: 葉詠詩 YIP Wing-sie
候任音樂總監 Music Director Designate: 柏鵬 ChristophPOPPEN
香港小交響樂團是香港的旗艦樂團之一，銳意 「培育文化新一代」，並以富創意的節目及充滿熱忱 的演奏稱譽本地及海外樂壇。
自 1999 年起，與香港小交響樂團合作過的國際知
名音樂家及藝團包括阿爾斯達德、法蘭、格林高 特、赫姆森、麥米蘭、納卡里亞科夫、彭德雷茨 基、凱拉斯、塞伊、薛高維茨基、英國皇家芭蕾舞 團、英國國家芭蕾舞團、美國芭蕾舞劇院、紐約市 芭蕾舞團、斯圖加特芭蕾舞團及翩娜．包殊烏珀塔 爾舞蹈劇場等。樂團亦經常應邀與香港藝術節、法 國五月、香港芭蕾舞團等合作。
樂團自 2009 年起為香港大會堂的場地伙伴，除了 傳統的管弦樂章，樂團於過去 20 年，委約本地及 海外作曲家創作超過 70 首作品。樂團並於 2006 年
起舉辦「駐團藝術家」計劃，培育新一代本地藝術 家之餘更為古典音樂創造新的可能性。樂團又與不 同界別的藝術家製作了不少大獲好評的跨界節目， 包括《士兵的故事》、《一屋寶貝音樂廳》和
《阿飛正轉》等。 2020 年推出音樂會電影系列
《 Back On Stage 》，成為首個躍進戲院的本地樂 團。 2021 年，樂團與 MOViE MOViE 聯合呈獻
「Life is Art 盛夏藝術祭」電影節，帶來音樂新看法。
而針對不同觀眾的多套普及音樂會，包括《寶寶 / 幼兒愛音樂》、《古典音樂速成》、《古典音樂知多 少》和《我個名叫麥兜兜．古典音樂小計劃》等節 目，以及近年推出的網上室樂系列，於香港別具特 色的旅舍拍攝的《Tiny Galaxy Concerts 》，亦為古
典音樂注入新色彩。樂團灌錄過多套唱片，收錄不 少華人作曲家的優秀作品；由 DECCA 發行的三輯 《就是古典音樂》系列，均獲白金及金唱片佳績。
雙 CD 《一屋寶貝音樂廳》於 2018 年由 DECCA 出版。
樂團經常應邀作客海外，包括：美國紐約林肯中心 羅斯劇院、加拿大多個以出色音效著稱的音樂廳； 南美洲的巴西、阿根廷及烏拉圭；在歐洲計有法國 的拉羅克．昂迪榮國際鋼琴音樂節和蒙頓音樂節 等、德國東弗里斯蘭「浪潮」音樂節、波蘭貝多芬 復活節音樂節、意大利布雷西亞及貝爾加莫國際音 樂節、葡萄牙馬爾旺國際音樂節、立陶宛的兩個音 樂節、瑞士蘇黎世、日內瓦和弗里堡；北京中國交 響樂之春（國家大劇院）、中國上海國際藝術節/世 博會、日本《》音樂祭及亞洲交響樂團音 樂節、韓國統營國際音樂節、新加坡、台灣巡演 等。 2018 年舉辦第一屆香港國際指揮大賽，參賽 者來自 49 個國家及地區，成功吸引國際目光。 2023 年 3 月，將會舉行第二屆指揮大賽。
樂團 2002 年至 2020 年由著名指揮家葉詠詩擔任音 樂總監，期間致力推動本地古典音樂發展。葉詠詩 2020 年起出任樂團桂冠音樂總監，與首席客席 指揮暨候任音樂總監柏鵬一起負責樂團藝術發展事 宜。柏鵬將於 2023 年 4 月正式出任樂團的音樂 總監。
One of Hong Kong’s flagship orchestras, Hong Kong Sinfonietta has achieved significant local and international recognition for its passionate performances and innovative programming which have brought music closer to the community. Since 1999, Hong Kong Sinfonietta has collaborated with an illustrious array of international musicians and groups, including in recent years Nicolas Altstaedt, Vilde Frang, Ilya Gringolts, Martin Helmchen, James MacMillan, Sergei Nakariakov, Krzysztof Penderecki, JeanGuihen Queyras, Fazıl Say, Dmitry Sitkovetsky, The Royal Ballet, English National Ballet, American Ballet Theatre, New York City Ballet, Stuttgart Ballet and Tanztheater Wuppertal Pina Bausch. A regular participant at all the major festivals in Hong Kong including the Hong Kong Arts Festival and French May Arts Festival, the orchestra also partners regularly with Hong Kong Ballet in their staged productions.
As an avid believer of keeping music alive and contemporary, Hong Kong Sinfonietta – the Venue Partner of the Hong Kong City Hall since 2009 –performs year-round with over 100 performances a season, presenting not only standard orchestral repertoire but also more than 70 newly commissioned works over the past 20 years, as well as launching in 2006 the HKS Artist Associate scheme, which provides a platform for intensive collaboration with local artists from different arts disciplines to expand the horizon of classical music. The orchestra has enjoyed many triumphs with cross-genre productions such as A Soldier’s Story, The Passage Beyond in Concert and Pica Pica Choose , which melded dance and theatre with music to wide critical acclaim. It also became the first local orchestra to appear on the cinema screen in 2020 with its groundbreaking Back On Stage concert film series, and in 2021 further ventured into the cinematic world by co-curating the “Life is Art” film festival with MOViE MOViE.
Always breaking down barriers between music and the general audience, Hong Kong Sinfonietta holds specially-designed concert series for different audiences and age groups, including Good Music for Babies/Kids, Short-cut to Classical Music,Know Your Classical Music and HKS McDull Music Project , and recently filmed the Tiny Galaxy Concerts online series featuring chamber music
performances recorded at a fascinating hostel in Hong Kong. The orchestra’s discography includes CDs of works by Chinese composers on HUGO, and three double-CD albums This is Classical Music on DECCA which have been awarded Platinum and Gold Records. In 2018, The Passage Beyond in Concert by Leon Ko, was released on DECCA.
Thriving on its strong local roots combined with an ambitious international vision, Hong Kong Sinfonietta has been invited to perform on tour in North America in Canada and New York City; in Brazil, Argentina and Uruguay in South America; in Europe at prestigious festivals in France including Festival International de Piano La Roque d’Anthéron and Festival de Musique Menton, in Germany at Gezeitenkonzerte Ostfriesland, at Beethoven Easter Festival in Poland, in Switzerland at Tonhalle Zürich, Geneva Victoria Hall and Fribourg, at festivals in Italy including the Festival Pianistico Internazionale di Brescia e Bergamo, in Portugal at the Marvão International Music Festival, and in Lithuania; in China at China Shanghai International Arts Festival (Expo 2010), in Beijing at the National Centre for the Performing Arts; in Japan at La Folle Journée and Asia Orchestra Week; in Korea at the Tongyeong International Music Festival and in Singapore at the Esplanade, and at National Concert Hall Taipei and National Taichung Theater. In 2018, the orchestra organised the 1st Hong Kong International Conducting Competition, which attracted 310 applications from 49 countries/regions. The 2nd Competition will take place in March 2023.
Hong Kong Sinfonietta has gone from strength to strength under the direction of Yip Wing-sie – one of Asia’s most respected conductors who was the orchestra’s Music Director from 2002-2020 and Music Director Emeritus since 2020. She remains responsible for the artistic development of the orchestra alongside Principal Guest Conductor and Music Director Designate Christoph Poppen, who will officially begin his term in April 2023.
香港小交響樂團有限公司是註冊之慈善團體。
The Hong Kong Sinfonietta Limited is a registered charity. 香港灣仔譚臣道
3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong
電話 Tel :(852) 2836 3336
電郵 Email:enquiries@hksinfonietta.org
網址 Website:www.HKSL.org
98 號運盛大廈 3 樓
柏鵬於 1995 至 2006 年間擔任慕尼黑室樂團藝術總 監，在短時間內即令樂團實力大增，形象煥然一 新。 2006 年他被委任為薩爾布呂肯電台交響樂團
音樂總監， 2007 年至 2011 年出任新的德意志電台 愛樂樂團的音樂總監。柏鵬合作過的樂團包括維也 納交響樂團、德累斯頓國家樂團、柏林德意志交響 樂團、底特律交響樂團、法國電台愛樂、班貝格交 響樂團、薩爾茨堡室樂團、荷蘭電台愛樂、海牙愛 樂、巴西聖保羅交響樂團、印第安納波利斯交響樂 團、首爾愛樂、新日本愛樂及新加坡交響樂團等。
他在意大利亦演出頻繁，常與當地頂尖樂團合作， 並在多個藝術節如威尼斯雙年音樂節中亮相和主持 大師班。
柏鵬於 2014 年所創辦的葡萄牙馬爾旺國際音樂節 聲譽日隆，國際知名獨奏家紛紛亮相。其他 2022/2023 樂季重點演出包括與葡萄牙波圖交響樂 團合作演出，再度指揮德意志電台愛樂樂團、慕尼 黑室樂團及雅典國家樂團，以及繼續與科隆室樂團 合作莫扎特彌撒曲全集的灌錄工作。
香港小交響樂團候任音樂總監柏鵬是在國際音樂界 中享負盛名的指揮家、小提琴家、室樂演奏家及音 樂教育家，現同時是科隆室樂團首席指揮，以色列 室樂團首席客席指揮及葡萄牙馬爾旺國際音樂節藝
術總監。他於 2015/2016 樂季起擔任香港小交響樂
團首席客席指揮，期間於「相約大師柏鵬系列」中 為香港觀眾帶來豐富及新鮮的曲目，當中包括不少
德奧經典及當代音樂作品。他曾帶領樂團於德國及 葡萄牙演出，並且是香港國際指揮大賽評審團之聯 合主席。柏鵬將於 2023/2024 樂季起正式出任香港 小交響樂團音樂總監，帶領樂團發掘更多音樂發展 的可能，並與桂冠音樂總監葉詠詩緊密合作，繼續 讓香港及海外觀眾感受到音樂的美妙與力量。
此外，柏鵬經常為歌劇執棒，先後為斯圖加特國家 歌劇院、法蘭克福歌劇院、科隆歌劇院、卡羅費利 切劇院、埃森音樂劇院及由魯爾三年展委約的新製 作等出任指揮，大獲好評。
柏鵬亦為出色的小提琴家，於 1978 年聯合創立了
凱魯比尼四重奏。他曾任德特莫爾特音樂學院小提 琴及室樂教授，其後於 1996 至 2000 年出任柏林艾 斯勒音樂學院院長。他於 2001 至 2005 年間同時擔
任著名的 ARD 慕尼黑國際音樂比賽藝術總監。
2019 年成立馬爾旺音樂及藝術國際學院。 2020 至 2022 年間，他是首爾古典革新音樂節藝術總監， 節目策劃極具創意，多位國際知名演奏家亮相。並 自 2003 年起為慕尼黑音樂及戲劇學院小提琴及室 樂教授。柏鵬亦於 2021/2022 年度起出任著名的索 菲亞音樂學院小提琴系系主任。
Conductor, soloist, chamber musician and pedagogue, Christoph Poppen has made aname for himself in diverse roles in the international musical world, and was recently appointed Music Director of Hong Kong Sinfonietta from the 2023/2024 season.As Hong Kong Sinfonietta’s Principal Guest Conductor since 2015, he has presented to the Hong Kong audience a rich repertoire ranging from Austro-German masterpieces to contemporary works, brought the orchestra on tour to Germany and Portugal, and taken up the position of Co-chair of the Hong Kong International Conducting Competition. As the orchestra’s new Music Director, he will oversee the artistic development of the orchestra and work closely with Music Director Emeritus Yip Wing-sie to create inspiring and innovative programmes, bringing music closer to all.
During the current season, Poppen continues his close and highly successful collaboration with the Cologne Chamber Orchestra in his role as Principal Conductor, and with the Israel Chamber Orchestra as Principal Guest Conductor, while being the Artistic Director of the Marvão International Music Festival. Other highlights in the season include appearing with the Orquestra Sinfónica do Porto Casa da Música and return visits to the Deutsche Radiophilharmonie Saarbrücken Kaiserslautern, Munich Chamber Orchestra and Athens State Orchestra, as well as the continuation of his recorded cycle of the complete Mozart Masses with the Cologne Chamber Orchestra for the Naxos label.
From 1995 to 2006, Poppen was Artistic Director of Munich Chamber Orchestra, establishing the ensemble’s new profile in a short period of time. His distinctive programmes, often contrasting classical and contemporary styles with numerous commissioned works, were highly successful. In 2006, Poppen was appointed Music Director of Radio Symphony Orchestra Saarbrücken and from 2007 until 2011, he was Music Director of the newly formed Deutsche Radio Philharmonie. He has appeared with orchestras such as Vienna Symphony, Staatskapelle Dresden, Deutsches
Symphonie-Orchester Berlin, Detroit Symphony, Orchestra Philharmonique de Radio France, Bamberg Symphony, Camerata Salzburg, Netherlands Philharmonic Orchestra, Residentie Orkest, Orquestra Sinfônica do Estado de São Paulo, Indianapolis Symphony, Seoul Philharmonic, New Japan Philharmonic and Singapore Symphony Orchestra. He also has a strong presence in Italy, performing regularly with the country’s leading orchestras and at festivals such as the Venice Biennale, as well as giving masterclasses.
Founded by Poppen in 2014, the Marvão International Music Festival has grown to become a highly successful and award-winning musical event featuring soloists such as Jörg Widmann, Augustin Hadelich, Javier Perianes and Clara-Jumi Kang. As an opera conductor, he has enjoyed acclaimed collaborations with Staatsoper Stuttgart, Oper Frankfurt, Opera Köln, Teatro Carlo Felice in Genoa, Aalto-Musiktheater in Essen and the RuhrTriennale.
As a prize-winning violinist, Poppen co-founded the Cherubini Quartet in 1978. He was appointed Professor of Violin and Chamber Music at Hochschule für Musik Detmold, and later at Hanns Eisler Hochschule für Musik in Berlin, where he was President from 1996 to 2000. From 2001 to 2005, he was Artistic Director of the renowned ARD International Music Competition. In 2019, he founded the International Academy for Music, Arts and Science in Marvão, Portugal. Between 20202022, he was the Artistic Director of the Classic Revolution Festival in Seoul, South Korea, for which he curated highly inventive programmes and united many of the best international artists for performances exclusively at the Lotte Concert Hall. Since 2003, he has been Professor of Violin and Chamber Music at Hochschule für Musik und Theater in Munich. He is also the current Chair Professor of Violin at the prestigious Escuela Superior de Música Reina Sofía in Madrid, an appointment which began in the 2021/2022 academic year.
葛哈特的演奏曲目相當廣泛，涵蓋所有主要的協奏 曲，他亦是不少當代作曲家首選的獨奏家。剛獲得 2023 格文美作曲大獎、著名作曲家安德森的大提 琴協奏曲《禱告》，便是葛哈特與法國國家樂團於 2020 年首演。此前他更分別與悉尼交響樂團及柏 林愛樂樂團合作，為澳洲作曲家迪恩的協奏曲作首 演，大獲成功。此外，他又曾與紐約愛樂樂團、瑞 典電台交響樂團及倫敦愛樂樂團等攜手獻演。新樂 季的重點演出包括與香港小交響樂團為安德森的大 提琴協奏曲作亞洲首演，與艾拉斯 - 卡薩多指揮的 明尼蘇達樂團、西蒙娜．楊指揮的西班牙國家樂 團、佩特連科指揮的皇家利物浦愛樂樂團，以及古 爾本基安交響樂團合作。
葛哈特於 1991 年首次與比齊哥夫指揮的柏林愛樂 樂團合作演出，從而展開國際演奏事業。他被公認 為最多才多藝的大提琴家之一，不論是演奏巴赫的 獨奏作品、古典或浪漫時期的名作，乃至與當代作 曲家的合作，均獲得各方高度評價。
葛哈特憑藉高超的音樂造詣、扣人心弦的演奏，以 及對藝術永不止息的極致追求， 30 多年來一直深 受樂迷擁戴。他擅長於熟悉的作品中融入新意念，
亦喜愛鑽研鮮為人知的古典及當代作品，使之於同 儕之中更為別樹一格。
葛哈特曾與多個世界知名的樂團同台演出，包括與 阿姆斯特丹音樂廳樂團、英國及德國所有的電台交 響樂團、柏林愛樂樂團、蘇黎世音樂廳樂團、法國 國家樂團、克里夫蘭樂團、費城樂團、波士頓交響 樂團及芝加哥交響樂團等。合作過的指揮有杜南 憶、馬素、馬其拉、泰利曼、西蒙娜．楊、麥爾 姬、尤洛夫斯基及尼爾森斯等。
葛哈特推出過的錄音皆好評如潮，獲獎無數，當中 收錄陳銀淑大提琴協奏曲的錄音不但獲「BBC 音樂 雜誌大獎」，更入圍 2015 年「留聲機雜誌大獎」。 他經常為 Hyperion 灌錄唱片， 2019 年推出的巴赫 組曲錄音獲《星期日泰晤士報》選為年度百大唱片 之一。最新的錄音作品為蕭斯達高維契的大提琴協 奏曲，與薩拉斯特指揮的科隆 WDR 交響樂團合作 錄製，榮獲 2021 年國際古典音樂大獎。
葛哈特熱愛室樂，他的室樂夥伴包括奧斯博尼，曾 於本樂季隨葛哈特一同到北美演出。此外，他與小 提琴家傑高娃、編舞家烏爾里克森及雕塑家波辛合 作的跨界演出亦於紐約成功首演。
葛哈特亦熱衷與觀眾分享他的新嘗試，他曾在歐美 各地舉辦過演出及工作坊等外展項目，演出不局限 於音樂廳。到訪之處除學校和醫院外，亦包括一些 公共場所及青年懲教所院。
葛哈特演奏用是 1710 年由葛弗瑞勒製造的名琴。
Having launched his career with Berlin Philharmonic and Semyon Bychkov in 1991, Alban Gerhardt has since gained recognition as one of the most versatile cellists, highly regarded for his performances from solo Bach through the classical and romantic canon, to collaborations with several contemporary composers.
For over 30 years, Gerhardt has made a unique impact on audiences worldwide with his intense musicality, compelling stage presence and insatiable artistic curiosity. His gift for shedding fresh light on familiar scores, along with his appetite for investigating new repertoire from centuries past and present, truly set him apart from his peers.
Notable orchestra collaborations include the Royal Concertgebouw Orchestra, all of the British and German radio orchestras, Berlin Philharmonic, Tonhalle-Orchester Zürich, Orchestre National de France, as well as the Cleveland, Philadelphia, Boston and Chicago symphony orchestras, under conductors such as Christoph von Dohnányi, Kurt Masur, Klaus Mäkelä, Christian Thielemann, Simone Young, Susanna Mälkki, Vladimir Jurowski and Andris Nelsons.
Gerhardt has a very wide repertoire including all the core concertos, and is at the same time the go-to soloist for contemporary composers. He most recently premiered Julian Anderson’s 2023 Grawemeyer Award-winning concerto Litanies with Orchestre National de France, following on from the success of his performances of Brett Dean’s concerto premiered with Sydney Symphony Orchestra and Berlin Philharmonic, and played with New York Philharmonic, Swedish Radio Symphony Orchestra and London Philharmonic Orchestra, amongst others. The upcoming season highlights
include Minnesota Orchestra with Pablo HerasCasado, Spanish National Orchestra with Simone Young, Royal Liverpool Philharmonic Orchestra with Vasily Petrenko, and Orquestra Gulbenkian. He will also perform the Asian première of the Anderson concerto with Hong Kong Sinfonietta.
Gerhardt has won several awards, and his recording of Unsuk Chin’s Cello Concerto, released by Deutsche Grammophon, won the BBC Music Magazine Award and was shortlisted for a Gramophone Award in 2015. He has recorded extensively for Hyperion; his recording of complete Bach suites was released in 2019 and was one of The Sunday Times’ “Top 100 CDs of the Year” (all genres included). His recent album“Shostakovich: Cello Concertos”with the WDR Sinfonieorchester Kölnand Jukka-Pekka Saraste was awarded the International Classical Music Award in 2021.
Gerhardt is a keen chamber musician whose regular performance partners include Steven Osborne, with whom he will perform in North America this season. He has collaborated with violinist Gergana Gergova, choreographer Sommer Ulrickson, and sculptor Alexander Polzin on the artistic project “Love in Fragments”, a poetic union of music, movement, sculpture and the spoken word, which successfully premiered at 92NY in New York.
Gerhardt is passionate about sharing his discoveries with audiences far beyond the traditional concert hall. His outreach projects undertaken in Europe and the USA have involved not only performances and workshops in schools and hospitals, but also pioneering sessions in public spaces and young offender institutions.
Gerhardt plays a Matteo Gofriller cello dating from 1710.
樂團、伯明翰市交響樂團、挪威室樂團、瑞典 室樂團及洛桑室樂團委約、為葛哈特而創作、 2020/2021 樂季作世界首演的大提琴協奏曲《禱告》 （2018-2019），剛奪得 2023 年格文美作曲大獎。
其他委約作品包括：由倫敦愛樂首演、尤洛夫斯基 指揮，為韋特曼而寫的小提琴協奏曲《在柔媚的湛 藍中》（ 2014-2015 ）；由歷圖指揮、為柏林愛樂、 波士頓交響樂團及皇家愛樂協會而寫的《法術》 （ 2016 ）；由卑爾根愛樂樂團、悉尼交響樂團及 BBC 蘇格蘭交響樂團聯合委約、為奧斯博尼而寫的 鋼琴協奏曲《想像博物館》（2017）；由倫敦交響樂
團、波士頓交響樂團及巴伐利亞電台交響樂團 於 2022 年首演、為人聲及樂隊而作的《放逐 （ 2021 ）；由 BBC 、慕尼克愛樂樂團及克里夫蘭樂 團委約、題獻給指揮比齊哥夫的第二交響曲《布拉 格全貌》（2019-2021）於 BBC 逍遙音樂會首演。
安德森 1967 年於倫敦出生，是同代作曲家中最受 尊崇及具影響力的作曲家之一。安德森曾隨林伯 特、郭爾和米雷爾學習作曲。 1992 年，年僅 25 的 他憑兩樂章管弦作品《雙聯畫》（ 1990 ）獲頒英國 皇家愛樂協會大獎，正式開展其作曲事業。安德森
亦獻身教學工作，包括於 1996-2004 年間於皇家音 樂學院擔任資深作曲教授，當中有五年兼任作曲系 主任； 2004-2007 年於哈佛大學任教；於吉爾德霍
爾音樂及戲劇學院出任特別為他而設的作曲系教授 暨駐院作曲家。他亦於 2002-2011 年間出任愛樂管 弦樂團於倫敦皇家節日音樂廳舉行的「當代音樂」
音樂會系列的藝術總監；而 2013-2016 年間為域摩 堂的駐場作曲家。
安德森常與世界知名樂團緊密合作，並多次獲邀擔 任不同樂團的駐團作曲家，因此其大型音樂作品數 量顯著及屢獲殊榮，如為克里夫蘭樂團創作的《幻 想曲》（ 2009 ）贏得英國作曲家大獎；由倫敦愛樂 及紐約愛樂聯合委約創作的《發現天堂》（ 2011 ） 奪得南岸中心藝術大獎；由法國電台、香港小交響
安德森為小型樂隊組合而寫的作品，包括奪得 2006 年皇家愛樂協會大型作品獎的《時刻之書》 （ 2004 ），此作品的錄音亦獲得 2007 年留聲機大 獎，而《梵谷之藍》（2015）則贏得英國作曲家學院 大獎及皇家愛樂協會小型作品獎兩項殊榮。此外還 有由域摩堂及鄧肯活音樂中心聯會委約的第三弦樂 四重奏《花束》 （2018），由積克四重奏於同年首演。
安德森的作品被多間唱片公司收錄。兩張「倫敦愛 樂現場」錄音記錄了他擔任倫敦愛樂樂團駐團作曲 家期間的時光，首張錄音（《幻想曲》， 2013 ）獲提
名 2014 年度留聲機大獎，而第二張錄音（《在柔媚 的湛藍中》， 2016）則贏得 2017 年《BBC 音樂雜誌》 之首演獎。
安德森的音樂成就備受肯定。他於 2021 年及 2022 年分別獲頒大英帝國勳章及摩納哥文化騎士勳章。 安德森現為摩納哥皮埃爾親王基金會音樂委員會 主席，以及吉爾德霍爾音樂及戲劇學院作曲系資深 教授。
Julian Anderson is among the most esteemed and influential composers of his generation. Born in London in 1967, he studied composition with John Lambert, Alexander Goehr and Tristan Murail. He was awarded a prestigious RPS Composition Prize in 1992 at the age of 25 for his two-movement work Diptych (1990) for orchestra, launching his career. His success as a composer has also fed a prominent academic career, which has included Senior Composition Professorships at the Royal College of Music (1996-2004) where he was also Head of Composition for 5 years, Harvard University (2004-2007), and Guildhall School of Music & Drama where he holds the specially created post of Professor of Composition and Composer in Residence. He is also much in demand as concert programmer and public speaker. Between 2002 and 2011, he was Artistic Director of the Philharmonia’s Music of Today concert series at the Royal Festival Hall in London, and from 2013 to 2016 he was Composer in Residence at Wigmore Hall.
Close associations and residencies with leading orchestras of the world have contributed to Anderson’s significant orchestral output. Fantasias (2009) for the Cleveland Orchestra won a British Composer Award, and The Discovery of Heaven (2011), co-commissioned by the London Philharmonic Orchestra and the New York Philharmonic, won a South Bank Sky Arts Award. Under Vladimir Jurowski, the London Philharmonic Orchestra premiered theviolin concerto InLieblicher Bläue (2014-2015) for Carolin Widmann. Further orchestral commissions include Incantesimi (2016) commissioned by the Berlin Philharmonic, Boston Symphony Orchestra and Royal Philharmonic Society,premiered by Simon Rattle, and The Imaginary Museum (2017), a piano concerto for Steven Osborne cocommissioned by the Bergen Philharmonic Orchestra, Sydney Symphony Orchestra and BBC Scottish Symphony Orchestra. The 2020/2021 season saw world and national premières of his
2023 Grawemeyer Award-winning cello concerto Litanies (2018-2019) written for Alban Gerhardt, and following this, Exiles (2021) for voices and orchestra, commissioned by the London Symphony Orchestra, Boston Symphony Orchestra and Bavarian Radio Symphony Orchestra was premiered in 2022.His Symphony No 2, “Prague Panoramas”(2019-2021) – commissioned by the BBC, Munich Philharmonic and Cleveland Orchestra– was premiered at the BBC Proms, conducted by the dedicatee Semyon Bychkov.
Commissions for small ensembles include Book of Hours (2004) for ensemble and electronics written for Birmingham Contemporary Music Group and Oliver Knussen, which won the RPS Music Award for Large Scale Composition in 2006 and the following recording on NMC won the 2007 Gramophone Award, and Van Gogh Blue (2015), which was premiered by the Nash Ensemble, cocommissioned by Wigmore Hall, the Koussevitzky Foundation and Casa da Música,and won both a BASCA Award and the RPS Award for Small Scale Composition. His String Quartet No 3 “Hana no Hanataba” (2018), co-commissioned by Wigmore Hall and the Tanglewood Music Center, was premiered by the JACK Quartet in 2018.
Portrait discs of Anderson’s works have been recorded on NMC (2005 & 2019), Ondine (2006 & 2018) and Delphian (2018). Two discs on the LPO Live label document his time as Composer in Residence with the London Philharmonic Orchestra; the first ( Fantasias , 2013) was shortlisted for a 2014 Gramophone Award and the second ( In Lieblicher Bläue, 2016) won the 2017 BBC Music Magazine’s “Premiere” Award.
In recognition of his variedmusical career, Anderson was awarded the CBE in the 2021 New Year’s Honours and the Monaco Chevalier de l’Ordredu Mérite Culturel in 2022.He is currently President of the Music Council for the Fondation Prince Pierre de Monaco and Senior Professor of Composition at the Guildhall School of Music and Drama.
問音樂，於你是甚麼？ 答我不知道。
問在創作過程中，你通常尋找和探索的是 甚麼？ 答創作時我並不會以文字思考：我只會關注一 件樂器在實際情況是否管用，（音色）是否 平衡，對於樂手來說最好讀的（樂譜）是甚 麼這類問題。所有語言和概念上的想法在創 作前已經塵埃落定。我因此無法用言語形容 在創作時我嘗試做甚麼。創作時純粹是音樂 式的想法，完全透過聲音（表達）的。
QTo you, what is music?
AI have no idea.
QWhat do you usually seek and explore in your creative process?
AI do not think consciously in words when composing beyond practical matters of what will or will not work on an instrument, or what will or will not balance, what will be best to read for the musicians, etc.All the verbal, conceptual thinking gets done before the composing.I cannot therefore verbally describe what I am trying to do whilst composing. Composing a purely musical type of thought which is entirely in sound.
問你的音樂主要受到甚麼影響？ 答日本的雅樂、蓋爾語系的讚美詩、歐洲、 美洲和澳洲的鳥鳴、羅馬尼亞民間音樂、 素歌、杜飛、巴赫、海頓、莫扎特、 貝多芬、德布西、西貝遼士、楊納徹克、 西格、利蓋蒂、格里塞和納森—我的《禱告》 中間的慢樂章就是為紀念後者而寫的。
QWhat are the major influences in your music?
AJapanese gagaku,Gaelic psalm singing, European American and Australianbirdsong, Romanian folk music, plainchant, Dufay, Bach, Haydn, Mozart, Beethoven, Debussy, Sibelius, Janácˇek, Ruth Crawford Seeger, Ligeti, Grisey, and Oliver Knussen – in whose memory the central slow movement of my Litanies was composed.
問你會怎樣形容當代音樂在當世生活中的 角色？
答我只可以形容一下我希望它可以扮演的角 色，那聽起來會相當平庸，但至少卻是真誠 而清晰的。我會希望當代音樂可以非常刺 激、美妙、滋潤情感和精神、令人不安、活 力十足、令人安慰、反映與別不同的存在。
可惜對大部份當代人來說，當代音樂並沒有 擔當這些角色，簡而言之，教育和媒體都忽 略了它，或阻礙人們得以便利地認識它。當
代音樂是人類活動中，那些大致不受市場力 量的直接干預、或社會普遍的干預的少有範 疇之一。市場和社會對這種音樂都不知如何 處置。（有趣的是，直至 1990 年代中期，仍 有些現存的政權禁止這類音樂的創作和演
QHow would you describe the role of contemporary music in our contemporary lives?
AI can only describe the role I would wish it to have, in terms which will sound very banal but which at least are genuine and clear. I would hope that contemporary music would be vitally exciting, beautiful, emotionally and spiritually nourishing, disturbing, vigorous, comforting, revealing of another kind of existence. Alas to most contemporary lives contemporary music does not play these roles, for the simple reason that education and the media ignore it or prevent people having ready knowledge of it. Contemporary music is one of the few areas of human
出。）無論如何，我仍在創作，希望當代音 樂將會和可以與人們接觸，像我前面所說那 樣或以其他方法提升他們的生活。
activity which evolves largely without the direct interference from market forces or the interference of society in general, which does not know what to do with this music. (Interestingly, until the mid-1990s there were still some regimes in existence which banned the composing and performance of such music.) Nevertheless, I still compose hoping that it can and will reach people and enhance their lives in the ways listed above and others.
問對於初次接觸當代音樂的觀眾，你有甚麼 建議？ 答有兩三種途徑可以幫助他們了解這類音樂， 尤其是我為你們樂團[香港小交響樂團]撰寫的 這首新作。
1. 保持開放的心態和耳朵：自 1920 年開始創 作的音樂，多數都採用了其他音樂不曾採用 的聲音、和弦、和聲以及旋律。這就是它令 人興奮的地方之一，但它的確要求開放的心 態，以及不要對音樂的聲音應該是怎樣的這 個問題抱有偏見。
2. 聽一下我在回答第三個問題時列出的那些 音樂。
QDo you have any advice for our audience who is new to contemporary music?
AWell, two or three things could help them get into this kind of music, and my new piece for yourorchestra [Hong Kong Sinfonietta] in particular.
1. Keep your mind and ears open: much music composed since about 1920 uses sounds, chords, harmonies and melodies not heard inother music. This is one of its great excitements,but it does require an open mind and a lack of prejudice as regards what music should sound like.
2. Listen to the music listed in the answer to the question above.
害怕在無風的海上停航，然後又因為可以繼續前進而感到喜悅，最後終於完成了 旅程；一首新的協奏曲，作曲家明言受到作曲家/指揮家納森（Oliver Knussen）之死的 影響；還有一首在充滿田園風光的夏日假期構想的交響曲；這些都在今晚的音樂會中 出現了。
1828 年，孟德爾遜在創作《寂靜的海與順風的航行》時只有 21 歲，當時他還在柏林就 讀大學。那是他三首關於海的序曲的第一首，其餘兩首是 1830 年的《赫布里底群島》
（The Hebrides ，作品 26）和 1833 年的《美麗的梅露西娜》（The Fair Melusine ，作品 32）。 他在畢業前其實沒有航海的經歷（只在 1824 年看過波羅的海一次）。他在創作《赫布 里底群島》時，還曾受過暈船之苦。但那是題外話了。 安德森新的、題獻給今場音樂會的獨奏家的大提琴協奏曲，中間部份以一段他為紀念 他的朋友、良師和作曲家納森的讚美詩完結。納森在 2018 年 7 月 8 日忽然去世。大提 琴自然是向亡友表達哀悼之情的理想樂器，它有著響亮柔和的音色，可以拉奏綿延不 斷的旋律線，還從低至高涵蓋了廣闊的音域。安德森談到此作品與近年創作的協奏曲
「《禱告》是我自 2015 年起創作的第三首協奏曲，在此之前有小提琴協奏曲《在柔 媚的湛藍之中》（ In Lieblicher Bläue ， 2014-2015 ）和鋼琴協奏曲《想像博物館》
（The Imaginary Museum ， 2016-2017）。這三首作品試圖以三種不同方法更新協奏 曲曲式。第一首的方法是基於空間 / 劇院的特質：小提琴家站在舞台以外，然後在 樂隊旁邊，再站回獨奏者正常的位置，最後再背向聽眾。這些方法對鋼琴或大提琴 都不可能適用—它們都不是可以隨意移動的樂器。在《想像博物館》，傳統的 協奏曲式被擴大為六個截然不同的樂章，每一樂章都有一個不同的虛擬『位置』， 喻意是一段想像的旅程。
「在《禱告》中，我直接用上傳統的三樂章協奏曲式，而且，三個樂章的順序也是 傳統的快－慢－快形式。然而，三個樂章一氣呵成，中間亦有許多交叉的聯繫， 因此效果是刻意地含糊的。」
說到大提琴，布拉姆斯在談及朋友德伏扎克的大提琴協奏曲時，表示假使他一早知道 這種樂器可以發出如此的聲音，他自己也會寫一首大提琴協奏曲了（他也許忘了，他 之前的一首管弦樂曲就是小提琴和大提琴雙重協奏曲）。但在其四首交響曲中，他顯示 了他在利用大提琴部深沉的聲線時，是多麼的駕輕就熟，你只要聽聽第二交響曲的開 頭便知道了。這首交響曲緊接著第一首之後面世。經過了 20 年的掙扎，布拉姆斯在
1876 年才推出第一交響曲，但他的創作靈感似乎由此一下子得到了解放：第一交響曲
是一首相當嚴肅的作品，令人敬畏，且充滿了艱苦的創作概念。但一年後，當布拉姆 斯在寧靜的卡林西亞（ Carinthian ）湖畔的珀特沙赫（ Pörtschach ）度假時，一首新的 交響曲便躍然紙上。這個美麗的奧地利度假勝地是如此有助於靈感的滋長，以致布拉 姆斯在接下來的兩個夏天都回到當地，在 1878 年同樣富有成效地寫出了小提琴協奏曲 （和第二交響曲同一個樂調）和一些室樂作品。
第二交響曲的確充滿了夏日的陽光氣息，甚有德伏扎克式的抒情性，在他其他的交響 曲中這是被淡化了的。有人甚至稱這是布拉姆斯繼史詩式的第一交響曲後撰寫的 「田園」交響曲，像貝多芬在寫出宏偉、充滿宿命感的第五交響曲後，推出的「田園」
交響曲一樣。首演在 1877 年 12 月 30 日於維也納舉行，由李希特（Hans Richter）指揮。
同一個月，布拉姆斯的朋友比爾羅特（ Theodore Billroth）寫道：「一種快樂、喜悅的 情調滲透了整首作品。它有著完美、輕鬆流動的澄澈意念和溫暖感覺的所有標記。」
孟德爾遜（1809–1847）
作品 27
寂靜的海：慢板－ 順風的航行：活潑的甚快板－莊嚴的快板
孟德爾遜第一首關於海的序曲，其內容或是由比他 稍為年長的馬克斯（ Adolf Bernhard Marx ）提出 的。後者在 1828 年 5 月刊文稱讚孟德爾遜在「沒
有採用歌德的文字」的情況下，根據歌德的兩首詩 撰寫了一首作品。文中，馬克斯對貝多芬這位他喜 愛的作曲家稍有微言。他不甚喜歡貝多芬在 1815 年根據歌德詩作撰寫的清唱劇（標題同樣是《寂靜
的海和順風的航行》，作品 112 ， 1823 年出版）， 當中採用了合唱來描述平靜的海。孟德爾遜的序曲
在 1828 年 9 月 7 日才舉行了一個在私人場合的首
演。 1834 年他將之修改，再於 1835 年出版。
鑒於孟德爾遜的家庭背景（其祖父摩西被稱為「德 國哲學之父」），他認識歌德大抵並不奇怪，儘管兩
人相差了 50 歲。他們第一次見面時，孟德爾遜才 12 歲，所有文獻都說，他和這位「德國文學之父」
一見如故，之後也有在其他場合見面。
孟德爾遜是否有和歌德討論把他的詩作配上音樂， 我們不得而知。歌德的作品寫於 1787 年，當時
他在西西里島靜養。雖然孟德爾遜沒有採用歌德的 詩句，但引述一下或許對我們了解他的音樂會有所 幫助。
《寂靜的海》 深沉的寂靜主宰了海水
一動不動，海在安息， 看著到處平伏的海面 船長由此感到不安。 任何角落都沒有空氣的流動！ 可怕的死寂！ 在廣闊無垠的距離之間 都是波瀾不興。
《順風的航行》 薄霧被撕開，
天空澄明，
風神釋放了 懾人的繩索。
風開始窸窣作響，
船長站了起來。
快點！快點！ 波浪中分，
距離在縮短，
陸地已在望！
《寂靜的海與順風的航行》，
「我計劃中的引子是這樣的。一個音符由弦樂 柔和地持續了好一陣子，在此處或彼處盤旋， 顫動，幾乎聽不見，於是在最慢的慢板，先是 低音大提琴，再就是小提琴，在同一個音符上 綿延了好些小節。所有東西都慵懶地從樂段中 蠕動，了無生趣。最後，它以厚重的和弦來到 一下靜止，而《順風的航行》即展開了。現在 所有的木管樂、定音鼓、雙簧管和長笛開始歡 快地演奏到終結。」
為達成這一目標，孟德爾遜在他的樂隊編制中加上 了短笛、低音巴松管和現已棄用的蛇號 （ serpent ），還有第三支小號。他保留了貝多芬採 用的 D 大調，但卻以 19 世紀浪漫主義的手法出 之，營造出和歌德的文字相同的音畫效果。值得一 提的是，孟德爾遜這時也確實在學習繪畫。
慢板的開篇只有 48 小節長（全章共有 517 小節）， 佔了全曲三分一時間。緩慢的和弦變化產生了孤單 和倦怠的感覺，從而加強了寂靜的氛圍。接著長笛 兩次帶出了一小段快速的樂句，預示天氣即將有 變。孟德爾遜繼而用了 50 小節的過渡段落來帶出
甚快板，以木管樂如微風吹拂般的歡快旋律，描述 風戲劇性的出現。之後再由一個較為穩重、像頌歌 那樣的主題來緩和。序曲終結的時候，就像船已泊 岸一樣，小號宣佈它已到達了港口，逐漸消沉的樂 音和寧靜的結尾顯示大家都因為終於踏上了陸地而 舒了一口氣。
此樂曲的樂隊編制
弦樂：第一及第二小提琴、中提琴、大提琴、低音大提琴 木管樂：長笛 (2)、短笛 (1)、雙簧管 (2)、單簧管 (2)、
巴松管 (2)、低音巴松管 (1)
銅管樂：圓號 (2)、小號 (3)
定音鼓
由法國電台、香港小交響樂團、伯明翰市交響樂團、 挪威室樂團、瑞典室樂團及洛桑室樂團委約 安德森的《禱告》在 2020 年 2 月 12 日於巴黎法國 電台音樂廳舉行世界首演，由今晚的獨奏者葛哈特 和法國國家樂團演出，指揮是羅菲（Pascal Rophé）。 此曲本應在面世後的一個月移師香港舉行亞洲首 演，但由於疫情被取消。差不多三年後的現在， 葛哈特終於可以在今晚為我們演奏這首作品了。
剛奪得 2023 年格文美作曲大獎的《禱告》，是安德 森在深究協奏曲曲式的六年間創作的三首協奏曲之 第三首。也只有在這首大提琴協奏曲中，他採用了 最為傳統的曲式。它的標題也極為簡潔，反映了安 德森欲為 21 世紀重新打造協奏曲的意圖。但之前 很少（如果有的話）大提琴協奏曲，會在樂曲中途 要求改變第四條弦的調音。
安德森在其節目介紹中寫道： 「《禱告》用了兩年來創作，是為大提琴家葛哈 特撰寫的。他是一位傑出的獨奏家，演奏的曲 目甚為廣泛，他一直是我創作此曲的主要推動 力。在《禱告》中，大提琴的每一條弦線都被 重新審視，每一條都被賦予了各自的特性和色 彩。當中，第一條弦（ A ）是帶動整首作品的 聲音，在作品沒有間斷的三個樂章之間的連接 處都再次重現。從這個跳板開始，音樂先是活 潑地展開了一段大提琴手和樂隊之間輕鬆的對 話。他們分享或交換聲音，將之來回傳遞，愉 快地相互呼應及誤解對方。
「一種較緊湊的情調在中間緩慢的樂章發展開 來，在此我們第一次聽到大提琴最低音的弦 線，它啟動了後來一長串越來越激情而延展的 旋律。作品變成了為 2019 年 4 月毀於火災的 巴黎聖母院發出的哀歌。同時它也哀悼我甚為 想念、在火災發生前幾個月去世的朋友和同事 納森。和弦與旋律稍現即逝，像在熾熱中逐漸 溶化。在樂章以及作品中段，出現了傳統的華 采段，但卻有異常的轉折：大提琴最低音的弦
線被調低了一度音程（由 C 變成降 B），而整個
華采段都建基在這個重調的空弦上奏出的 泛音。它的聲響既明淨又令人恐懼，當獨奏者 往弦線更高處攀爬時，聲音越發變得像喘氣， 甚至像尖叫。樂隊則與此怪異的律動相抗衡， 逐漸減慢速度，直至靜止：有一種時間正被耗 盡的感覺。最後，大提琴家帶領樂隊奏響了頌
歌：那是對一位逝去的朋友的致敬，也是對一
段為時 37 年的友誼的紀念。
「第三樂章從前一樂章結尾的一些和弦中誕
生，它蔑視一切地跳動著。當舞蹈積聚了足夠
的能量時，另一位獨奏者向大提琴家發出了挑
戰：敲擊樂手以漸強的聲響打斷了大提琴，最 後還嘗試奏一節自己的華采段，『就如不惜一
切要終止音樂的進程那樣』（套用的是尼爾森 的話，他的第五交響曲包括了一節近乎破壞性 的敲擊樂華采段）。尾聲從不同的方向起跳： 大提琴家欣喜若狂地歌唱，音域越攀越高，最 終在高空消失。這樣的總結受到了世阿彌的能
『她飛舞，跨過了浮動的島嶼，穿過雲腳 越過了愛鷹山，和富士山的高峰， 她的形體甚為模糊，與天堂的迷霧相混； 現已消失於視線以外。』
「這是標題音樂嗎？或許是的。但如果是符合 意境，又有何不可呢？」
此樂曲的樂隊編制
弦樂：第一及第二小提琴、中提琴、大提琴、低音大提琴 木管樂：長笛 (1)、長笛/短笛/中音長笛 (1)、雙簧管 (1)、
雙簧管/英國管 (1)、單簧管 (1)、
單簧管/低音單簧管(1)、巴松管 (1)、
巴松管/低音巴松管 (1)
銅管樂：圓號 (2)、小號 (2)、長號 (1)
敲擊樂：管鐘、吊鈸、吱聲鈸、平鑼、水鐘、鐘樹、鋼鼓、
大鼓、康加鼓、古巴鼓、響棒、印尼手搖竹琴、 砂鎚、桶子鼓
豎琴、鋼琴/電子合成器
獨奏大提琴
不太慢的慢板－相同速度但優雅地 優雅的小快板（像小行板的）－ 不太匆忙的急板－原速 精神奕奕的快板
和孟德爾遜的序曲不同，布拉姆斯的管弦樂曲沒有 任何標題性的聯繫。在這方面他是貝多芬真正的繼 承者，此後便沒有作曲家像他那樣，在此範疇內獲 得更大的成就。他對歌劇不感興趣，這也與較他年 長的同輩作曲家華格納不同：布拉姆斯的作品是純 粹的音樂，不需要音樂以外的元素協助，而第二交 響曲則是他最偉大的作品之一。
從創作技巧看來，此曲開頭的大提琴和低音大提 琴樂句（ D- 升 C-D ）是每個樂章的基調（有時半 音向上升而非向下調），但感覺天衣無縫，樂音的 起伏毫無斧鑿痕。布拉姆斯一如既往地喜歡讓聽 眾感到節奏的失衡。三連音與二連音的對碰，主 題在起拍的開始（這是他的良師舒曼喜用的手法） 和情調的轉換等，無不玄妙入神。雖然布拉姆斯 等待了相當長的時間才著手創作交響曲，但這些 手法都證明他畢竟是一位作曲大師，只要他動 筆，就能寫出佳品。
首三個樂章都以三拍子的感覺為主，使作品帶點維 也納圓舞曲和奧地利的鄉村舞曲「連德勒」舞曲 （ Ländler ）的味道。第一樂章雖然開頭節奏舒緩， 第一和第二主題都相當祥和而充滿詩意，但卻非完 全明朗如夏日的陽光。長號和大號（該樂器在第一 交響曲的終樂章才出現）像給大地籠罩了一層陰 影，發展部則有像狂風式的段落。其後簡短的再現 部和歡快的尾聲在奇妙的圓號獨奏引導下，在一片 啁啾的木管樂和弦樂撥奏中結束了這個樂章。
主要建基於 B 大調的第二樂章慢板，以 4/4 拍開 始，弦樂的主題緩緩下降，而巴松管則向上攀升。 優雅的第二主題雖然以相同的速度演奏，卻用了富 三連音感覺的 12/8 拍。像第一樂章一樣，這個樂
章不乏沉鬱和剛強的意緒，尤其是到了中段高潮的 時候。最後三連音漸漸消失，由像脈動一樣的圓號 和定音鼓收結全章。
G 大�的第三樂章�，三拍子和二拍子�度��。
樂章是變奏和迴旋曲的結合，代替了從前莫扎特 和海頓在交響曲慣用的小步舞曲，以及後期貝多 芬和華格納作品中的諧謔曲。樂章在雙簧管和弦
樂的撥奏中，以 3/4 拍開始。「優雅的小快板」主 題重複了兩次，每次中間都隔著「不太匆忙的急 板」。第一次主題巧妙地轉化成 2/4 拍，第二次則 從第一主題中抽取其中一個附帶的樂念，以 3/8 拍 來演繹，是否有點蘇格蘭音樂的影子？小號、長 號、大號和定音鼓全都缺席，因此整個樂章的配 器顯得相當細緻，結句同樣也是靜悄悄的。
神采飛揚的終曲以輕聲（ sotto voce ）的弦樂及柔 和的木管獨奏開始。但其後情緒忽然來個大轉 變，樂隊全體強力地奏出了主題：興高采烈和燦
爛輝煌畢竟是整個樂章的特徵。第二主題出現 時，氣氛稍為舒緩，弦樂的音色溫暖怡人，節奏 慢得恰到好處。樂章的點點滴滴，都讓人回味無 窮。如果你聽過馬勒的第一交響曲，你應會記得 在第一樂章�的下行四度，這�布拉姆斯則用� 來平伏情緒。基於馬勒的交響曲與布拉姆斯這首 作品只相距八年，或許馬勒腦海中一直銘記著這 個下行四度。切分 8 分音符與三連音的對踫，是布 拉姆斯式的風格之一，結尾粗獷的音階和璀璨的 銅管樂結句則加強了交響曲最後的和弦。沒有比 這更為暖心的音樂了，但願所有夏天都像布拉姆 斯在 1877 年度過的那個一樣美好。
弦樂：第一及第二小提琴、中提琴、大提琴、低音大提琴 木管樂：長笛 (2)、雙簧管 (2)、單簧管 (2)、巴松管 (2) 銅管樂：圓號 (4)、小號 (2)、長號 (3)、大號 (1) 定音鼓
英文節目介紹： Nick Breckenfield
英國作家 Nick Breckenfield 專門撰寫節目介紹，
曾任 whatsonwhen.com 的古典音樂及歌劇版編輯 13 年，
現於支持青年音樂家的博萊蒂-布托妮信托基金會工作。
中文翻譯：行之
Fear of being marooned at sea with no wind and the subsequent joy of being able to make headway and successfully complete a voyage; a new concerto indelibly affected by the death of the composer/conductor Oliver Knussen; and a symphony conceived on an idyllic summer holiday – all come together in tonight’s concert.
Mendelssohn was just 21 – and at university in Berlin – when he composed his overture Calm Sea and Prosperous Voyage in 1828, the first of three overtures based around the sea, the others being The Hebrides , Op 26 in 1830 and The Fair Melusine , Op 32 in 1833. As it happened. he had never sailed on the sea until after university (and had only seen the Baltic once, in 1824), although by the time of composing The Hebrides he had suffered the effects of sea sickness, but that is another story…
The central section of Julian Anderson’s new Cello Concerto, dedicated to tonight’s soloist, ends with a chorale that he composed in memory of his friend, teacher and mentor the composer Oliver Knussen, who had died suddenly on 8 July 2018. Of course, the cello is a perfect instrument to encompass a litany for a dead friend, with its sonorous ability to hold a melodic line, as well as encompass a massive range of pitch, from deep to high. Anderson sets the work in context with other concerti he has recently written:
“Litanies is the third concerto I have composed since 2015 – it was preceded by In Lieblicher Bläue (In Lovely Blueness) for violin and orchestra (2014-2015) and The Imaginary Museum for piano and orchestra(2016-2017). These three pieces attempt three different solutions to the problem of renewing the concerto form.In the first, the solutions were partly of a spatial/theatrical nature: the violinist is offstage, then to the side of the orchestra, then in normal soloist position, and finally turns their back on the audience.Such solutions are not possible for either a piano or a cello – they are not portable instruments.In the piano concerto, the concerto form was exploded into a diverse set of six different movements, each with a different virtual ‘location’ – the metaphor was one of an imaginary journey.
“In Litanies the traditional three-movement concerto form is confronted. Moreover, the sequence of the three movements is also the traditional fast-slow-fast. The three movements are played continuously, however, and there are many cross-references between them, so the effect is deliberately ambiguous.”
Talking about the cello, Brahms said of his friend Dvorˇák’s Cello Concerto that if he had known the instrument could sound like that, he would have composed a concerto for it himself (perhaps he had forgotten his last orchestral work was a Double Concerto for Violin and Cello…). Yet he was a master at utilising the deep sonorities of the cello section in all four of his symphonies – just listen to the opening of the Second. That symphony, amazingly, had followed hard on the First, as if his creative inspiration had been let loose after his 20-year struggle to produce his First Symphony – a very serious work, awesome and tormented in conception –
which had eventually seen the light of day in 1876. But within a year a new symphony was pouring onto manuscript paper while Brahms was holidaying at the peaceful Carinthian lakeside resort of Pörtschach. Such was the conducive atmosphere in this beautiful part of Austria, Brahms returned the next two summers, which saw him equally productive, resulting in his Violin Concerto (in the same key of the Second Symphony) in 1878 and a clutch of chamber works. The Second Symphony glows with the summer sun, and has an almost Dvorˇákian lyricism, largely underplayed in his other symphonies. It has even been suggested that this is Brahms’ “Pastoral” symphony following his epic First, like Beethoven’s “Pastoral” following his titanic and fateful Fifth. The first performance took place in Vienna on 30 December 1877 under Hans Richter. That same month Brahms’ friend Theodore Billroth wrote: “A happy, cheerful mood permeates the whole work. It bears all the marks of perfection, of the effortless flow of limpid thought and warm feeling.”
Meeresstille: Adagio –
Glückliche Fahrt: Molto allegro e vivace –Allegro maestoso
The subject of Mendelssohn’s first sea overture was perhaps suggested to him by slightly older contemporary Adolf Bernhard Marx who, in May 1828, praised Felix in print for fashioning a work based on two Goethe poems “without using Goethe’s words”. There was an implicit criticism here about one of Marx’s favourite composers, Beethoven, as he had disliked Beethoven’s cantata based on Goethe’s poems ( Meeresstille und Glückliche Fahrt , Op 112 from 1815, but only published in 1823), for using a chorus to depict a calm sea. Mendelssohn’s overture did not receive
its first performance until 7 September 1828, and then only a private one, and he later revised it in 1834, before being published in 1835.
Given the status of Mendelssohn’s family (his grandfather, Moses Mendelssohn, is regarded as the “father of German Philosophy”), it is perhaps no surprise that Felix actually knew Goethe, who was 50 years Felix’s senior. They had first met when Mendelssohn was only 12 and, by all reports, he and “the father of German literature” got on like a house on fire, meeting on other occasions too.
We can only wonder if Felix actually discussed his musical setting of Goethe’s poems, which had been written in 1787 when the author had been becalmed himself of Sicily. Even though Mendelssohn dispensed with the poems, it is perhaps useful to quote them here.
Meeresstille
Tiefe Stille herrscht im Wasser
Ohne Regung ruht das Meer, Und bekümmert sieht der Schiffer
Glatte Fläche rings umher.
Keine Luft von keiner Seite!
Todesstille fürchterlich!
In der ungeheuern Weite
Reget keine Welle sich.
Glückliche Fahrt
Die Nebel zerreißen, Der Himmel ist helle, Und Äolus löset
Das ängstliche Band. Es säuseln die Winde, Es rührt sich der Schiffer.
Geschwinde! Geschwinde!
Es teilt sich die Welle, Es naht sich die Ferne; Schon seh’ ich das Land!
Mendelssohn himself wrote: “I planned the introduction in this way. A note is gently sustained by the strings for a long while, hovering here and there and trembling, barely audible, so that in the slowest Adagio, now the basses, now the violins, rest on the same note for several bars. Everything stirs sluggishly from the passage with heavy tedium. Finally, it comes to a halt with thick chords and the Prosperous Voyage sets out. Now all the wind instruments, the timpani, oboes and flutes begin and play merrily to the end.”
To achieve his goal, Mendelssohn added piccolo, contrabassoon and a (now defunct) serpent as well as a third trumpet to his orchestral palette. He retained Beethoven’s D major for the key, but – in true 19th-century Romantic fashion – created a musical tone picture to emulate Goethe’s words. And it is probably relevant that Mendelssohn actually took up painting at this time.
The opening Adagio, just 48-bars long (out of 517 bars), lasts nearly a third of the total time, the slow
Calm Sea
Deep stillness reigns over the water
Without motion rests the sea, So the skipper looks troubled
At the flat surface everywhere. No breath of air from anywhere!
Terrifying deathly stillness!
Across the immense distance
No wave stirs.
Prosperous Voyage
The mists are torn apart, The sky is bright, And Aeolus releases
The fearful bonds. The winds start rustling, The skipper rouses himself. Quickly! Quickly!
The waves divide, The distance shortens, I can already see land!
chordal changes evoking the sense of solitude and ennui such enforced inactivity brings. Then the flute twice introduces a little scurrying phrase which offers the prospect of a change in the weather, and Mendelssohn illustrates this in a 50bar transition passage, molto allegro, as the wind picks up dramatically for the woodwind to burst in with a breezily joyful melody, later tempered by a more sedate, almost hymn-like theme. The overture ends as if the ship has landed, trumpets announcing its arrival in port, and the dying away and quiet ending indicates relief that dry land has –at last – been reached.
Strings: 1st & 2nd violins, violas, cellos, double basses
Woodwinds: flutes (2), piccolo (1), oboes (2), clarinets (2), bassoons (2), contrabassoon (1)
Brass:horns (2), trumpets (3)
Timpani
Co-commissioned by Radio France, Hong Kong Sinfonietta, City of Birmingham Symphony Orchestra, Norwegian Chamber Orchestra, Swedish Chamber Orchestra & Orchestre de Chambre de Lausanne
Premiered on 12 February 2020 at Paris’ Auditorium de Radio France with tonight’s soloist accompanied by the Orchestre National de France under Pascal Rophé, Julian Anderson’s Litanies should have arrived in Hong Kong the following month for its Asian première, but world events put paid to that. Now, at last – just shy of three years later – Alban Gerhardt bridges the gap and performs the work tonight.
Litanies , which recently won the 2023 Grawemeyer Award for Music Composition, is Julian Anderson’s third major concerto, a form which proved to be a major focus to his compositions over a six-year period, but it is this Cello Concerto that adopts the most traditional form of the three. It also carries the most concentrated title, as Anderson seeks to reinvent the concerto for the 21st century. But few, if any, cello concerto forbears have required the returning of the fourth string midway through the music.
In his own programme note Julian Anderson writes:
“ Litanies was two years in the making. Composing for cellist Alban Gerhardt, a magnificent soloist with an exceptionally wide-ranging musical repertoire, was a key stimulus throughout.In Litanies the cello is re-examined string by string: each is given its own character and colours.Of these the first string (A) is the trigger sound for the whole piece and recurs at the joins between each of the work's three movements, which play without interruption.Starting from that springboard, the music at first playfully explores a lighthearted dialogue between the cellist and the orchestra – they share or swap sounds,
passing them back and forth, cheerfully echoing and misunderstanding each other.
“A more intense mood develops in the central slow movement, where we hear the lowest string of the cello for the first time in the first of a long sequence of increasingly passionate and extended melodies. The work becomes a double threnody for the Cathedral of Notre Dame which was destroyed by fire in April 2019 and for my friend and much-missed colleague Oliver Knussen, who died some months before. Chords and melodies appear only to disappear as if gradually melting under intense heat.At the centre of the movement –and the work – comes the traditional cadenza, but with an unusual twist: the cello’s lowest string is tuned down a tone [from C to B-flat], and the whole cadenza is on the harmonics of this retuned open string. It is a sound both luminous and frightening, as the higher the soloist climbs up the string, the more the sounds become like gasps or even screams. Against this a monstrous pulse is heard in the orchestra, gradually slowing down to a point of standstill: there is a sense of time running out.Finally, the cellist leads the orchestra in a hymn of praise – a tribute to a departed friend and a memorial to a 37-year-long friendship.
“Out of the final chords the last movement springs to life, defiant, dancing.As the dancing gathers strength, a new soloist challenges the cellist to a duel: the percussionist interrupts the cello with increasing force, finally attempting a cadenza of its own ‘as if at all costs to stop the progress of the music’ (in the words of Carl Nielsen, whose Fifth Symphony includes an analogously destructive percussion cadenza ). The coda takes off in a different direction: the cellist sings climbing ecstatically higher and higher, eventually disappearing off into the ether. This conclusion was inspired by the beautiful final lines of the Noh-play Hagoromo by Zeami, as translated by Arthur Waley:
‘...Past the Floating Islands, through the feet of the clouds she flies Over the mountain of Ashitaka, the high peak of Fuji, Very faint her form, Mingled with the mists of heaven; Now lost to sight.’
“Programme music? Perhaps.But why not, if the context justifies it?”
Strings: 1st & 2nd violins, violas, cellos, double basses
Woodwinds: flute (1), flute/piccolo/alto flute (1), oboe (1), oboe/English horn (1), clarinet (1), clarinet/bass clarinet (1), bassoon (1), bassoon/contrabassoon (1)
Brass:horns (2), trumpets (2), trombone (1)
Percussion:tubular bells, suspended cymbals, sizzle cymbal, tam-tam, water bell, bell tree, steel drums, bass drum, congas, tumbas, claves, anklung, maraca, tom-toms
Harp, piano/synthesiser
Solo cello
Allegro non troppo
Adagio no troppo – L’istesso tempo ma grazioso
Allegretto grazioso (quasi andantino) –Presto ma non assai – Tempo primo
Allegretto con spirito
Unlike Mendelssohn’s overture, Brahms’ orchestral works have no suggestion of programmatic influences. In this sense he was the true successor to Beethoven, and no composer since has achieved such outstanding success within these given parameters. He was not interested in opera or in the line taken by his contemporary Wagner: his music is total music with no need for extra-musical references, and his Second Symphony is one of his greatest.
From a technical point of view, the opening cello and bass phrase (D–C-sharp–D) becomes the germ for each of the movements (sometimes with the semitone turn moving up rather than down) but the inspiration is seamless and there is no feeling of artifice in the ebb and flow of the music. As ever with Brahms, he delights in slightly off-balancing the listener. Here triplets play against duplets, themes are started on off-beats (a favourite trick, of his mentor Robert Schumann) and mood changes are handled with great skill and subtlety proving that, however long it took Brahms to feel at home with symphonic form, he was a master when he finally put pen to manuscript paper.
With the first three movements revelling in triple time, the work very much has the feeling of a homage to the Viennese waltz or Austrian Ländler However, despite the relaxed opening with both first and second subjects calm and lyrical, the first movement is not totally bathed in sunshine. Trombones and tuba (in the First Symphony held in
check until the Finale ) cast shadows over the landscape and there are some powerful, stormy passages in the development, before the shortened recapitulation and the delightful coda, introduced by a magical horn solo with chirpy wind and pizzicato strings to close.
The Adagio, richly conceived in B major, starts in 4/4 (a low descending string theme with rising bassoon counterpoint) but the second subject (ma grazioso), although at the same tempo, is in 12/8, triplet-based yet again. As in the first movement, power and more serious feelings are always nearby, building to a magnificent climax in the middle of the movement. Eventually the triplets disappear, leaving pulsing horn and timpani to close the movement.
Brahms’ playful combination of triple and duple times is again to the fore in the third movement. In G major, this is a combination of variation and rondo form, and takes the place of the earlier symphonic minuets (Mozart and Haydn) and later scherzos (Beethoven and Bruckner). Opening in 3/4, with oboe over pizzicato strings, the main Allegretto grazioso theme is repeated twice with two sections separating each, both marked Presto ma non assai. The first of these is the main theme skilfully transmuted into 2/4 time (with more than a reminiscence of Tchaikovsky); the second takes a subsidiary idea from the first theme and treats it in 3/8 time (is there a Scottish resonance here?). Trumpets, trombones, tuba and timpani are omitted entirely and the whole movement is delicately scored, once again ending quietly.
The spirited Finale starts quietly, with sotto voce strings and gentle wind solos. But Brahms is lulling us into a false sense of security. Suddenly the theme is played with full force – high-spirited energy and brilliance being the movement’s hallmarks. A slight relaxing in pace ushers in the second subject, warmly resonant for strings, which
is well worth slowing down for. For those who know Mahler’s First Symphony, you can find the falling fourths he uses in his opening movement, here used by Brahms in a moment of calm repose. Given that Mahler’s symphony postdates Brahms’ by only eight years, perhaps Mahler had Brahms’ falling fourths etched in his brain. Typically Brahmsian are both the syncopated play of quavers against triplets, and the closing strident scales and blazing full brass peroration that underpin the symphony’s final chords. There is no other music as genuinely heart-warming as this. If only all summers could be as good as the one Brahms obviously had in 1877.
Strings: 1st & 2nd violins, violas, cellos, double basses
Woodwinds: flutes (2), oboes (2), clarinets (2), bassoons (2) Brass: horns (4), trumpets (2), trombones (3), tuba (1) Timpani
© Nick Breckenfield, 2023 British programme-note writer Nick Breckenfield was the Classical Music and Opera Editor for whatsonwhen.com for 13 years and now works for the Borletti-Buitoni Trust which awards young classical music artists
桂冠音樂總監 Music Director Emeritus: 葉詠詩 YIP Wing-sie
候任音樂總監 Music Director Designate: 柏鵬 ChristophPOPPEN
HKS Artist Associates
何博欣 Vivian HO (2022-2023)
鄺展維 Charles KWONG (2020-2022)
麥兜 McDull (2019-2020)
高世章 Leon KO (2018-2019)
陳慶恩 CHAN Hing-yan (2016-2018)
石家豪 Wilson SHIEH (2015-2016)
朱�� CHU Pak-him (2014-2015)
麥淑賢 MAK Su-yin (2014-2015)
羅詠媞 Wendy LAW (2013-2014)
盧思泓 LOO Sze-wang (2012-2013)
伍宇烈 Yuri NG (2011-2013)
李嘉齡 Colleen LEE (2010-2011)
黎志華 Jason LAI (2009-2011)
楊嘉輝 Samson YOUNG (2008-2009)
伍卓賢 NG Cheuk-yin (2006-2008)
小提琴 Violin
格德霍特
樂團首席
金仁善
署理助理樂團首席
李海南
第二小提琴首席
蔡柏沂
陳劭楠
周止善
蔡君賢
James CUDDEFORD
Concertmaster
KIM In-sun
Acting Assistant Concertmaster
LE Hoai-nam PrincipalSecond Violin
CAI Pak-yi
CHAN Shaw-nan Sharon
Kiann CHOW
CHUA Vince Eliezer N.
John KRUER
Sally LAW
Ambrose LUI
LUO Wei-min
PANG Hiu-wan
POON Ka-mei Camille
陽旻佑
楊宇思
YANGMin-yu
YANGYu-si
William LEE
LEUNG Ka-chun
YEUNG Kin-man Sunny
Elvis CHAN
LAU Sum-yin
Christina BEAN
Ringo CHAN
LUNG Kwan-wai Kenny
NGAN Sing-on
TANG Wing-shuen Rebecca
長笛 Flute
○上杉晃代
雙簧管 Oboe
◆薛宇曦
福原真美
單簧管 Clarinet
●方曉佳（休假）
○陳秋媛
■馮智恆
巴松管 Bassoon
◆歐啟詩
田口美奈子
圓號 Horn
●包文慶
東出真澄
岑慶璋
陳珈文
小號 Trumpet
●黃山
文曦（休假）
■陳健勝
長號 Trombone
●羅澤基 陳學賢
Akiyo UESUGI
SZE Yu-hey Kenneth
Mami FUKUHARA
FONG Hiu-kai Johnny (on Leave)
CHEN Chiu-yuan
FUNG Chi-hang Eric
AU Kai-see Tiffany
Minako TAGUCHI
PAW Man-hing Hermann
Masumi HIGASHIDE
SHUM Hing-cheung
CHAN Kar-man Cheryl
HUANG Shan
MANHay (on Leave)
CHAN Kin-sing Kinson
Christopher RODGERS
CHAN Hok-yin
低音長號 Bass Trombone 江子文（休假）
大號 Tuba
●林榮燦（休假）
大提琴 Cello
CHANG Pei-chieh
Laurent PERRIN
HO Kwok-chee Karey
LEE Eun-sol
PARK Si-won
YIP Chun-hei Eric
Masami NAGAI
Santiago COSTA
MARTÍNEZ (on Leave)
HUANG Tun-pin
定音鼓 Timpani
●村本曉洋
敲擊樂 Percussion
●周展彤
小山理惠子
豎琴 Harp
●黃士倫
鍵琴 Keyboard
●朱偉恆
KONG Tze-man Jason (on Leave)
LAM Wing-tsan (on Leave)
Akihiro MURAMOTO
CHAU Chin-tung
Rieko KOYAMA
Ann HUANG Alan CHU
Notes
1. Guest Principal Tuba 客席大號首席 – Scott LIU (廖少國)
2. Freelance Musicians:
Violin 小提琴： CHAN Ming-chak Alvin (陳銘澤), Vanessa CHAN (陳朗瑚), CHIK Yiu-ting (戚耀庭), WONG Nina Sin I (王倩兒)
Viola 中提琴： Cecilia HO (何永妍), Otto KWAN (關統洋)
Cello 大提琴： Cecilia CHAN (陳希琳), JIM Wai-man (詹蔚雯)
Double Bass 低音大提琴： CHAN Ping-chi (陳秉智), CHAN Yui-woon Yvonne (陳睿媛), Evette CHIU (趙逸穎)
Flute 長笛： HUI Wing-hang Bob (許榮鏗), Chris WONG (黃竣琛)
Bassoon 巴松管： CHEUNG On-ki Angel (張安琪)
Trumpet 小號： TUNG Wai-lok Jimmy (董煒樂)
Bass Trombone 低音長號： John LO (盧國軒)
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Dr HO Yu-cheung
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當代音樂研究 Contemporary Music Research
鄺展維 Charles KWONG
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