House Prog: Sergei Nakariakov Plays Tchaikovsky (4.5.2021) by Hong Kong Sinfonietta Limited

4.5.2021 (星期二 Tue) 8pm

西九文化區戲曲中心大劇院 Grand Theatre, Xiqu Centre West Kowloon Cultural District

小號/柔音小號 Trumpet/Flugelhorn

納卡里亞科夫 Sergei Nakariakov

桂冠音樂總監/指揮 Music Director Emeritus/Conductor

葉詠詩 Yip Wing-sie

香港小交響樂團由香港特別行政區政府資助 Hong Kong Sinfonietta is financially supported by the Government of the Hong Kong Special Administrative Region

小號巨星納卡里亞科夫 Sergei Nakariakov Plays Tchaikovsky 桂冠音樂總監/指揮 Music Director Emeritus/ Conductor

節目

葉詠詩 Yip Wing-sie

柴可夫斯基/ 洛可可主題變奏曲，作品33（柔音小號版本）米凱爾．納卡里亞科夫編行板似的中板－主題：簡潔的中板－

柴可夫斯基

《尤金．奧涅金》：波蘭舞曲

變奏一：用主題的速度－變奏二：用主題的速度－變奏三：綿延的行板－變奏四：優雅的行板－變奏五：中庸的快板－變奏六：行板－變奏七：活潑的快板

小號/柔音小號 Trumpet/Flugelhorn

納卡里亞科夫 Sergei Nakariakov

阿爾邦/ 《威尼斯嘉年華》米凱爾．納卡里亞科夫配器－中場休息15分鐘－

C小調第二交響曲，作品17，「小俄羅斯」

柴可夫斯基

持續的行板－活潑的快板進行曲般的小行板，類似中速的諧謔曲：甚為活潑的快板終樂章：相當中庸的－活潑的快板－急板

香港小交響樂團 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.

Programme

Tchaikovsky/ Mikhail Nakariakov arr

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.

Eugene Onegin: Polonaise

Tchaikovsky

Variations on a Rococo Theme, Op 33 (Adapted for Flugelhorn) Moderato quasi Andante – Tema: Moderato semplice – Var I: Tempo del Tema – Var II: Tempo del Tema – Var III: Andante sostenuto – Var IV: Andante grazioso – Var V: Allegro moderato – Var VI: Andante – Var VII: Allegro vivo

Arban/ The Carnival of Venice Mikhail Nakariakov orch – 15-minute intermission –

Tchaikovsky

Symphony No 2 in C minor, Op 17, “Little Russian” Andante sostenuto – Allegro vivo Andantino marziale, quasi moderato Scherzo: Allegro molto vivace Finale: Moderato assai – Allegro vivo – Presto

香港小交響樂團 Hong Kong Sinfonietta 桂冠音樂總監 Music Director Emeritus: 葉詠詩 YIP Wing-sie 首席客席指揮 Principal Guest Conductor: 柏鵬 Christoph POPPEN

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

《Tiny Galaxy Concerts》，在香港別具特色的地點拍攝，讓觀眾漫遊古典音樂小宇宙。

的演奏稱譽本地及海外樂壇。

樂團自 2006 年起舉辦「駐團藝術家」計劃，邀請

自 1999 年起，香港小交響樂團經常與國際知名音

本地不同界別的藝術家與樂團緊密合作及交流，培

樂家及藝團合作，包括阿爾斯達德、法蘭、格林高

育新一代藝術家之餘更為古典音樂創造新的可能

特、赫姆森、麥米蘭、納卡里亞科夫、彭德雷茨

性。樂團灌錄過多套唱片，收錄不少華人作曲家的

基、凱拉斯、塞伊、馬林斯基大劇院芭蕾舞團、莫

優秀作品；由DECCA發行的三輯《就是古典音樂》

斯科大劇院芭蕾舞團、英國皇家芭蕾舞團、英國國

系列，均獲白金及金唱片佳績。雙 CD《一屋寶貝

家芭蕾舞團、美國芭蕾舞劇院、紐約市芭蕾舞團、

音樂廳》於2018年由DECCA出版。

斯圖加特芭蕾舞團及翩娜．包殊烏珀塔爾舞蹈劇場

樂團經常應邀作客海外，包括：美國紐約林肯中心

等。樂團亦經常應邀與本地藝術節及藝團合作，

羅斯劇院、加拿大多個以出色音效著稱的音樂廳；

如香港藝術節、法國五月、香港芭蕾舞團及香港歌

南美洲的巴西、阿根廷及烏拉圭；在歐洲計有法國

劇院等。 2018 年舉辦第一屆香港國際指揮大賽，

的拉羅克．昂迪榮國際鋼琴音樂節和蒙頓音樂節

吸引了310位來自49個國家及地區的參賽者。

等、德國東弗里斯蘭「浪潮」音樂節、波蘭貝多芬

香港小交響樂團自 2009 年起為香港大會堂的場地

復活節音樂節、意大利的米凱朗傑利國際音樂節和

伙伴，每樂季演出逾100場次。除了傳統的管弦樂

維琴察音樂節、葡萄牙馬爾旺國際音樂節、立陶宛

章外，樂團每年均委約作曲家為樂團譜新曲，並銳

的兩個音樂節、瑞士蘇黎世、日內瓦和弗里堡；北

意與不同界別的藝術家製作嶄新的跨界節目，

京第二屆中國交響樂之春（國家大劇院）、中國上

於2020年更躍進大銀幕，推出音樂電影《Back On

海國際藝術節（世博會「香港活動周」閉幕節

Stage》及《Back On Stage II (Quarantined!)》，

目）、韓國統營國際音樂節、新加坡、台灣、日本

大獲好評並數度加場。樂團深明培育下一代的重要

東京、金澤、長野、新潟和郡山等，並五度獲邀參

性，針對不同年齡的觀眾，舉辦多套別樹一格的普

與東京《

及音樂會，包括《寶寶愛音樂》、《幼兒愛音樂》、

樂團2002年至2020年由著名指揮葉詠詩擔任音樂

《古典音樂速成》、《古典音樂知多少》和《我個名

總監，期間致力推動本地古典音樂發展，拉近音樂

叫麥兜兜．古典音樂小計劃》等節目，又經常在音

與普羅大眾的距離。作為樂團的桂冠音樂總監，她

樂廳以外的場地舉行室樂及跨界音樂會，大大拓展

將會在樂團委任新總監前，與首席客席指揮柏鵬一

古典音樂觀眾的層面。近期推出的網上室樂系列

起負責樂團藝術發展事宜。

》音樂祭演出。

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, Mariinsky Ballet, Bolshoi Ballet, 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 Le French May, the orchestra also partners regularly with Hong Kong Ballet and Opera Hong Kong in their staged productions. In 2018, the orchestra organised the 1st Hong Kong International Conducting Competition, which attracted 310 applications from 49 countries/regions. 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 newly commissioned works, as well as specially-designed concert series for different audiences and age groups, including Good Music for Babies, Good Music for Kids, Know Your Classical Music, Short-cut to Classical Music and HKS McDull Music Project. The orchestra also frequently ventures into crossover initiatives, recently receiving wide acclaim for its groundbreaking concert films Back On Stage and Back On Stage II (Quarantined!) which landed in the cinemas and on other popular platforms. The orchestra also continues to break down barriers between music and audience with free chamber concerts held regularly at Hong Kong City Hall and beyond, recently presenting the Tiny Galaxy Concerts online series featuring performances recorded at unconventional and fascinating locations of Hong Kong.

Launched in 2006, the HKS Artist Associate scheme provides a platform for intensive collaboration with local artists from different arts disciplines to expand the horizon of classical music. 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. On tour, Hong Kong Sinfonietta has been invited to perform 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 Michelangeli Festival, 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 Tokyo Opera City, La Folle Journée in Tokyo and Niigata, Nagano, Kanazawa and Koriyama; in Korea at the Tongyeong International Music Festival and in Singapore at the Esplanade, and at National Concert Hall Taipei and National Taichung Theater. Hong Kong Sinfonietta has thrived under the direction of Music Director Yip Wing-sie – one of Asia’s most respected conductors – since 2002. Starting from May 2020, she takes on the new role of Music Director Emeritus. She and Principal Guest Conductor Christoph Poppen are responsible for the artistic development of the orchestra before the next Music Director is appointed.

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 98 號運盛大廈 3樓 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

桂冠音樂總監/指揮 Music Director Emeritus/Conductor

葉詠詩 YIP Wing-sie

亞洲樂壇備受尊崇的指揮家葉詠詩，於 2002 年起

年曾指揮的歌劇包括香港小交響樂團伴奏的《詩人

出任香港小交響樂團音樂總監， 2020 年 4 月底卸

李白》、香港藝術節兒童歌劇《愛麗絲夢遊仙境》

任，轉任桂冠音樂總監。

及台灣愛樂的《畫魂》。

葉詠詩在1985年贏得法國貝桑松第35屆國際青年

葉詠詩繼 2004 年帶領香港小交響樂團代表中國參

指揮大賽冠軍及「金豎琴」獎，並在 1988 年獲第

加「中國在法國」文化年的成功演出後，經常獲邀

八屆東京國際指揮比賽獎項。她曾先後出任香港大

赴世界各地演出，當中包括美國、加拿大、巴西、

學的學院藝術家、新加坡國立大學楊秀桃音樂學院

阿根廷、烏拉圭及台灣，以及法國、德國、波蘭、

王鼎昌傑出客座教授、廣州交響樂團的首席指揮和

意大利、葡萄牙、日本、韓國和立陶宛的音樂節。

音樂總監及香港管弦樂團的駐團指揮。

生於廣州，香港長大的葉詠詩，憑香港皇家賽馬會

葉詠詩經常獲邀擔任世界各地樂團的客席指揮，曾

音樂基金獎學金遠赴倫敦皇家音樂學院攻讀；後於

合作的包括中國中央樂團、中國國家交響樂團、上

美國印第安納大學取得小提琴及指揮碩士學位。

海交響樂團、首爾愛樂樂團、大阪管弦樂團、新日

1986和1992年夏季，她分別獲得哥士域斯基獎學

本愛樂交響樂團、札幌、讀賣、台灣、布里斯本、

金及小澤征爾獎學金前往鄧肯活音樂中心研習指

墨爾本、昆士蘭等交響樂團及新西蘭的奧克蘭愛樂

揮。指導過她的指揮大師包括狄瑪爾、伯恩斯坦、

樂團等。在歐洲，她曾與法國圖盧茲國家樂團、貝

小澤征爾、米亞及艾德敦。葉詠詩於 2007 年獲法

桑松室樂團、波蘭華沙愛樂樂團、西班牙特納里夫

國「藝術及文學騎士勳章」，2010年獲英國皇家音

島交響樂團、捷克科希策省樂團合作演出。此外，

樂學院頒授院士榮銜（FRCM），2013年獲香港各

她亦曾率領廣州交響樂團於國際知名的維也納音樂

界婦女聯合協進會頒發「香港六藝卓越女性」獎及

協會會堂（黃金大廳）演出及參與北京國際音樂

由香港政府授勳銅紫荊星章。 2015 年，她獲法國

節。葉詠詩曾與多位國際知名的獨奏家合作，包括

政府頒發「國家榮譽騎士勳章」，表揚她在音樂界

杜美、傅聰、明茨、普爾曼、穆特及蘇嘉文等；近

的傑出成就。

A highly respected and influential figure in Asia’s orchestral music scene, Yip Wing-sie shifted from being the Music Director of Hong Kong Sinfonietta – a position which she had held since 2002 – to Music Director Emeritus in May 2020. Other positions she had previously held include Principal Conductor and later Music Director of Guangzhou Symphony Orchestra and Resident Conductor of Hong Kong Philharmonic Orchestra. Winner of the First Prize as well as “Lyre d’Or” in the 35th Concours International de Jeunes Chefs d’Orchestre de Besançon, France in 1985 and a prizewinner in the 8th Tokyo International Conducting Competition in 1988, Yip is in great demand as a guest conductor in Asia. Orchestras she has conducted include the Central Philharmonic Orchestra of China, China National Symphony Orchestra, Shanghai Symphony Orchestra, Seoul Philharmonic, Osaka Philharmonic, New Japan Philharmonic, Tokyo Mozart Players, the symphony orchestras of Sapporo, Yomiuri, Taiwan, Tasmania, Melbourne and Queensland as well as the Auckland Philharmonia of New Zealand. In Europe, Yip’s engagements have included concerts with the Orchestre National du Capitol de Toulouse and the Chambre Orchestre de Besançon in France, Warsaw Philharmonic in Poland, Spain’s Tenerife Symphony Orchestra and the Czech State Orchestra of Košice. She has also conducted at prestigious venues and festivals such as the Vienna Musikverein (Grossersaal), Beijing Music Festival, Fukuoka’s Asian Month Festival in Japan, Hong Kong Arts Festival and Macao International Music Festival. Yip has collaborated with such renowned artists as Augustin Dumay, Fou Ts’ong, Shlomo Mintz, Anne-Sophie Mutter, Itzhak Perlman and Pinchas Zukerman. Operas she has conducted include Guo Wen-jin’s Poet Li Bai and the world premières of Pierangelo Valtinoni’s opera for children Alice in Wonderland, and La Peintre with Taiwan Philharmonic.

As Music Director of Hong Kong Sinfonietta, Yip has taken the orchestra on tour in recent years to France, Germany, Switzerland, Italy, Poland, Portugal, Lithuania, Canada, the USA, Japan, Korea, Beijing, Shanghai, Taiwan, and in South America in Argentina, Brazil and Uruguay. Born in Guangzhou and brought up in Hong Kong, Yip graduated from the Royal College of Music in London and the Indiana University at Bloomington, USA, where she obtained her Master’s Degree in violin performance and conducting. As the winner of the Koussevitsky Scholarship and the Seiji Ozawa Fellowship Award, Yip also attended the conducting seminar and fellowship programmes at the Tanglewood Music Center. Her mentors included great maestros such as Norman Del Mar, Leonard Bernstein, Seiji Ozawa, Gustav Meier and David Atherton. Accolades Yip has received internationally include “Chevalier de l’Ordre National du Mérite” bestowed by the French Government (2015), “Chevalier dans l’Ordre des Arts et des Lettres” by the Ministry of Culture and Communication of France, Fellow of the Royal College of Music (FRCM), and she was also named the Ong Teng Cheong Distinguished Visiting Professor at the Yong Siew Toh Conservatory of Music, National University of Singapore. In Hong Kong, she was awarded “Hong Kong Women of Excellence in the Six Arts Award” by the Hong Kong Federation of Women and the Bronze Bauhinia Star (BBS) by the Hong Kong Government, and was University Artist at The University of Hong Kong (2011- 2012).

小號/柔音小號 Trumpet/Flugelhorn

納卡里亞科夫 Sergei Nakariakov 被樂評形容為「小號界中的帕格尼尼」及「小號界中的卡羅素」的以色列俄裔小號演奏家納卡里亞科夫，憑藉令人嘆為觀止的造詣、音色柔美圓潤的演奏及絕妙的音感譽滿全球。他更致力推廣柔音小號，經常與世界頂尖樂團和指揮合作，奠定柔音小號作為獨奏樂器的地位。他合作過的著名指揮包括格杰夫、阿殊堅納西、梵志登、馬連拿、艾森巴赫、柏尼夫、史柏華歌夫、薛高維斯基、長野健、巴舒密、索德基斯、狄米爾卡洛夫、貝洛拉維克及胡爾夫。納卡里亞科夫又常與多位優秀的音樂家如列賓、阿嘉莉殊、麥斯基、帕譽特、拉克林及薛高維斯基等演奏室樂，與鋼琴家美羅維芝及其親姊薇拉更是合作無間。納卡里亞科夫的演奏曲目涵蓋所有為小號而寫的作品，他更積極拓展演奏範疇，包括魯茨卡、布雷納、舒奈達及韋特文等作曲家的改編曲及委約作品，同時亦致力探討詮釋音樂的新方式。納卡里亞科夫與華納合作推出的專輯深受各界好評，除收錄了經典的小號曲目，亦包括為小號及柔音小號而改編的作品。納卡里亞科夫生於俄羅斯高爾基，六歲習琴，其後隨父親學習小號。父親對納卡里亞科夫的影響甚深，除傳授小號演奏方面的知識和技巧，亦培育了兒子獨特的音樂感。他又為納卡里亞科夫譜寫新曲，並將不少經典作品改編成小號版本予之演奏。納卡里亞科夫演奏用的樂器由巴黎 Antoine

Courtois公司製造。

Sergei Nakariakov, an Israeli-Russian trumpet player, has established himself as one of the most sought-after trumpet players on the international stage. Gifted with a rare combination of stunning virtuosity, a suave and velvet-toned sound and a deep sensitivity, he was named as “The Paganini of the trumpet” and “Caruso of the trumpet”. Nakariakov has single-handedly brought the flugelhorn to prominence on the concert platform, and has developed long-standing relationships with many of the world’s leading orchestras, conductors and musicians. Renowned conductors with whom Nakariakov has worked include Valery Gergiev, Vladimir Ashkenazy, Jaap van Zweden, Neville Marriner, Christoph Eschenbach, Mikhail Pletnev, Vladimir Spivakov, Dmitry Sitkovetsky, Kent Nagano, Yuri Bashmet, Saulius Sondeckis, Yuri Temirkanov, Jiří Bělohlávek and Hugh Wolff. For chamber music projects, he regularly collaborates with prominent musicians like Vadim Repin, Martha Argerich, Mischa Maisky, Emmanuel Pahud, Julian Rachlin and Dmitry Sitkovetsky. He enjoys a long-lasting musical friendship with pianist Maria Meerovitch and his own sister, Vera Okhotnikova.

Nakariakov’s discography with Teldec Classics International (Warner) has drawn the most enthusiastic public and critical acclaim, and incorporates the most famous original trumpet repertoire as well as numerous arrangements for trumpet and flugelhorn. Born in Gorky, Nakariakov began to play the piano when he was six years old, but moved on to the trumpet – a change of direction supported by his father, Mikhail Nakariakov, who transcribed many classical concertos for the trumpet and created a unique repertoire for his son. He gave him his technical knowledge and has helped him to further develop his exceptional feeling for music to this day. Nakariakov plays on instruments by Antoine Courtois, Paris.

Not only does Nakariakov’s repertoire cover the entire range of original literature for the trumpet, it is also continually expanding into broader territories, comprising many fascinating transcriptions and commissions by Peter Ruzicka, Uri Brener, Enjott Schneider and Jörg Widmann, while he continuously searches for new means of musical expression.

節目介紹繼上星期五的獨奏會後，納卡里亞科夫再度攜小號和柔音小號登場。這是一場幾乎全是柴可夫斯基作品的音樂會，除了第三首作品 — 由法國作曲家阿爾邦撰寫的經典小號炫技之作。阿爾邦比柴可夫斯基年長15歲。阿爾邦本身是位著名的短號和薩克斯號演奏家。他於里�出�，家�還有�個兄�� （兄長法蘭西斯克 [Francisque Arban] 是法國的熱氣球飛行家，是第一位飛越阿爾卑斯山的人，但在1849年10月7日於地中海失蹤）。他後來成為出色的短號演奏家及指揮、作曲家和音樂教師，名揚國外。在1873和1876年，他在聖彼得堡以南的巴甫洛夫斯克（Pavlovsk）指揮了夏季音樂會（維也納的史特勞斯家族舉行過相似的演出）。1864年，他撰寫了一部甚具影響力的手冊，稱為《短號與薩克斯號的吹奏方法全編》（Grande Méthode Complète de Cornet à Pistons et de Saxhorn），現今仍被使用。他又採用當時流行的調子，創作了一系列難度極高的作品，讓聽眾大為受落，例如今晚的作品。柴可夫斯基本身就是一位旋律大師，對舞蹈尤有興趣，寫下了三部膾炙人口的芭蕾舞劇。但音樂會將以他最著名的歌劇 — 根據普希金劇本改編的抒情歌劇《尤金．奧涅金》 — 中的波蘭舞曲揭幕。他美妙的第二交響曲也有很多節奏輕快，富麗堂皇的段落。創作的地點是人稱「小俄羅斯」的烏克蘭，交響曲別號也由此而來。柴可夫斯基的「洛可可主題變奏曲」，靈感來自他當時的一位朋友 — 大提琴家費森海根（Wilhelm Fitzenhagen，因為後者對這首協奏曲的一些主張，導致他們後來鬧翻了）。無論是柴可夫斯基原裝的八個變奏版本，還是費森海根少了一個變奏的改編版本，都是大提琴的經典作品。但今晚我們卻改用柔音小號來演奏，改編者是擔任獨奏的納卡里亞科夫的父親米凱爾（Mikhail Nakariakov）。柔音小號是由號角（bugle）演變過來的，到了 1820 年代才出現。第一把柔音小號實際是一種加了閥鍵的號角，是在1828年於柏林由斯托澤爾（Heinrich Stölzel）售出。後來在法國，薩克斯（Adolphe Sax，即是薩克斯管的發明者）製作了薩克斯號（saxhorns），這就是現代柔音小號的原型。它比號角、短號或小號的聲音都要圓潤飽滿和低沉，能代替圓號及其他樂器家族中如巴松管或大提琴的位置。若再加上第四個閥鍵，也可以使柔音小號在低音區多奏出一個四度的音程。當然，柔音小號和大提琴的差別，在於後者是使用弓來拉奏，柔音小號則是用嘴唇來吹奏。納卡里亞科夫能夠循環呼吸，即以鼻孔吸氣時同時用嘴呼氣，因此在吹奏快速段落或綿長的旋律時，中間就不會有停頓。2017年在薩拉索塔（Sarasota）演奏柴可夫斯基的這首作品之前，他在訪問中說，循環呼吸只是「幫助音樂的表現，除此以外並無特別。當我演奏柴可夫斯基時多會用上這種技術。大提琴手和弦樂手可以在運弓時隨時呼吸。對吹管樂手而言則更為困難，而旋律線有時也很長。」他也承認「洛可可主題變奏曲」是他「最喜愛演奏的作品之一：我曾經將它灌錄成唱片，也經常演奏。我認為它相當適合這一樂器 — 當然，它是為大提琴撰寫的，但柔音小號某程度上就是『吹管樂器中的大提琴』。」

柴可夫斯基（1840–1893）

《尤金．奧涅金》：波蘭舞曲柴可夫斯基在 10 歲時曾觀賞莫扎特的《唐．喬望尼》，自此喜歡上這位作曲家和他的職業。四年後他母親去世，他即投入作曲，雖然要過了 20 年他才完成了第一首令自己滿意的歌劇《禁衛軍》（The Oprichnik，1874）；兩年後他又創作了《鐵匠瓦庫拉》（Vakula the Smith，後來又有修改）。同年他造訪巴黎，觀看了《卡門》，又曾前往拜羅伊特（Bayreuth），欣賞了華格納《指環》系列的

柴可夫斯基（1840–1893）米凱爾．納卡里亞科夫編（1944 年生）

洛可可主題變奏曲，作品33 行板似的中板－主題：簡潔的中板－變奏一：用主題的速度－變奏二：用主題的速度－變奏三：綿延的行板－變奏四：優雅的行板－變奏五：中庸的快板－變奏六：行板－變奏七：活潑的快板

第一次足本演出。

柴可夫斯基的「洛可可主題變奏曲」寫於 1876

1879 年，他嘗試打破歌劇的傳統，撰寫了「抒情

年，原本有八個變奏，它們的次序跟我們現在所

歌劇」《尤金．奧涅金》。這是柴可夫斯基最膾炙人

知的版本（即今晚演奏的）並不同。這首作品是

口的劇目，與另一套受普希金啟發的歌劇《黑桃皇

作曲家和德國大提琴家費森海根的友誼結晶，柴

后》（The Queen of Spades）一樣，成為現代經常

可夫斯基也試圖在作品中將古典形式與俄羅斯民

演出的劇目。史達拉汶斯基認為它是最地道的俄羅

謠傳統互相結合。大提琴這一樂器就頗能切合作

斯歌劇，比穆索爾斯基史詩式的《沙皇鮑里斯》

曲家的意圖，雖然費森海根對作曲家的創作原意

（Boris Godunov）更為出色。

並不太在意。

《尤金．奧涅金》講述年輕的塔吉安娜（Tatyana）

費森海根依照自己的喜好把第一個版本（即鋼琴和

對奧涅金一見傾心，寄了一封情書給他，卻遭到奧

大提琴協奏的版本）�的獨奏部份作出�動，柴可

涅金無情的拒絕。後來他又在一場決鬥中殺了塔吉

夫斯基在手稿上也接納了他的主意，甚至任憑費森

安娜妹妹的男朋友，使事情變得更為複雜。若干年

海根把發行本改編。費森海根進而採取了更大幅的

後，奧涅金從自我流放中回來，再次遇上已成為親

修改，把第八變奏刪去，又把其他部份重新編排

王夫人的塔吉安娜。這時奧涅金反而向她展開追

（第一和第二變奏基本上維持原狀；但第三變奏卻

求，但塔吉安娜卻以其人之道，還治其人之身，最

改成第六變奏；第四變成最後一個變奏，直接與尾

終令奧涅金絕望離去。

聲聯結；第五變奏變成第四；第六變成第五，而第

劇中有柴可夫斯基最為激動人心的音樂，把普希金的悲劇展現得栩栩如生。當中有兩首舞曲更成為日後的舞會經典：一是第二幕在女主人翁塔吉安娜生

七則變成第三）。費森海根的改動無疑很成功，他的版本也迅即成為大提琴熱門的曲目。但柴可夫斯基的原版現在也已製成錄音，而且絕對值得一聽。

日舞會�的圓舞曲，二是第三幕開�時華��重的

我很好奇，對於把「洛可可主題變奏曲」換成柔

波蘭舞曲（Polonaise）。後者以銅管號曲展開，然

音小號去演奏，柴可夫斯基會有甚麼想法？他肯定

後是疾急的弦樂，接著再由低音弦樂帶出令人難忘

喜歡發掘新的樂器（例如他在其最後一部芭蕾舞劇

的歡快舞蹈。

《胡桃夾子》中，就首次引進了鋼片琴），因此我猜想他會很有興趣聽聽用柔音小號去演奏這首作品。

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)、雙簧管 (2)、單簧管 (2)、巴松管 (2) 銅管樂：圓號 (4) 、小號(2)、長號 (3) 定音鼓

樂隊把柴可夫斯基原作的主題簡短地帶出後，獨奏者便登場了。模式可說甚為古典，華拉克（John Warrack）在其《BBC 柴可夫斯基交響曲及協奏曲指南》（BBC Guide to Tchaikovsky’s Symphonies and Concertos）一書中更指出，比起柴可夫斯基

後來的第四管弦樂組曲 — 又名《莫扎特風格曲》（1887），這首作品更能表現出他對莫扎特的敬意。獨奏者將主題奏畢後，木管樂便作出簡短的和應，這一和應後來一直以複奏（ritornello）的形式

阿爾邦（1825–1889）米凱爾．納卡里亞科夫配器（1944 年生）

《威尼斯嘉年華》

貫穿於所有的變奏之間。

在阿爾邦的《 1 4 首威爾第歌劇幻想曲》（ 1 4

第一變奏以三連音為基調；第二變奏著重把主題的

Fantaisies sur les Opéras de Verdi，包括：《遊吟詩

主音突出，襯以獨奏者輕盈飛快的音階。第三變奏

人》[2]、《埃爾納尼》、《十字軍》、《阿蒂拉》、

把樂曲從A大調轉為C大調，木管樂則以巧妙的三

《茶花女》、《弄臣》、《假面舞會》、《西西里晚

連音作伴奏。第四變奏將主題和複奏部份柔和、舒

禱》、《西蒙．波卡涅拉》、《露易莎．米勒》、

緩地結合起來，到了第五變奏，樂隊則把兩者接

《唐．卡洛斯》、《奧貝爾托》和《命運的力量》），

過，讓獨奏者奏出炫人的裝飾段落，隨後便直接進

以及其他歌劇作品，如奧柏（Auber）的《波爾蒂

入華采段。第六變奏變成了D小調，主題在弦樂的

契的啞女》和弗洛托（Flotow）的《瑪爾塔》之

撥奏之上泛漾。第七變奏活潑的快板將主題和複奏

外，他還根據其他旋律創作了大量波爾卡和四步舞

部份進一步發展，像變魔術一樣，獨奏和樂隊都綴

曲。過去他是一位善於吸引公眾的人物，最著名的

合得天衣無縫，充份顯示了柴可夫斯基過人的作曲

作品大概就是這首根據小提琴大師帕格尼尼的《威

技巧，而複奏部份則完全演化成樂曲的另一個主

尼斯嘉年華》來改編給短號的幻想曲與變奏曲。

題。所有的元素都在尾聲一一重現，而恰像之前的

帕格尼尼這首小提琴曲（作品 10）創作於 1829

所有變奏一樣，樂曲終結之時仍流露出作曲家的自

年。他稱作品是根據威尼斯的民謠「噢媽媽，親愛

信與機智。我們也要驚嘆納卡里亞科夫在最後幾頁

的媽媽」（”O Mamma, Mamma Cara”）改寫的，

連續不停地吹奏那些令人嘆為觀止的16分琶音！

並肯定視之為其最佳的作品之一。像帕格尼尼的其他作品如第 24 首《隨想曲》那樣，《威尼斯嘉年

此樂曲的樂隊編制弦樂：第一及第二小提琴、中提琴、大提琴、低音大提琴管樂：長笛 (2)、雙簧管 (2)、單簧管 (2)、巴松管 (2)、圓號 (2) 獨奏柔音小號 (原為獨奏大提琴)

華》也被改編成許多著名的變奏曲。低音大提琴家博特西尼（Giovanni Bottesini）就對之愛不釋手，把它改編給自己的樂器演奏，還有鋼琴家戈特沙爾克（Louis Moreau Gottshalk）和蕭邦（他的《帕格尼尼紀念曲》就是獻給這位意大利作曲家的）等。阿爾邦的版本首先在 1864 年的《短號與薩克斯號的吹奏方法全編》出版，引子及主題後有四個變奏，第三個標明是稍慢的，但獨奏者的手指飛快，所以聽來沒有鬆懈的感覺，最後又以簡短、令人驚嘆的尾聲結束。

此樂曲的樂隊編制弦樂：第一及第二小提琴、中提琴、大提琴、低音大提琴管樂：長笛 (2)、雙簧管 (2)、圓號 (2) 敲擊樂：定音鼓、三角鐵獨奏小號

柴可夫斯基（1840–1893）

C小調第二交響曲，作品17，「小俄羅斯」持續的行板－活潑的快板進行曲般的小行板，類似中速的諧謔曲：甚為活潑的快板終樂章：相當中庸的－活潑的快板－急板

謠「噢冬天，小小的冬天」以及一些教堂頌歌和科薩克的叛軍首領拉辛（Stenka Razin）有關，備受學生喜愛。它響亮而精簡，在樂隊全體重溫了一遍之後，便進入了「活潑的快板」，開頭重複的五音符樂句，在 1879 年版本中是全新的元素。主體快板的第二主題，相較緩慢引子與快板之間形成的對比，顯得不太重要。接著「伏爾加河畔」再度出現，使樂章的結尾和開頭一樣，令人回味無窮。

第二樂章直接取自被柴可夫斯基棄置的歌劇《水妖》 1 8 7 2 年夏，柴可夫斯基到他姐姐亞歷珊德拉（Undine）的第三幕，該處原本是一段婚禮進行（Alexandra Davidova）在烏克蘭卡緬卡（Kamenka）曲。曲式是簡單的 ABACABA ，其中 A 段是開首的的家中度假，在此他著手撰寫第二交響曲。回到他進行曲，由鼓聲伴著單簧管和巴松管（注意它每次教學的莫斯科音樂學院時，他繼續埋首於創作，當出現時的配器都不一樣）；B段的附點音符和弦樂被其他事情打擾時則會表達不滿。冬季時，他把作優美的旋律形成對比；C段是民謠「織吧，噢我的品完成了，並加入了配器， 1873 年 1 月，柴可夫紡紗機」的變奏（它也是柴可夫斯基的鋼琴集《五斯基在林姆斯基-高沙可夫的家中用鋼琴向多位同十首俄國民謠》中的第六首）。接續的諧謔曲/中段行彈奏全曲，終樂章特別受到讚賞。 2 月 7 日，以是典型的交響曲式，雖然當中沒有直接注明採用甚完整樂隊演出的首演在莫斯科一場由俄羅斯音樂協麼民謠，中段急速地由 3/8 拍轉為 2/8 拍的節奏，會宣傳的音樂會上舉行，當時柴可夫斯基的老師魯卻肯定帶有民歌的色彩。賓斯坦（Nikolai Rubinstein）擔任指揮。因作品大終樂章則改編自「鶴」這首民謠。祡可夫斯基於受歡迎，所以馬上又在一個月後安排了演出。他姐姐在卡緬卡的家中聽到管家唱過這首歌。樂然而，後來的演出卻令柴可夫斯基甚不滿意，即使章由中速的引子宏大地展開（這令人想起穆索爾他的雙鋼琴版本已經出版，但承印的貝瑟（Vasily 斯基的「基輔大門」），其後的快板乃源自柴可夫 Bessel）卻遲遲沒有出版樂隊的全稿。因此柴可夫斯基自創的四小節雀躍的主題。最後它與一段更斯基索性把手稿要回，以便進行修改。六年後，在為流暢的、以弱拍奏出的弦樂旋律形成對比，節 1879 年，他前往歐洲時把手稿隨身帶去。次年奏模式是 3+3+2 拍。漸漸地這些主題越來越緊密初，他寫信給學生兼朋友塔涅耶夫（Sergei 地交纏在一起，直至急板的尾聲把這首出色的交 Taneyev）說：「快板（第一樂章）的第一主題有響曲帶往終點。點不同，之前的第一主題變成了第二主題。現在的樂章短而精簡，也沒有那麼難⋯⋯小行板沒有變動。諧謔曲作了大幅修改，終樂章我則作了大量的此樂曲的樂隊編制刪減。」這個版本在 1881 年於聖彼得堡首演，這弦樂：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)、次，貝瑟很快就把樂譜出版了。柴可夫斯基把原本巴松管 (2) 1872 年的手稿毀掉，但後人卻從樂隊分譜中重構銅管樂：圓號 (4) 、小號(2)、長號 (3) 、大號 (1) 了原版，並成功地錄了音。敲擊樂：定音鼓、鈸、大鼓、平鑼像柴可夫斯基的典型交響作品，第二交響曲採用了不少來自烏克蘭這個被稱為「小俄羅斯」的地方的民謠。而且，它充滿陽光氣息，悠然自得，沒有他的第一交響曲的那種憂慮，或後來那些交響曲帶有的那種折磨與不安。總而言之，它是柴可夫斯基最為奔放和愉悅的交響作品。第一樂章以緩慢的引子展開，其中包含了第一首烏克蘭民謠「伏爾加河畔」的變奏，它也和另一首民 12

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

Programme Notes Following last Friday’s recital, Sergei Nakariakov returns for an orchestral concert, where he again plays both the trumpet and flugelhorn. In what is otherwise an all-Tchaikovsky concert, Nakariakov’s second work is a virtuoso calling-card for the trumpet, from a French composer who was Tchaikovsky’s senior by 15 years, Jean-Baptiste Arban. Arban was also a famous cornet and saxhorn player. He was born in Lyon, one of 10 children (an elder brother was the French balloonist Francisque Arban, who was the first to cross the Alps by air, but who disappeared over the Mediterranean on 7 October 1849), and became a cornet virtuoso as well as a conductor, composer and teacher. His fame spread much further than France and, between 1873 and 1876, he conducted summer seasons in Pavlovsk, south of St Petersburg (Vienna’s Strauss dynasty did similar tours). He wrote an influential manual, grandly titled Grande Méthode Complète de Cornet à Pistons et de Saxhorn – still in use today – in 1864 and wowed the public with a sequence of showpieces using popular classical tunes of the day, like tonight’s work. Tchaikovsky, of course, was no mean tunesmith in his own right. He had an affinity with the dance and is well known for his three major ballet scores. But we open with a grand set piece from his most famous opera – actually “lyric scenes” – based on Pushkin’s Eugene Onegin. There is plenty of rhythm and grandeur also in his wonderful Second Symphony, nicknamed the “Little Russian” after Ukraine, where he composed it. In the case of his Rococo Variations, the inspiration was his then-friend (they fell out later over what the cellist wanted to do with the concertante work), the cellist Wilhelm Fitzenhagen. The Variations on a Rococo Theme (in whichever version you listen to it – Tchaikovsky’s original, with eight variations, or Fitzenhagen’s rearranged verision, dropping one variation) is definitely a brilliant show-off piece for the sonorous bass string instrument, although we do not hear the cello play it tonight. Rather, in another step away from Tchaikovsky’s original, we hear it for flugelhorn, as arranged by our soloist’s father, Mikhail Nakariakov. A development of the bugle, the flugelhorn was not invented until the 1820s. In effect a valved bugle, the first flugelhorn was sold by Heinrich Stölzel in Berlin in 1828, and later – in France – it was taken up by Adolphe Sax (of saxophone fame), who developed “saxhorns” which are the basis of the modern flugelhorn. With a richer, lower sound than bugles, cornets or trumpets, the flugelhorn can assume the same position as the French horn in an orchestral palette, and the range of the cello is not too different. An addition of a fourth valve on the flugelhorn can increase the range by adding to a perfect fourth to the lower register. 13

Of course, the principal difference between the flugelhorn and the cello is that the latter is played with a bow and the flugelhorn is sounded by blowing into a mouthpiece. It helps that Nakariakov can do circular breathing – breathing in through the nose while blowing out through the mouth – so there is no interruption in negotiating fast passages or long held melodies. In an interview before he played the Tchaikovsky in Sarasota in 2017, Nakariakov said that circular breathing simply “helps with musical expression, nothing more than this. I will be using this technique quite a bit to play Tchaikovsky. Cellists or string players can breathe during the bowing at any time. With wind players, it is quite a bit trickier, and the musical lines are sometimes very long”. He also admitted that the Rococo Variations is “one of my favourite pieces to play: I have recorded it and performed it very often. I think it really suits this instrument – and yes, it is written for cello, but the flugelhorn is in a way a ‘wind cello’”.

Pyotr Ilyich Tchaikovsky (1840–1893)

Eugene Onegin, Op 24: Polonaise Tchaikovsky was taken to see Mozart’s Don Giovanni at the age of 10 and he fell in love with both the composer and his profession. When his mother died four years later, he immediately threw himself into composition, although it was to be another 20 years before he actually satisfied himself operatically and completed The Oprichnik (1874). Vakula the Smith followed two years later (and was eventually revived as Cherevichki) and that same year he visited Paris and saw Carmen, and reported from Bayreuth on the first ever Ring cycle by Richard Wagner. In 1879 he tried to break the operatic formula by writing his “lyric scenes”, Eugene Onegin, which has become his most popular opera, with only another Pushkin-inspired opera, The Queen of Spades, joining Onegin regularly in modern repertoire. Stravinsky claimed that Eugene Onegin was the truest Russian opera, even over Mussorgsky’s epic historical tableaux Boris Godunov. 14

Eugene Onegin tells of Tatyana’s youthful infatuation with Onegin expressed in a naïve, but heartfelt letter. Onegin brusquely spurns her innocent love and causes even more mayhem by killing Tatyana’s sister’s boyfriend in a duel. Some years later Onegin returns from self-imposed exile only to meet Tatyana again, who is now married and at court. It is his turn to beg her love, but she turns the tables on him and sends him away as he had once done to her. Coupled with some of Tchaikovsky’s most evocative music, Pushkin’s tragedy is brought dramatically to life and includes two great party set pieces, the Act II waltz scene for Tatyana’s birthday and the ball scene at court in Act III, which opens with this spectacular Polonaise, immediately evoking the stately nature of such a public occasion. The trumpet fanfares and repeated orchestral chords call the dancers to order, with the rising strings building tension as the dance proper begins…

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Woodwind: flutes (2), oboes (2), clarinets (2), bassoons (2) Brass: horns (4), trumpets (2), trombones (3) Timpani

Pyotr Ilyich Tchaikovsky (1840–1893) Arranged by Mikhail Nakariakov (born 1944)

Originally Tchaikovsky’s Rococo Variations – written in 1876 – had eight variations, which were in a substantially different order to the standard version we know now (and which is played tonight). The work was a direct result of the composer’s friendship with the German cellist Wilhelm Fitzenhagen, and Tchaikovsky’s own wish to merge his own interest in classical forms and the beauty of the Russian folk tradition. The cello seemed to have suited this intention well, although the dedicatee did not seem overly bothered about being too faithful to the composer’s intentions. Fitzenhagen took the liberty of changing the solo part in the first version, scored for just piano and cello – which Tchaikovsky did accept in the orchestral autograph score – and the composer even left Fitzenhagen to arrange the work’s publication. But Fitzenhagen then made more fundamental changes: dropping Variation VIII altogether and rearranging the others (I and II are the same; III was moved to sixth; IV last – running directly into the coda – V became IV; VI became V and VII became tonight’s Var III). There is no doubt that Fitzenhagen’s version is effective – and his version rapidly became a staple of the cello repertoire – but Tchaikovsky’s original version is worth hearing and has been recorded. I wonder what Tchaikovsky would have made of his Rococo Variations being played on the

flugelhorn? He certainly liked discovering new instruments (there is a story to tell about his efforts to import the celesta to Russia before anyone else and use it in his final ballet, The Nutcracker), so I suspect he would have loved hearing the flugelhorn in this work. After a brief orchestral introduction, the theme (of Tchaikovsky’s own invention) is given to the soloist. This is certainly in the classical mould and, as John Warrack points out in his BBC Guide to Tchaikovsky’s Symphonies and Concertos, it is this work that pays homage to Tchaikovsky’s beloved Mozart better than the later Fourth Suite, actually nicknamed Mozartiana (1887). The flugelhorn’s statement of the theme is answered by a brief woodwind phrase which is used throughout the variations as a ritornello, returning between each variation. The first variation is decorated by triplets; the second emphasises the main notes of the theme, with the soloist’s rapid, light fingered scales in accompaniment. The third variation slips from A major to C major, and is accompanied by subtle woodwind triplets. Variation IV combines both the theme and the ritornello phrase gentle and slowly. The orchestra takes them both in Variation V while the soloist plays brilliant decorative passages – and this leads directly into a solo cadenza. D minor is reached for Variation VI, where the theme is played over pizzicato strings. The Allegro vivo Variation VII develops both the theme and the ritornello phrase: here Tchaikovsky’s skill is at its most brilliant and apparent, as he weaves his magic on the soloist who interjects between the orchestra and the ritornello phrase, now fully thematic. All elements come together in the coda to end the work with the same confident wit of the preceding variations. Spare a thought for Nakariakov in the constant broken or arpeggiated semiquavers in the final pages!

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Winds: flutes (2), oboes (2), clarinets (2), bassoons (2), horns (2) Solo flugelhorn (originally for solo cello)

Jean-Baptiste Arban (1825–1889) Orchestrated by Mikhail Nakariakov (born 1944)

The Carnival of Venice Amidst Arban’s 14 Fantaisies sur les Opéras de Verdi (Il Trovatore (2), Ernani, I Lombardi, Attila, La Traviata, Rigoletto, Un Ballo in Maschera, Les Vêpres Siciliennes, Simon Bocanegra, Luisa Miller, Don Carlos, Oberto and La Forza del Destino), and other operas such as Auber’s La Muette de Portici and Flotow’s Martha, he produced copious polkas and quadrilles based on others’ tunes. A past-master at beguiling his public, his most famous piece is probably Fantaisie et Variations on the song Carnival of Venice for cornet, based on a work by violin virtuoso Niccolò Paganini. Paganini’s violin showpiece Il Carnevale di Venezia, Op 10 dates from 1829. That is what he called his work based on a Venetian folksong “O Mamma, Mamma Cara”, and he certainly regarded it as one of his best. Like his 24th Caprice, which was the basis of many famous sets of variations, The Carnival of Venice was a sure-fire hit amongst other composers. The double bassist Giovanni Bottesini ran wild with it, as did pianists Louis Moreau Gottshalk and Fryderyk Chopin (in his Souvenir de Paganini, dedicated to the Italian composer). It has also formed the kernel of various songs, not least – in English – “How Much is that Doggie in the Window”. Arban’s version was first published in his Grande Méthode Complète de Cornet à Pistons et de Saxhorn in 1864, and prefaces the theme with an introduction and comprises four variations, the third of which is marked slower but – because of the ever-faster fingering for the soloist – hardly seems to lose pace at all, culminating in a brief, virtuosic coda.

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Winds: flutes (2), oboes (2), horns (2) Percussion: timpani, triangle Solo trumpet

Pyotr Ilyich Tchaikovsky (1840–1893)

Tchaikovsky started his Second Symphony while on holiday at his sister Alexandra Davidova’s family home at Kamenka in Ukraine during the summer of 1872. On his return to his teaching post at the Moscow Conservatory he was engrossed in the work, and expressed irritation when dragged away to other business. Completed and orchestrated that winter, the Finale was greeted with enthusiasm when Tchaikovsky played it through on the piano to his peers at Rimsky-Korsakov’s house in January 1873. The orchestral première was conducted by Tchaikovsky’s old teacher, Nikolai Rubinstein, on 7 February in a Moscow concert promoted by the Russian Musical Society. So successful was it that it had to be hastily reprogrammed for a month later. However, further performances left Tchaikovsky distinctly unsatisfied, and even though his pianoduet reduction had already been published, he took the opportunity of Vasily Bessel’s sluggishness in publishing the full score to ask for the manuscript back so that he could undertake revisions. This was six years later, in 1879, and he took the manuscript with him on a European tour to work on. Early the following year he wrote to his friend and pupil Sergei Taneyev: “The first theme of the Allegro (first movement) is different and the former first theme has been turned into the second. The movement is now short, concise and not difficult... The Andantino remains unchanged. The Scherzo has been radically revised and in the Finale I have made an enormous cut.” The première of this version was in St Petersburg in 1881 and, this time, Bessel rapidly published the score. Tchaikovsky destroyed his original (1872)

manuscript, but it has been reconstructed from the orchestral parts and has been successfully recorded. Uniquely in Tchaikovsky’s symphonic output, the “Little Russian” utilises indigenous folk tunes from Ukraine which was known as “Little Russia”. Also, it has a sunny, unworried nature, without the worries that had beset his First Symphony, nor the tortuous angst of the later symphonies. All in all it remains his most unabashed, joyous symphonic statement. The first movement starts with a slow introduction, with the first Ukrainian folksong, a variant of “Down by the Mother Volga”, which is also associated with the song “O You Winter, Little Winter”, some church chants and the Cossack rebel Stenka Razin, as well as being a student favourite. It is sonorously, but concisely, reviewed by the whole orchestra before the Allegro vivo opens with a repeated five-note phrase which was completely new to the revised 1879 version. The second subject of the main Allegro section seems not as important as the contrast between the slow introduction and the Allegro as a whole, and it is “Down by the Mother Volga” that returns to round the movement off as hauntingly as it began.

introduced grandly in the Moderato opening (Mussorgsky’s “Great Gate of Kiev” may spring to mind), and the ensuing Allegro is based on Tchaikovsky’s own chirpy four-bar theme. Eventually this is contrasted with a more fluid and ingeniously off-beat string melody which has a 3+3+2 rhythm. Gradually these themes are bound closer and closer together until a Presto coda sweeps this gem of a symphony home.

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Woodwind: flutes (2), piccolo (1), oboes (2), clarinets (2), bassoons (2), Brass: horns (4), trumpets (2), trombones (3), tuba (1) Percussion: timpani, cymbals, bass drum, tam-tam

The second movement is directly taken from the third act of Tchaikovsky’s discarded opera Undine, where it was intended as a bridal march. The form is simply ABACABA, where “A” is the opening march over a drum beat for clarinets and bassoons (note it is rescored on every reappearance); “B” contrasts a dotted-note figure with a graceful melody for strings; and “C” varies the folksong “Spin, O My Spinner” (which is the sixth of Tchaikovsky’s own Fifty Russian Folksongs for piano). The Scherzo/Trio which follows is in typical symphonic form and although no directly named folksong has been identified within its music, the abrupt rhythm change from 3/8 to 2/8 in the Trio certainly has the feel of folk music. The Finale, however, is based on a full-blooded folksong, “The Crane”, which Tchaikovsky heard his sister’s butler sing at Kamenka. This is

香港小交響樂團 Hong Kong Sinfonietta 桂冠音樂總監 Music Director Emeritus: 葉詠詩 YIP Wing-sie 首席客席指揮 Principal Guest Conductor: 柏鵬 Christoph POPPEN 駐團藝術家 HKS Artist Associates

鄺展維 Charles KWONG

小提琴 Violin 格德霍特樂團首席

(2020-2022)

金仁善

麥兜 McDull

李海南

(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)

署理助理樂團首席第二小提琴首席

蔡路（休假）第二小提琴助理首席

蔡柏沂陳劭楠周止善保��子（休假）賈舒晨顧洛臻羅莎莉呂灝然羅蔚敏彭曉筠潘迦薇陽旻佑楊宇思葉紹羲中提琴 Viola ● 陳子信 ▼ 劉琛彥卞思琦陳敏聰顏星安 ★ 龍君蔚 ★ 鄧詠旋大提琴 Cello ● 張培節 ▼ 貝樂安何國芝李恩率朴詩媛葉俊禧

長笛 Flute 上杉晃代

Akiyo UESUGI

KIM In-sun

雙簧管 Oboe 福原真美

Mami FUKUHARA

LE Hoai-nam

單簧管 Clarinet ● 方曉佳陳秋媛

FONG Hiu-kai Johnny CHEN Chiu-yuan

CAI Pak-yi CHAN Shaw-nan Sharon Kiann CHOW Eiko HOSAKA (On Leave) JIA Shu-chen John KRUER Sally LAW Ambrose LUI LUO Wei-min PANG Hiu-wan POON Ka-mei Camille YANG Min-yu YANG Yu-si YIP Siu-hay

巴松管 Bassoon ● 秦慶生（休假）田口美奈子

CHIN Hing-sang (On Leave) Minako TAGUCHI

圓號 Horn ● 包文慶東出真澄岑慶璋 ★ 陳珈文

PAW Man-hing Hermann Masumi HIGASHIDE SHUM Hing-cheung CHAN Kar-man Cheryl

小號 Trumpet ● 黃山文曦

HUANG Shan MAN Hay

長號 Trombone ● 羅澤基陳學賢

Christopher RODGERS CHAN Hok-yin

Elvis CHAN LAU Sum-yin Christina BEAN Ringo CHAN NGAN Sing-on LUNG Kwan-wai Kenny TANG Wing-shuen Rebecca

低音長號 Bass Trombone 江子文 KONG Tze-man Jason

James CUDDEFORD Concertmaster

Acting Assistant Concertmaster Principal Second Violin

TSAI Loo

(On Leave) Assistant Principal Second Violin

CHANG Pei-chieh Laurent PERRIN HO Kwok-chee Karey LEE Eun-sol PARK Si-won YIP Chun-hei Eric

低音大提琴 Double Bass Masami NAGAI ● 永井雅美 Santiago COSTA MARTÍNEZ ▼ 柯斯達 HUANG Tun-pin 黃敦品

大號 Tuba ● 林榮燦

LAM Wing-tsan

定音鼓 Timpani ● 村本曉洋

Akihiro MURAMOTO

敲擊樂 Percussion ● 周展彤小山理惠子

CHAU Chin-tung Rieko KOYAMA

豎琴 Harp ● 黃士倫

Ann HUANG

鍵琴 Keyboard ● 朱偉恆

Alan CHU

● 首席 Principal ▼ 助理首席 Assistant Principal ★ Orchestral Associate

Notes 1. Guest Principal Oboe 客席雙簧管首席 – CHENG Chi-yuen (鄭智元) 2. Guest Principal Bassoon 客席巴松管首席 – LIU Tung-bo (廖冬保) 3. Freelance Musicians: Violin 小提琴：Alvin CHAN (陳樹泉), CHIK Yiu-ting (戚耀庭), CHUA Vince Eliezer N. (蔡君賢), Mark HUI (許榮臻), LOUIE Lai-lai (雷麗麗), WONG Chun-hong John (黃俊匡) Viola 中提琴：Cecilia HO (何永妍), Otto KWAN (關統洋) Cello 大提琴：Bernard CHAN (陳駿軒), Cecilia CHAN (陳希琳) Double Bass 低音大提琴：LEE Shing-chun David (李鋮浚), Harty TAM (譚泳佳) Flute 長笛：HUI Wing-hang Bob (許榮鏗), Ada POON (潘安婷)

香港小交響樂團有限公司 Hong Kong Sinfonietta Limited 監察委員會

Board of Governors

榮譽監察委員

Honorary Governors

潘燊昌博士（主席）

Dr Patrick S C POON (Chairman)

金董建平女士

Mrs Alice KING

翟紹唐先生（副主席）

Mr JAT Sew-tong (Vice-chairman)

施永青先生

Mr SHIH Wing-ching

鍾思源醫生（司庫）

Dr CHUNG See-yuen (Treasurer)

楊雪姬女士

Ms Serena YANG

周莉莉女士

Ms Lily CHOW

鍾陳碧璋女士

Mrs Shirley CHUNG

何汝祥醫生

Dr HO Yu-cheung

義務公司秘書

Honorary Company Secretary

劉文文女士

Ms LAU Man-man Lisa

陳智文先生

Mr Stephen TAN

謝智剛教授

Prof C K Michael TSE

徐行悅醫生

Dr Michelle TSUI

阮偉文博士

Dr Andrew S YUEN

Tricor Corporate Secretary Limited 義務骨科專科醫生

Honorary Orthopaedic Surgeon

傅偉俊醫生

Dr Dan HOOLEY

樂團行政 Administration 行政總裁 Chief Executive Officer 楊惠惠 Margaret YANG 總經理 General Manager 李浩儀 LEE Ho-yee 行政秘書 Executive Assistant to CEO 何淑娟 Rose HO

樂團事務及節目 Orchestra & Programme 樂團經理 Orchestra Manager 陳成美 Marylu CHAN

會計經理 Accounting Manager 李靄玲 Judith LEE

節目經理 Programme Manager 丘靄雪 YAU Oi-suet Icy

行政統籌 Adminstrative Coordinator 柯玉嬌 Noel QUAH

節目經理 Project Manager 黃紫菱 Athena WONG

行政助理 Office Adminstrator 楊瑞遠 YANG Jui-yuan

助理樂團經理 Assistant Orchestra Manager 黎希潼 Carvina LAI 製作經理 Production Manager 陳冠宏 Eddie CHAN

市場推廣及發展 Marketing & Development 高級市場及業務拓展經理 Senior Marketing & Development Manager 莫皓明 Amanda MOK 市場及業務拓展經理 Marketing & Development Manager 何珮鈴 Pauline HO 助理市場經理 Assistant Marketing Manager 袁穎芝 Christine YUEN

當代音樂研究 Contemporary Music Research 鄺展維 Charles KWONG 藝術行政主任 Arts Administration Officers 林海欣 Hayley LAM 馮碧琪 Betty FUNG

市場及業務拓展主任 Marketing & Development Officer 柯娉庭 Pantane OR

謝謝！Thank You Partners! 2021/2022 樂季贊助機構 Sponsors of the 2021/2022 Season

主要贊助機構 Major Sponsors

商業機構贊助計劃 Corporate Members 白金會員 Platinum Member

謝謝！Thank You! 香港小交響樂團對以下的捐款者及機構致以衷心謝意。 Thank you to the following donors and organisations who have supported us with a donation in the past year. 贊助人及捐款者 Patrons & Donors SuperSTAR Patrons (HK$100,000 to HK$499,999)

STARplus Donors (HK$30,000 to HK$99,999)

• 北山堂基金 Bei Shan Tang Foundation

• • • • • • • • •

陳嘉何醫生夫人陳求德醫生 Dr Chan Kow Tak Lowell and Phyllis Chang 鍾陳碧璋女士 Mrs Shirley Chung Ms Cadence Hsiung 關卓然先生 Mr William Kwan Cheuk Yin Ruth & Sidney 謝智剛教授 Prof C K Michael Tse 多位無名氏 Anonymous

• • • • • •

Miss Sandra W M Lee Mr Allan Leung Dr Yvonne Ou 孫永輝施熙德伉儷 Edith and Stephen Sun Dr & Mrs Arthur Van Langenberg 多位無名氏 Anonymous

• 陳鋈鋆先生 Mr Chan Yuk-kwan • 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon • 冼為堅基金有限公司 Sin Wai Kin Foundation

STAR Donors (HK$10,000 to HK$29,999)

• • • • • •

陳文偉博士 Dr Chan Man Wai 張�昌博士 Dr Thomas H C Cheung, MH, FCII 張綺年醫生 Dr Vivian Cheung Ms Bebe Pui Ying Chu Mr Eugene Fung 高靜芝女士 Ms Sophia Kao

Donors (HK$1,000 to HK$9,999)

• BELIEVING MUSIC CAN

• 鍾穎彤小姐 Miss Chung Wing Tung

• 莫心柔、莫心維

• Ms Cynthia Chan

• In Memory of Esther

• 吳志強先生

• Jonman, Monika & Joel Chan Family

• Ms Roselanie Ho

• Mrs Florence Ng

• 陳昌奇先生 Mr Kelvin Chan

• Ms Hung Ying Kwan

• 吳天天先生 Mr Ng Tin Tin Timothy

• Mr Chan King Fung Thomas Adam

• 郭立成律師 Mr Chris Kok

• Mr John Ngan

• In Memory of Ms Mariette Mimi Chan • Ms Joyce Kwock

• Poon Shing Chi & Liao E Wen

• Miss Chan Yin Fei Joyce

• Miss M Kwok

• John & Anthea Strickland

• 陳燕婷

• 黎慧德女士 Ms Wai Tak Lai

• Ms Elsie Tam

• 陳騰龍先生

• Ms Law Jessica Yun Pui

• Mr Paul Tsang

• Mr Douglas Cheng

• Mr Sung Chak Kyle Lee

• Ms TT Tsui

• 鄭錦德先生 Mr Cheng Kam Tak

• Mr Sheung Lee

• Ms Carolina Yip

• 蔡靄兒小姐 Miss Joycelyn Choi

• Ms Mary Leung

• Ms Anka Yuen

• Mr C Y Chow

• Ms Florence Leung

• 多位無名氏 Anonymous

• 鍾寶圈小姐 Miss Pollyanna Chung

• 大通會計事務所 Masterpoint Professional Ltd

學生票資助計劃 Student Ticket Scheme Donors Diamond Donors (>HK$100,000)

Jade Donors (HK$50,000 to HK$99,999)

• 芝蘭基金會 Zhilan Foundation

• CLP Holdings Limited • 多位無名氏 Anonymous

Pearl Donors (HK$10,000 to HK$29,999)

• Mr Iain Bruce

• 沈昊翔先生 Mr Shum Ho Cheung

• 張德賢博士伉儷 Dr & Mrs Douglas Cheung

• 孫永輝施熙德伉儷 Edith and Stephen Sun

• 趙俊良先生 Mr Chiu Chun Leong David

• 王煒東先生 Mr Wong Wai Tung

• 林定國先生夫人 Mr and Mrs Lam Ting Kwok Paul

• 多位無名氏 Anonymous

Opal Donors (HK$1,000 to HK$9,999) • BELIEVING MUSIC CAN

• 郭立成律師 Mr Chris Kok

• Mr Wong Kai Chun

•

• 紀念劉葉珍女士

• Mr Marcus Woo

• Mr Chan Kwan Ho

• Mr Sheung Lee

• Ms Yeung Lai Fong Alice

• Jonman, Monika & Joel Chan Family

• 吳天天先生 Mr Ng Tin Tin Timothy

• 多位無名氏 Anonymous

• Miss Chan Yin Fei Joyce

• 吳榮奎先生 Mr Ng W F Nicholas

• 兜仔先生 Mr Dullchai

• 魏玉華小姐 Miss Winnie Ngai

Premium Friends

感謝以下各機構對香港小交響樂團一直的支持! Thank you to the following parties for their continued support!

• 陳鋈鋆先生 Mr Chan Yuk-kwan

• Association Culturelle France Hong Kong Ltd

Mrs Charlene Chan

• 周莉莉女士 Ms Lily Chow

• CASH音樂基金 CASH Music Fund • 法國駐港澳總領事館 Consulat Général de France à Hong Kong et Macao

• 李韶博士伉儷 Dr Lee Shiu & Dr Jennie Lee

• 德國駐港總領事館 German Consulate General Hong Kong

• 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon

• 民政事務局 Home Affairs Bureau

• 香港歌德學院 Goethe-Institut Hongkong

• 冼為堅博士 Dr David Sin Wai-kin

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

• 謝智剛教授 Prof C K Michael Tse

• 邁騰路通有限公司 Maestro GT Limited

• 多位無名氏 Anonymous

• 康樂及文化事務署 Leisure and Cultural Services Department • 荷蘭駐香港及澳門總領事館 Netherlands Consulate General in Hong Kong and Macao • Mr Ozawa Kazuo • MOViE MOViE • 通利琴行 Tom Lee Music Co Ltd • Mr Jiři Votruba 27