House Prog: Cellomania: Aurélien Pascal Plays Shostakovich (7.11.2020)

BEETHOVEN ARTWORK COURTESY OF OZAWA KAZUO © BÉA CRUVEILLER

大提琴 Cello

柏斯卡爾 Aurélien Pascal

© TAKAO KOMARU

7.11.2020 (星期六 Sat) 8pm

香港大會堂音樂廳 HK City Hall Concert Hall

首席客席指揮 Principal Guest Conductor

柏鵬 Christoph Poppen

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 香港小交響樂團為香港大會堂場地伙伴 Hong Kong Sinfonietta is the Venue Partner of the Hong Kong City Hall

節目更改 Change of Programme 因受到疫情影響，原定於12月4至6日舉行 之節目《阿飛正轉》現告取消，敬請留意。

© YVONNE CHAN

The original scheduled programme “Pica Pica Choose” (4 – 6 Dec) is cancelled due to the pandemic.

4.12.2020 星期五 Fri 7:30pm

5-6.12.2020 星期六及日 Sat & Sun 3pm

香港大會堂音樂廳 Hong Kong City Hall Concert Hall

樂團現場演奏《圖畫展覽會》 以及馬勒、巴赫等著名作曲家 的精選樂章，配以精彩動畫 片段，與大小朋友一起穿梭 音樂與名畫的奇妙世界﹗

葉詠詩 Yip Wing-sie 概念／導演 Concept/Co-directors

謝立文及麥家碧 Brian Tse & Alice Mak 聲音演出 Voice Artist

伍宇烈 Yuri Ng

$420 $280 $160 粵語演出 In Cantonese 適合六歲或以上大小朋友 For ages 6+

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

(駐團藝術家 HKS Artist Associate 2011-2013) 動畫製作 Animation Production

門票：城市售票網 Tickets at URBTIX 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 香港小交響樂團為香港大會堂場地伙伴 Hong Kong Sinfonietta is the Venue Partner of the Hong Kong City Hall

Lunchtime Production Limited 合作機構 In collaboration with

春田花花教育基金有限公司 Chun Tian Hua Hua Foundation Ltd

《最愛大提琴》：蕭斯達高維契第一大提琴協奏曲 Cellomania: Aurélien Pascal Plays Shostakovich 首席客席指揮 Principal Guest Conductor

柏鵬 Christoph Poppen 大提琴 Cello

節目

孟德爾遜 蕭斯達高維契

降E大調第一大提琴協奏曲，作品107 小快板 中板 － 華采段 － 充滿動力的快板

柏斯卡爾 Aurélien Pascal*

* 因受到疫情影響，原定演出者霍農未能 如期來港，現改由柏斯卡爾演出。 Aurélien Pascal is replacing Maximilian Hornung who is unable to come to Hong Kong as scheduled due to the pandemic.

《瑞．布拉斯》序曲，作品95

－中場休息15分鐘－

C小調第五交響曲，作品67

貝多芬

精神抖擻的快板 流暢的行板 快板 － 快板 Programme

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.

Mendelssohn

Ruy Blas Overture, Op 95

Shostakovich

Cello Concerto No 1 in E-flat, Op 107 Allegretto Moderato – Cadenza – Allegro con moto

– 15-minute intermission –

Beethoven

Symphony No 5 in C minor, Op 67 Allegro con brio Andante con moto Allegro – Allegro

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.

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

樂團深明培育下一代的重要性，針對不同年齡的觀

育文化新一代」，並以富創意的節目及充滿熱忱的

眾，舉辦多套別樹一格的普及音樂會。《我的音樂

演奏見稱。

日記》及《古典音樂速成》、《古典音樂知多少》

自 1999 年起，香港小交響樂團經常與國際知名音 樂家及藝團合作，包括亞殊堅納西、杜明高、傅 聰、譚盾、霍活特、巴伐洛堤、彭德雷茨基、蘇嘉 文、馬林斯基大劇院芭蕾舞團、莫斯科大劇院芭蕾

創辦至今深受歡迎，大大拓展古典音樂觀眾的層 面。另外，樂團經常在音樂廳以外的場地舉行室樂 及跨界音樂會，為觀眾提供更多節目選擇。

舞團、英國皇家芭蕾舞團、英國國家芭蕾舞團、美

除本地演出外，樂團常應邀作客海外，包括：美國

國芭蕾舞劇院、紐約市芭蕾舞團、斯圖加特芭蕾舞

紐約林肯中心羅斯劇院、加拿大多個以出色音效著

團及翩娜．包殊烏珀塔爾舞蹈劇場等。樂團亦經常

稱的音樂廳；南美洲的巴西、阿根廷及烏拉圭；在

應邀與本地藝術節及藝團合作，如香港藝術節、法

歐洲計有法國的拉羅克．昂迪榮國際鋼琴音樂節、

國五月、香港芭蕾舞團及香港歌劇院等。樂團於

法國蒙頓音樂節、德國東弗里斯蘭「浪潮」音樂

2018 年舉辦第一屆香港國際指揮大賽，吸引了

節、波蘭貝多芬復活節音樂節、意大利的米凱朗傑

310位來自49個國家和地區的參賽者。

利國際音樂節和維琴察音樂節、葡萄牙馬爾旺國際

樂團全年無休，每樂季演出逾 100 場次，自 2009 年起是香港大會堂的場地伙伴。除了傳統的管弦樂 章外，樂團每年均委約作曲家為樂團譜新曲，亦銳 意與不同界別的藝術家製作嶄新的跨界節目，自 2006 年起更舉辦「駐團藝術家」計劃，由音樂總 監親自邀請本地藝術家與樂團緊密合作及交流，培 育新一代藝術家之餘更為古典音樂創造新的可能

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和《我個名叫麥兜兜．古典音樂小計劃》等節目，

音樂節、立陶宛的兩個音樂節、瑞士蘇黎世、日內 瓦和弗里堡；北京第二屆中國交響樂之春（國家大 劇院）、中國上海國際藝術節（世博會「香港活動 周」閉幕節目）、上海之春國際音樂節、韓國統營 國際音樂節、新加坡、台灣、日本長野、新潟和 金澤等，並五度獲邀參與東京《

》音樂祭

演出。

性。樂團灌錄過多套唱片，收錄不少華人作曲家的

樂團由 2002 年起由著名指揮葉詠詩擔任音樂總

優秀作品；由DECCA發行的三輯《就是古典音樂》

監，期間致力推動本地古典音樂發展，拉近音樂與

系列，均獲白金及金唱片佳績。最新雙 CD《一屋

普羅大眾的距離。葉詠詩於今年五月起轉任桂冠音

寶貝音樂廳》於2018年由DECCA出版。

樂總監，在樂團委任新總監前，她將與首席客席指 揮柏鵬一起負責藝術發展事宜。

One of Hong Kong’s flagship orchestras, Hong Kong Sinfonietta has brought music closer to the community, and achieved significant local and international recognition for its passionate performances and innovative programing.

Since 1999, Hong Kong Sinfonietta has collaborated with an illustrious array of international musicians and groups, including Vladimir Ashkenazy, Plácido Domingo, Fou Ts’ong, Christopher Hogwood, Luciano Pavarotti, Krzysztof Penderecki, Pinchas Zukerman, Mariinsky Ballet, Bolshoi Ballet, The Royal Ballet, English National Ballet, American Ballet Theatre, New York City Ballet, Stuttgart Ballet and Tanztheater Wuppertal Pina Bausch. The orchestra has also been a regular participant at all the major festivals in Hong Kong including the Hong Kong Arts Festival, Le French May and festivals presented by the Hong Kong Government. It 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.

The orchestra performs year-round with over 100 performances a season and has been the Venue Partner of the Hong Kong City Hall since 2009.

Apart from standard orchestral repertoire, Hong Kong Sinfonietta, as an avid believer of keeping music alive and contemporary, commissions and performs new works every year and ventures into crossover concerts both at the City Hall and at the residency at ArtisTree. 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. Its newest album, The Passage Beyond in Concert by Leon Ko, was released on DECCA in 2018.

Hong Kong Sinfonietta has also pioneered speciallydesigned 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. Since 2010, Hong Kong Sinfonietta’s chamber music concerts have continued to break down barriers between music and audience as we perform at unconventional spaces.

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 the prestigious Festival International de Piano La Roque d’Anthéron, Festival de Musique Menton, Saint-Riquier Festival, Les Flâneries Musicales d’Été de Reims and Festival Les Nuits Romantiques in France, in Germany at Gezeitenkonzerte Ostfriesland, at Beethoven Easter Festival in Poland, in Switzerland at Tonhalle Zürich, Geneva Victoria Hall and Fribourg, Festival Pianistico Internazionale Arturo Benedetti Michelangeli and Settimane Musicali al Teatro Olimpico in Italy, in Portugal at the Marvão International Music Festival, and in Lithuania; in China at the Shanghai Spring International Music Festival and China Shanghai International Arts Festival (Expo 2010 Shanghai), in Beijing at the National Centre for the Performing Arts; in Japan at Tokyo Opera City, La Folle Journée in Tokyo and Niigata, Nagano and Kanazawa; 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 will take on the new role of Music Director Emeritus. She and Principal Guest Conductor Christoph Poppen will be 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

3

首席客席指揮 Principal Guest Conductor

柏鵬 Christoph Poppen 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、以色列室樂團、 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。 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 © HK SINFONIETTA LTD

凱魯比尼四重奏。他曾任德特莫爾特音樂學院小提

4

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，並

指揮家、小提琴家、室樂演奏家及音樂教育家柏鵬

自 2003 年起為慕尼黑音樂及戲劇學院小提琴及室

在國際音樂界中享負盛名，現任科隆室樂團首席指

樂教授。 2019 年柏鵬創立馬爾旺國際音樂藝術科

揮及香港小交響樂團首席客席指揮。最近他出任首

學院。

爾新成立的古典革新音樂節藝術總監，節目策劃極

柏鵬於2015/2016樂季起獲委任為香港小交響樂團

具創意，多位國際知名獨奏家亮相。他於 2014 年

首席客席指揮，於「相約大師柏鵬系列」中為香港

創辦及出任藝術總監的葡萄牙馬爾旺國際音樂節也

觀眾帶來豐富及新鮮的曲目，當中包括不少德奧經

聲譽日隆。

典及當代音樂作品。他曾帶領樂團於德國及葡萄牙

柏鵬於1995至2006年間擔任慕尼黑室樂團藝術總

馬爾旺國際音樂節中演出。他亦於第一屆香港國際

監，在短時間內即令樂團實力大增，形象煥然一

指揮大賽中擔任評審聯合主席。樂團音樂總監

新。 2006 年他被委任為薩爾布呂肯電台交響樂團

葉詠詩 2020 年 5 月卸任後至樂團委任新總監之

音樂總監，2007年至2011年出任新的德意志電台

前，柏鵬將與葉詠詩攜手負責樂團的藝術發展

愛樂樂團的音樂總監。

事宜。

Conductor, soloist, chamber musician and

Symphony, Seoul Philharmonic, New Japan

pedagogue: Christoph Poppen has made a name

Philharmonic and Singapore Symphony Orchestra.

for himself in diverse roles in the international

He also has a strong presence in Italy, performing

musical world, winning many awards along the

regularly with the country’s leading orchestras and

way. During the current season, Christoph Poppen

at festivals such as the Venice Biennale, as well as

continues his close and highly successful

giving masterclasses.

collaboration with the Cologne Chamber Orchestra in his role as Principal Conductor, and as Principal Guest Conductor of Hong Kong Sinfonietta. He was named Artistic Director of the newly-created Classic Revolution Festival in Seoul, South Korea, for which he curates highly inventive programmes and unites many of the best international artists for performances exclusively at the Lotte Concert Hall.

He is also Artistic Director of the Marvão International Music Festival, which he founded in 2014 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.

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, Israel Chamber Orchestra, Orquestra

As an opera conductor, he very successfully led productions at Staatsoper Stuttgart, Oper Frankfurt, Opera Köln, Teatro Carlo Felice in Genoa, Aalto-Musiktheater in Essen and with the RuhrTriennale company in Gelsenkirchen.

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 through 2000. From 2001 to 2005, he was Artistic Director of the renowned ARD International Music Competition. Since 2003, he has been Professor of Violin and Chamber Music at Hochschule für Musik und Theater in Munich. In 2019, he founded the International Academy for Music, Arts and Science in Marvão, Portugal.

As Hong Kong Sinfonietta’s Principal Guest Conductor since 2015/2016, Poppen has presented to the Hong Kong audience a rich repertoire

ranging

from

Austro-German

masterpieces to contemporary works, and has brought the orchestra on tour to Germany and to his festival in Portugal. He also Co-chaired the 1st Hong

Kong

International

Conducting

Competition. Following the stepping-down of Music Director Yip Wing-sie in May 2020 and before the next Music Director is appointed, Poppen and Yip will be jointly responsible for the artistic development of the orchestra.

Sinfônica do Estado de São Paulo, Indianapolis 5

大提琴 Cello

柏斯卡爾 Aurélien Pascal 柏斯卡爾演出頻繁，在2018/2019樂季除了與席夫 等音樂家於柏林音樂廳合奏，還亮相於布魯塞爾中 央美術館、波恩貝多芬音樂廳及芬蘭國際大提琴藝 術節，又再次於梅克倫堡-前波莫瑞音樂節的音樂 會中獻藝，並在巴黎嘉沃音樂廳舉辦首場獨奏會。 此外，他又與科隆室樂團、梅斯國家樂團、布列塔 尼樂團及杜埃上法蘭西大區樂團演奏協奏曲。 柏斯卡爾的身影亦常見於各大國際音樂節，包括費 比爾音樂節、科爾馬國際音樂節、普拉德音樂節、 埃爾毛城堡音樂節、波恩貝多芬音樂節、蘭斯夏季 音樂節、法國南特及日本《

》音樂祭、蒙

彼利埃法國電台音樂節及埃維昂音樂節，合作過的 音樂家包括帕胡德、席夫、柯列斯尼科夫、尚尼 現年25歲的法國大提琴家柏斯卡爾於國際樂壇炙手 可熱，以其精湛的技藝及懾人的舞台魅力迷倒無數 樂迷，備受各界推崇。他為多項國際音樂大賽的獎 項得主，包括 2013 年國際保羅大提琴大賽亞軍， 且囊括 2014 年費爾曼國際大提琴比賽冠軍、觀眾 獎以及托赫大提琴協奏曲最佳演繹獎三項大獎，並 在2013年獲頒法國Adami古典新秀獎。他在2017 年獲得伊利沙伯皇后比賽第四名，為該屆最年輕的

重奏。柏斯卡爾又與拉．馬爾卡和佩特洛娃組成弦 樂三重奏演奏室樂。他自2015年於梅克倫堡-前波 莫瑞音樂節獲得觀眾獎後，更成為該音樂節的演出 常客。柏斯卡爾又於柏林音樂廳、阿姆斯特丹音樂 廳、羅浮宮音樂廳、奧賽博物館和巴黎城市劇院及 日本諾亞方舟音樂廳等場地演出過多場音樂會。

決賽入圍者，在同輩音樂家中尤為出類拔萃。

柏斯卡爾為巴黎大眾銀行及科拉基金會的獎學金得

柏斯卡爾曾以獨奏者身份與多個樂團於歐洲演出，

主， 2015 年加入支持年青音樂家的奧芬基金會，

合作過的樂團有莫斯科柴可夫斯基交響樂團、德意

並為該會與葛瑞菲斯指揮的慕尼黑室樂團合作灌錄

志電台交響樂團、紐倫堡交響樂團、波茨坦室樂

但齊的協奏曲，收入 2018 年推出的專輯之中，同

團、塔皮奧拉小交響樂團、盧瓦爾國家樂團、蒙地

時收錄作品包括：與丹尼斯．柏斯卡爾及盧賽夫合

卡羅愛樂樂團及巴塞隆拿交響樂團等。他曾與多位

奏的拉威爾三重奏，以及與杜美、杜馬克及西爾瓦

知名指揮合作，包括杜美、費杜塞耶夫、史托加

演奏的布拉姆斯弦樂六重奏。最新的唱片於 2019

德、羅菲、柏鵬、舒爾特、卡慕等。

年發行，收錄了杜南憶的匈牙利牧歌及高大宜的大

他亦經常獲邀到亞洲演出，並與廣島交響樂團、關

6

埃、金鎮秀、杜美、特茲拉夫及莫迪里亞尼弦樂四

提琴奏鳴曲。

西愛樂樂團及仙台愛樂樂團同台。柏斯卡爾與香港

1994 年出生、長於音樂世家的柏斯卡爾畢業於巴

小交響樂團更是多次合作，除了在香港演出，亦於

黎國家高等音樂暨舞蹈學院，期間受教於穆勒，又

2017 年隨樂團到歐洲巡演。最近他更與瓦格指揮

曾多次在大提琴巨擎史塔克的大師班上接受其指

的臺北市立交響樂團、費海爾指揮的外西凡尼亞國

導。他現於克龍貝格學院隨海爾梅森及霍夫曼習

家愛樂樂團、以及卡慕指揮的蘇黎世室樂團及杭州

琴，演奏時使用的是 1850 年由阿道夫．甘德所製

愛樂樂團首度合作演出。

的名琴。

At only 25 years of age, French cellist Aurélien

Cologne Chamber Orchestra, Orchestre National

Pascal is attracting international attention for his

de Metz, Orchestre de Bretagne and Orchestre de

“unparalleled virtuosity and intuitive musicality”

Douai Région Hauts-de-France.

(The Strad). He has won several prestigious

As a recitalist, Pascal has performed at prestigious

international competitions, including Second Prize at the 2013 International Paulo Competition, as well as the Grand Prix, Prix du Public, and Best Performance of a Toch Concerto at the 2014 Emanuel Feuermann Competition. His recent successes, including placing fourth at the 2017 Queen Elisabeth Competition where he was the youngest finalist, confirm that he is one of the most brilliant representatives of his generation.

Prior to this, he was the Adami Révélation Classique in 2013.

festivals such as Verbier, Colmar, Prades, Schloss Elmau, Beethovenfest in Bonn, Flâneries de Reims, La Folle Journée de Nantes and Japan, Festival de Radio France et Montpellier and Rencontres Musicales d'Évian, with partners such as Emmanuel Pahud, András Schiff, Pavel Kolesnikov, Rémi Geniet, Ben Kim, Augustin Dumay, Christian Tetzlaff and the Modigliani Quartet. He also forms a string trio with Adrien La Marca and Liya Petrova.

Since being awarded the Audience Prize at the Mecklenburg-Vorpommern Festival in 2015, he has

Pascal regularly performs as a soloist with major

been a regular invitee to the festival, and has

orchestras throughout Europe, notably with the

performed on stages including the Berlin

Tchaikovsky Symphony Orchestra in Moscow,

Konzerthaus, Amsterdam Muziekgebouw, the

Deutsche Radio Philharmonie, Nuremberg

Auditoriums of the Musée du Louvre and Musée

Symphony Orchestra, Kammerakademie Potsdam,

d’Orsay, Théâtre de la Ville in Paris and the ARK

Tapiola Sinfonietta, Orchestre National des Pays de

NOVA/Lucerne Festival mobile concert hall in Japan.

la Loire, Monte-Carlo Philharmonic Orchestra and

A laureate of the Banque Populaire and Colas

Barcelona Symphony Orchestra, alongside conductors such as Augustin Dumay, Vladimir Fedoseyev, John Storgårds, Pascal Rophé, Christoph Poppen, Clemens Schuldt and Okko Kamu.

foundations, Pascal joined the Orpheum Foundation’s support program for young soloists in 2015, which invited him – following his début with Vladimir Fedoseyev at the Tonhalle in Zurich – to

Frequently invited to Asia, he has played with the

record Franz Danzi's concerto with the Munich

Hiroshima Symphony Orchestra, Kansai and Sendai

Chamber Orchestra and Howard Griffiths for Sony

Philharmonic Orchestras, and Hong Kong

Classical. This disc, released in 2018, added to a

Sinfonietta, with which he has performed several

discography that includes the Ravel Trio with Denis

times both in Hong Kong and on their European

Pascal and Svetlin Roussev, as well as the Brahms

tour in 2017. He recently made his débuts with the

Sextet with Augustin Dumay, Henri Demarquette

Taipei Symphony Orchestra and Gilbert Varga, the

and Miguel da Silva. His latest CD, released in

Filarmonica de Stat Transilvania alongside Andrei

spring 2019, includes Dohnányi’s Ruralia Hungarica

Feher, as well as the Zurich Chamber Orchestra and

and Kodály's Cello Sonata Op 8.

Hangzhou Philharmonic Orchestra conducted by

Born in 1994 into a family of musicians, Pascal

Okko Kamu.

studied at the Conservatoire National Supérieur de

The 2018/2019 season brought Pascal to the

Musique et de Danse de Paris with Philippe Müller

Konzerthaus Berlin alongside András Schiff, BOZAR

and benefited from masterclasses with the

in Brussels, Beethovenhaus Bonn and CelloFest in

legendary János Starker in Paris, Basel and

Finland. He returned to the Mecklenburg-

Bloomington. He currently studies with Frans

Vorpommern Festival to give several concerts, and

Helmerson and Gary Hoffman at the Kronberg

gave his first solo recital at the Salle Gaveau in

Academy in Germany, and plays a French cello by

Paris. He has performed in concerto with the

Charles-Adolphe Gand from 1850.

7

節目介紹

今晚音樂會有一首作品，全因受一位皇室人員垂青才得以流傳至今，另一首是一位傑出的演奏 家說服一位作曲家為其創作的，還有一首是巨人般的偉大交響曲，它的面世改變了音樂發展的 軌跡。要在有限的篇幅深究這些作品似乎頗有難度，不過我們不妨先從它們的創作背景入手。 孟德爾遜曾 10 次造訪英國。 1844 年，與他關係密切的英國愛樂協會邀請他指揮他的 《瑞．布拉斯》序曲。霍格思（George Hogarth）在其 1862 年出版的《倫敦愛樂協會》 （The Philharmonic Society of London）一書中（引自 Roger Nichols ， Mendelssohn Remembered，Faber and Faber，1997，頁142-3） ，談到這首作品時說： 「這首不同凡響的序曲與愛樂協會頗有淵源，也反映了作曲家的個性。 1844 年的樂季， 孟德爾遜赴英指揮愛樂樂團的音樂會。在一個早上，他與樂團以手稿試演了這首序曲， 但他卻對之頗不滿意。安德森（Anderson）先生在表演過後，對新作品表示讚賞，但卻很 驚訝地聽到孟德爾遜頗為激動地訴說自己對作品的不滿，甚至說想把它燒毀。安德森先生 表示不贊同此舉，但孟德爾遜重申了他永遠也不要公開演奏這首序曲的決定。 「於是安德森先生說：『你經常表達對我的主人阿爾伯特王子（Prince Albert）的仰慕； 我肯定他聽到你的新作會很高興，所以請容許我找女王的私人樂隊來演奏，讓他得償所 願。』孟德爾遜答應了，把樂隊的原稿交給了安德森先生，但條件還是不能公開表演這首 序曲。作品此後經常在白金漢宮和溫莎堡演奏，女王和王子都對之讚賞不已。 「作曲家不幸去世一段時間後，安德森先生寫信給孟德爾遜的遺孀，談及關於這首序曲的 經歷，並請求她准許作品在安德森夫人的下一場年度音樂會上公演。這個請求被接納了， 序曲因而得以在1849年夫人的音樂會上演奏；那是英國民眾第一次聽到這首作品。」 我們從英國皇室轉向大提琴的王者 — 充滿魅力的俄羅斯大提琴家羅斯卓波維契（Mstislav Rostropovich）。蕭斯達高維契為他題獻了兩首大提琴協奏曲。羅斯卓波維契之前已啟發浦羅哥 菲夫將自己的第二大提琴協奏曲改寫成《交響協奏曲》（Sinfonia Concertante）。蕭斯達高維契 十分讚賞這首作品，並對羅斯卓波維契說他的唱片因為不停地播放而損壞了。羅斯卓波維契也 很希望蕭斯達高維契可以為他寫一首作品，但卻過了很長的時間才能成事⋯⋯ 把時間往前推，在孟德爾遜之前，貝多芬也曾和倫敦愛樂協會合作，受他們的委約撰寫了第九 交響曲。但我們且從這委約出現的20年前，即19世紀的第一個10年談起。那時貝多芬的C小調 交響曲的首兩個樂章在1805年末已經寫好了。但在1806年夏季下旬，貝多芬遇見了奧普斯多夫 伯爵（Count Franz von Oppersdorff），他是少數還保留了宮廷樂隊的貴族之一。寄住在 9

伯爵位於德國奧伯格洛高（Oberglogau）附近的西里西亞（Silesia）府邸時，伯爵特意令樂隊演 奏了貝多芬的第二交響曲以表敬意，而貝多芬也接受了伯爵的委約，撰寫一首新的交響曲，報 酬是500金幣。但他提交的並非是之前已完成兩個樂章的C小調交響曲，而是全新的降B大調第 四交響曲（作品60） 。它以海頓（貝多芬曾短暫跟他學習）的作品為楷模，並且題獻給伯爵。 伯爵在收到第四交響曲後，似乎有意請貝多芬再寫一首交響曲，甚至支付了部份酬金。但不知 為何，兩人的關係中斷了。在 1807 年底或 1808 年初完成了 C 小調交響曲後，貝多芬遲遲不將 這首第五交響曲公演，等到 1808 年 12 月 22 日才在維也納劇院一場劃時代的音樂會上推出。 首演的曲目還包括第六交響曲（「田園」，本來被編為第五交響曲），另外亦表演了第四鋼琴協 奏曲等作品。九個月前，在3月27日，貝多芬曾在海頓最後一次公開露面的音樂會上，向這位 老作曲家下跪並輕吻他的手，以示道別；當時這場音樂會演奏了海頓的《創世紀》。雖然此後 海頓還多活了一年，但當年12月貝多芬第五交響曲的面世卻似乎在高姿態地宣告他已擺脫了過 去的音樂傳統。

孟德爾遜（1809–1847）

孟德爾遜表面上似乎對劇作的內容無動由衷，只是

《瑞．布拉斯》序曲，作品95

被催迫下為劇作撰寫了序曲和一首二重唱。他堅稱 作品應被命名為「為戲劇基金而寫的序曲」，因為

序曲創作於 1839 年，是孟德爾遜最後的配樂序曲

表演的收益會撥入樂團的「遺孀基金」。據說，他

之一。它是為雨果（Victor Hugo）的戲劇《瑞．

在某個星期二晚開始撰寫這首序曲，並在隨後之星

布拉斯》在柏林的一個製作所寫的前奏曲，而該劇

期五（1839年3月8日）交稿。

前一年在巴黎的演出大受觀眾的歡迎。瑞．布拉斯 是 17 世紀西班牙的大公塞魯斯特（Don Salluste） 的僕從。大公因為勾引了最得皇后歡心的女僕，被 皇后逐出馬德里的宮廷。在離開宮廷之際，大公發 現布拉斯居然愛上了皇后（所謂「癩蛤蟆想吃天鵝 肉」）。為了報復，大公安排布拉斯假扮皇室遠親，

音樂以莊嚴、或可說是深沉的引子展開，長笛和小 提琴似在嘗試掙脫黝暗的氛圍。主體快板如迅雷一 般爆發，中間常插入引子中的銅管號曲主題。至於 哪個主題與劇中哪個角色有關，孟德爾遜似乎不大 理會，因此我們也不必細究，只是欣賞作品戲劇性 的起伏蕩漾吧。

並將他送進宮中。布拉斯在不知不覺中自然地成為 了窮人和無產者的代表（或許是我們現在所說的政 治人物身邊的「軍師」[spin-doctor]），不但贏得了 皇后的信任，還俘虜了她的心。為雨果撰寫傳記的 羅布（Graham Robb），很精警地概括了故事的悲 劇結尾：「當塞魯斯特回來公開自己的詭計後⋯⋯ 社會公義、皇室寵幸和愛情這三個夢想破滅了。 瑞．布拉斯在驚惶失措的皇后面前，一劍刺死了他 的 主 人 ， 同 時 服 毒 自 殺 。 」（ 羅 布 ， 《 雨 果 》， 10

Picador出版，1997年，頁215。）

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

蕭斯達高維契（1906–1975）

降E大調第一大提琴協奏 曲，作品107 小快板 中板 － 華采段 － 充滿動力的快板

蕭斯達高維契的第一任妻子告訴大提琴家羅斯卓波 維契說：最容易得到蕭斯達高維契題獻的作品的方 法就是不要死纏不休。這對羅斯卓波維契來說很難 辦到，但最終他的耐性獲得了回報。1959年6月6 日，蕭斯達高維契宣告他的下一首作品會是一首大 提琴協奏曲，第一樂章也已經寫好了。 蕭斯達高維契在 7 月 20 日，即約六個星期後，於 科馬洛沃（Komarovo）完成了整首作品，但原本 的三個樂章卻變成了四個樂章，因為特長的華采段 本身就可以算是一個樂章了，在它前面的是慢樂 章，後面是終樂章。蕭斯達高維契在把樂隊總譜寫 成一個鋼琴伴奏版之後，告訴羅斯卓波維契作品已 經完成，並已將分譜寄給他。信件到達羅斯卓波維 契手上的時候是1959年8月2日晚上。 四天後，即 8 月 6 日，羅斯卓波維契和他的鋼琴伴 奏達杜堅（Alexander Dedyukhin）便從莫斯科出 發，來到蕭斯達高維契的鄉間別墅。令蕭斯達高維 契吃驚的是，羅斯卓波維契已經把獨奏部份背了下 來。在把作品奏過一遍之後，他們在別墅中舉行了 派對，之後便一起回到莫斯科，在蕭斯達高維契姊 姊的家中集合，並又再次熱烈地討論了這首作品， 作曲家終於正式把它題獻給了羅斯卓波維契。

蕭斯達高維契把第一樂章形容為「帶有幽默感的進 行曲式的小快板」。開頭由獨奏者奏出的四個尖銳 音符的主題，與蕭斯達高維契在 1950 年代常見 的、獨樹一幟的風格很接近。四個音符明顯嵌入了 他德文名字（Dmitri Schostakowitsch）的簡寫 – DSCH，即D、降E（德文是Es）、C和B（德文即H） 幾個音符，之後蕭斯達高維契又在他的第八弦樂四 重奏中採用了同一手法。這個主題象徵了樂章發展 的軌跡，充滿動力又有點倔強。第二主題則由 「長 – 長 – 長 – 短 – 短」的樂句組成，進一步加強了 樂章的音效，由與別不同的咯咯聲的木管樂在前面 帶領。及後圓號響亮地吹出了原來的主題，引出了 獨奏自己的段落，還把第二主題用較緩慢的節奏重 現了一次。最後樂章的步履進一步放緩，讓定音鼓 迎來了明快的尾聲。 第二樂章中板的中間段落如水波泛漾，開頭和煦的 氣氛頗有德伏扎克第九交響曲的影子，但很快就變 得有點冰冷。圓號再次扮演了引領獨奏者出場的重 要角色。獨奏進來時，旋律扣人心弦，稍後和圓轉 的單簧管來了一次二重奏。當樂章攀登到高潮時， 在高音域徘徊的獨奏，奏出了泛音，鋼片琴則在尾 聲和它一起並肩行進，最後漸漸消退，在一輪深沉 的定音鼓之後，剩下獨奏拉出了華采段。 長達五分鐘、148小節的華采段，與撥弦段落互相 對答。它把大提琴的音色發揮得淋漓盡致，完結時 速度稍稍加快，直接進入了終樂章「充滿動力的快 板」，頓時，我們聽到了漩渦般的樂隊引子和重錘 敲擊的定音鼓。這個樂章有三個主題：第一個不無 諷刺地，改編自史太林喜愛的一首叫做《蘇麗柯》 （Suliko）的格魯吉亞民謠； 第二個是穆索斯基的 《死之歌舞》（Songs and Dances of Death）中第一

9 月 21 日，蘇聯作曲家聯盟通過了這首作品的審

首描述暴風雪的科薩克特列帕克舞曲（Trepak） ；

查。首演於 10 月 4 日舉行，由羅斯卓波維契擔任

第三個便是第一樂章主題的重現。幾個主題如萬花

獨奏，與馬林斯基（Yevgeny Mravinsky）指揮的

筒般交錯出現，讓人「耳不暇給」，最後一氣衝到

列寧格勒愛樂樂團合作。 10 月 26 日又在莫斯科與

結尾，獨奏者的速度更快得令人張口結舌。

高克（Alexander Gauk）指揮的莫斯科愛樂樂團重 演了一次。不到一個月後，該作品便在西方舉行了 首演，由奧曼第（Eugene Ormandy）指揮費城樂 團演出，作曲家也親自到場監督了第一次的錄音， 這也是羅斯卓波維契領銜錄製此作品的眾多唱片的 其中一張。

此樂曲的樂隊編制 弦樂： 第一小提琴、第二小提琴、中提琴、大提琴、 低音大提琴 管樂： 長笛 (1)、長笛/短笛 (1)、雙簧管 (2)、單簧管 (2)、 巴松管 (1)、巴松管/低音巴松管 (1)、圓號 (1) 定音鼓、鋼片琴 獨奏大提琴

11

貝多芬（1770–1827）

C小調第五交響曲，作品67 精神抖擻的快板 流暢的行板 快板 － 快板

凡響的終曲連接段，這�樂�全體在定音鼓三連音 的牽引下逐漸增強。貝多芬原本的譜號指明諧謔曲 和中段這兩節都整段重複一次，但似乎在早期的演 奏或者貝多芬自己的修改中，都把重複段刪去了。 現時仍有早期樂器音樂會選奏完整版（包括重複 終曲）。

貝多芬第五交響曲不僅標誌了他的交響曲新風格，

諧謔曲在接入終曲之後，忽然便摒棄了C小調，迎

也是交響曲史的一個新開始。這是貝多芬首次採用

來了C大調���的��。這�明顯帶有海頓的�

小調來寫交響曲，和在交響曲這種體裁中加進短

子，他的第95交響曲也是由C小調變成C大調的，

笛、低音巴松管與長號。雖然初版的時候第三樂章

而這兩個樂調在海頓的《創世紀》第一節之中也分

諧謔曲和第四樂章終曲是獨立的個體，但貝多芬其

別代表了原始的黑暗和開天闢地時的光明。圓號和

後卻自信地將兩者二合為一，以致後者從前者發展

管樂接著帶出第二主題，同樣氣勢磅礡和充滿勝利

出來。這個非常革命性的手法，同樣見於第六交響

者的姿態。然後G大調的第三主題奏出重複音（這

曲。由此可見，第五交響曲成為史上最著名的交響

次是在長音之後出現），將樂曲推進到發展部，節

曲之一全不令人意外。但當時的觀眾聽後大感錯

拍則忽然改成 3/4 ，很戲劇性地回到諧謔曲和終曲

愕，白遼士的老師勒素爾（Jean-François Le Sueur）

之間的連接段。這個連接段又來一次漸強，過渡到

便如是 — 以至他在音樂會結束後激動得連帽子也

終樂章主題的呈現部。尾聲則先由巴松管和圓號獨

戴不穩。雖然現在此曲或許已不會令聽眾不知所

奏作前導，將樂曲引向圓滿的句號 — 一個不少於

措，但它扣人心弦的魔力永不會磨滅。

38 個小節的、把音樂再推往高潮的 C 大調和弦。

首樂章幾乎完全建基於開頭令人著魔的四個音符：

這真是一個非同凡響的終結！

三個 8 分音後一個降三度的 2 分音，再一起降一度 重複一遍。這個主題後來就被人稱為「命運」。在 這個震撼天地的短句之後，便是戲劇性的小停頓， 然後步子便急速而持久得令人喘不過氣來（拍子機 的記號是一分鐘奏 108 個 2 分音符或小節，雖然很

此樂曲的樂隊編制 弦樂： 第一小提琴、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) 銅管樂： 圓號 (2)、小號 (2) 、長號 (3) 定音鼓

少真的奏得那麼快）。至於降A大調、3/8拍的第二 樂章，則是一系列的變奏曲，一個元素是來自中提 琴和大提琴像舞步的主題，另一是來自單簧管和巴 松管的第二主題，然後便被亢奮的小號和定音鼓取 代。倍強音（ff）的段落使這個慢樂章顯得充滿力 量和激情，與以往交響曲中含蓄而溫和的慢樂章 有別。 C小調諧謔曲開首由低音弦樂奏出，氣氛神秘而不 安。不久，圓號的倍強音切入，與第一樂章的「命 運」主題前後呼應。低音弦樂又有意識地以 8分音 符的樂句開始了樂章的中段（trio）。接著諧謔曲似 乎又要重頭再奏，但瞬即被圓號打斷，並進入不同 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 Tonight’s concert unveils a royal hand in saving one of our works, a virtuoso eventually persuading a composer to write a work for him and a titanic symphony that changed the course of music forever. Quite a tall order perhaps, but here we go.

Mendelssohn made 10 visits to Britain. In 1844, with a relationship with London’s Philharmonic Society well under his belt, Mendelssohn conducted a run-through of his Overture Ruy Blas.

In his book The Philharmonic Society of London, published in 1862 (and quoted in Roger Nichols’ Mendelssohn Remembered, Faber and Faber, 1997, pp142-3), George Hogarth relates: “The history of this magnificent overture [Ruy Blas], in connection with the Philharmonic Society, is interesting and characteristic of its author. During the season 1844, when Mendelssohn conducted the Society’s concerts, this overture (in manuscript) was tried at a morning trial-performance, when, it would appear, it did not ‘go’ to the composer’s satisfaction. When Mr Anderson, after the performance, expressed his admiration for the new work, he was surprised to hear Mendelssohn say, with some heat, that he was much displeased with it – so much, that he would burn it. Mr Anderson said something deprecating such a resolution, but Mendelssohn repeated his determination that it should never be heard in public.

“Mr Anderson then said: ‘You have often expressed your admiration of my good master, Prince Albert; I am sure it would gratify him to hear a new composition of yours, so pray let me give him that pleasure by means of the Queen’s private band.’ Mendelssohn consented, on condition that the overture should never be publicly performed, and gave Mr Anderson the original orchestral parts. The overture was frequently performed at Buckingham Palace and Windsor Castle, to the admiration of Her Majesty and the Prince.

“Sometime after the composer’s lamented death, Mr Anderson wrote to Madame Mendelssohn, informing her of all that had passed with respect to this overture, and requesting her permission to perform it at Mrs Anderson’s next annual concert. The permission was kindly given, and the overture was performed at the lady’s concert in the season 1849; this being the first time it was ever publicly heard in England.”

From here, we go from British royalty to cello royalty – the charismatic Russian cellist, Mstislav Rostropovich. Shostakovich dedicated both his cello concertos to Rostropovich, who had already inspired Sergei Prokofiev to revise his Second Cello Concerto, resulting in the Sinfonia Concertante, of which Shostakovich was very enamoured, telling Rostropovich that he had worn the record out through constant playing. And, of course, Rostropovich was keen to have a work from Shostakovich to play. He, however, had to play the long game…

Turning the clock back again, before Mendelssohn, Beethoven would have dealings with London’s Philharmonic Society, in that it commissioned his Ninth Symphony. But we join him some two decades earlier, in the middle of the first decade of the 19th century. The first two movements of his C minor Symphony were already complete by late 1805. But in the late summer of 1806, Beethoven met Count Franz von Oppersdorff who was one of the few aristocrats still retaining a court orchestra. Staying with the Count at his home in Silesia, near Oberglogau, Beethoven was treated to a performance of his Second Symphony and agreed to

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the Count’s commission of a new symphony, receiving 500 gulden as his fee. However, this was not to be the C minor Symphony, but a new genial one in B-flat – No 4, Op 60 – modelled on Haydn (Beethoven’s one-time teacher) and dedicated to the Count.

Seemingly, after receiving No 4, Count Oppersdorff was keen to commission Beethoven’s next symphony, even paying part of the fee. But, for whatever reason, the relationship between the aristocrat and the composer broke down and, on completing the C minor Symphony in late 1807 or early 1808; Beethoven held back the première until an epic concert at the Theater an der Wien on 22 December 1808. This included the premières of not only the Fifth Symphony but also that of the Sixth, the Pastoral (although the symphonies were originally numbered the other way round) as well as including the Fourth Piano Concerto, amongst various other works. The previous 27 March, Beethoven had bidden farewell to Haydn (kneeling and kissing his hands) at a performance of the latter’s The Creation, which was to be the older composer’s last public appearance. Although Haydn lived another year, it is almost as if the première of Beethoven’s Fifth Symphony that December marked a clean break from the musical past in the most defiant of ways.

Felix Mendelssohn Bartholdy (1809–1847)

Ruy Blas Overture, Op 95

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Composed in 1839, Ruy Blas was the last of Mendelssohn’s incidental overtures. It was intended for a Berlin production of Victor Hugo’s Ruy Blas, a play that had been remarkably successful in Paris the previous year. The story follows Ruy Blas, the valet of a Spanish grandee, Don Salluste who has been banished from court by the Queen in 17th-century Madrid because (he thinks) he has seduced her favourite lady-inwaiting. Before he leaves he discovers that Blas has fallen for the Queen (“an earthworm enamoured with a star”) and conspires – by way of revenge – to pass him off to the court as a distant relative.

Unwittingly Blas plays the part to the manner born, becomes a spokesman (perhaps we would now say “spin-doctor”) for the poor and dispossessed, and wins not just the Queen’s favour but also her heart.

Graham Robb, Hugo’s recent biographer, neatly encapsulates the tragic end to the tale: “But the triple dream of social justice, royal patronage and requited love is shattered... when Don Salluste returns to reveal the deception. Ruy Blas runs his master through with a sword and poisons himself in front of a horrified Queen.” (Graham Robb, Victor Hugo, Picador, 1997, p215).

It seems that Mendelssohn was not enamoured of the subject matter of the play and only under duress did he compose the overture in addition to a vocal duet for the production. He insisted that it should be referred to as “Overture to the Dramatic Fund”, as the proceeds of the performance were to go to the orchestra’s Widow’s Fund, and he reportedly started it on one Tuesday evening and finished it the following Friday morning (8 March 1839). The music starts with a stately, if brooding, introduction, with flute and violins trying to escape the gloomy atmosphere. The main Allegro, which bursts in stormily, is often punctuated by the brass fanfare theme from the introduction. As to which theme refers to which character – well, it seems that Mendelssohn did not really care, but there is a distinct dramatic ebb and flow to the music.

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

Dmitri Shostakovich (1906–1975)

Cello Concerto No 1 in E-flat, Op 107 Allegretto Moderato – Cadenza – Allegro con moto

Shostakovich’s first wife told cellist Mstislav Rostropovich that the easiest way to get a work from her husband by far was NOT to constantly ask for one. Rostropovich found it hard not to, but his patience was eventually rewarded as, on 6 June 1959, Shostakovich announced that his next work would be a cello concerto, of which the first movement was already composed.

He finished the work, in Komarovo, some six weeks later on 20 July when the expected three movements had become four, as the elongated (and completely written out) cadenza had become a movement in its own right, albeit connected to both the slow movement that preceded it and the Finale it heralded. Once he had finished a reduction of the orchestral score for piano accompaniment, Shostakovich sent word to Rostropovich that it was finished, along with the parts. They arrived on the evening of 2 August 1959.

Four days later – on 6 August – Rostropovich and his accompanist Alexander Dedyukhin travelled out of Moscow to Shostakovich’s dacha (country cottage) and the cellist amazed the composer by having already committed the solo part to memory.

Following the run through there was a party, after which they all returned to Moscow and congregated in Shostakovich’s sister’s flat, where further excited discussion about the work took place and the composer formally dedicated the work to the cellist.

The formality of having the work passed by the Composers’ Union took place on 21 September and the première was given by Rostropovich, the Leningrad Philharmonic Orchestra and conductor Yevgeny Mravinsky on 4 October, with a repeat in

Moscow on 26 October (Moscow Philharmonic under Alexander Gauk). Less than a month later saw the western première, in Philadelphia under Eugene Ormandy, with Shostakovich there also to supervise the première recording of the work, one of many available with Rostropovich at the helm.

In the opening movement, which Shostakovich termed “an Allegretto in the character of a humorous march”, the spiky four-note theme introduced immediately by the soloist (and answered by clucking wind) is close to his trademark musical signature quite common throughout the 1950s. This normally explicitly etched his initials in sound – DSCH (his German name is Dmitri Schostakowitsch): ie D, E-flat (in German “Es”), C and B (in German “H”) – and in the guise it appears in this concerto, Shostakovich used it again in his Eighth String Quartet. It typifies the trajectory of the movement: impulsive, even stubborn – an effect heightened by the second theme with its “long-long-long-short-short” phrases, which are this time preceded by a different sort of wind clucking. The horn blasts in with the original theme, challenging the cellist on its own terms and even reintroducing the second theme and its slower pace. Eventually the pace slackens slightly for the timpani to herald the snappy coda.

The slow movement – marked Moderato and with a more rippling middle section – has echoes of Dvořák’s Ninth Symphony in its warm opening mood, but quickly develops a cooler edge. Again the horn assumes an important part in calling to the cellist, which enters with its own heart-onstrings melody, later in duet with a mellifluous clarinet. Rising to a poignant climax, the now highpitched soloist, playing harmonics, is paired with the celesta in a haunting coda that melts away to leave just the soloist in the cadenza, following a mournful timpani roll.

Developing sonorously from the depths and alternating with pizzicato passages, this extraordinary five-minute, 148-bar soliloquy 15

explores the various timbres of the instrument and ends with a slow picking up of pace that leads directly into the Finale’s Allegro con moto, with its swirling orchestral introduction and thumping timpani. There are three themes quoted. The first is – satirically – Stalin’s favourite song, a Georgian folk song called Suliko; the second is from Mussorgsky’s Songs and Dances of Death (the swirling snowstorm from the first song, Trepak); and, finally, there is the reintroduction of the theme from the first movement. Tumbling across each other, these themes create a frantic musical kaleidoscope as the concerto races to a breathless end.

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Winds: flute (1), flute/piccolo (1), oboes (2), clarinets (2), bassoon (1), bassoon/contrabassoon (1), horn (1) Timpani, celesta Solo cello

Ludwig van Beethoven (1770–1827)

Symphony No 5 in C minor, Op 67 Allegro con brio Andante con moto Allegro – Allegro

Beethoven’s Fifth Symphony marks a departure not only in Beethoven’s symphonic style but also in the very history of the symphony. It was the first time Beethoven composed a symphony in a minor key, and his grand conception demanded the use of piccolo, contrabassoon and trombones in a symphony for the first time. Also, despite a first version of the final two movements which had them as separate entities, Beethoven felt confident enough in both his vision and skill to join the Scherzo and Finale, so that the latter develops out of the former: a revolutionary innovation which he was to return to in the Pastoral. Little surprise, then, that it is one of the best-known symphonies ever written and, although it may have lost some of its power to shock (when Berlioz’s teacher Le Sueur heard it, he was so disturbed that when he tried to put his hat on at the end of the concert he – for a while – was unable to find his head), it will never lose its power to stir the listener.

The opening movement is built almost totally out of the arresting four-note phrase (three quavers and a minim, falling a third and then repeated immediately one note down) heard at the very outset: this motif has been termed, although not

by Beethoven, “fate”. Apart from dramatic pauses after such heaven-storming phrases, the pace of the movement is breathless and unerring (the metronome marking is 108 minims – ie bars – to the minute, although it is rarely taken at that speed). The Andante con moto, in 3/8 and A-flat, is a set of variations on both the stepping theme introduced by violas and cellos and the second theme on clarinets and bassoons before being aggressively taken by trumpets and timpani.

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Fortissimo passages add power and excitement to the music in a movement which had hitherto been usually reserved for restraint and gentleness.

The mysterious stirring opening on lower strings of the C minor Scherzo is interrupted by fortissimo horn figures, directly echoing the first movement’s stabbing “fate” motif. Lower strings offer a purposeful quaver passage to start the Trio.

Beethoven’s original markings allowed for both Scherzo and Trio to be fully repeated. Then the Scherzo seems to start again, but it is not allowed to get as far as the horn calls, as the extraordinary connecting passage to the Finale takes over, with triplet beats on timpani joined by the rest of the orchestra in a great crescendo. However, it seems that, either in early performances or a revision by Beethoven himself, the repeat of both Scherzo and Trio was dropped. Nowadays, with the advent of period instrument performances, the complete version (including the Finale’s repeat) has made a modest comeback.

Thus the Scherzo transforms itself into the Finale.

Suddenly C minor is left behind and C major bursts triumphantly through. Once again Beethoven was influenced by Haydn, whose Symphony No 95 also moves from C minor to C major and The Creation where these keys in Part 1 signify primeval darkness and blazing light, respectively. Horns and wind introduce a second subject, magisterial and equally triumphant. A third theme, this time in G, once again uses repeated notes (although this time after the long notes) and carries the music purposefully on into the development, when suddenly the time signature changes to 3/4 for an extraordinary return to the music of the linking passage from the Scherzo. This gives Beethoven the opportunity to once again build up a crescendo for the start of the recapitulation of the Finale’s triumphant themes. A coda, heralded by bassoon and horn solos, rounds off this incredible work, ending with no less than 38 bars of climactic C major chords – what a way to end a symphony!

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

© Nick Breckenfield, 2020 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

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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

(2020-2021)

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 田口美奈子

CHIN Hing-sang 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

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Notes 1. Guest Principal Oboe 客席雙簧管首席 – CHENG Chi-yuen (鄭智元).

2. Freelance Musicians: Violin 小提琴：CHUA Vince Eliezer N. (蔡君賢), WEI Ning-yi (魏宁一) Double Bass 低音大提琴：CHAN Chun Michael (陳駿) Flute 長笛：LEE Yi-wei Angus (李一葦), Ada POON (潘安婷) Bassoon 巴松管：LIU Tung-bo (廖冬保)

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

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

陳鋈鋆先生（主席）

Mr Y K CHAN (Chairman)

金董建平女士

Mrs Alice KING

潘燊昌博士（司庫）

Dr Patrick S C POON (Treasurer)

施永青先生

Mr SHIH Wing-ching

周莉莉女士

Ms Lily CHOW

楊雪姬女士

Ms Serena YANG

鍾思源醫生

Dr CHUNG See-yuen

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

陳智文先生

Mr Stephen TAN

謝智剛教授

Prof C K Michael TSE

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

行政助理 Office Adminstrator 楊瑞遠 YANG Jui-yuan

節目經理 Project Manager 黃紫菱 Athena WONG 助理樂團經理 Assistant Orchestra Manager 黎希潼 Carvina LAI

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

特別節目統籌 Special Projects Adminstrator 柯玉嬌 Noel QUAH 製作經理 Production Manager 陳冠宏 Eddie CHAN 當代音樂研究 Contemporary Music Research 鄺展維 Charles KWONG

市場及業務拓展主任 Marketing & Development Officer 柯娉庭 Pantane OR 藝術行政主任 Arts Administration Officers 林海欣 Hayley LAM 孫名雪 Michelle SUEN 馮碧琪 Betty FUNG

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謝謝！Thank You Partners!

2020/2021 樂季贊助機構 Sponsors of the 2020/2021 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

金會員 Gold Member

銀會員 Silver Member

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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

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

MegaSTAR Patrons (>HK$500,000)

• • • • • • • • • • •

• 陳鋈鋆先生 Mr Chan Yuk-kwan • 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon • 施永青基金有限公司 Shih Wing Ching Foundation Limited • Ms Serena Yang SuperSTAR Patrons (HK$100,000 to HK$499,999)

• 周莉莉女士 Ms Lily Chow • 翟紹唐先生 Mr Jat Sew Tong • 冼為堅基金有限公司 Sin Wai Kin Foundation

亞洲保險有限公司 Asia Insurance Co Ltd 北山堂基金 Bei Shan Tang Foundation 陳嘉何醫生夫人 Dr & Mrs Chan Ka Ho 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 Dr & Mrs Patrick Tong 多位無名氏 Anonymous

STAR Donors (HK$10,000 to HK$29,999) • Prof Anthony Chan

• 高靜芝女士 Ms Sophia Kao

• Dr Yvonne Ou

• 陳真光醫生 Dr Jane C K Chan

• Miss Sandra W M Lee

• Poon Shing Chi and Liao E Wen

• 張綺年醫生 Dr Vivian Cheung

• Mr Allan Leung

• Mr Douglas Clark

• 莫扎特迷 Mozart’s Fan

• 孫永輝施熙德伉儷 Edith and Stephen Sun

• Mr Eugene Fung

• Nathaniel Foundation Limited

• 曹延洲教授 Prof Tsao Yen Chow

• 馮海莉女士 Ms Sabrina H Fung

• 吳思博先生及蕭詠欣女士 Winny and Nigel Ng

• 多位無名氏 Anonymous

• BELIEVING MUSIC CAN

• 鍾寶圈小姐 Miss Pollyanna Chung

• 吳志強先生

• 加拿大琴行 Canada Piano Co

• 鍾穎彤小姐 Miss Chung Wing Tung

• Mrs Florence Ng

• Miss Priscilla Castro

• In memory of Esther

• 吳天天先生 Mr Ng Tin Tin Timothy

• Ms Cynthia Chan

• Ms Roselanie Ho

• 魏嘉珩女士 Ms Ngai Kar Hang

• Jonman, Monika & Joel Chan Family

• 何偉兒先生 Mr Ho Wai Yee

• Mr John Ngan

• 陳昌奇先生 Mr Kelvin Chan

• Ms Hung Ying Kwan

• 戚世遠先生 Mr Qi Shiyuan

• Mr Chan King Fung Thomas Adam

• Mr Ralph Ingersoll

• John & Anthea Strickland

• In memory of Ms Mariette Mimi Chan

• 郭立成律師 Mr Chris Kok

• Ms Elsie Tam

• Ms Joyce Kwock

• 唐��小姐 Ms I Shyan Tng

• 陳素卿女士 Ms Chan So Hing

• Miss M Kwok

• 曾作強先生 Mr Henry Tsang

• Miss Chan Yin Fei Joyce

• Ms Betsy Lai

• Mr Paul Tsang

• 陳燕婷

• 劉慧詩女士 Mrs Lau Wai Sze

• 徐穎儀小姐 Miss Hailey Wing Yee Tsui

• 陳騰龍先生

• Mr Sung Chak Kyle Lee

• Ms TT Tsui

• Ms Catherine Chau

• Mr Sheung Lee

• Ms Kate Westbrook

• Mr Douglas Cheng

• Mr Lee Wai Ho

• Mr Peterson Wong

• 鄭錦德先生 Mr Cheng Kam Tak

• Ms Florence Leung

• Ms Carolina Yip

• Ms Amy Cheung

• Dr Xina Lo

• Ms Anka Yuen

• 蔡靄兒小姐 Miss Joycelyn Choi

• Mr Dechathorn Nawakanon

• 多位無名氏 Anonymous

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

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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)

• 翟紹唐先生 Mr Jat Sew Tong

• CLP Holdings Limited • 鍾陳碧璋女士 Mrs Shirley Chung

• 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon

Ruby Donors (HK$30,000 to HK$49,999)

• 芝蘭基金會 Zhilan Foundation

• 鍾思源醫生 Dr Chung See Yuen • 多位無名氏 Anonymous

Pearl Donors (HK$10,000 to HK$29,999) • 亞洲保險有限公司 Asia Insurance Co Ltd

• Mr Lawrence J Y Lam

• 陳德茂教授 Prof Chan Tak Mao Daniel

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

• 張德賢博士伉儷 Dr & Mrs Douglas Cheung

• Prof Gabriel Leung

• 張�昌博士 Dr Thomas H C Cheung, MH

• PLC. Foundation

• 趙俊良先生 Mr Chiu Chun Leong David

• 孫永輝施熙德伉儷 Edith and Stephen Sun

• Miss Charlotte O Y Lam

• 多位無名氏 Anonymous

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

• • • • • • •

Caterina, Luca & Joseph Jacobelli 郭立成律師 Mr Chris Kok 紀念劉葉珍女士 Mr Sheung Lee Mr Lee Wai Ho 廖炳輝醫生 Dr Liu Bing Fai 莫心柔及莫心維 Josephine Mok & Esther Mok • 吳天天先生 Mr Ng Tin Tin Timothy • 吳思博先生及蕭詠欣女士 Winny and Nigel Ng

BELIEVING MUSIC CAN Mr Iain Bruce Mrs Charlene Chan Jonman, Monika & Joel Chan Family Mr Chan Kwan Ho Miss Chan Yin Fei Joyce 鄭可傑先生 Mr Cheng Ho Kit 兜仔先生 Mr Dullchai Ms Agnes Hui Mr Ralph Ingersoll

Premium Friends • 張�昌博士 Dr Thomas H C Cheung, MH • 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon • 冼為堅博士 Dr David Sin Wai-kin • 唐柏泉醫生 Dr Patrick Tong • 謝智剛教授 Prof C K Michael Tse • 多位無名氏 Anonymous

• • • • • • • • • •

魏玉華小姐 Miss Winnie Ngai 蘇國輝教授 Prof So Kwok Fai Mr Robert Ching Tang Mr Wong Kai Chun 黃乃禧先生 Mr Wong Nai Hay Mr Marcus Woo Ms Yeung Lai Fong Alice Mr Tyson Yeung 布甸狗與馬卡龍 Pom Pom Purin & Macaron 多位無名氏 Anonymous

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!

• • • • • • • • • • • • • • •

Association Culturelle France Hong Kong Ltd 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 德國駐港總領事館 German Consulate General Hong Kong 香港歌德學院 Goethe-Institut Hongkong 民政事務局 Home Affairs Bureau 日本駐港總領事館 Consulate General of Japan in Hong Kong 光華新聞文化中心 Kwang Hwa Information and Culture Center 康樂及文化事務署 Leisure and Cultural Services Department 邁騰路通有限公司 Maestro GT Limited Mr Ozawa Kazuo 香港電台 Radio Television Hong Kong 瑞士駐港總領事館 Consulate General of Switzerland in Hong Kong 通利琴行 Tom Lee Music Co Ltd Mr Jiři Votruba

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