House Prog: Sea Interludes (9.10.2021)

© JEAN-BAPTISTE MILLOT

9.10.2021 (星期六 Sat) 7:30pm

香港大會堂音樂廳 HK City Hall Concert Hall 指揮 Conductor

佛里斯．維塞斯 Roberto Forés Veses 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

海之間奏 Sea Interludes 指揮 Conductor

節目

佛里斯．維塞斯 Roberto Forés Veses

阿迪斯

《水手歌 — 在海上》（2020）（亞洲首演） 由澳洲室樂團、新澤西州交響樂團、慕尼黑室樂團、 香港小交響樂團、阿姆斯特丹小交響樂團、瑞典室樂團、 巴塞爾室樂團／格施塔德曼奴軒音樂節、伊斯坦堡音樂節、 與巴比肯中心/布列頓交響樂團委約

布列頓

《彼得．格賴姆斯》：四首海之間奏曲，作品33a 晨曦 星期天早晨 月光 風暴 －中場休息15分鐘－

布拉姆斯

C小調第一交響曲，作品68 稍為綿延的 — 快板 綿延的行板 小快板且優美的 慢板 — 稍快些 — 不太急速但充滿熱情的快板 — 更快些

Programme

Thomas Adès Shanty – Over the Sea (2020) (Asian première) Commissioned by Australian Chamber Orchestra, New Jersey Symphony Orchestra, Münchener Kammerorchester, Hong Kong Sinfonietta, Amsterdam Sinfonietta, Swedish Chamber Orchestra, Kammerorchester Basel with Gstaad Menuhin Festival & Academy, Istanbul Music Festival, and Barbican Centre with Britten Sinfonia

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.

Britten

Peter Grimes: Four Sea Interludes, Op 33a Dawn Sunday Morning Moonlight Storm – 15-minute intermission –

Brahms

Symphony No 1 in C minor, Op 68 Un poco sostenuto – Allegro Andante sostenuto Un poco allegretto e grazioso Adagio – Più andante – Allegro non troppo, ma con brio – Più 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.

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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

香港小交響樂團是香港的旗艦樂團之一，銳意 「培育文化新一代」，並以富創意的節目及充滿熱忱 的演奏稱譽本地及海外樂壇。

攝，拓展古典音樂觀眾的層面。 樂團自 2006 年起舉辦「駐團藝術家」計劃，邀請

自 1999 年起，與香港小交響樂團合作過的國際知

本地不同界別的藝術家與樂團緊密合作及交流，培

名音樂家及藝團包括阿爾斯達德、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、

優秀作品；由DECCA發行的三輯《就是古典音樂》

莫斯科大劇院芭蕾舞團、英國皇家芭蕾舞團、英國

系列，均獲白金及金唱片佳績。雙 CD《一屋寶貝

國家芭蕾舞團、美國芭蕾舞劇院、紐約市芭蕾舞

音樂廳》於2018年由DECCA出版。

團、斯圖加特芭蕾舞團及翩娜．包殊烏珀塔爾舞蹈 劇場等。樂團亦經常應邀與本地藝術節及藝團合 作，如香港藝術節、法國五月、香港芭蕾舞團及香 港歌劇院等。 2018 年舉辦第一屆香港國際指揮 大賽，吸引了 310 位來自 49 個國家及地區的參 賽者。 香港小交響樂團自 2009 年起為香港大會堂的場地 伙伴，每樂季演出逾100場次。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，並銳 意與不同界別的藝術家製作新節目， 2020 年躍進 大銀幕，推出音樂電影系列《Back On Stage》 ，大 獲好評。2021年更進一步，與MOViE MOViE聯合 呈獻「Life is Art 盛夏藝術祭」電影節，以更多面

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《Tiny Galaxy Concerts》 ，在香港別具特色的旅舍拍

樂團經常應邀作客海外，包括：美國紐約林肯中心 羅斯劇院、加拿大多個以出色音效著稱的音樂廳； 南美洲的巴西、阿根廷及烏拉圭；在歐洲計有法國 的拉羅克．昂迪榮國際鋼琴音樂節和蒙頓音樂節 等、德國東弗里斯蘭「浪潮」音樂節、波蘭貝多芬 復活節音樂節、意大利米凱朗傑利國際音樂節和維 琴察音樂節、葡萄牙馬爾旺國際音樂節、立陶宛的 兩個音樂節、瑞士蘇黎世、日內瓦和弗里堡；北京 中國交響樂之春（國家大劇院）、中國上海國際藝 術節（世博會「香港活動周」閉幕節目）、韓國統 營國際音樂節、新加坡及台灣，並五度獲邀參與東 京《

》音樂祭演出。

向推廣古典音樂。樂團亦針對不同年齡的觀眾，舉

樂團 2002 年至 2020 年由著名指揮家葉詠詩擔任

辦多套別樹一格的普及音樂會，包括《寶寶/幼兒

音樂總監，期間致力推動本地古典音樂發展。

愛音樂》、《古典音樂速成》、 《古典音樂知多少》

葉詠詩現為樂團的桂冠音樂總監，她會在樂團委

和《我個名叫麥兜兜．古典音樂小計劃》等節目，

任新總監前，與首席客席指揮柏鵬一起負責樂團

而且不限於音樂廳等場地，例如網上室樂系列

藝術發展事宜。

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/Kids, Know Your Classical Music, Short-cut to Classical Music and HKS McDull Music Project. The orchestra also frequently ventures into new initiatives, recently receiving wide acclaim for its groundbreaking Back On Stage concert film series, as well as the Tiny Galaxy Concerts online series featuring performances recorded at a fascinating hostel in Hong Kong. In 2021, the orchestra co-curated the “Life is Art” film festival with MOViE MOViE, while continuing to break down barriers between music and audience with free chamber concerts held regularly at Hong Kong City Hall.

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 La Folle Journée and Asia Orchestra Week; in Korea at the Tongyeong International Music Festival and in Singapore at the Esplanade, and at National Concert Hall Taipei and National Taichung Theater.

Hong Kong Sinfonietta has thrived under the direction of Music Director Yip Wing-sie – one of Asia’s most respected conductors – since 2002.

Having taken on the new role of Music Director Emeritus since May 2020, 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

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指揮 Conductor

© JEAN-BAPTISTE MILLOT

佛里斯．維塞斯 Roberto Forés Veses

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指揮家佛里斯．維塞斯為曼契奈里國際歌劇指揮大

埃、赫爾辛基、里昂、盧昂、聖埃蒂安等地的歌劇

賽冠軍及史維特拉諾夫指揮比賽獎項得主。這位西

院製作。樂團方面，他曾指揮的樂團包括 NHK 交

班牙華倫西亞出生的指揮家，曾於多個著名樂團及

響樂團、聖彼得堡交響樂團、里昂國家樂團、洛桑

於歌劇重鎮執棒。本樂季演出頻繁，再次合作或首

室樂團、盧森堡愛樂樂團、布拉格愛樂樂團、海牙

次亮相的樂團包括：英國室樂團、俄羅斯國家交響

愛樂樂團、巴黎室樂團、蒙彼利埃國家樂團、尼斯

樂團、米蘭威爾第交響樂團、香港小交響樂團、洛

愛樂樂團等。

桑小交響樂團、羅亞爾省國家樂團、波爾多國家樂

他亦經常於世界各地的音樂節亮相，如南特及東京

團、華倫西亞樂團及加利西亞愛樂樂團。他將帶領

的《

以色列室樂團的全國巡演，法國奧維涅國家樂團的

登音樂節、史特利沙音樂節、漢斯夏季音樂會、韋

蒙地卡羅巡演，以及指揮四間法國歌劇院聯合製作

澤爾音樂節及白遼士音樂節等。 2018 年佛里斯．

的貝里尼《夢遊女》。

維塞斯應邀與其他史維特拉諾夫比賽勝出者，一同

佛里斯．維塞斯於 2011年至2021年期間出任奧維

參與莫斯科柴可夫斯基音樂學院為慶祝史維特拉諾

涅國家樂團首席指揮及藝術總監，將樂團提升至國

夫誕生90周年而舉辦的音樂節。

家級水平。在他領導下，樂團成為的錄音室寵兒，

佛里斯．維塞斯灌錄了不少唱片，最新出版為與巴

並於 2019 年創立樂團自己的唱片品牌。佛里斯．

艾娃合作的貝多芬小提琴協奏曲。即將出版的包括

維塞斯曾率領樂團到日本及巴西等地巡演。

蕭邦第一鋼琴協奏曲、史特勞斯的《變形》、荀伯

佛里斯．維塞斯指揮樂團及歌劇同樣得心應手，曾

格《昇華之夜》、馬勒編的舒伯特《死神與少女》，

指揮莫斯科大劇院、都靈皇家劇院，以及蒙彼利

以及羅�、奧�格及里維埃的交響樂。

》音樂祭、拉謝斯迪亞音樂節、穆爾

A prizewinner of the Evgeny Svetlanov Conducting

Equally devoted to symphonic and operatic

Competition and Luigi Mancinelli International

repertoires, Forés Veses has conducted at the

Opera Conductors Competition, Valencia-born

Bolshoi Theatre, Teatro Regio di Torino, and at the

conductor Roberto Forés Veses has conducted

opera companies of Montpellier, Helsinki, Lyon,

many of the world’s leading orchestras and at

Rouen, Saint-Etienne and many more. The many

prestigious opera houses. The forthcoming months

orchestras he has conducted include the NHK

will see débuts and returns with, among others,

Symphony, Saint Petersburg Symphony, Orchestre

the English Chamber Orchestra at London’s

National de Lyon, Orchestre de Chambre de

Cadogan Hall, State Academic Symphony

Lausanne,

Orchestra of Russia “Evgeny Svetlanov”, Orchestra

Luxembourg, Prague Philharmonia, Residentie

Sinfonica e Coro Sinfonico di Milano Giuseppe

Orchestra, Orquestra Sinfónica do Porto Casa da

Verdi, Hong Kong Sinfonietta, Sinfonietta de

Música, RTVE Symphony Orchestra, Orquestra de la

Lausanne, Orchestre National de Pays de la Loire,

Comunitat Valenciana, Orquesta de Extremadura,

Orchestre National Bordeaux Aquitaine, Orquestra

Orchestre de Chambre de Paris, Orchestre National

de Valencia and Real Filharmonia de Galicia. He will

de Montpellier, Orchestre Philharmonique de Nice

lead the Israel Camerata on a national tour, the

and others.

Orchestre National d’Auvergne on tour to Monte Carlo, and a co-production of Bellini’s La Sonnambula at four French opera houses.

Orchestre

Philharmonique

du

He regularly performs at many international festivals, including La Folle Journée de Nantes and Tokyo, La Chaise-Dieu, Murten Classics, Stresa

From 2011 until 2021, Forés Veses was Chief

Festival, Les Flâneries Musicales de Reims, Festival

Conductor and Artistic Director of the Orchestre

de la Vézère, Festival Polignac, Festival Bach en

National d’Auvergne, where he presided over a

Combrailles and Berlioz Festival. In 2018, he was

chamber orchestra tradition famous across France

invited to join other selected Svetlanov

and internationally, and oversaw the ensemble’s

Competition winners in a special festival marking

elevation to France’s “national”-level orchestras.

the 90th anniversary of Svetlanov’s birth, at the

Under his directorship, the orchestra became

Moscow Tchaikovsky Conservatory.

much-in-demand as a recording orchestra, making many recordings mainly for Warner Classics and the boutique label Aparté, while launching their own label in 2019. He has led the orchestra on several international tours, including to Japan, South America and Brazil.

Forés Veses has made more than a dozen recordings, the most recently released being Beethoven’s Violin Concerto with Alena Baeva.

Coming soon are Chopin’s Piano Concerto No 1 with Nicholas Angelich, Strauss’ Metamorphosen and Schoenberg’s Verklärte Nacht, Mahler’s arrangement of Schubert’s Death and the Maiden, and symphonies by Roussel, Honegger and Rivier.

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作曲 Composer

阿迪斯 Thomas Adès 市交響樂團及指揮歷圖而作。2005年阿迪斯發表 了《同心途》小提琴協奏曲，由馬活特與歐洲室 樂團在柏林藝術節及 BBC 逍遙音樂會演出。《音 節》(2007）由柏林愛樂及卡奈基音樂廳委約創 作，而影像與鋼琴協奏曲《七天內》(2008）於倫 敦及洛杉磯首演。《北極星》(2011）由狄遜湯馬 士與新世界交響樂團首演，其後在賽德勒之泉劇 院舉行的「阿迪斯作品之夜」中，國際知名編舞 家派特更以之編成舞作。其他合作過的著名編舞 家包括阿米塔基、布蘭德絲特魯普、麥葛萊格及 佩奇等。 為女中音、男中音及樂團而作的《死之舞》則由 BBC 交響樂團於 2013 年 BBC 逍遙音樂會首演。 《為她塗脂抹粉》之華麗組曲 (2017) 由歷圖及柏 林愛樂委約創作。阿迪斯的室樂作品包括《亞卡 迪亞那》(1994）及《一日四景》(2010) 兩首弦樂 四重奏，一首鋼琴五重奏 (2000) 及為大提琴及鋼 琴而作的《重拾失地》(2009)。 阿迪斯 1971 年生於倫敦，於倫敦吉爾德霍爾音樂 及戲劇學院修讀鋼琴，其後在劍橋大學進修音樂。 阿迪斯作曲、指揮、鋼琴均擅勝場，《紐約時報》 曾稱譽他為「才華洋溢的全才音樂家」。

愛樂、倫敦交響樂團、阿姆斯特丹皇家樂團、墨 爾本及悉尼交響樂團， BBC 交響樂團及伯明翰市 交響樂團等。他是波士頓交響樂團首位藝術夥

阿迪斯的室內歌劇《為她塗脂抹粉》(1995）全球

伴，並由該團於2019年首演他的鋼琴與樂團協奏

各地上演，而倫敦皇家歌劇院委約創作的《暴風雨》

曲，葛斯坦擔任獨奏。

(2004)先後被著名歌劇院搬演，在紐約大都會歌劇 院的演出更被錄製成 DVD ，並奪得格林美獎。而 由布紐爾同名電影激發靈感的第三部歌劇《泯滅天 使》，於 2016年 7 月於薩爾茨堡藝術節首演後，並 巡演倫敦、紐約及哥本哈根。 1993年至1995年間，阿迪斯出任哈雷樂團駐團作 曲家，並為布里奇沃特音樂廳開幕誌慶創作了《警 鐘已裝上》(1996)，《庇護所》(1997）則為伯明翰 6

在指揮方面，阿迪斯經常合作的樂團包括洛杉磯

阿迪斯獲獎無數，包括2015年索寧音樂獎、楊納 徹克獎，以及2000年取得的格文美獎，為該重要 獎項歷來最年輕的得獎者。 1999 至 2008 年間他 是奧爾德堡藝術節藝術總監。每年於普魯士灣國 際音樂家講座教授鋼琴及室樂。2018年獲英女王 頒授司令勛章。

Born in London in 1971, Thomas Adès studied

Sadler’s Wells. Other choreographers who have

piano at the Guildhall School of Music & Drama,

worked with his music include Karole Armitage,

and read music at King’s College, Cambridge.

Kim Brandstrup, Wayne McGregor and Ashley

A prodigious composer, conductor and pianist,

Page. Totentanz for mezzosoprano, baritone and

Adès was described by The New York Times

large orchestra was premiered at the 2013 Proms

in 2007 as one of today’s “most accomplished

by the BBC Symphony Orchestra. Luxury Suite from

overall musicians”.

Powder Her Face (2017) was commissioned by

Adès’s chamber opera Powder Her Face (1995) has

Simon Rattle and the Berlin Philharmonic. Adès’

been performed worldwide, whilst The Tempest

chamber music includes two string quartets,

(2004) was commissioned by London’s Royal Opera

Arcadiana (1994) and The Four Quarters (2010), a

House, and has since been taken up by

Piano Quintet (2000) and Lieux Retrouvés (2009)

international houses including New York’s

for cello and piano.

Metropolitan Opera, where it was recorded for a

As a conductor, Adès appears regularly with the

Deutsche Grammophon DVD which subsequently

Los Angeles Philharmonic, London Symphony

won a Grammy Award. His third opera, after Luis

Orchestra, Royal Concertgebouw, Melbourne and

Buñuel’s The Exterminating Angel, premiered at

Sydney symphony orchestras, BBC Symphony, and

the Salzburg Festival in July 2016 before travelling

City of Birmingham Symphony Orchestra. He is the

to London, New York and Copenhagen.

inaugural Artistic Partner of the Boston Symphony

Between 1993 and 1995, Adès was Composer in

Orchestra, with whom he premiered his Concerto

Association with the Hallé Orchestra, producing

for Piano and Orchestra with Kirill Gerstein as

These Premises Are Alarmed for the opening of the

soloist in 2019.

Bridgewater Hall in 1996. Asyla (1997) was written

Adès has won numerous awards, including the

for Simon Rattle and the City of Birmingham

2015 Léonie Sonning Music Prize, Leoš Janáček

Symphony Orchestra. In 2005, Adès premiered his

Award, and the prestigious Grawemeyer Award

Violin Concerto, Concentric Paths, for Anthony

(2000), of which he is the youngest-ever recipient.

Marwood and the Chamber Orchestra of Europe,

He was awarded a CBE in the 2018 Queen’s

at the Berlin Festspiele and the BBC Proms. Tevot

Birthday Honours, and was Artistic Director of the

(2007) was commissioned by the Berlin

Aldeburgh Festival from 1999 to 2008. He coaches

Philharmonic and Carnegie Hall, whilst In Seven

piano and chamber music annually at the

Days, a concerto for piano with moving image, was

International Musicians Seminar, Prussia Cove.

premiered in 2008 in London and Los Angeles.

Polaris (2011) was premiered by the New World Symphony with Michael Tilson Thomas in Miami, and was later choreographed to great acclaim by Crystal Pite as part of an all-Adès evening at 7

香港小交響樂團首度與 MOViE MOViE 合辦的 「Life is Art 盛夏藝術祭 2021」電影節於8月27日 假 MOVIE MOViE Pacific Place 揭開序幕， 呈獻超過50場電影，包括香港小交響樂團 三套音樂會電影之世界首映。 Hong Kong Sinfonietta collaborated with MOViE MOViE to co-curate the “Life is Art 2021” film festival for the first time ever. Having opened on 27 Aug at MOViE MOViE Pacific Place, the festival featured over 50 screenings, including three world premières of Hong Kong Sinfonietta’s original concert film productions.

桂冠音樂總監葉詠詩與行政總裁楊惠於講座中 暢談香港小交響樂團的發展故事。 Hong Kong Sinfonietta’s Music Director Emeritus Yip Wing-sie and CEO Margaret Yang gave a talk on their work in building the orchestra through the years. 為配合這次的破格合作，特別展出 由樂高®專業認證大師洪子健打造 的貝多芬雕像！ A life-sized LEGO® Beethoven went on exhibition in celebration of this groundbreaking collaboration.

樂團最新力作《Back On Stage III: DESTINY》為電影節奏響頭炮！ The festival’s opening film was none other than the latest instalment in the orchestra’s Back On Stage concert film series – Back On Stage III: DESTINY.

首席客席指揮柏鵬以線上形式即時與 《Back On Stage III: DESTINY》的觀眾作互動分享。 The orchestra’s Principal Guest Conductor Christoph Poppen appeared live on video and chatted with the audience of Back On Stage III: DESTINY.

樂團首席格德霍特與鋼琴家李嘉齡出席《Vive la Musique!》之映後分享。 The orchestra’s Concertmaster James Cuddeford and pianist Colleen Lee attended the post-screening sharing sessions of Vive la Musique!

作曲家及跨媒介藝術家楊嘉輝出席《消音狀況#22： 消音的柴可夫斯基第五交響曲》之映後分享。 Composer and multimedia artist Samson Young attended the post-screening sharing session of Muted Situations #22: Muted Tchaikovsky’s 5th.

Life is Art 閉幕電影《All-Star Tiny Galaxy @ Wontonmeen》 於9月24日假太古MOViE MOViE Cityplaza作世界首映。 The world première of All-Star Tiny Galaxy @ Wontonmeen closed the festival on 24 Sep at MOViE MOViE Cityplaza.

電影節期間亦於誠品書店舉行了捷克藝術家 Jiří Votruba 之音樂偉人插畫展覽。 An exhibition of Czech artist Jiří Votruba’s illustrations of iconic composers was held at Eslite Bookstore during the festival. 今屆 Life is Art 推出多款限量紀念品，包括「戲橋」和以 電影節主題「per aspera ad astra」 （由微塵到繁星）為設計， 並由 Jiří Votruba 題字的精品。 A selection of merchandise and souvenirs with font design by Jiří Votruba, centred around the festival’s theme – “Per aspera ad astra” (from the dust to the stars), was released along with specially made programme booklets for music-related screenings. 購票及加場節目詳情 Ticketing & details to additional screenings: www.cinema.com.hk

節目介紹 請緊握扶手，因為這趟海上旅程可能會有點顛簸！歡迎搭乘香港小交響樂團號客輪， 我們上半場會將在海上暢遊。即使布拉姆斯的第一交響曲並不是直接受到海的啟發， 但他出生於德國最大的港口城市之一漢堡，所以他對大海十分熟悉。 英國作曲家被大海激發創作靈感可說毫不為奇，畢竟英國是個島國。布列頓在英國最 東端的海岸城鎮洛斯托夫特（Lowestoft）出生，也終老在海邊的奧爾德堡（Aldeburgh） ， 他在斯奈普馬爾丁（Snape Maltings）建立了音樂廳，又於 1948 年創辦了奧爾德堡 音樂節。很自然地，他的第一部重要歌劇《彼得．格賴姆斯》就是根據描寫這一帶 海岸的一首詩而創作的，而「四首海之間奏曲」便出自這部歌劇。 阿迪斯出生於倫敦，年輕的他沒有經歷過這座城市作為大英帝國港口時的輝煌盛世。 但他根據莎士比亞的《暴風雨》（The Tempest）撰寫的第二部歌劇，卻提及劇中主角 普洛斯彼羅（Prospero）公爵所在海島一帶的海域。 布拉姆斯在30多歲前，主要於漢堡這座偉大的漢薩同盟時期的港口活動。他在10多年 後才完成其撰寫多年的第一部交響曲。布拉姆斯曾說：「寫交響曲可不是講玩的。」 早於1854年，布拉姆斯已開始構思自己的交響曲，那年跟他亦師亦友的舒曼因精神問 題欲投萊茵河自盡，他也初次聽過貝多芬的第九交響曲「合唱」 。但結果這草稿先被構 思成一首雙鋼琴奏鳴曲，後來最終成為了 D 小調第一鋼琴協奏曲（作品 15）。在 1862 年，他至少構思了一首交響曲的第一樂章（當時還沒有現在第一交響曲那段緩慢的序 奏）。舒曼夫人克拉娜看過樂譜之後，在 7 月 1 日寫信給他們的朋友約阿希姆（Joseph Joachim）說樂章「有些粗糙，但我很快就適應了」。1868年，布拉姆斯已�手撰寫終 樂章，他把圓號主題寄給克拉娜，用它配上即興的祝福語：「今天就吹響牧羊人的號 角。」但八年之後他才有信心讓這首作品面世，而即使在首演前，他還試圖把中間兩 個樂章縮短，並且對終樂章作一些修改。1876年11月4日，第一交響曲終於在卡爾斯 魯厄（Karlsruhe）首演，由迪索夫（Otto Dessoff）指揮巴登公爵（Duke of Baden） 的宮廷樂團演奏。 這是布拉姆斯醞釀最久的一首作品。這是可以理解的，因為之前他只寫過三首管弦樂 曲，包括兩首小夜曲（其中第一首他曾打算將之稱為「交響曲」 ，而事實上其篇幅亦堪 與交響曲相比），以及海頓變奏曲。貝多芬的陰影一直在他心頭揮之不去，他的音樂界 朋友 — 例如約阿希姆、雷維（Hermann Levi）、狄特利希（Albert Dietrich）、布魯赫 （Max Bruch）和出版商西姆羅克（Simrock）等，都紛紛促請他將作品公開。它的首演 相當成功，即使有人對此曲略有保留（例如克拉娜初時便覺得此曲的旋律不夠溫暖動 12

人）。後來在曼海姆、慕尼黑和維也納的演出，布拉姆斯親任指揮，相比起有人稱讚 此曲為「貝多芬第10交響曲」，也許他會覺得克拉娜的說法較易接受。 這個說法當然有點誤導，稱他為「貝多芬傳人」可能較適合。因為他沒跟從李斯特和 白遼士等人的交響曲創作路向，撰寫標題音樂，而是像貝多芬一樣，按照傳統的交響 曲式創作。布拉姆斯對曲式也相當注意，他的風格也與他尊敬的前輩不一樣。其作品 本質上屬於浪漫主義，他往往以綿長的旋律線及和弦進程來呈現他的樂念，這些元素 又會因應變奏和樂曲的發展，拆解成多個主題動機。這與貝多芬從種子般短小的主題 作出驚人的有機發展頗為不同。

阿迪斯（1971年生）

《水手歌 — 在海上》（2020） （亞洲首演） 由澳洲室樂團、新澤西州交響樂團、慕尼黑室樂團、 香港小交響樂團、阿姆斯特丹小交響樂團、 瑞典室樂團、巴塞爾室樂團/格施塔德曼奴軒音樂節、 伊斯坦堡音樂節、與巴比肯中心/布列頓交響樂團委約

阿迪斯的《水手歌》於 2020 年新冠疫情隔離措施 實行期間創作。這是一首由全球多個地方共同委約 的作品，場地重開後於各地陸續演出。首演於 2021 年 2 月 8 日在澳洲新南威爾斯的臥龍崗 （Wollongong）市政廳舉行，由澳洲室樂團演奏。 英國的首演在 6 月於倫敦的巴比肯藝術中心 （Barbican Centre）舉行，作為慶祝阿迪斯50歲生 日的節目之一，擔任演奏的是布列頓交響樂團。 阿迪斯的介紹說道： 「水手歌是一種有多套歌詞的歌曲，由一群水手

齪的主人不當、肆意獨斷的管治下獲得自由， 並夢想在遠方會有一個安全的港口。 「《水手歌》是為交響樂團中的樂手而寫的。」 阿迪斯接受澳洲廣播公司的福特（Andrew Ford） 訪問時又說道： 「這是一首奇怪的作品，因為我想像我的第一 首為弦樂隊 — 這奇妙而特別的媒介 — 撰寫 的作品，會是一首奏鳴曲或交響曲，有多個樂 章的那種作品。我不知道是否因為在我開始寫 作的時候，全球都籠罩在怪異之中，以致它斷 定要成為這一種陳述。它是一首水手歌

一

它被設計為一

種重複、公共禮儀式的東西

種可為人們提供保護的咒語，因為他們要踏上 極為險惡的旅途⋯⋯登船

我對這個字和它

的含意頗為痴迷。我認為要『前往某處』是最 人性化的習性之一，最人性化的慾望之一。有 些鳥類、動物

雖然不是很多

都有這一

在工作時唱出。旋律會重唱多次，但從不

現象，但人類肯定有這樣慾望。對於人類來

一樣，它有強烈的節奏感，但基本上不一定

說，想要留在一個地方肯定是不自然的⋯⋯這

一致。

首作品就是關於那種慾望。」

「水手歌和其他英語傳統中的民謠一樣，通過 旋律的重複和故事的變異產生深度。 「在這首《水手歌》中有15個獨立的聲部，它

從開頭的撥弦和弦開始，通過多個微妙的主題變 換，至末尾靜悄悄的長音，阿迪斯的《水手歌》既 愉悅，也誘惑了我們。

們時合時分，營造了一種開闊的海洋景觀。 「在一首水手歌中，周而復始的歌詞呈現了心 胸狹窄的船長那種嚴苛、機械化的管治，以及 船員日積月累的叛變想法。就如一首奴隸的靈 歌�頭，�含了一種對解�的��，�望從�

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

13

布列頓（1913–1976）

《彼得．格賴姆斯》： 四首海之間奏曲，作品33a 晨曦 星期天早晨 月光 風暴

自己清楚明白靠海洋為生的男女都要掙扎求存。」 他這些間奏曲的音樂極為形象化：頭三首依從歌劇 的次序，但是高潮的「風暴」根據時序應發生於 「晨曦」和「星期天早晨」之間。 布列頓以「晨曦」來渲染氣氛，把歌劇的序曲和第 一幕連接起來，音樂描繪了薩福克郡灰濛濛的清晨 日出景象。「星期天早晨」（第二幕前）較為光亮 明媚，作好準備讓村民絡繹步向教堂（注意那些教

布列頓和他的伴侶、男高音皮爾斯（Peter Pears），

堂鐘聲）。奧福德（Orford）亦在教堂發現她最害

從 1939 年起因反戰而留居美國，三年後便思鄉不

怕的事終於發生 — 彼得．格賴姆斯開始虐打他新

已。 1941 年，布列頓讀到福斯特（E M Forster）

收的學徒。「月光」（第三幕前）描繪鄉村和海港

在《聆聽者》（The Listener）�一篇�於薩福克郡

浸染在一片月光底下。「風暴」則把我們拋回第一

（Suffolk）詩人克雷布（George Crabbe）的文

幕，當時村民聚集在酒館，等待基恩（Keene）帶

章，其中一句引起了他的注意：「想起克雷布就是

回物資 — 當中包括了格賴姆斯的新學徒。

想起英國。」不久後，布列頓在洛杉磯的一間書店

歌劇首演後一個星期，布列頓親自指揮「四首海之

找 到 克 雷 布 的 詩 集 ， 在 讀 到 《 城 鎮 》（ T h e

間奏曲」，由倫敦愛樂樂團首演。

Borough）一詩時，看到彼得．格賴姆斯這個人 物，並馬上產生了創作歌劇的念頭。 1942 年 3 月他和皮爾斯離開美國時，得到哥士域 斯基（Koussevitzky）從紀念亡妻的基金中撥款 1,000 美元贊助創作這歌劇，但三年之後，作品才 跡近完成，原定的美國首演（由哥士域斯基在 1944 年於鄧肯活指揮演出）又因為戰爭而延遲， 因此世界首演是1945年6月7日在倫敦賽德勒斯之 泉劇院舉行，由古多爾（Reginald Goodall）指 揮，並成為英國歌劇發展的轉捩點。 歌劇由史拉特（Montagu Slater）負責填寫歌詞， 布列頓直至 1943 年聖誕節之後才開始動筆，過程 中曾多次令他傷透腦筋，最後他寫成一套包括序曲 和分為三幕的歌劇，全套劇有六處地方讓他撰寫只 有管弦樂的連接樂段，其中四首可以輕易從總譜中 抽取出來，合成一首短篇作品在音樂會演奏 — 即 是四首海之間奏曲。其他兩首是第四首間奏曲 — 一首帕薩卡利亞舞曲，在第二幕的兩場之間演奏， 當時城鎮中的人走到彼得．格賴姆斯的木屋；第六 首則是寧靜及充滿氣氛，帶出最後一幕。 布列頓一生大部份時間留在他家鄉薩福克郡的海 邊，所以海洋是貫穿整套歌劇和他自己人生的主 題，他談到《彼得．格賴姆斯》說：「我希望表達 14

此樂曲的樂隊編制 弦樂： 第一及第二小提琴、中提琴、大提琴、低音大提琴 木管樂： 長笛 (2)、短笛 (2)、雙簧管 (2)、單簧管 (2)、 降E調單簧管 (1)、巴松管 (2)、低音巴松管 (1) 銅管樂： 圓號 (4)、小號 (3)、長號 (3)、大號 (1) 敲擊樂： 定音鼓、排鐘、木琴、小軍鼓、大鼓、搖鼓、吊鈸、 鈸、鑼 豎琴

布拉姆斯（1833-1897）

C小調第一交響曲，作品68 稍為綿延的 — 快板 綿延的行板 小快板且優美的 慢板 — 稍快些 — 不太急速但充滿熱情的快板 — 更快些 這首作品漫長的孕育期完全是值得的。樂曲開頭的 稍慢板序奏雖然是後來才加上去的，但卻似天衣無 縫，全曲彷彿都是由首數小節萌生出來。布拉姆斯 把開頭的主題和意境重現於樂章後部稍慢的段落， 又把它們巧妙地結合於樂章主要的快板段落之中。

調中段出現，開頭是短－短－長的引子，節奏則是 6/8 拍，以三連音作為主要的動力。並一直維持 到再現部優美的 2/4 拍主題。曲式上此樂章就如貝 多芬的諧謔曲一樣，但感覺則較為抒情、閒適， 儘管用來伴奏的切分音節奏往往都營造出一種不安 的情緒。 第四樂章一開始，又透過緩慢、下行延伸的和弦再 度呈現了一種緊張的氣氛。繼而弦樂撥奏把樂曲加 速，巧妙地將之引回開首肅穆的主題。這一段撥奏 在重複了一次之後，如暴風一樣的弦樂便引進了圓 號壯麗的呼喚，再退下來以顫音作出襯托，長笛和 小號及後作出回應。在英國由劍橋大家音樂協會主 辦的首演，這段樂曲令聽眾留下深刻的印象，因為

樂曲的序幕充滿悲劇情調，節奏沉重（低音大提琴

它頗像人稱「劍橋鐘聲」（Cambridge Quarters）

延長的 C 音再由定音鼓加強），如兩股力量在抗

的鐘鳴。其後長號第一次在樂曲中出現，與低音巴

衡。當弦樂以半音階向上爬升，木管樂則以三度音

松管奏出如聖詩般莊嚴的樂句。隨著圓號的再現，

程下沉（這是全首交響曲的主導動機）。隨後在圓

樂曲進入了快板。

號的陪伴下，雙簧管吹出一段憂鬱的調子，長笛與 大提琴跟著把樂曲悄悄地領入快板，所有在序奏中 出現的主題都在此一一擴展。樂章最開頭的四小節 現在加速行進，背景的節拍一短一長。圓號和單簧 管以較悠閒的姿態短暫地出現後，樂曲變得動盪不 安，特別是由中提琴引出的下行三個 8分音符的強 音節奏，貫穿了整個樂章，而且主題每每相互交 織、模仿。樂曲深沉的氣氛令人喘不過氣來。最 後，在定音鼓蹣跚的點擊下，步伐緩慢下來，全章 終於在一陣驚濤駭浪之後，在C大調充滿祈求的尾 聲中結束。

開始時由弦樂奏出的雄壯的C大調樂段，和貝多芬 第九交響曲最後的合唱「歡樂頌」有點相似，其實 樂曲開首的引子正是這個偉大主題稍慢的版本，但 在開頭一片緊張的氛圍中，只有刪節了的小調版本 較為適合。在弦樂的撥奏聲中，管樂再把樂章推向 熱血澎湃的高潮，還不時使人回想起前段圓號的呼 喚與主題。全曲緊張的情緒在這一段終於可以痛快 地釋放出來，在弦樂奏出新主題過後，稍快些的尾 聲散發出一陣歡樂的氣息。最後速度逐步增快，情 緒激昂，待小號攀上高處後，樂曲便於高潮中戛然 而止。

第二樂章充份顯示出布拉姆斯抒情性的一面。小提 琴與圓號的 8 分音以 E 大調開始引入主題，雙簧管 隨後帶出新的上升樂念。中段由弦樂過渡到一節先 由長音帶出、 16 分音符組成的旋律，由雙簧管、 單簧管先後奏出。而在弦樂與管樂亮麗地交織、延 展過後，出現一段罕有的小提琴獨奏，先是演繹主 題，再為圓號扮演伴奏的角色；然後管樂、定音鼓

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)、 低音巴松管 (1) 銅管樂： 圓號 (4)、小號 (2)、長號 (3) 定音鼓

與之一起把樂章引進寧靜的結句。 第三樂章以單簧管吹奏的柔和婉轉的調子開始，經 過一段樂句的轉位之後，便由悠閒愉悅的長笛延續 下去。接著是緊湊的管樂在興高采烈的弦樂之上進 入第一個主題，這次卻沒有轉位。然後樂章的 B大

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

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Programme Notes Hold on to the mainstay, this might be a bumpy voyage! Welcome on board the SS Hong Kong Sinfonietta for a seaborne first half at least, though we should remember that Brahms was born in Hamburg, one of Germany’s biggest ports, so he obviously knew the sea, even if his First Symphony was not directly inspired by it.

It is no surprise that British composers should be inspired by the sea – it is an island nation after all. Benjamin Britten was born in the Suffolk port of Lowestoft – Britain’s most easterly settlement – and ended his life down the coast in Aldeburgh, setting up a concert hall at Snape Maltings and founding the Aldeburgh Festival in 1948. Unsurprisingly his first major opera, Peter Grimes – from which the “Four Sea Interludes” come – was based on a poem set on the very same coast.

Thomas Adès is London-born and way too young to remember the city’s heyday as the port of the British Empire. But his second opera, based on Shakespeare’s The Tempest, has some allusions to the sea around the main protagonist Prospero’s island.

Brahms, meanwhile, was in Hamburg – the great, historical Hanseatic port – on and off until his 30s. Only a decade or so later did he complete his First Symphony, which he had been composing over a number of years. “Writing a symphony is no joke!”, Brahms claimed. He had contemplated writing a symphony from as early as 1854, when his friend and mentor Robert Schumann went mad and threw himself into the Rhine, and when he first heard Beethoven’s Ninth Symphony (the “Choral”). But the resultant sketches finally became his First Piano Concerto in D minor, Op 15, after he had also considered the material for a two-piano sonata.

Only by 1862 was the first movement (at least) of a new symphony sketched (although without the slow introduction that now precedes it), which was when he showed it to Clara Schumann.

In a letter dated 1 July to their mutual friend, the violinist Joseph Joachim, Clara described it as “somewhat harsh, but I have quickly become accustomed to it”. By 1868, the Finale was under way. Brahms wrote to Clara with the horn theme, using it for an extempore greeting with the words: “Thus blew the shepherd’s horn today”. But it was to be a further eight years before Brahms was sufficiently happy to publicly release the work, and even the day before the première, he was still shortening the middle movements and debating alterations to the Finale.

It was eventually heard for the first time on 4 November 1876 at Karlsruhe with the orchestra of the Grand Duke of Baden, conducted by Otto Dessoff.

It had the longest gestation period of any of Brahms’ works, which is completely understandable as he had only written three orchestral works prior to this: the two serenades (the first substantial enough for him to consider terming it a “symphony”) and the Haydn Variations (1873). The shadow of Beethoven loomed large, especially as friends, admirers, colleagues, conductors and his publishers – Joachim, Hermann Levi, Albert Dietrich, Max Bruch and Simrock et al – were all urging him to unveil his work. It was a great success, despite some reservations 16

including Clara Schumann’s first thoughts of it being deficient in melodic warmth, which Brahms found easier to accept than the adulation following his own performances in Mannheim, Munich and Vienna, when there were claims that here was “Beethoven's 10th Symphony”.

It is, of course, misleading to call it such; it is perhaps better to regard Brahms as “Beethoven’s heir”. In contrast to the likes of Liszt and Berlioz, with their embracing of programmatic music based on literary themes, Brahms followed the formal classical design of the symphony that Beethoven had done so much to develop. Brahms also gave much to the form, and his style is independent to that of his revered predecessor. Essentially romantic, he presented his material in long melodic lines and chord progressions, which could then be broken down into motifs and subjected to variation and development, as opposed to Beethoven’s powerful organic development from short seed-like themes.

Thomas Adès (born 1971)

Shanty – Over the Sea (2020) (Asian première) Commissioned by Australian Chamber Orchestra, New Jersey Symphony Orchestra, Münchener Kammerorchester, Hong Kong Sinfonietta, Amsterdam Sinfonietta, Swedish Chamber Orchestra, Kammerorchester Basel with Gstaad Menuhin Festival & Academy, Istanbul Music Festival, and Barbican Centre with Britten Sinfonia

Composed during the COVID pandemic lockdowns in 2020, Thomas Adès’ Shanty is a multi-commissioned work which travels the globe now that the world is opening up again. It received its world première performance by the Australian Chamber Orchestra on 8 February 2021 at the Wollongong Town Hall in New South Wales, and its British première followed in June at London’s Barbican Centre, as part of Adès’ 50th birthday celebrations with the Britten Sinfonia.

Adès, in his own programme notes, says: “A shanty is a song in many verses sung by a group of sailors at work. The melody is sung

many times, never the same, with a strong rhythmic pulse but not necessarily literal unanimity.

“A shanty, along with any folk song in the English-language traditions, creates depth through repetition of the melody and variation of the story.

“In this Shanty 15 individual voices, sometimes together and sometimes divergent, create a widening seascape.

“In a Shanty, the cyclical verses build a story of the harsh, mechanical routine of the petty captain’s rule, and accumulate a longing for mutiny. As in a Slave Spiritual, there is an implied yearning for liberation, freedom from the false, arbitrary regime of the petty masters, and a dream of a safe harbour beyond.

“Shanty is written for the musicians of the orchestras who play it.”

Speaking to Andrew Ford from the Australian Broadcasting Company, Adès expounded further: 17

“It was a strange one, this, because I would have pictured my first piece for string orchestra – such a fascinating strange, and special medium – to be a sonata/symphony, multi-movement type of work. I do not know whether it is because of the weirdness that has been happening all over the world since I started writing it, but it was just determined to be this one statement. It is a shanty – a repetitive, communal ritual thing – which is designed to create a kind of protective mantra around people who are embarking on great peril… Embarkation – I’m sort of obsessed with that word and what it might mean. I think it is one of the most human tendencies, one of the most human desires: to go somewhere. Some birds have it well, some animals, not that many, but we definitely do. It is certainly not natural for humans to want to stay in one place… This piece is about that desire.”

From its opening pizzicato harmonics, through its various subtle thematic changes, to the long-held quiet close, Adès’ Shanty entertains and beguiles.

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses

Benjamin Britten (1913–1976)

Peter Grimes: Four Sea Interludes, Op 33a Dawn Sunday Morning Moonlight Storm Benjamin Britten and Peter Pears began to feel homesick for Britain, having been in America for nearly three years since they travelled there in 1939 as conscientious objectors to the War. This feeling had been heightened in 1941 when Britten read an article by E M Forster in The Listener about the Suffolk poet, George Crabbe which started with the emotive line: “To think of Crabbe is to think of England.” Shortly after, Britten found an edition of Crabbe’s work in a Los Angeles bookshop and, in reading The Borough, he chanced upon the character Peter Grimes, and immediately thought about its operatic possibilities.

By the time they left America, in March 1942, Serge Koussevitzky had offered $1,000 to finance the work from a fund set up in honour of his recently deceased wife, but it was to be another three years before the opera actually saw the light of day and the original American première (to be conducted by Koussevitzky at Tanglewood in 1944) was postponed because of the war, so that the world première was actually given, fully staged at Sadler’s Wells in London on 7 June 1945, conducted by Reginald Goodall. It was to prove a turning point in British opera.

Britten did not actually start writing the music to Montagu Slater’s libretto until after Christmas 1943, and at times he found the work a hard slog as the shape of the opera eventually became a prologue and three acts (each with two scenes), within which structure he had six opportunities to write solely orchestral linking passages. Four of these were easily lifted from the score to form a short concert item – the “Four Sea Interludes”.

The other two interludes are the fourth – the

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Passacaglia between the two scenes of Act II, as the men of the Borough head up to Peter Grimes’ hut – and the sixth, quiet and full of atmosphere, introducing the very final scene.

The sea was the all-embracing element both in the opera and in Britten’s life, as he chose to spend the majority of it beside the sea in his native Suffolk.

He said of Peter Grimes: “I wanted to express my awareness of the perpetual struggle of men and women whose livelihood depends on the sea.” His music in these interludes is extremely evocative: the first three follow the order in the opera, but the climactic “Storm” happens chronologically between “Dawn” and “Sunday Morning”.

“Dawn” is the atmospheric music by which Britten moves from the opera’s Prelude to Act I, depicting daybreak on a grey Suffolk morning. The sunnier “Sunday Morning” (introducing Act II) sets the scene for the villagers to trek to church (note the church bells) and where Ellen Orford realises her worst fears – that Peter Grimes has taken to beating his new apprentice. “Moonlight” (introducing Act III) pictures the village and harbour under a moonlit sky, while “Storm” thrusts us wildly back into Act I, as the villagers crowd in the pub waiting for Ned Keene to arrive back with supplies – including Grimes’ new apprentice.

Britten himself conducted the première of the “Four Sea Interludes” just a week after the opera’s première, in a concert given by the London Philharmonic Orchestra.

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flutes (2), piccolos (2), oboes (2), clarinets (2), E-flat clarinet (1), bassoons (2), contrabassoon (1) Brass: horns (4), trumpets (3), trombones (3), tuba (1) Percussion: timpani, chimes, xylophone, snare drum, bass drum, tambourine, suspended cymbals, cymbals, gong Harp

Johannes Brahms (1833–1897)

Symphony No 1 in C minor, Op 68 Un poco sostenuto – Allegro Andante sostenuto Un poco allegretto e grazioso Adagio – Più andante – Allegro non troppo, ma con brio – Più allegro Definitely worth the long gestation, Brahms’ First Symphony opens with a mighty slow introduction, which was actually an afterthought. But it is so well-conceived and written that it sounds as if the rest of the Symphony springs from these opening bars, and Brahms returns to the same mood and themes in the slower final pages of the movement, as well as firmly integrating them into the main Allegro section.

It opens on a note of tragedy, with a tramping rhythm (pedal C on the basses with timpani reinforcement) and two themes travelling in opposite directions. While the strings strive upwards in semitone steps, the winds counteract with a descending theme in thirds (a prevalent motif of the symphony as a whole). Winds and pizzicato strings play a falling seventh and then a falling sixth, keeping the atmosphere gloomy. A swelling theme for strings, then a slow, descending scale for flute, violin and bassoon leads back by way of the timpani quavers to the opening tramping theme, this time over a timpani roll. A melancholy oboe solo is accompanied by horn, taken by flute and then cellos who quietly lead into the main Allegro, developing all the themes explored in the introduction. The first four bars are a speeded up version of the very opening theme and the falling sevenths and sixths soon recur, with the swelling theme not far behind – all over a short-long rhythm. Quieter wind sections, with more relaxed horn and clarinet calls are not allowed to interrupt for long. The music is restless and continually moving especially with a descending, triple-quaver accented figure first introduced by the violas, then reiterated

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throughout the whole movement, rich in both orchestral and thematic invention. Eventually, over halting timpani beats, the pace slackens and the coda ends with a hopeful plea in C major, after the turbulence of the movement as a whole.

Brahms is at his most lyrical in the Andante. The violins introduce the main theme (in E), with quiet horn quavers, before being taken up by another rising theme played by the oboe. Strings lead to a new semiquaver theme for oboe then clarinet, both opening with long held notes. After string and wind interplay (at times very reminiscent of Brahms’ First Serenade) and much gorgeous development, Brahms – for the only time – adds a solo violin part to the orchestral texture, first with the opening theme and then as an accompaniment to the horn. This leads to the quiet end, principally for wind, timpani and the solo violin.

The third movement opens with a silky, meandering clarinet tune, inverted immediately before being joined by the flute for a relaxed and delightful development. A more urgent melody for winds, over excitable strings, leads back to the first theme, this time without its inversion. A shortshort-long theme takes over, in 6/8, marking the Trio section in B major, with triplets as the main rhythmic impulse. These are still retained in the recapitulation of the 2/4 grazioso theme. In form, this fits a typical Beethovenian Scherzo, but feels much more relaxed and lyrical, despite the oftsyncopated accompaniment that still brings a hint of restlessness.

Tension returns in force at the beginning of the Finale, with a slow opening of long chords, again descending. A curious, accelerating pizzicato passage leads back into the opening with its sombre theme. The repeat of the pizzicato accelerando and a stormy, rushing string passage lead to the famous, grand horn call over tremolando strings, later echoed by the flute and trumpet. At the English première of the work, given by the Cambridge University Music Society, this passage seemingly impressed the audience as it 20

resembled the chimes known as the “Cambridge Quarters”. For the first time in the symphony trombones are used; with the contrabassoon, they continue the solemn mood with a hymn-like chorale which, after the horn melody reappears, leads to the Allegro.

Opening with a majestic C major string melody, similar to Beethoven’s “Ode to Joy” theme from the Finale of the Ninth Symphony, we realise that the introduction was in fact a slower version of this great theme, but there – in the tense atmosphere – only a truncated minor version could be allowed.

Now, in full flow with pizzicato accompaniment before being taken by the wind, a full-bodied movement is developed, with reminiscences of the horn call and restatements of the main theme.

This acts as a final release of the tension, allowing the Più allegro coda – after a new string theme – to be a final unleashing of great joy, with a steady increase of speed and excitement; the trumpet riding high to the final climactic bars.

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

© Nick Breckenfield, 2021 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

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

蔡柏沂 陳劭楠 周止善 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

LE Hoai-nam

Mami FUKUHARA

單簧管 Clarinet ● 方曉佳 陳秋媛

FONG Hiu-kai Johnny CHEN Chiu-yuan

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

James CUDDEFORD Concertmaster

Acting Assistant Concertmaster Principal Second Violin

CAI Pak-yi CHAN Shaw-nan Sharon Kiann CHOW 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 Elvis CHAN LAU Sum-yin Christina BEAN Ringo CHAN NGAN Sing-on LUNG Kwan-wai Kenny TANG Wing-shuen Rebecca 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

Notes 1. Guest Principal Bassoon 客席巴松管首席 – AU Kai-see Tiffany (歐啟詩) 2. Freelance Musicians: Violin 小提琴：CHENG Ho-chung (鄭皓宗), CHUA Vince Eliezer N. (蔡君賢), Mark HUI (許榮臻), WONG Chun-hong John (黃俊匡) Viola 中提琴：Cecilia HO (何永妍) 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)

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

Flute 長笛：HUI Wing-hang Bob (許榮鏗) Oboe 雙簧管：WAN Lok-yu Cecilia (溫樂愉) Bassoon 巴松管：CHEUNG On-ki Angel (張安琪) Horn 圓號：Etienne GODEY (高蒂安) Trumpet 小號：Danilo Delfin (丹尼路) Percussion 敲擊樂：Mandy LO (勞善雯)

21

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• 芝蘭基金會 Zhilan Foundation

• 趙俊良先生 Mr Chiu Chun Leong David

• 張德賢博士伉儷 Dr & Mrs Douglas Cheung • 林定國先生夫人 Mr and Mrs Lam Ting Kwok Paul

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

• Mrs Florence Ng

• CLP Holdings Limited

• PLC Foundation

• 多位無名氏 Anonymous

• 沈昊翔先生 Mr Shum Ho Cheung • 九龍倉集團有限公司 The Wharf (Holdings) Limited

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

• 王煒東先生 Mr Wong Wai Tung

• 孫永輝施熙德伉儷 Edith & Stephen Sun

• 多位無名氏 Anonymous

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

• Ms Luk Yee On

• Mr Wong Kai Chun

• Jonman, Monika & Joel Chan Family

• 吳榮奎先生 Mr Ng W F Nicholas

• Mr Marcus Woo

• 鄭慶弘先生 Mr Howard Cheng

• 魏玉華小姐 Miss Winnie Ngai

• Ms Yeung Lai Fong Alice

• Ms Fiorella Fong

• Mr Adrian Tam

• 多位無名氏 Anonymous

• 郭立成律師 Mr Chris Kok

• 鄭新文教授 Prof Tseng Sun Man

• 紀念劉葉珍女士

• 蔡雄及區慕英 Andy Tsoi & Mary Au

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

• 周莉莉女士 Ms Lily Chow

• CASH音樂基金 CASH Music Fund

• Dr Jennie Lee & Mr Jonathan Lee

• 法國駐港澳總領事館 Consulat Général de France à Hong Kong et Macao

• 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon

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

• 冼為堅博士 Dr David Sin Wai-kin

• 民政事務局 Home Affairs Bureau

• 唐柏泉醫生 Dr Tong Pak Chuen Patrick

• 邁騰路通有限公司 Maestro GT Limited

• 謝智剛教授 Prof C K Michael Tse • 阮偉文博士 Dr Andrew S Yuen • 多位無名氏 Anonymous

• 澳洲駐港總領事館 Australia Consulate-General Hong Kong

• 香港歌德學院 Goethe-Institut Hongkong • 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

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

何汝祥醫生

Dr HO Yu-cheung

劉文文女士

Ms LAU Man-man Lisa

義務公司秘書

Honorary Company Secretary

陳智文先生

Mr Stephen TAN

徐行悅醫生

Dr Michelle TSUI

黃偉雄先生

Mr Addy W H WONG

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 會計經理 Accounting Manager 李靄玲 Judith LEE 行政統籌 Administrative Coordinator 柯玉嬌 Noel QUAH 行政助理 Office Administrator 楊瑞遠 YANG Jui-yuan

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

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樂團事務及節目 Orchestra & Programme 樂團經理 Orchestra Manager 陳成美 Marylu CHAN 節目經理 Programme Manager 丘靄雪 YAU Oi-suet Icy 特別節目經理 Special Projects Manager 黃紫菱 Athena WONG 助理樂團經理 Assistant Orchestra Manager 黎希潼 Carvina LAI 節目主任 Projects & Programme Officer 林海欣 Hayley LAM 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 藝術行政主任 Arts Administration Officers 馮碧琪 Betty FUNG 羅希寧 Kening LAW

6.11.2021 7.11.2021 © YVONNE CHAN

(星期六 Sat) 7:30pm

(星期日 Sun) 3pm

香港大會堂音樂廳

透過演奏貝多芬、莫扎特、巴赫、伯恩斯坦等 作曲家的經典樂章，香港小交響樂團桂冠音樂總監 葉詠詩為大家全方位揭開指揮的神秘面紗！ What does a conductor actually do? Let’s ask Hong Kong Sinfonietta’s Music Director Emeritus Yip Wing-sie, and clarify everything once and for all through the masterpieces of Beethoven, Mozart, Bach, Bernstein and more!

HK City Hall Concert Hall $380 $220 $140 主要以粵語演出 Mainly in Cantonese

門票：城市售票網 Tickets at URBTIX 桂冠音樂總監/指揮/主持 Music Director Emeritus/Conductor/Presenter

葉詠詩 Yip Wing-sie

信用卡購票 Credit Card Booking: 2111 5999 | www.URBTIX.hk 門票查詢 Ticketing Enquiries: 3761 6661 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