House Prog: McDull．Pictures at a Concert (16-18.7.2021)

葉詠詩 Yip Wing-sie

星期五 Fri 7:30pm

概念／導演 Concept/Co-directors

星期六及日 Sat & Sun 3pm

謝立文及麥家碧 Brian Tse & Alice Mak

香港大會堂音樂廳

聲音演出 Voice Artist

Hong Kong City Hall Concert Hall

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

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

© YVONNE CHAN

16.7.2021 17-18.7.2021

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

場地規則 House Rules 各位觀眾： 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。 Dear Patrons, 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.

概念/導演 Concept/Co-directors

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

謝立文及麥家碧 Brian Tse & Alice Mak

葉詠詩 Yip Wing-sie

駐團藝術家 HKS Artist Associate 2019-2020

聲音演出 Voice Artist

麥兜 McDull

伍宇烈 Yuri Ng （駐團藝術家 HKS Artist Associate 2011-2013） 合作機構 In collaboration with

動畫製作 Animation Production

Lunchtime Production Limited

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

史達拉汶斯基 巴赫 拉威爾 盧托斯瓦夫斯基 浦羅哥菲夫 馬勒

第二小樂團組曲：加洛普舞曲 G大調第三勃蘭登堡協奏曲，BWV1048：I 快板 《庫普蘭之墓》：小步舞曲 弦樂序曲 《羅密歐與茱麗葉》：年輕的女孩茱麗葉 升C小調第五交響曲：IV 小慢板 －中場休息15分鐘－

穆索斯基/拉威爾配器

《圖畫展覽會》

Programme

Stravinsky Bach Ravel

Suite No 2 for Small Orchestra: Galop Brandenburg Concerto No 3 in G, BWV1048: I Allegro Le Tombeau de Couperin: Menuet Overture for Strings Romeo and Juliet: Juliet the Young Girl Symphony No 5 in C-sharp minor: IV Adagietto

Prokofiev Mahler

- 15-minute intermission -

Mussorgsky/Ravel orch 支持 With support from

Pictures at an Exhibition 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.

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

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

的演奏稱譽本地及海外樂壇。

樂團自2006年起舉辦「駐團藝術家」計劃，邀請

自1999年起，香港小交響樂團經常與國際知名音

本地不同界別的藝術家與樂團緊密合作及交流，培

樂家及藝團合作，包括阿爾斯達德、法蘭、格林高

育新一代藝術家之餘更為古典音樂創造新的可能

特、赫姆森、麥米蘭、納卡里亞科夫、彭德雷茨

性。樂團灌錄過多套唱片，收錄不少華人作曲家的

基、凱拉斯、塞伊、馬林斯基大劇院芭蕾舞團、莫

優秀作品；由DECCA發行的三輯《就是古典音樂》

斯科大劇院芭蕾舞團、英國皇家芭蕾舞團、英國國

系列，均獲白金及金唱片佳績。雙CD《一屋寶貝

家芭蕾舞團、美國芭蕾舞劇院、紐約市芭蕾舞團、

音樂廳》於2018年由DECCA出版。

斯圖加特芭蕾舞團及翩娜．包殊烏珀塔爾舞蹈劇場

樂團經常應邀作客海外，包括：美國紐約林肯中心

等。樂團亦經常應邀與本地藝術節及藝團合作，

羅斯劇院、加拿大多個以出色音效著稱的音樂廳；

如香港藝術節、法國五月、香港芭蕾舞團及香港歌

南美洲的巴西、阿根廷及烏拉圭；在歐洲計有法國

劇院等。2018年舉辦第一屆香港國際指揮大賽，

的拉羅克．昂迪榮國際鋼琴音樂節和蒙頓音樂節

吸引了310位來自49個國家及地區的參賽者。

等、德國東弗里斯蘭「浪潮」音樂節、波蘭貝多芬

香港小交響樂團自2009年起為香港大會堂的場地

復活節音樂節、意大利的米凱朗傑利國際音樂節和

伙伴，每樂季演出逾100場次。除了傳統的管弦樂

維琴察音樂節、葡萄牙馬爾旺國際音樂節、立陶宛

章外，樂團每年均委約作曲家為樂團譜新曲，並銳

的兩個音樂節、瑞士蘇黎世、日內瓦和弗里堡；北

意與不同界別的藝術家製作嶄新的跨界節目，

京第二屆中國交響樂之春（國家大劇院）、中國上

於2020年更躍進大銀幕，推出音樂電影《Back On

海國際藝術節（世博會「香港活動周」閉幕節

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

目）、韓國統營國際音樂節、新加坡、台灣、日本

大獲好評並數度加場。樂團深明培育下一代的重要

東京、金澤、長野、新潟和郡山等，並五度獲邀參

性，針對不同年齡的觀眾，舉辦多套別樹一格的普

與東京《

及音樂會，包括《寶寶愛音樂》、《幼兒愛音樂》、

樂團2002年至2020年由著名指揮葉詠詩擔任音樂

《古典音樂速成》、《古典音樂知多少》和《我個名

總監，期間致力推動本地古典音樂發展，拉近音樂

叫麥兜兜．古典音樂小計劃》等節目，又經常在音

與普羅大眾的距離。作為樂團的桂冠音樂總監，她

樂廳以外的場地舉行室樂及跨界音樂會，大大拓展

將會在樂團委任新總監前，與首席客席指揮柏鵬一

古典音樂觀眾的層面。近期推出的網上室樂系列

起負責樂團藝術發展事宜。

》音樂祭演出。

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

Since 1999, Hong Kong Sinfonietta has collaborated with an illustrious array of international musicians and groups, including in recent years Nicolas Altstaedt, Vilde Frang, Ilya Gringolts, Martin Helmchen, James MacMillan, Sergei Nakariakov, Krzysztof Penderecki, JeanGuihen Queyras, Fazıl Say, Mariinsky Ballet, Bolshoi Ballet, The Royal Ballet, English National Ballet, American Ballet Theatre, New York City Ballet, Stuttgart Ballet and Tanztheater Wuppertal Pina Bausch. A regular participant at all the major festivals in Hong Kong including the Hong Kong Arts Festival and Le French May, the orchestra also partners regularly with Hong Kong Ballet and Opera Hong Kong in their staged productions.

In 2018, the orchestra organised the 1st Hong Kong International Conducting Competition, which attracted 310 applications from 49 countries/regions.

As an avid believer of keeping music alive and contemporary, Hong Kong Sinfonietta – the Venue Partner of the Hong Kong City Hall since 2009 – performs year-round with over 100 performances a season, presenting not only standard orchestral repertoire but also newly commissioned works, as well as specially-designed concert series for different audiences and age groups, including Good Music for Babies, Good Music for Kids, Know Your Classical Music, Short-cut to Classical Music and HKS McDull Music Project. The orchestra also frequently ventures into crossover initiatives, recently receiving wide acclaim for its groundbreaking concert films Back On Stage and Back On Stage II (Quarantined!) which landed in the cinemas and on other popular platforms. The orchestra also continues to break down barriers between music and audience with free chamber concerts held regularly at Hong Kong City Hall and beyond, recently presenting the Tiny Galaxy Concerts online series featuring performances recorded at unconventional and fascinating locations of Hong Kong.

Launched in 2006, the HKS Artist Associate scheme provides a platform for intensive collaboration with local artists from different arts disciplines to expand the horizon of classical music. The orchestra’s discography includes CDs of works by Chinese composers on HUGO, and three double-CD albums This is Classical Music on DECCA which have been awarded Platinum and Gold Records. In 2018, The Passage Beyond in Concert by Leon Ko, was released on DECCA. On tour, Hong Kong Sinfonietta has been invited to perform in North America in Canada and New York City; in Brazil, Argentina and Uruguay in South America; in Europe at prestigious festivals in France including Festival International de Piano La Roque d’Anthéron and Festival de Musique Menton, in Germany at Gezeitenkonzerte Ostfriesland, at Beethoven Easter Festival in Poland, in Switzerland at Tonhalle Zürich, Geneva Victoria Hall and Fribourg, at festivals in Italy including the Michelangeli Festival, in Portugal at the Marvão International Music Festival, and in Lithuania; in China at China Shanghai International Arts Festival (Expo 2010), in Beijing at the National Centre for the Performing Arts; in Japan at Tokyo Opera City, La Folle Journée in Tokyo and Niigata, Nagano, Kanazawa and Koriyama; in Korea at the Tongyeong International Music Festival and in Singapore at the Esplanade, and at National Concert Hall Taipei and National Taichung Theater.

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

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

© YVONNE CHAN

葉詠詩 YIP Wing-sie

亞洲樂壇備受尊崇的指揮家葉詠詩，於2002年起

年曾指揮的歌劇包括香港小交響樂團伴奏的《詩人

出任香港小交響樂團音樂總監，2020年4月底卸

李白》、香港藝術節兒童歌劇《愛麗絲夢遊仙境》

任，轉任桂冠音樂總監。

及台灣愛樂的《畫魂》。

葉詠詩在1985年贏得法國貝桑松第35屆國際青年

葉詠詩繼2004年帶領香港小交響樂團代表中國參

指揮大賽冠軍及「金豎琴」獎，並在1988年獲第

加「中國在法國」文化年的成功演出後，經常獲邀

八屆東京國際指揮比賽獎項。她曾先後出任香港大

赴世界各地演出，當中包括美國、加拿大、巴西、

學的學院藝術家、新加坡國立大學楊秀桃音樂學院

阿根廷、烏拉圭及台灣，以及法國、德國、波蘭、

王鼎昌傑出客座教授、廣州交響樂團的首席指揮和

意大利、葡萄牙、日本、韓國和立陶宛的音樂節。

音樂總監及香港管弦樂團的駐團指揮。

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生於廣州，香港長大的葉詠詩，憑香港皇家賽馬會

葉詠詩經常獲邀擔任世界各地樂團的客席指揮，曾

音樂基金獎學金遠赴倫敦皇家音樂學院攻讀；後於

合作的包括中國中央樂團、中國國家交響樂團、上

美國印第安納大學取得小提琴及指揮碩士學位。

海交響樂團、首爾愛樂樂團、大阪管弦樂團、新日

1986和1992年夏季，她分別獲得哥士域斯基獎學

本愛樂交響樂團、札幌、讀賣、台灣、布里斯本、

金及小澤征爾獎學金前往鄧肯活音樂中心研習指

墨爾本、昆士蘭等交響樂團及新西蘭的奧克蘭愛樂

揮。指導過她的指揮大師包括狄瑪爾、伯恩斯坦、

樂團等。在歐洲，她曾與法國圖盧茲國家樂團、貝

小澤征爾、米亞及艾德敦。葉詠詩於2007年獲法

桑松室樂團、波蘭華沙愛樂樂團、西班牙特納里夫

國「藝術及文學騎士勳章」，2010年獲英國皇家音

島交響樂團、捷克科希策省樂團合作演出。此外，

樂學院頒授院士榮銜（FRCM），2013年獲香港各

她亦曾率領廣州交響樂團於國際知名的維也納音樂

界婦女聯合協進會頒發「香港六藝卓越女性」獎及

協會會堂（黃金大廳）演出及參與北京國際音樂

由香港政府授勳銅紫荊星章。2015年，她獲法國

節。葉詠詩曾與多位國際知名的獨奏家合作，包括

政府頒發「國家榮譽騎士勳章」，表揚她在音樂界

杜美、傅聰、明茨、普爾曼、穆特及蘇嘉文等；近

的傑出成就。

A highly respected and influential figure in Asia’s

children Alice in Wonderland, and La Peintre with

orchestral music scene, Yip Wing-sie shifted from

Taiwan Philharmonic.

being the Music Director of Hong Kong Sinfonietta – a position which she had held since 2002 – to Music Director Emeritus in May 2020. Other positions she had previously held include Principal Conductor and later Music Director of Guangzhou Symphony Orchestra and Resident Conductor of Hong Kong Philharmonic Orchestra.

Winner of the First Prize as well as “Lyre d’Or” in the 35th Concours International de Jeunes Chefs d’Orchestre de Besançon, France in 1985 and a prizewinner in the 8th Tokyo Inter national Conducting Competition in 1988, Yip is in great demand as a guest conductor in Asia. Orchestras she has conducted include the Central Philharmonic Orchestra of China, China National Symphony Orchestra, Shanghai Symphony Orchestra, Seoul Philharmonic, Osaka Philharmonic, New Japan Philharmonic, Tokyo Mozart Players, the symphony orchestras of Sapporo, Yomiuri, Taiwan, Tasmania, Melbourne and Queensland as well as the Auckland Philharmonia of New Zealand. In Europe, Yip’s engagements have included concerts with the Orchestre National du Capitol de Toulouse and the Chambre Orchestre de Besançon in France, Warsaw Philharmonic in Poland, Spain’s Tenerife Symphony Orchestra and the Czech State Orchestra of Košice. She has also conducted at prestigious venues and festivals such as the Vienna Musikverein (Grossersaal), Beijing Music Festival, Fukuoka’s Asian Month Festival in Japan, Hong Kong Arts Festival and Macao International Music Festival. Yip has collaborated with such renowned artists as Augustin Dumay, Fou Ts’ong, Shlomo Mintz, Anne-Sophie Mutter, Itzhak Perlman and

As Music Director of Hong Kong Sinfonietta, Yip has taken the orchestra on tour in recent years to France, Germany, Switzerland, Italy, Poland, Portugal, Lithuania, Canada, the USA, Japan, Korea, Beijing, Shanghai, Taiwan, and in South America in Argentina, Brazil and Uruguay.

Born in Guangzhou and brought up in Hong Kong, Yip graduated from the Royal College of Music in London and the Indiana University at Bloomington, USA, where she obtained her Master’s Degree in violin performance and conducting. As the winner of the Koussevitsky Scholarship and the Seiji Ozawa Fellowship Award, Yip also attended the conducting seminar and fellowship programmes at the Tanglewood Music Center. Her mentors included great maestros such as Norman Del Mar, Leonard Bernstein, Seiji Ozawa, Gustav Meier and David Atherton.

Accolades Yip has received internationally include “Chevalier de l’Ordre National du Mérite” bestowed by the French Government (2015), “Chevalier dans l’Ordre des Arts et des Lettres” by the Ministry of Culture and Communication of France, Fellow of the Royal College of Music (FRCM), and she was also named the Ong Teng Cheong Distinguished Visiting Professor at the Yong Siew Toh Conservatory of Music, National University of Singapore. In Hong Kong, she was awarded “Hong Kong Women of Excellence in the Six Arts Award” by the Hong Kong Federation of Women and the Bronze Bauhinia Star (BBS) by the Hong Kong Government, and was University Artist at The University of Hong Kong (2011- 2012).

Pinchas Zukerman. Operas she has conducted include Guo Wen-jin’s Poet Li Bai and the world premières of Pierangelo Valtinoni’s opera for 7

聲音演出 Voice Artist

伍宇烈 Yuri Ng 駐團藝術家 HKS Artist Associate 2011-2013 伍宇烈六歲起隨

Yuri Ng began classical ballet training with Jean

王仁曼女士學習

Wong in Hong Kong, and later at National Ballet

古典芭蕾舞，其

School in Canada and Royal Ballet School in

後獲獎學金前往

England. He was awarded the Adeline Genée Gold

加拿大及英國深

Medal from the Royal Academy of Dancing in 1983

造。1983年贏 取英國 Adeline Genée 芭蕾舞比 賽金獎，同年加

dancer. Since his retur n to Asia, Ng has choreographed for various performing companies and organisations. He was the Artist Associate of Hong Kong Sinfonietta in 2011-2013 when he created crossover productions including Know Your

蕾舞團為職業舞

Ballet Music, L a V a l s e Remembered and Ravel

蹈員。1993年

the Time Traveller. Other creations include A

回港後，伍宇烈

Soldier’s Story (Expo Shanghai 2010 Hong Kong

專注編舞，同時也參與跨界製作。2011-2013年出

Week Closing Performance), A Soldier’s Story – The

任香港小交響樂團駐團藝術家，期間為樂團創作及

New Generation (the orchestra’s Singapore début)

演出了兩套《芭蕾音樂知多少》，以及《如夢逝水

and A Soldier’s Story 5.0 – The Devil Returns (Asia

年華》和《拉威爾1875 vs 拉威爾 2012》等作

Orchestra Week in Tokyo and in Taiwan).

品，為古典音樂會帶來種種視覺驚喜。其他主要劇

Ng received the “Artist of the Year Award –

場作品包括：香港小交響樂團《士兵的故事》

Choreographer” from the Hong Kong Artists’ Guild

© VIVIEN LIU@STUDIO UNIT

入加拿大國家芭

（2010上海世博會香港週閉幕演出）及《小城大兵

in 1997, and in 1998 he was awarded Prix

的故事》（2016年樂團新加坡首演、2019年東京及

d’Auteur at the 6th Rencontres Choreographiques

台灣首演）。他也為香港芭蕾舞團、廣東現代舞

Internationale de Seine-St-Denis (Bagnolet) with

團、香港中樂團、非常林奕華、一舖清唱擔任編舞

his choreography of Boy Story. His choreography

及藝術創作。

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before joining The National Ballet of Canada as a

of A Soldier's Story received the Hong Kong Dance Alliance Dance Award 2008. Ng received the

伍宇烈1997年獲香港藝術家聯盟頒發「藝術家年

“Distinguished Achievement Award” at the Hong

獎 — 編 舞 」； 1998年 憑 作 品 《 男 生 》 獲 法 國

Kong Dance Awards 2012 and the Award for Best

Bagnolet 編舞獎； 《士兵的故事》獲2008年香港舞

Artist (Dance) from the Hong Kong Arts

蹈年獎，並於2012香港舞蹈年獎中獲得「傑出成

Development Council in 2013. He also won

就獎」 ；2013年獲香港藝術發展局頒發「藝術發展

Outstanding Choreography and Outstanding Large

獎 — 年度最佳藝術家獎（舞蹈）」 ；為城市當代舞

Venue Production for Requiem HK at the Hong

蹈團創作的《香．夭》奪得2019年香港舞蹈年獎

Kong Dance Awards 2019.

的「傑出編舞獎」及「傑出大型場地舞蹈製作獎」。

Ng is currently the Artistic Director of City

伍宇烈現為城市當代舞蹈團藝術總監。

Contemporary Dance Company.

林布蘭自畫像，畫中他扮演使徒保羅 Rembrandt, Self-Portrait as the Apostle Paul 12

導演的話 Director’s Note This Little Fish

這一條小魚 �聖���Grace既指天賜恩典，亦教 人想像到一種優美的韻律，一種 聲音。 「奇妙恩典 甘美之聲 昔我盲目 今我復明」

“Amazing Grace!

How sweet the sound... ...was blind but now I see.”

Rembrandt in the latter part of his life was much consoled by the testimony

�概這���的音韻��，���� 布蘭不朽，保羅成聖。

of Apostle Paul, and with this Grace,

我們未必對小朋友有超凡入聖的 期望—但至少這條小魚，這活在心 �，����們��美、�到美的小 魚，希望牠得到好好守護，別讓魯莽 的手隨便把牠扼殺。

Apostle Paul became a Saint.

奇妙的小魚，願牠能陪伴孩子一起成 長，一起快樂地、更優雅地游來游去。

Rembrandt became a great painter, as

For us there is a little fish, a little fish which leads us to see the beauty and hear the wonders. May this little fish be well kept within us, swimming gracefully and living happily ever after.

謝立文

Brian Tse

概念/導演

Concept/Co-director

13

ࠑᅥᜨ㛾‫྇ؿ‬ೋ Pictures at a Concert

Fish Magic, 1925 Paul Klee

Ancient Sound, 1925 Paul Klee

A Sunday on the Island of La Grande Jatte, 1884/86 Georges Seurat

Convergence, 1952 Jackson Pollock © Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

14

The Dream, 1910 Henri Rousseau

Self-portrait with Two Circles, 1665/69 Rembrandt van Rijn

Works from The Hartmann Memorial Exhibition, 1874 Viktor Hartmann 15

節目介紹 麥兜，你去了哪兒呢？兩年沒有在音樂會中見到你了！甚麼？你參加了繪畫 班？不要告訴我們你為繪畫放棄了音樂啊。但我們很快就會搞清楚，因為你絕 不會忘記，原來音樂也可以用來繪畫的 — 並不是透過眼睛，而是透過耳朵， 運用你的想像力。說真的，音樂色彩如此繽紛，你差不多可以「看見」每一首 樂曲。 很多音樂作品都受到畫像的啟發，就算這場音樂會的第一首作品「加洛普舞曲」 並非由畫像所啟發，我們的指揮葉詠詩也會借助它的名字所顯示的節奏，帶我 們快速地通往其他作品。既然你學了繪畫，這次聽著音樂，你又可會想起哪些 畫作？

史達拉汶斯基（1882–1971） 選自 第二小樂團組曲： IV 加洛普舞曲 史達拉汶斯基是20世紀最重要和最有影響力的作

首，而該組作品原本的最後一首「加洛普舞曲」，

曲家之一，他在50年前，即1971年去世。史達拉

則與之前的三首二重奏曲組成了第二組曲。據史達

汶斯基是林姆斯基-高沙可夫的學生。這位本來籍

拉汶斯基的憶述，第二組曲是為巴黎音樂廳首先完

籍無名的年輕小伙子，被著名的俄羅斯芭蕾舞團經

成的一套作品。正式的首演是在1925年11月25日

理賈吉列夫看中，為其舞團在巴黎的表演創作音

於法蘭克福舉行。

樂。《火鳥》（1910）、《彼得魯斯卡》（1911）以 及驚世駭俗的《春之祭》（1913）等作品，令他聲 名大噪。後者別具一格的節奏和不和諧音在首演時 甚至引起觀眾的不安。但成名仍不足以令史達拉汶 斯基豐衣足食，終其一生，因為入不敷出，他總是 要找一些臨時工作來幫補生計，並常常用他的作品 來賺取額外的利潤。 因此在《春之祭》面世後，史達拉汶斯基便為鋼琴 二重奏創作了兩套「簡易作品」。首先是1914年的 「簡易二重奏曲三首」，然後是1916和1917年間的 「簡易二重奏曲五首」。之後的八年，史達拉汶斯基 又將這些作品改編為兩套管弦樂組曲，但卻有不同 的編排。第一組曲包括了「二重奏五首」中的四 16

「加洛普舞曲」猶如馬戲團中的表演，試想想提起 馬戲班時，你想到多少不同的顏色！音樂營造了喧 鬧而活潑的氣氛，加上砰砰響亮的號曲和較為華麗 的中段，用來展開我們的音樂會是最合適不過了。

巴赫（1685–1750）

拉威爾（1875–1937）

選自 G大調第三勃蘭登堡

選自《庫普蘭之墓》：

協奏曲，BWV1048： I 快板 我們把時鐘回撥整整200年到1721年3月，巴羅克 作曲家巴赫為勃蘭登堡的克里斯蒂安．路德維希侯 爵（Margrave Christian Ludwig）呈獻了一套六 首、為多種樂器撰寫的協奏曲。因此這些作品被稱 為「勃蘭登堡」協奏曲。它們也許是巴赫最著名的 作品，我們這次選來的其中一個樂章大抵也是最著 名的，那是第三協奏曲開頭的快樂章，很好地表現 了巴羅克時期音樂的特色。它有著輕快的節奏和交 織的旋律線，由一小組稱為「固定低音」的樂器為 基礎，它們提供了和弦的低音聲部和律動，讓上層 炫耀的樂器來吸引觀眾的注意。巴赫在此只採用了 弦樂，但他把小提琴、中提琴和大提琴都各自分為 三個樂部，組成了九個不同的旋律線。這麼多的弦 樂器，你看到那一抹濃濃的紅木棕色嗎，麥兜？大

III 小步舞曲 讓我們再快速向前，去到第一首作品的年代。拉威 爾於1919年寫成的六個樂章的鋼琴獨奏曲《庫普 蘭之墓》有兩個創作目的：其一就是紀念庫普蘭這 位法國作曲家，並且向法國的巴羅克音樂致敬；其 二是紀念拉威爾在第一次世界大戰中喪生的朋友 們，他們的名字出現在鋼琴譜的六個樂章的開頭。 1920年拉威爾將其中四個樂章改編成管弦樂曲版 本的《庫普蘭之墓》。今晚我們聽第三個樂章。這 個樂章紀念的是德賴夫斯（Jean Dreyfus） ，拉威爾 在退伍後曾經在他家住過一段日子。開首由低音的 撥弦襯托，感覺頗為慵懶，像悶熱的夏天 — 想像 那大大的紅日。平和的單簧管以及裝了弱音器的小 號，使音樂更為晦澀，直至出現了弦樂向高潮進發 的全力拉奏。之後剩下的單簧管和小號將雙簧管喚 回，最後是豎琴鐘鈴般迴蕩不已的下行音符。

家若嘗試跟蹤其中一種樂器在樂曲的某些段落在演 奏甚麼，很有可能會感到迷失；倒不如欣賞巴赫那 緊湊的創意。它不是史達拉汶斯基的「加洛普舞曲」 那種大吹大擂，但同樣活潑和怡人。

17

盧托斯瓦夫斯基（1913–1994）

浦羅哥菲夫（1891–1953）

弦樂序曲

選自《羅密歐與茱麗葉》 ，

現在來到波蘭，介紹身裁短小精悍的作曲家盧托斯

作品64：

瓦夫斯基。他比史達拉汶斯基和浦羅哥菲夫晚一 輩，起初也沒有機會前往西方。他早期的生活和事 業先後遭到第二次世界大戰和波蘭蘇維埃政權的挫

由波蘭我們很快便回到俄羅斯，1930年代初，史

折。四份一世紀以前由波蘭領導的獨立運動過後，

達拉汶斯基年輕的同鄉浦羅哥菲夫在海外度過約

盧托斯瓦夫斯基以作曲家和指揮家的身份，得以經

14年之後，回到面目全非、他於俄國大革命期間

常造訪西方國家，並深受歡迎。他還重遇了帕努夫

離開的祖國。對於蘇維埃政權來說，如此出色的作

尼克（Andrzej Panufnik）這位戰後曾經與他合作

曲家回歸祖國是件值得慶賀的大事（史達拉汶斯基

過二重奏的波蘭同胞作曲家，他在1954年變節逃

便沒有回國），不久當局的兩個重要的文化機構便

亡到了英國。

邀請浦羅哥菲夫為它們創作一套大型作品。浦羅哥

盧托斯瓦夫斯基憶述他的弦樂序曲第一次在祖國演 奏的情形道：「作品非常不切實際，因為它頗要花 些功夫，但卻只有五分鐘長度。雖然作品以一個輝 煌的長和弦結束，但大部份聽眾在聽完之後都感到 完全不知所措；他們顯然以為作品會更長一些。韋 斯洛基（

）指揮華沙愛樂樂團演

奏此曲，結束時甚至沒有一輪掌聲。他不知該怎樣 做，於是讓樂隊站起來，然後便離開了。」華沙的 演出其實並非首演，首演是在1949年11月9日於布 拉格舉行，由菲德伯格（Grzegorz Fitelberg）指揮 布拉格電台交響樂團演出。作品題獻給布拉格交響 樂團的總監奧卡迪歷克（Mirko Očadlík） 。

菲夫寫道：「1934年末，列寧格勒的基洛夫劇院 （Kirov Theatre）要上演我的一套芭蕾舞劇。我對 抒情的主題較感興趣，於是提議撰寫莎士比亞的 《羅密歐與茱麗葉》。但基洛夫劇院卻退縮了，我因 此與莫斯科大劇院（Bolshoi Theatre）簽了合約。 1935年春，拉德洛夫（Radlov，莎士比亞劇的導 演）和我一起撰寫了劇本，並諮詢了編舞者關於芭 蕾舞技巧的問題。音樂在夏天的時候完成，但大劇 院宣稱無法將之配上舞蹈，於是撤消了合約。」結 果，作品的首演在1938年於捷克的布爾諾（Brno） 舉行。原本委約的基洛夫劇院則在1940年1月11日 第一次上演該劇。之後的故事就不用多說了，《羅 密歐與茱麗葉》成為了也許是20世紀最受歡迎的

盧托斯瓦夫斯基這時期的音樂受到偉大的匈牙利作

芭蕾舞劇。

曲家巴托克的影響，因此這首弦樂序曲與巴赫協奏

我們帶來其中一個選段，那是浦羅哥菲夫筆下柔美

曲的聲音世界完全不同，但在個別線條的交匯方面

的「年輕的女孩茱麗葉」。他為茱麗葉度身訂造了

卻非常近似，只是結構往往較為疏散與粗獷。盧托

活潑而純真的主題音樂，它經常由長笛奏出。而較

斯瓦夫斯基也重複了一個四音符的樂句（B-升A-升

為緩慢優美的中段則是她的母親在建議她嫁給巴里

G-A）達130次之多，並用上了兩個八音符的音階

斯，然後音樂寧靜而充滿思緒地結束。茱麗葉意識

來使音樂更有色彩 — 在世界大戰剛過及蘇維埃政

到她�長大成�了。在這�，浦羅哥菲夫沒有��

權下的日子，也許是灰色系吧 — 最後才來到那延

一種特定色彩，而是讓觀眾看到茱麗葉的變化。

長的總結和弦。

18

年輕的女孩茱麗葉

馬勒（1860–1911） 選自 升C小調第五交響曲： IV 小慢板：非常慢的

穆索斯基（1839-1881） 配器：拉威爾（1875–1937）

《圖畫展覽會》

木管和銅管樂仍在休息（中場之後它們就會很忙） ， 在半場結束前我們帶來一首非常著名的弦樂作品，

I

它摘自一首大型的交響曲，由浪漫主義後期的作曲 家馬勒�作。他從他的老師��克納那���� 份，但寫出規模更為宏大的交響曲：第三交響曲便 有100分鐘之長。他曾對另一位交響曲大師西貝遼士 說：「交響曲必須像世界一樣：它必須包羅萬有。」 馬勒花了兩個夏季（1901和1902），在奧地利克恩 頓州（Carinthia）沃特湖（Wörthersee）邊的小鎮 邁爾尼格（Maiernigg）度假時撰寫他的第五交響 曲。作品在8月24日完成，在回去維也納之前還有

II III IV V VI VII VIII

三天的空閒時間。那天馬勒「近乎嚴肅地」帶著他 的新婚妻子艾爾瑪（Alma Schindler）來到他撰寫 這首交響曲的偏遠的工作室，並在鋼琴上從頭到尾

IX X

漫步 侏儒塑像 漫步 古堡 漫步 杜樂麗花園 波蘭牛車 漫步 未出殼小雞的芭蕾舞 兩個猶太人—胖子和瘦子 利摩日市場 地下墓穴 與死者用古老的語言對話 雞腳上女巫的小屋 基輔大門

把作品向她彈奏了一遍。馬勒自己在1904年10月

音樂會將以或許是史上最佳的音樂畫廊作結。穆索

18日指揮科隆愛樂樂團（Gürzenich Orchestra）首

斯基原來的獨奏鋼琴版本與拉威爾爐火純青的管弦

演了這首作品。

配器同樣引人入勝。拉威爾的版本出現於1922

慢樂章出現在這部五個樂章的交響曲的第四樂章， 馬勒將之視為作品的第三亦即是最後一部份的開 首。這也許是馬勒最著名的樂章之一。它之所以知 名，是由於意大利導演維斯康堤（Luchino Visconti）

年，當時他應低音大提琴家和指揮哥士域斯基 （Serge Koussevitzky，他後來擔任波士頓交響樂團 的音樂總監達25年之久）的要求改編此曲。事實 上，因為原作相當精采，很多作曲家都曾將之改編

曾將之用於他改編自托馬斯．曼（Thomas Mann）

為管弦樂，但拉威爾的版本至今仍是最受歡迎的。

同名小說的電影《魂斷威尼斯》中。樂曲在飾演作

穆索斯基撰寫此曲是為了紀念他在1873年去世的

曲家的主角亞森巴赫臨終的一幕響起，讓聽眾覺得

朋友—藝術家赫特曼（Victor Hartmann）。次年藝

這是描寫死亡的音樂，但其實樂曲本身的主題是與

評家斯塔索夫（Vladimir Stassov）舉辦了一場赫特

愛情有關。正如馬勒寫給其妻子艾爾瑪的詩所表達

曼的畫展。穆索斯基挑選了其中10幅作為他的音

那樣：

樂獻禮的組成部份，中間以「漫步」主題穿插。他

我愛你有多深，你是我的太陽， 我不能用言辭向你表達這份情意。 我只能向你哀訴我的渴望 與愛，我的喜悅！ 小慢板採用了光明的F大調，形容了馬勒與他的妻 子艾爾瑪「格外平靜與專注的生活」。樂隊由豎琴 和六部弦樂組成。它邁向一個令人痴迷的高峰，最 後在A大調和弦中����。也許純�在這�是最 合適的色彩。

想像自己「在畫展中行進，時而悠閒，時而快步， 目的是為了近距離觀察那些吸引我的畫作，有時傷 心地想起逝去的朋友⋯⋯而我自己的面孔則在這些 間奏曲中窺探出來。」 拉威爾鬼斧神工的配器技巧像為穆索斯基的音樂加 添了一塊配器調色板，由褐橙色的號角長廊，到侏 儒塑像、波蘭牛車、胖子和瘦子的暗色系，而在杜 樂麗花園、利摩日市場，甚至未出殼小雞的芭蕾舞 中閃過的粉色系列，以及古堡中伴隨薩克斯管而 19

來，�了的��色，在地下墓穴�我們�進了�墓

緊接其後的（沒有穆索斯基原作中最後的「漫步」）

的暗黑中，隨後才見到紫色的女巫小屋，當基輔大

是第二首受到法國啟發的樂曲「利摩日市場」。在

門出現時，萬花筒般的色彩在眼前逐漸閃亮起來。

他的原稿中，穆索斯基用法語寫出了流言蜚語提及

小號獨自帶出宏偉、令人難忘的「漫步」主題（第

的內容（「大新聞」），由「市集中那些激烈爭辯的

一次降B調吹奏），5/4和6/4的節奏交錯，簡單地營

法國女人」傳來傳去，但之後卻將之刪掉，只剩現

造出在畫廊之間行走時不平均的步伐。降E小調的

有的名稱來形容赫特曼其中一幅繪畫這法國小鎮的

「侏儒塑像」形容了「一種小孩的玩具，模仿了赫

水彩畫。突然我們被推進「地下墓穴」，穆索斯基

特曼1869年為聖彼得堡藝術家俱樂部的聖誕樹所

指出這是在羅馬。然而赫特曼的畫作（現存於聖彼

構思的木質設計。它用畸形的腿一拐一拐地行進，

得堡）「描繪了畫家自己透過（朋友手中）燈籠的

就像傳說中的胡桃夾子那樣，胡桃被塞進侏儒的嘴

光，審視在巴黎的地下墓穴」。緩緩移動的和弦與

�。它一�走，一�發出��的��。」接下來降

長音，在下首樂曲再次帶出了詭異的「漫步」主題

A大調的「漫步」帶出了升G小調的「古堡」，它由

（移往B小調），標題是「與死者用古老的語言對

緩慢不變的節奏襯托，讓突出的薩克斯管奏出有力

話」。穆索斯基在譜上寫道：「具創意的赫特曼的

的踏步主題，編織出一種懷舊的情調。斯塔索夫認

靈魂現在牽頭向骷髏們，並喚醒了它們。骷髏開始

出這是赫特曼在意大利時繪畫的水彩建築：「一個

發出微弱的光。」

中世紀城堡前站著一位遊吟詩人。」

A小調「女巫的小屋」有不少臨時升降號，「赫特

接下來的「漫步」和作品中首個「法國」段落

曼的畫作描繪了一個以雞腳上女巫的小屋為形狀的

「杜樂麗花園」（「兒童在遊戲後的爭吵」）保留了

鐘。穆索斯基添加了女巫騎上臼飛行的內容。」沉

五個升號的樂調。此曲形容「杜樂麗花園中一條

重的和弦及其後一連串持續的8度8分音符，引往

小徑上有一群小孩和保姆」，其步伐模仿了兒童的

她由桿杵推進的熾熱的臼飛行，翻滾的16分三連

遊戲和爭論，與前後兩首莊嚴的音樂形成對比。

音加強了怪異的飛行效果。開首砰砰的音樂再度出

後面的「波蘭牛車」原本是根據一幅描繪「由牛

現，把樂曲推向了一個巨大的高潮，然後直接進入

拉著的、有巨大輪子的波蘭木頭車」的畫像創作

「基輔大門」。那是六幅「代表了赫特曼為基輔城門

的（仍然保留了五個升號的升G小調），它有著款

所設計」的素描，「具有俄羅斯古代厚重的風格，

擺而沉實的低音伴奏。Bydlo 一辭在波蘭語中是

並有一個以斯拉夫頭盔為楷模的圓頂。」城門原本

「牛」的意思，雖然穆索斯基向斯塔索夫表示他想

是為了紀念沙皇亞歷山大二世在1886年逃過暗殺

像是一輛木頭車。寧靜的D小調「漫步」帶出了

一事，但最終並沒建成。在此響亮的和弦，採用了

F大調的「未出殼小雞的芭蕾舞」，它描繪的是芭

具有英雄氣魄的降E大調，與喑啞的樂音和鐘一般

蕾舞劇《托里路比》（Trilbi）中的一個場景：「來

的和弦衝刺形成對比，營造出無間斷的、逐漸增強

自俄羅斯皇家芭蕾舞學院的學童，穿上像雞蛋殼

的高潮，其後隨著厚重的下行音階減退，緩緩而亮

的戲服，帶上像金絲雀嘴巴的帽子。」接下來一

麗地來到最後澎湃的結句。

曲對比了兩個波蘭猶太人，他們一富一貧。穆索 斯基其實擁有這兩幅赫特曼在1868年造訪位於華 沙附近的桑多梅日（Sandomierz）時用鉛筆繪畫 的畫作。然而「森姆．戈登貝格」和「舒梅爾」 （胖子和瘦子）的名字卻是由斯塔索夫提供的。這 首根據希伯來音階撰寫的降B小調行板，用8度音 程深刻營塑了誇誇其談的戈登貝格的形象，而貧 窮、饑寒（因此打顫）的舒梅爾則由加了弱音器 的嘮叨聲（小行板）來代表。 20

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 Where have you been McDull? We have missed you on the concert stage over the last two years. What is that? You have been on a painting course? You do not mean to tell us that you have forsaken music for the visual arts? Well we will soon sort that out, because you surely cannot have forgotten that music can also paint a picture – not through your eyes, but through your ears, using your imagination. In fact, music is so colourful, you can almost see each piece!

Lots of music have been inspired by images, and even if our first piece was not inspired by any picture, its name – Galop – indicates the speed by which our conductor today Yip Wing-sie will take us through our many pieces of music. Since you are now a budding painter, do let us know which paintings pop up in your mind when you listen to the wonderful music in this concert!

Igor Stravinsky (1882–1971) From Suite No 2 for

Orchestra:

Small

IV Galop One of the most influential and important composers of the 20th century, Igor Stravinsky died 50 years ago in 1971. He was taught by Nikolai Rimsky-Korsakov and was plucked from youthful obscurity to compose ballet scores for the famous Russian impresario Serge Diaghilev’s company the Ballets Russes in Paris. Suddenly Stravinsky was the renowned composer of The Firebird (1910), Petrushka (1911) and, most provocatively, The Rite of Spring (1913), where rhythm and harsh dissonance created a furore at its première. Yet throughout his career Stravinsky found it hard to make ends meet and had to resort to being a jobbing composer, always with an eye to make some money from his pieces.

So it was that, just after The Rite of Spring, Stravinsky composed two sets of “Easy Pieces” for piano duet. First came Three Easy Pieces in 1914, followed by Five Easy Pieces between 1916 and 1917. And over the following eight years Stravinsky orchestrated the individual pieces to form two Orchestral Suites, though differently combined. The

First Suite included four of the later Five Easy Pieces, while the final Galop of that piano duet set was added to the orchestrated Three Easy Pieces to form the Second Suite, which Stravinsky recalled was done first for a Paris Music Hall. Its official concert première was in Frankfurt on 25 November 1925.

The Galop ends the suite in circus fashion – think of how many colours you can associate with the circus!

It is rumbustious and rousing, with a rat-a-tat fanfare and a more pompous middle section. It is a great way to start our concert.

Johann Sebastian Bach (1685–1750) From Brandenburg Concerto

No 3 in G, BWV1048: I Allegro

We turn the clock back almost exactly 200 years to March 1721 when Baroque composer Johann Sebastian Bach presented a set of six concertos for multiple instruments to the Margrave Christian Ludwig of Brandenburg. In doing so these works became known as the “Brandenburg” Concertos and are perhaps Bach’s most famous works. And we hear perhaps the best known movement from all of them – the fast opening movement of the 21

Third Concerto, which characterises the Baroque period nicely, with its jaunty rhythms and interweaving lines, underpinned by a small group of instruments (usually harpsichord and cello) called a “continuo” which provides the harmonic base and pulse for the more showy instruments taking the limelight. Bach here only uses strings – but he splits his violins, violas and cellos each into three separate parts, making a texture from the nine separate lines. With all those strings, do you see a rich mahogany brown, McDull? You can lose yourself trying to follow which instrument plays what, where. Instead, though, just enjoy Bach’s invention which never let up speed. It may not have the brassy panache of Stravinsky’s Galop but it is just as cheerful and lively.

Maurice Ravel (1875–1937) From Le Tombeau de

Couperin: III Menuet

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Where to now? I told you to hold on to your hats. We are zooming forward in time – to just a year or two from where we started to meet French composer Maurice Ravel who composed a delicate memorial for some of his friends, written in homage of another great Baroque composer, fellow Frenchman François Couperin. The name of the little suite – originally six movements for piano from 1919 – means “Couperin’s Tomb” and each piece is about a friend of Ravel who was lost in the First World War. In 1920 Ravel orchestrated four of the pieces, of which we hear the third, a stately Menuet which he dedicated to the memory of Jean Dreyfus, whose home Ravel had stayed in after being demobilised. It highlights the distinctive sound of the lyrical oboe.

The opening is languorous, like a hot, still summer day (imagine the yellow sun), underpinned by bass pizzicato pulse. Smooth clarinets, then with muted trumpet, darken the still-soft music until the full strings surge louder, building to a central climax, leaving clarinets and trumpets to usher the oboe back in, before ending with a descent of bells, ending in the harp’s resonant tolling.

Witold

(1913–1994)

Overture for Strings To Poland now for music by the diminutive and dapper figure of Witold . A generation younger than Stravinsky and Prokofiev, did not have the opportunity to travel to the West and his early life and career were blighted first by the Second World War and then the Sovietinfluenced rule in his homeland. After the independence movements a quarter-of-a-century ago led by Poland, became a regular and favourite visitor to the West, not only as a composer but also a conductor. He also met up again with a fellow Polish composer with whom he had played duos post War – Andrzej Panufnik – who had managed to defect to Britain in 1954. remembered himself how his Overture for Strings was received when first heard in his homeland: “The work is enormously impractical, because it requires quite a bit of work, but lasts only five minutes. For the most part, after listening to it, the audience is completely disoriented, despite the long final chord which crowns the work. Evidently people expect the work to be longer. When conducted this work at the Warsaw Philharmonic, at the end there was not even one round of applause. He did not know what to do; he had the orchestra stand up and then left.” As it happened, that Warsaw performance was not the première, which had been on 9 November 1949 in Prague, with the Prague Radio Symphony Orchestra, conducted by Grzegorz Fitelberg. The Overture was dedicated to Mirko Očadlík, director of the Prague orchestra.

Although a determinedly different sound world to Bach’s Concerto – at this time ’s music looked to that of the great Hungarian composer Béla Bartók – the way the individual lines intertwine, albeit usually with a much sparser and abrasive texture, is very similar. also repeats a four-note phrase (B–A-sharp–G-sharp–A) over 130 times, as well as using two eight-note scales that colour the music – given the post-war and Soviet era of the times, perhaps a series of greys – before coming to close on that long, final chord.

Sergei Prokofiev (1891–1953) From Romeo and Juliet,

Op 64

Juliet the Young Girl From Poland it is quite a short journey back to Russia. In the early 1930s, Stravinsky’s younger compatriot, Sergei Prokofiev returned to a very different Russia he had left on the eve of the Russian Revolution. He had spent some 14 years abroad and it was a big thing for such a prominent composer to be welcomed back to Soviet Russia (Stravinsky did not go back), and it was not long before Prokofiev was asked by two of the country’s great cultural organisations for a big work.

Prokofiev wrote: “In the latter part of 1934 there was talk of the Kirov Theatre, Leningrad staging a ballet of mine. I was interested in a lyrical subject.

Shakespeare’s Romeo and Juliet was suggested.

But the Kirov Theatre backed out and I signed a contract with the Moscow Bolshoi Theatre. In the spring of 1935, Radlov [a Shakespearean director] and I worked out the scenario, consulting with the choreographer on questions of ballet technique.

The music was written in the course of the summer, but the Bolshoi declared it impossible to dance to, and the contract was broken.” In the end, it was premiered in the Czech Republic, in Br no, in 1938 after which the original commissioners, the Kirov, took it up, first mounting it on 11 January 1940. The rest is, of course, history – as Romeo and Juliet has become perhaps the best-loved 20th-century full-length ballet.

We hear just one excerpt – Prokofiev’s delicate depiction of “Juliet the Young Girl”. Prokofiev gives Juliet playful and unaffected thematic material often scored for flute, with a slower, more gracious middle section where her mother suggests she marry Paris, before it ends quietly and reflectively.

Juliet realises that she is nearly a woman. Rather than a specific colour here, Prokofiev allows you to see the change that comes over Juliet.

Gustav Mahler (1860–1911) From Symphony No

C-sharp minor:

5 in

IV Adagietto: Sehr langsam We are still giving the woodwind and brass some time off (they will have plenty to do after the interval), as we end the first half with a very famous string piece, this time from a huge symphony, composed by late Romantic composer Gustav Mahler. He took a leaf out of his teacher Anton Bruckner’s book and wrote ever-bigger symphonies: his Third is 100 minutes long and he told fellow symphonist, the Finn Sibelius: “The Symphony must be like the world: it must embrace everything.”

Mahler’s Fifth Symphony was composed over two summers – 1901 and 1902 – on holiday at Maiernigg on the Wörthersee in Carinthia. It was finished on 24 August, with three days to spare before returning to Vienna. That day he led his new wife Alma Schindler “almost solemnly” to the isolated studio where he composed and played the whole work through to her on the piano. Mahler himself conducted the première in Cologne with the Gürzenich Orchestra on 18 October 1904.

The slow heart of the five-movement symphony comes fourth and starts what Mahler determined as the symphony’s third and final part. It is perhaps Mahler most famous single movement, partly because it was memorably used in a film by Italian director Luchino Visconti’s 1971 film Death in Venice based on Thomas Mann’s novel, where it plays over the last moments of composer Gustav von Aschenbach’s life. And yet, this music is not about death at all, it is about love – as a verse penned by Mahler for Alma shows: How much I love you, you are my sun, I cannot tell you that with words.

I can only lament to you my longing and my love, my bliss!

Scored for solo harp and six-part strings, the Adagietto is in radiant F major and depicts Mahler and Alma’s “life of utter peace and concentration” together. It rises to an ecstatic peak and dies away again to a final A major chord – perhaps the most appropriate colour analogy here is pure white.

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Modest Mussorgsky (1839-1881) Orchestrated by Maurice Ravel (1875–1937)

Pictures at an Exhibition Promenade Gnome Promenade II The Old Castle Promenade III Tuileries IV Bydlo Promenade V Ballet of the Unhatched Chicks VI Samuel Goldenberg & Schmuyle VII The Market in Limoges VIII Catacombs. Sepulcrum Romanum Con Mortuis in Lingua Mortua IX Baba Yaga’s Hut on Hen’s Legs X The Great Gate at Kiev I

We end with perhaps the best musical gallery ever composed. It works just as well in Modest Mussorgsky’s original solo piano version, or Ravel’s masterly orchestration (we have already heard how brilliant Ravel could orchestrate his own piano music), which dates from 1922, at the request of double bass player and conductor Serge Koussevitzky (who went on to be Music Director the Boston Symphony Orchestra for 25 years). In fact, because it is such a wonderful work many, many others have orchestrated it, but Ravel’s is still the most popular.

Mussorgsky composed the work in memory of his friend, the artist Victor Hartmann, who had died in 1873. The following year the critic Vladimir Stassov arranged an exhibition of Hartmann’s art and Mussorgsky’s decided his musical tribute would depict 10 of those paintings and drawings interspersed with a recurring theme which he termed “Promenade” – which he imagined was himself “roving through the exhibition, now leisurely, now briskly, in order to come close to a picture that attracted my attention, at times sadly thinking of my departed friend… [My] own physiognomy peeps out through all these intermezzi”.

Ravel’s mastery adds a rainbow-like orchestral palette to Mussorgsky’s – from the burnished 24

orange of the fanfare promenades, the dark hues of Gnome, Bydlo and Samuel Goldenberg & Schmuyle, the pastel colours swirling quickly by in not only Tuileries Garden and the Market at Limoges but also Ballet of the Unhatched Chicks, and the faded sepia accompanied by the saxophone in The Old Castle. We are plunged into sepulchral blackness in the Catacombs before purples typify Baba Yaga, and a kaleidoscope of colours get brighter and brighter as the Great Gate of Kiev hoves into view.

The trumpet alone introduces the magnificent, memorable “Promenade” theme (first heard in B-flat) alternates 5/4 and 6/4 bars, simply (yet deceptively) creating the feeling of an uneven perambulation between pictures. Grotesque, descending scales herald “Gnomus” (“Gnome”, E-flat minor) described as “a child’s toy, fashioned after Hartmann’s design in wood for the Christmas tree at the St Petersburg Artist’s Club (1869). It walks awkwardly on deformed legs, and is something in the style of the fabled nutcracker, the nuts being inserted in the gnome’s mouth. It accompanies its movements with wild shrieks”. An A-flat version of the “Promenade” leads to “Il Vecchio Castello” (“The Old Castle”, G-sharp minor), which is underpinned by a slow, low, unchanging rhythmic accompaniment (a dotted rhythm developing – crotchet-quaver, crotchetquaver) allowing the distinctive saxophone’s sinewy stepwise theme to weave its nostalgic spell. Stassov identifies this as an architectural watercolour Hartmann made in Italy: “a medieval castle before which stands a singing troubadour.”

The following “Promenade” and the first Gallic movement “Tuileries Garden” (“Children’s Argument after Games”) retain five sharps in the key signature. Describing “a path in the Tuileries gardens with a crowd of children and nurses”, its fleet-footed mimicry of the children’s games and arguments contrasts with the more stately music on either side. Indeed “Bydlo”, the portentous portrait of “a Polish wagon on enormous wheels, drawn by oxen” (retaining again the five sharps of

G-sharp minor), is very much grounded by its oscillating low accompaniment. “Bydlo” is Polish for “cattle”, although Mussorgsky told Stassov that he envisaged a cart. The tranquil D minor “Promenade” introduces the “Ballet of the Unhatched Chicks” in F: “a little picture for the setting of a picturesque scene in the ballet Trilbi (1871), where the children from the Imperial Russian Ballet School were enclosed in egg-shell costumes, wearing helmets in the form of canaries’ beaks.” Two Polish Jews are contrasted in the next section – one rich, one poor. Mussorgsky actually owned these two pencil drawings which Hartmann had done on a visit to Sandomierz near Warsaw in 1868. However the names – “Samuel Goldenberg” and “Schmuyle” – were supplied by Stassov. In this B-flat minor Andante, based on Hebrew scales, the bombastic Goldenberg is weightily portrayed in octaves, whereas poor, cold (therefore shivering?)

Schmuyle is characterised by muted chattering (Andantino).

Immediately following (without Mussorgsky’s final “Promenade”) is the second French-inspired section – “The Market in Limoges”. In his original manuscript Mussorgsky had written in French the subject of the gossip (“the great news”) being swapped by the “French women furiously disputing in the market-place”, but later struck it out, leaving his furious welter of semiquavers to describe the day-to-day scene in one of Hartmann’s many watercolours of the French town. Suddenly we are plunged into the “Catacombs”, which Mussorgsky identified as being in Rome. However, Hartmann's picture (now housed in St Petersburg) “represented the artist himself looking at the catacombs in Paris by the light of a lantern”, held by a friend. The slow-moving chords and long notes, lead to a ghostly restatement of the “Promenade” theme in the following section (moving into B minor), marked “Speaking to the Dead in a Dead Language”. Here Mussorgsky wrote over the score: “The creative spirit of the dead Hartmann leads now towards skulls and invokes them. The skulls begin to glow faintly.”

In breaks “Baba Yaga”, a Russian witch, couched in A minor (but with fistfuls of accidentals).

“Hartmann’s drawing represented a clock in the form of Baba Yaga’s Hut on Hen’s Legs.

Mussorgsky added the ride of Baba Yaga in her mortar.” Pounding chords and then the rhythmic insistence of a battery of octave quavers lead to her ride in her red-hot mortar, propelled by a pestle, a welter of semi-quaver triplets heightening the bizarre flight. The pounding opening music returns and builds to a massive climax which leads straight into “The Great Gate of Kiev”, based on six sketches which “represented Hartmann’s project for a gate in the city of Kiev, in the massive old Russian style, with a cupola in the form of a Slavonic helmet”. It was intended to commemorate the escape from assassination of Tzar Alexander II in 1886, but it was never built. Here bright ringing chords – in heroic E-flat – contrast with hushed tones and bell-like scalic runs to create an unremitting cumulative build-up, released by a massive descending scale which, slowing, sonorously leads to the final climactic pages.

© 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

25

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 (2020-2022)

麥兜 McDull (2019-2020)

高世章 Leon KO (2018-2019)

陳慶恩 CHAN Hing-yan (2016-2018)

石家豪 Wilson SHIEH (2015-2016)

朱�� CHU Pak-him (2014-2015)

麥淑賢 MAK Su-yin (2014-2015)

羅詠媞 Wendy LAW (2013-2014)

盧思泓 LOO Sze-wang (2012-2013)

伍宇烈 Yuri NG (2011-2013)

李嘉齡 Colleen LEE (2010-2011)

黎志華 Jason LAI (2009-2011)

楊嘉輝 Samson YOUNG (2008-2009)

伍卓賢 NG Cheuk-yin (2006-2008)

小提琴 Violin 格德霍特 樂團首席

金仁善 署理助理樂團首席

李海南 第二小提琴首席

蔡路（休假） 第二小提琴助理首席

蔡柏沂 陳劭楠 周止善 保��子（休假） 賈舒晨 顧洛臻 羅莎莉 呂灝然 羅蔚敏 彭曉筠 潘迦薇 陽旻佑 楊宇思 葉紹羲 中提琴 Viola ● 陳子信 ▼ 劉琛彥 卞思琦 陳敏聰 顏星安 ★ 龍君蔚 ★ 鄧詠旋 大提琴 Cello ● 張培節 ▼ 貝樂安 何國芝 李恩率 朴詩媛 葉俊禧

長笛 Flute 上杉晃代

Akiyo UESUGI

KIM In-sun

雙簧管 Oboe 福原真美

Mami FUKUHARA

LE Hoai-nam

單簧管 Clarinet ● 方曉佳 陳秋媛

FONG Hiu-kai Johnny CHEN Chiu-yuan

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

巴松管 Bassoon ● 秦慶生（休假） 田口美奈子

CHIN Hing-sang (On Leave) Minako TAGUCHI

圓號 Horn ● 包文慶 東出真澄 岑慶璋 ★ 陳珈文

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

小號 Trumpet ● 黃山 文曦

HUANG Shan MAN Hay

長號 Trombone ● 羅澤基 陳學賢

Christopher RODGERS CHAN Hok-yin

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

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

James CUDDEFORD Concertmaster

Acting Assistant Concertmaster Principal Second Violin

TSAI Loo

(On Leave) Assistant Principal Second Violin

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

低音大提琴 Double Bass Masami NAGAI ● 永井雅美 Santiago COSTA MARTÍNEZ ▼ 柯斯達 HUANG Tun-pin 黃敦品 Notes 1. Guest Principal Oboe 客席雙簧管首席 – SZE Yu-hey Kenneth (薛宇曦) 2. Guest Principal Bassoon 客席巴松管首席 – LIU Tung-bo (廖冬保) 3. Freelance Musicians: Violin 小提琴：Alvin CHAN ( 陳樹泉), CHUA Vince Eliezer N. ( 蔡君賢), WEI Ning-yi (魏宁一), 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：CHAN Ping-chi (陳秉智), Harty TAM (譚泳佳) Flute 長笛：HUI Wing-hang Bob (許榮鏗), Ada POON (潘安婷) Oboe 雙簧管：WAN Lok-yu Cecilia (溫樂愉)

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

Clarinet 單簧管：FUNG Chi-hang Eric (馮智恆) Bassoon 巴松管：AU Kai-see Tiffany (歐啟詩) Saxophone 薩克斯管：WONG Tak-chiu (黃德釗) Trumpet 小號：CHAN Kin-sing Kinson (陳健勝) Percussion 敲擊樂：Samuel CHAN (陳梓浩), CHENG Mei Kwan Emily (鄭美君), KWONG Man-wai Eugene (鄺敏蔚) Harp 豎琴：TSE Yan-yin Yany (謝欣燕)

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

Board of Governors

榮譽監察委員

Honorary Governors

潘燊昌博士（主席）

Dr Patrick S C POON (Chairman)

金董建平女士

Mrs Alice KING

翟紹唐先生（副主席）

Mr JAT Sew-tong (Vice-chairman)

施永青先生

Mr SHIH Wing-ching

鍾思源醫生（司庫）

Dr CHUNG See-yuen (Treasurer)

楊雪姬女士

Ms Serena YANG

周莉莉女士

Ms Lily CHOW

鍾陳碧璋女士

Mrs Shirley CHUNG

何汝祥醫生

Dr HO Yu-cheung

義務公司秘書

Honorary Company Secretary

劉文文女士

Ms LAU Man-man Lisa

陳智文先生

Mr Stephen TAN

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

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 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 譜務 Librarian 黃 軒 Bruce WONG 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 林海欣 Hayley LAM 馮碧琪 Betty FUNG 羅希寧 Kening LAW

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

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謝謝！Thank You Partners!

2021/2022 樂季贊助機構 Sponsors of the 2021/2022 Season

主要贊助機構 Major Sponsors

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

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 MegaSTAR Patrons (HK$500,000 and above)

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

• 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon

• • • • • • • •

陳嘉何醫生夫人 Lowell and Phyllis Chang 鍾陳碧璋女士 Mrs Shirley Chung Ms Cadence Hsiung 林育義醫生 Dr Lam Yuk Yee Paul Ruth & Sidney 謝智剛教授 Prof C K Michael Tse 多位無名氏 Anonymous

• • • • •

Miss Sandra W M Lee Mr Allan Leung Dr Yvonne Ou Dr & Mrs Arthur Van Langenberg 多位無名氏 Anonymous

SuperSTAR Patrons (HK$100,000 to HK$499,999)

• 北山堂基金 Bei Shan Tang Foundation • 陳鋈鋆先生 Mr Chan Yuk-kwan • 冼為堅基金有限公司 Sin Wai Kin Foundation STAR Donors (HK$10,000 to HK$29,999)

• • • • • •

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

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

• • • • • • • • • • • • • • •

BELIEVING MUSIC CAN Ms Cynthia Chan Jonman, Monika & Joel Chan Family 陳昌奇先生 Mr Kelvin Chan Mr Chan King Fung Thomas Adam In Memory of Ms Mariette Mimi Chan Miss Chan Yin Fei Joyce 陳燕婷 陳騰龍先生 Mr Douglas Cheng 鄭錦德先生 Mr Cheng Kam Tak 蔡靄兒小姐 Miss Joycelyn Choi Mr C Y Chow 鍾寶圈小姐 Miss Pollyanna Chung 鍾穎彤小姐 Miss Chung Wing Tung

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• • • • • • • • • • • • • • •

In Memory of Esther Ms Roselanie Ho 何汝祥醫生 Dr Ho Yu Cheung Ms Hung Ying Kwan 郭立成律師 Mr Chris Kok Ms Joyce Kwock Miss M Kwok 黎慧德女士 Ms Wai Tak Lai Ms Law Jessica Yun Pui Mr Sung Chak Kyle Lee Mr Sheung Lee Ms Mary Leung Ms Florence Leung Ms Luk Yee On 大通會計事務所 Masterpoint Professional Ltd

• 莫心柔、莫心維 • 吳志強先生 • 吳天天先生 Mr Ng Tin Tin Timothy • Mr John Ngan • Poon Shing Chi & Liao E Wen • John & Anthea Strickland • Ms Elsie Tam • Mr Paul Tsang • 謝建宏先生 • Mr Penny Tse • Ms TT Tsui • Ms Carolina Yip • Ms Anka Yuen • 多位無名氏 Anonymous

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

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

• 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon

• Mr Iain Bruce

• 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

• 沈昊翔先生 Mr Shum Ho Cheung

• 多位無名氏 Anonymous

• 九龍倉集團有限公司 The Wharf (Holdings) Limited • 王煒東先生 Mr Wong Wai Tung

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

• 多位無名氏 Anonymous

• 孫永輝施熙德伉儷 Edith & Stephen Sun

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

• Ms Fiorella Fong

• 吳榮奎先生 Mr Ng W F Nicholas

•

• 郭立成律師 Mr Chris Kok

• 魏玉華小姐 Miss Winnie Ngai

• Mr Chan Kwan Ho

• 紀念劉葉珍女士

• Mr Wong Kai Chun

• Jonman, Monika & Joel Chan Family

• Mr Sheung Lee

• Mr Marcus Woo

• Miss Chan Yin Fei Joyce

• Ms Luk Yee On

• Ms Yeung Lai Fong Alice

• 兜仔先生 Mr Dullchai

• 吳天天先生 Mr Ng Tin Tin Timothy

• 多位無名氏 Anonymous

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

• 李韶博士伉儷 Dr Lee Shiu & Dr Jennie 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

• 香港歌德學院 Goethe-Institut Hongkong

• 冼為堅博士 Dr David Sin Wai-kin

• 康樂及文化事務署 Leisure and Cultural Services Department

Mrs Charlene Chan

• 唐柏泉醫生 Dr Tong Pak Chuen Patrick • 謝智剛教授 Prof C K Michael Tse • 多位無名氏 Anonymous

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

• 德國駐港總領事館 German Consulate General Hong Kong • 民政事務局 Home Affairs Bureau • 邁騰路通有限公司 Maestro GT Limited • 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