House Prog: Cellomania with Jamal Aliyev (21.5.2022)

合辦機構 Co-presenter

大提琴 Cello

阿利耶夫 Jamal Aliyev

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

葉詠詩 Yip Wing-sie

21.5.2022 (星期六 Sat) 8pm

香港大會堂音樂廳 HK City Hall Concert Hall

獨家贊助 Exclusive Sponsor

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

小提琴/領奏 Violin/Director

© LEO HON-WAI YUEN

格德霍特 James Cuddeford

節目Programme

A小調小提琴協奏曲，BWV1041 B小調交響曲，RV169， 「聖墓」 G大調交響曲，RV146 G小調夏康舞曲 《戰爭》 幻想曲7（1995） 《連結（已回答的未回答問題） 》 （1989） A大調第59交響曲「火」 ，Hob I: 59 Violin Concerto in A minor, BWV1041 Sinfonia in B minor, RV169, “Al Santo Sepolcro” Vivaldi Sinfonia in G, RV146 Purcell Chacony in G minor Biber Battalia Purcell/George Benjamin Fantasia 7 (1995) György Kurtág Ligatura (The Answered Unanswered Question) (1989) Haydn Symphony No 59 in A, “Fire”, Hob I: 59 巴赫 韋華第 韋華第 浦賽爾 比貝 浦賽爾/本傑明 庫爾塔克 海頓 Bach Vivaldi

28.5.2022 (星期六 Sat) 8pm

香港大會堂音樂廳 HK City Hall Concert Hall $400 $260 $150

門票：城市售票網 Tickets at URBTIX 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

最愛大提琴 Cellomania with Jamal Aliyev 桂冠音樂總監/指揮 Music Director Emeritus/Conductor

大提琴 Cello

葉詠詩 Yip Wing-sie

阿里耶夫 Jamal Aliyev

節目

白遼士

《羅馬狂歡節》序曲，作品9

巴赫

D大調第三管弦組曲，BWV1068：詠嘆調（大提琴版本）

帕格尼尼

羅西尼《摩西》主題變奏曲

韓德爾 包佩爾

《里納爾多》：讓我哭泣（大提琴版本） 匈牙利狂想曲，作品68 －中場休息15分鐘－

比才

C大調第一交響曲 生動的快板 慢板 諧謔曲：活潑的快板 終曲：活潑的快板

Programme

Berlioz

Roman Carnival Overture, Op 9

Bach

Orchestral Suite No 3 in D, BWV1068: Air (Adapted for Cello)

Paganini

Variations on One String on a Theme by Rossini

Handel

Rinaldo: Lascia Ch’io Pianga (Adapted for Cello)

David Popper

Hungarian Rhapsody, Op 68 – 15-minute intermission –

Bizet

Symphony No 1 in C Allegro vivo Adagio Scherzo: Allegro vivace Finale: Allegro vivace

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. 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

目，以及近年推出的網上室樂系列，於香港別具特

「培育文化新一代」，並以富創意的節目及充滿熱忱

色的旅舍拍攝的《Tiny Galaxy Concerts》，亦為古

的演奏稱譽本地及海外樂壇。 自 1999 年起，與香港小交響樂團合作過的國際知 名音樂家及藝團包括阿爾斯達德、法蘭、格林高 特、赫姆森、麥米蘭、納卡里亞科夫、彭德雷茨 基、凱拉斯、塞伊、薛高維茨基、英國皇家芭蕾舞

少華人作曲家的優秀作品；由 DECCA 發行的三輯 《就是古典音樂》系列，均獲白金及金唱片佳績。 雙 CD《一屋寶貝音樂廳》於 2018 年由 DECCA 出 版。

團、英國國家芭蕾舞團、美國芭蕾舞劇院、紐約市

樂團經常應邀作客海外，包括：美國紐約林肯中心

芭蕾舞團、斯圖加特芭蕾舞團及翩娜．包殊烏珀塔

羅斯劇院、加拿大多個以出色音效著稱的音樂廳；

爾舞蹈劇場等。樂團亦經常應邀與香港藝術節、法

南美洲的巴西、阿根廷及烏拉圭；在歐洲計有法國

國五月、香港芭蕾舞團等合作。

的拉羅克．昂迪榮國際鋼琴音樂節和蒙頓音樂節

樂團自 2009 年起為香港大會堂的場地伙伴，每樂

等、德國東弗里斯蘭「浪潮」音樂節、波蘭貝多芬

季演出逾100場次。除了傳統的管弦樂章，樂團於 過去 20 年，委約本地及海外作曲家創作超過 70 首 作品。樂團並於 2006 年起舉辦「駐團藝術家」計 劃，培育新一代本地藝術家之餘更為古典音樂創造 新的可能性。樂團與不同界別的藝術家製作了多個 大獲好評的跨界節目：《士兵的故事》、《一屋寶 貝音樂廳》，以及《阿飛正轉》。 2020 年推出音樂 會電影系列《Back On Stage》 ，成為首個躍進戲院

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、日本《

》音樂祭及亞洲交響

樂團音樂節、韓國統營國際音樂節、新加坡、台灣 巡演。 2018 年舉辦第一屆香港國際指揮大賽，參 賽者來自49個國家及地區，成功吸引國際目光。

的本地樂團。2021年，樂團與MOViE MOViE聯合

樂團 2002 年至 2020 年由著名指揮家葉詠詩擔任

呈獻「Life is Art 盛夏藝術祭」電影節，帶來音樂

音樂總監，期間致力推動本地古典音樂發展。

新看法。

葉詠詩現為樂團的桂冠音樂總監，她會在樂團委任

而針對不同觀眾的多套普及音樂會，包括《寶寶/ 幼兒愛音樂》、《古典音樂速成》、《古典音樂知多 少》和《我個名叫麥兜兜．古典音樂小計劃》等節 4

典音樂注入新色彩。樂團灌錄過多套唱片，收錄不

新總監前，與首席客席指揮柏鵬一起負責樂團藝術 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, Dmitry Sitkovetsky, The Royal Ballet, English National Ballet, American Ballet Theatre, New York City Ballet, Stuttgart Ballet and Tanztheater Wuppertal Pina Bausch. A regular participant at all the major festivals in Hong Kong including the Hong Kong Arts Festival and French May Arts Festival, the orchestra also partners regularly with Hong Kong Ballet in their staged productions.

As an avid believer of keeping music alive and contemporary, Hong Kong Sinfonietta – the Venue Partner of the Hong Kong City Hall since 2009 – performs year-round with over 100 performances a season, presenting not only standard orchestral repertoire but also more than 70 newly commissioned works over the past 20 years, as well as launching in 2006 the HKS Artist Associate scheme, which provides a platform for intensive collaboration with local artists from different arts disciplines to expand the horizon of classical music.

The orchestra has enjoyed many triumphs with cross-genre productions such as A Soldier’s Story, The Passage Beyond in Concert and Pica Pica Choose, which melded dance and theatre with music to wide critical acclaim. It also became the first local orchestra to appear on the cinema screen in 2020 with its groundbreaking Back On Stage concert film series, and in 2021 further ventured into the cinematic world by co-curating the “Life is Art” film festival with MOViE MOViE. Always breaking down barriers between music and the general audience, Hong Kong Sinfonietta holds specially-designed concert series for different audiences and age groups, including Good Music for Babies/Kids, Short-cut to Classical Music, Know Your Classical Music and HKS McDull Music Project, and recently filmed the Tiny Galaxy

Concerts online series featuring chamber music performances recorded at a fascinating hostel in Hong Kong. The orchestra’s discography includes CDs of works by Chinese composers on HUGO, and three double-CD albums This is Classical Music on DECCA which have been awarded Platinum and Gold Records. In 2018, The Passage Beyond in Concert by Leon Ko, was released on DECCA. Thriving on its strong local roots combined with an ambitious international vision, Hong Kong Sinfonietta has been invited to perform on tour in North America in Canada and New York City; in Brazil, Argentina and Uruguay in South America; in Europe at prestigious festivals in France including Festival International de Piano La Roque d’Anthéron and Festival de Musique Menton, in Germany at Gezeitenkonzerte Ostfriesland, at Beethoven Easter Festival in Poland, in Switzerland at Tonhalle Zürich, Geneva Victoria Hall and Fribourg, at festivals in Italy including the 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.

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

Hong Kong Sinfonietta has gone from strength to strength 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, conductor Yip Wing-sie

Taiwan Philharmonic.

shifted from being the Music Director of Hong Kong Sinfonietta – a position which she had held since 2002 – to Music Director Emeritus in May 2020.

Other positions she had previously held include Principal Conductor and later Music Director of Guangzhou Symphony Orchestra and Resident Conductor of Hong Kong Philharmonic Orchestra.

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

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

大提琴 Cello

阿利耶夫 Jamal Aliyev 交響樂團、肯尼默青年管弦樂團及畢爾肯交響樂團 等。在土耳其，他亦經常與伊斯坦堡交響樂團、伊 士麥交響樂團、埃斯基謝希爾交響樂團及梅爾辛交 響樂團同台演出。他又熱衷於與當地音樂家合作， 也透過線上發表傳統土耳其民樂及古典音樂作品。 本樂季阿利耶夫將首度踏足香港、澳洲及美國三地 的舞台，並與著名土耳其鋼琴家和作曲家塞伊，以 及葛瑞菲斯指揮的維也納電台交響樂團合作灌錄新 專輯。此外，曾於 2021 年在土耳其為塞伊的大提 琴協奏曲作首演的阿利耶夫，亦於今年夥拍塞伊到 各地巡演。 阿利耶夫曾於世界著名演出場地舉辦獨奏會及室樂 音樂會，包括倫敦域摩堂及皇家艾爾伯特音樂廳、 紐約莫肯音樂廳、布加勒斯特雅典娜神廟、莫斯科 拉赫曼尼諾夫音樂廳、安卡拉總統音樂廳、北京中 山公園音樂堂及新加坡藝術之家。他亦經常於國際 知名的音樂節中亮相，包括曼奴軒音樂節、克隆堡 音樂節、佐治．艾奈斯庫音樂節、阿爾弗斯頓音樂 節、聖馬格努斯音樂節、費什加德音樂節及古穆斯 阿利耶夫是國際樂壇炙手可熱的大提琴新星，

盧克音樂節。

2021 年獲英國古典音樂電台選為「當今最傑出的

阿利耶夫現於倫敦吉爾德霍爾音樂學院及科隆音樂

30 位年輕古典音樂家」之一。他的演奏足跡遍及

學院繼續深造，分別修讀藝術家文憑及博士學位，

世界各地，重點演出包括與BBC蘇格蘭交響樂團同

並與土耳其藝術基金會「ÇEV Sanat」創辦人約萊

台並獲BBC第三台轉播、與英國愛樂管弦樂團在皇

里積極計劃演出項目及未來發展事項。他演出用的

家節日音樂廳的合作、與伯明翰市交響樂團於皇家

是1700年瓜爾奈利名琴。

艾爾伯特音樂廳獻演，並與委內瑞拉西蒙．玻利瓦 爾交響樂團及土耳其總統交響樂團演出，也曾於西 伯利亞藝術節中，與托木斯克愛樂樂團合作。 2017 年，阿利耶夫於 BBC 逍遙音樂會首次以獨奏 者身份亮相，與BBC音樂會樂團攜手為慶祝電影音 樂大師約翰．威廉斯的 85 歲生辰獻演。同年，他

阿利耶夫是次首度訪港演出由香港小交響樂團與

又贏得詹金斯音樂大獎，並發行了與鋼琴家費多羅

飛躍演奏香港攜手邀請，分別舉行了「大提琴新貴

娃合作的首張錄音，深獲各界好評。他以獨奏身份

阿利耶夫獨奏會：土耳其四城」（5 月 15 日）及

合作過的樂團有英國皇家愛樂樂團、英國皇家北部 8

「最愛大提琴」（5月21日）兩場音樂會。

Rapidly becoming one of the most sought-after cellists of his generation, Jamal Aliyev was featured in 2021 as one of Classic FM’s “30 of the most brilliant young classical musicians playing today”, and has performed widely across the world, highlights including appearing with the BBC Scottish Symphony Orchestra (broadcast by Radio 3), Philharmonia Orchestra at the Royal Festival Hall, City of Birmingham Symphony Orchestra at the Royal Albert Hall, Simón Bolívar Symphony Orchestra in Venezuela, Presidential Symphony Orchestra in Turkey and Tomsk Philharmonia at the Trans-Siberian Art Festival.

In 2017, Aliyev made his solo début at the BBC Proms with the BBC Concert Orchestra at the Royal Albert Hall, performing for the celebrated film music composer John Williams’ 85th birthday.

In the same year, he won “The Arts Club – Sir Karl Jenkins Music Award” and released his début CD Russian Masters with pianist Anna Fedorova for Champs Hill Records to critical acclaim. Other solo appearances include playing with the Royal Philharmonic Orchestra, Royal Northern Sinfonia, Kennemer Jeugd Orkest and Bilkent Symphony Orchestra, among many others. He also performs frequently in Turkey with the Istanbul, Izmir, Bursa, Eskisehir and Mersin symphony orchestras, and greatly values the opportunity to collaborate with local musicians, and promote his work through the online release of traditional folk and classical music performances.

This season Aliyev debuts in Hong Kong, Australia and the USA, and records albums with celebrated Turkish pianist and composer Fazıl Say and the Vienna Radio Symphony Orchestra conducted by Howard Griffiths. He gave the Turkey première of Say’s cello concerto “Shahmaran” in 2021 and will be touring with him as a duo in 2022.

Aliyev has given recitals and chamber concerts at venues including London’s Wigmore Hall and Royal Albert Hall, the Merkin Concert Hall in New York, Athenaeum in Bucharest, Rachmaninov Hall in Moscow, Presidential Concert Hall in Ankara, Forbidden City Concert Hall in Beijing and Singapore’s Arts Parliament House. He has performed at festivals around the world, including the Menuhin, Kronberg, George Enescu, Ulverston, St Magnus, Fishguard and Gümüşlük festivals.

Aliyev continues his education at the Guildhall School of Music for his artist diploma and at the Hochschule für Musik Köln for his doctorate simultaneously, and plans his projects and career together with Berrin Yoleri. He performs on a 1700 Giuseppe Guarneri “filius Andreae” cello and is generously sponsored by ÇEV Sanat.

A collaboration between Hong Kong Sinfonietta and Premiere Performances in bringing international artists to Hong Kong, Jamal Aliyev made his Hong Kong début with two concerts: “Rising Star Cellist Jamal Aliyev Recital: 4 Cities” (15 May) and “Cellomania with Jamal Aliyev” (21 May).

9

節目介紹 今晚的音樂會為大家帶來三位姓氏以 B 開頭的著名古典音樂作曲家的作品，包括巴 赫、白遼士和比才，再加上巴赫同時代的韓德爾，還有兩位姓氏以 P 開頭的、較少人 熟知的作曲家，雖然當中的帕格尼尼還是遠較包佩爾（David Popper）著名，後者對 不是拉大提琴的人來說，可能是第一次聽聞。 我們也會從18世紀早期，穿越到19世紀下半期。巴赫和韓德爾代表了巴羅克光輝的時 代，白遼士和比才則為19世紀法國的管弦樂貢獻了各自的特色。帕格尼尼和羅西尼雖 然是意大利人，他們卻在巴黎住了很長一段時間（羅西尼在39歲的壯年放棄作曲後， 便在巴黎定居；帕格尼尼因為打算在巴黎開設賭場而惹禍上身）。 比才是一位甚受大眾歡迎的著名作曲家，但其名聲主要建立在一部作品上，那就是他 的歌劇《卡門》。比才還不到 40 歲便去世，作品在他臨終前不久首演，因此他並不知 道作品會蜚聲國際。但他也撰寫了其他歌劇，還有許多其他類型的作品，包括為今晚 音樂會壓軸的交響曲，儘管比才在生時，這首交響曲一直沒有出版（或許被人忽略 了），甚至在他去世後的60年，也還未問世。 比才於1855年10月29日，即他17歲生日後的四天動筆，同年11月尾寫成了他這首交 響曲。它展示了作曲家非凡的學習能力，甚至是比他在巴黎音樂學院的其中一位導師 古諾青出於藍。它模仿了古諾前一年創作的第一交響曲，有些地方與之十分相近。比 才後來對古諾說：「你是我藝術家生涯的起源，我源自於你，你是起因；而我是結 果。」比才曾把古諾的交響曲縮寫給兩部鋼琴，而從來沒有要求公演或出版自己的交 響曲，也許因為兩首作品太過相近了，而且古諾的交響曲還甚受歡迎。 帕格尼尼以演奏和創作一首後來廣受作曲家青睞及改編的短曲而知名。這就是他為獨 奏小提琴撰寫的第24首隨想曲。現在我們經常聽到拉赫曼尼諾夫為鋼琴和樂隊改編的 「帕格尼尼狂想曲」。音樂劇大師韋伯（Andrew Lloyd Webber）也為他的弟弟、大提琴 家朱利安（Julian）和搖滾樂隊改編過一套變奏曲。但你們對帕格尼尼的生平和他其他 的作品知道多少呢？ 帕格尼尼去世後三年，即1843年，包佩爾在布拉格的猶太人區出生。後來，他成為了 一位周遊列國的大提琴家，曾經在維也納愛樂樂團和維也納歌劇院樂團擔任大提琴 手，又到處巡迴獨奏，最後在布達佩斯擔任教授。他曾經大受歡迎。著名的劇作家和 評論家蕭伯納（George Bernard Shaw）稱讚他是「就我們所知的世上最好的演奏家」 ， 但也��在兩�樂��，一�聽了不少於14,000次包佩爾的《瑪祖卡舞曲》 （他顯然有 點誇大）。但在後期，包佩爾承認他已幾乎被公眾遺忘了。以他的《匈牙利狂想曲》 11

為例，它曾被編入由活特爵士（Sir Henry Wood）指揮的、倫敦著名的逍遙音樂會的 首場節目表（那時只是第六個樂季），但過了117年後，它才再度出現在這個系列的音 樂會中。這次是2017年由施萊格爾（Schlegel）改編的管弦樂版。同樣情況也發生於大 多數作曲家身上⋯⋯

白遼士（1803–1869）

《羅馬狂歡節》序曲，作品9 經過三次失敗後，白遼士終於在 1830 年贏得了法 國的羅馬大獎，獲得旅居羅馬梅迪奇別墅（Villa Medici）四年的機會。很自然地，他有好些音樂都 與意大利有關，如交響曲《羅密歐與茱麗葉》（莎 士比亞筆下生活於維羅納的一對戀人）和《哈羅德

令人震慄的和弦過後，弦樂和敲擊樂在最後幾小節 出人意表地退出，只剩下木管樂奏出最後的和弦。 此樂曲的樂隊編制 弦樂： 第一及第二小提琴、中提琴、大提琴、低音大提琴 木管樂： 長笛（2）、短笛（1）、雙簧管（2）、英國管（1）、 單簧管（2）、巴松管（2） 銅管樂： 圓號（4）、小號（2）、短號（2）、長號（3） 敲擊樂： 定音鼓、鈸、搖鼓、三角鐵

在意大利》（以拜倫的詩為藍本），以及他根據意大 利藝術家和金匠本．切里尼（Benvenuto Cellini） 的故事撰寫的同名歌劇。 《本．切利尼》創作於 1834 年。白遼士在該劇於 1838年9月3日在巴黎歌劇院首演後說道：「他奇 特的事業給我留下很深的印象，我愚妄地以為，其 他人一樣會認為他的故事很有戲劇性和趣味」。雖 然序曲的反應不俗，但《本．切利尼》首演的評價 頗劣，受到觀眾嘲諷，亦有人離席以表不滿。其 後，他獨立出版了序曲。 白遼士從不會讓努力付諸東流，他把歌劇中的一些 �段�接到其他作品�，包�為小提琴和樂�撰寫 的《沉思和隨想曲》（Rêverie et Caprice） ，而第二 幕結尾有關狂歡節的嘉年華音樂，則構成了 1843 年的《羅馬狂歡節》序曲。1844年2月3日首度公 演後，《羅馬狂歡節》便一直是音樂會序曲類別中 最活力四射，具挑戰性的作品之一。 開首狂熱的薩爾塔雷洛舞曲（saltarello，在歌劇� 原本是一段合唱）忽然減弱，讓英國管吹奏出第一 幕戀人二重唱的主題。接著是白遼士一貫的序曲作 風，一段快速的引子，帶出較舒緩的主題，經過幾 次不同樂調的重複後，進入主體的快板段落。定音

巴赫（1685–1750）

D大調第三管弦組曲， BWV1068: 詠嘆調（大提琴版本） 巴赫雖然從未踏出國門，但對國外音樂世界的情況 卻瞭如指掌，他的協奏曲可見到韋華第等意大利作 曲家的影響，而他的四首管弦組曲則採用了法國 的序曲風格。他稱這幾首組曲為「序曲」 （Ouvertüren），在每一組曲的第一樂章都沒加上任 何節奏標號，讓人一看即知這是呂利〔JeanBaptiste Lully〕的法國組曲風格：開篇是緩慢的符 點節奏，第二段通常以對位形式進行，第三段則將 開篇的符點節奏重複。組曲（法文 Suite 原意是 「接續」）本身由序曲發展而來，並且包含了一些舞 曲樂章。 我們聽的是第三管弦組曲的第二樂章「詠嘆調」， 它有一套寫於 1731 年的管弦樂分部的原稿（但也 可能在更早的時候撰寫）。可以肯定的是，這是組 曲中最著名的樂章，事實上也是巴赫最為人熟知的 作品之一，且獲得了「G弦上的詠嘆調」的別名。 樂曲只為弦樂撰寫，在今晚的版本中有一把提琴獨 奏。它安祥而柔和的格調就不用多介紹了。

鼓、敲擊樂和銅管樂開始不斷醞釀舞曲的出現，儘 管戀愛主題仍對之不瞅不睬。開首的薩爾塔雷洛舞 曲重現時，我們忽然發覺自己身處狂歡節之中。在 結句的高潮來臨前，只有一刻稍稍的舒緩。銅管樂 12

此版本的樂隊編制 弦樂：小提琴、中提琴、大提琴、低音大提琴 獨奏大提琴

帕格尼尼（1782–1840） 卡拉貝（1976生）改編

調，以華采段終結，帶出了軍樂般的主題。帕格尼

羅西尼《摩西》主題變奏曲

段落，與中間的慢段落變奏形成對比。帕格尼尼的

巴赫所認識的音樂世界，無論是由宮廷或教會贊

技巧令人嘆為觀止的作品。

尼將之進一步發展，寫成了三個變奏，前後兩個快 改編遠離了羅西尼原曲沉思的調子，卻打造了一首

助的，都與帕格尼尼在 19 世紀的歐洲所面對的浪 漫主義和重商主義完全不同。當時商業發達， 中產階級興起，音樂成為了商品，不但是現場演

此版本的樂隊編制 弦樂：第一及第二小提琴、中提琴、大提琴、低音大提琴 獨奏大提琴

出，人們在家中或小型聚會中演奏所用的樂譜， 其銷售也是一筆生意。那時意大利小提琴家帕格 尼尼就是樂壇的其中一位最早誕生的巨星，不久 鋼琴界又冒出了同樣令人神魂顛倒的李斯特（我 們馬上又會提到他）。事實上，他們兩位可說是大 相逕庭，至少很多人相信帕格尼尼與魔鬼勾結了

韓德爾（1685–1759）

《里納爾多》 ：讓我哭泣 （大提琴版本）

（不然他的小提琴怎會拉得那麼好），而李斯特在

另一部歌劇，雖然早100多年面世，同樣成為了這

晚年則投身教會，並晉身為牧師，把年少時到處

場音樂會第三首獨奏曲的藍本。《里納爾多》是韓

浪遊的日子拋諸腦後。

德爾為倫敦創作的第一部歌劇，歌辭由羅西

帕格尼尼出生於熱那亞，首先跟隨他父親學藝。雖 然他在 13 歲便已技驚四座，卻較遲才在國際打響 名聲。1801至1804年，他因為談戀愛，完全絕跡 於音樂會舞台，而且學起了結他（事實上他承認用 結他來作曲較為容易）。 1805 至 1809 年，他成為 盧卡公主的宮廷樂長，那時他才到處巡演， 1813 年在米蘭，1828年在維也納，1831年在巴黎和倫 敦。在巴黎的時候他遇上了白遼士，並委約他為其 創作一首中提琴協奏曲，但結果卻從來沒有演奏過

（Giacomo Rossi）撰寫，劇本由希爾（Aaron Hill） 根據塔索（Torquato Tasso）的《耶路撒冷的解放》 （Gerusalemme Liberata，1596）一劇改編。歌劇 在 1711 年 2 月 24 日於皇后劇院上演，引起了熱烈 的反響，此後仍很受歡迎。閹人歌手塞奈西諾 （Senesino）正因為要演唱了《里納爾多》而在 1730 年代隆重回歸倫敦，之後他與韓德爾分道揚 鑣，經營與韓德爾打對台的貴族歌劇院（Opera of the Nobility） 。

白遼士這首為樂隊及中提琴獨奏撰寫的交響曲《哈

撰寫歌辭的羅西聲稱韓德爾只用了兩個星期便完成

羅德在意大利》。

了作品。故事以十字軍東征為背景，里納爾多是耶

帕格尼尼是羅西尼的朋友，因此，當後者改寫的歌 劇《摩西在埃及》（Mosè in Egitto，原版在早一年 面世，這次加上了新的最後一幕）在 1819 年 3 月 於那不勒斯上演後不久，帕格尼尼便把其中新的第

路撒冷城外的基督軍團的一份子。他被允許與將軍 戈弗雷多（Goffredo）的女兒亞米蕾娜（Almirena） 在攻佔聖城後成婚。但她卻被強大的女巫阿蜜妲 （Armida）迷惑了。

三幕末尾描寫摩西祈禱的、膾炙人口的調子（《從

第二幕講述里納爾多試圖拯救亞米蕾娜，後者正抗

�星�的�座》，Dal Tuo Stellato Soglio）改編為

拒阿蜜妲的戀人亞干特（Argante）的進逼，請求

變奏曲。原版是為小提琴而寫的，但卻更適合大提

他離去（「讓我哭泣，哀嘆我悲慘的命運」）。這首

琴，因為摩西一角是由男低音演唱的。奇妙的是，

詠嘆調莊重而緩慢，包含了多個韓德爾式的重複樂

它只在一根弦線上演奏。

句。第二句較多裝飾的歌辭：「讓我受難的苦痛憐

樂曲以羅西尼歌劇中摩西的禱告展開，安祥而暖 心，與大提琴的高音區很匹配。引子其後變成大

憫我，為我打破這些鎖鏈」則直接唱出，沒有重 複。然後回到第一句歌辭，全都以莊嚴的調子唱 13

出。這是韓德爾最美妙的旋律之一，尤其適合大提

以及其他家族成員則在多年後成為了納粹大屠殺的

琴淒怨的音色。第三幕中出現了以魔法抗衡魔法的

遇害者。

情節，最後戈弗雷多和他的基督軍救出了里納爾多

《匈牙利狂想曲》寫於1893年，原以大提琴和鋼琴

和亞米蕾娜。在里納爾多的幫助下，軍隊也攻下了

版本於 1894 年出版。包佩爾將之題獻給比利時大

耶路撒冷。

提琴家傑拉第（Jean Gérardy）。後來施萊格爾在

此版本的樂隊編制 弦樂：第一及第二小提琴、中提琴、大提琴、低音大提琴 獨奏大提琴

時在音樂史只屬邊緣角色，施萊格爾則更不起眼，

1902 年 12 月把它改編為管弦樂。若然說包佩爾現 我們對他的資料一無所知（包括生卒年）。 與李斯特多首典型的匈牙利狂想曲一樣，包佩爾的 作品也有多個節奏對比鮮明的段落，與查爾達斯舞

包佩爾（1843–1913） 施萊格爾 配器

曲（csárdás）典型的慢（lassú）和快（friss）段落

匈牙利狂想曲，作品68

被認為是匈牙利本土的旋律（正如布拉姆斯的《匈

包佩爾在 1843 年出生於布拉格的猶太人區。當約

發現有比它們更古老的民謠。

瑟夫大帝（Emperor Franz Joseph I）在1848年宣

四個宏大的管弦樂句迎來了大提琴的華采段，它接

佈平等對待猶太人後， 12 歲的包佩爾得以進入布

過樂隊的三連音和附點節奏作為起始。大提琴和低

拉格音樂學院學習小提琴。然而因為缺乏大提琴

音大提琴部的 16 分音撥弦開始為獨奏哀怨的主題

手，他最後以大提琴專業畢業，很快便與萊比錫布

作伴奏，及後帶出了另一個華采段，在獨奏的最高

業大廳樂團和由布洛擔任指揮的柏林愛樂樂團合作

音域收結。接著融入查爾達斯舞曲典型的慢段落，

演出，之後在 1868 年加入維也納宮廷歌劇院樂

與小調交替（小調的主和弦及屬和弦），緊接著樂

團，成為該團有史以來最年輕的大提琴首席。

曲進入小快板段落，從主題可以認出布拉姆斯第

1871 年，他與樂團首演了他的第一大提琴

15 匈牙利舞曲或李斯特第 12 匈牙利狂想曲的調

協奏曲，並加入了赫爾梅斯伯格四重奏

子，但包佩爾也可能是從克拉薩（Feri Kletzer）的

（Hellmesberger Quartet）。兩年後，他因為向樂團

相似。他採用了八個羅姆（Romany）旋律，當時 牙利舞曲》那樣），後來巴托克和高大宜的研究則

匈牙利狂想曲（作品8）那��過來的。��在�板

請假作收入頗豐的獨奏巡迴演出被拒，便辭去樂團

再次加快，大提琴以 16 分音的樂句飛馳而去，一

的職務，與身為鋼琴家的妻子（李斯特的學生）曼

直沒有放鬆，直到沉重的8分音下行出現，才進入

達爾（Sophie Menter）一起到處演出。1886年他

慢板，即另一個慢段落，在此主題採用了李斯特第

們離婚後，包佩爾經李斯特的推薦，成為布達佩斯

8匈牙利狂想曲的開頭。活潑的快板最後一段，又

匈牙利皇家國家音樂學院的教授，一直到晚年。他

採用了李斯特在三首不同的匈牙利狂想曲中的主題

又參加了胡貝爾四重奏（Hubay Quartet），與布拉

（第14、8和6的末段），將包佩爾的匈牙利狂想曲

姆斯緊密合作。

帶往激動人心的結句。

包佩爾 75 首作品中，包括了四首大提琴協奏曲， 和多首巡迴演出時演奏的單曲，如《塔蘭泰拉》 （Tarantella ，作品 33）、《昔日戀曲》（Chanson d’Autrefois）、 《俄羅斯小曲幻想曲》（Fantasy on Little Russian Songs，作品 43）、 《蘇格蘭幻想曲》 （Scottish Fantasy ，作品 71），和今晚的《匈牙利 狂想曲》。包佩爾撰寫的練習曲極有影響力，直至 現在仍為人採用。他在 1913 年去世，第二任妻子 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）、雙簧管（2）、單簧管（2）、巴松管（2） 銅管樂： 圓號（4）、小號（2）、長號（3） 定音鼓 獨奏大提琴

比才（1838–1875）

C大調第一交響曲 生動的快板 慢板 諧謔曲：活潑的快板 終曲：活潑的快板 1933 年，即比才去世後約60 年，他青年時代創作的交 響曲，才被法國音樂學家尚塔沃因（Jean Chantavoine） 在出版商查埃-舒當（Chevrier-Choudens）的圖書館內 發現，並在同年的期刊《吟遊詩人》（Le Ménestrel）中 公佈。比才的傳記作家柏加（Douglas Charles Parker） 把這消息告知奧地利指揮家懷格拿（Felix Weingartner），後者在 1935 年 2 月 26 日於巴塞爾 （Basel）指揮了現代的首演。雖然沒有《卡門》那麼受 歡迎，比才的C大調交響曲在現時的音樂會曲目中出現 的次數，肯定比其原型 — 古諾的 D 大調第一交響曲 更多。 值得一提的是比才並沒有忘記這首作品，因為他曾把 其中的一些主題挪用到他後來的作品中。例如《採珠 人》（Les Pêcheurs de Perles）納迪爾（Nadir）的詠嘆 調「我的朋友」（”De Mon Amie”）的引子和《阿萊城 的姑娘》（L’Arlésienne）中小步舞曲的中段。兩者都採 用了交響曲中慢樂章的雙簧管主題，而《唐．普羅科 皮爾》 （Don Procopio）的第一幕則採用了終曲的第二 主題。

的雙簧管和長笛所舒緩，它們把開頭的情調和旋律帶 回給我們，木管則不斷地以其柔和的點奏進行對位。 漸漸地，音樂緩緩地來到了最後一個和弦。 第三樂章充滿鄉村舞蹈的氣息。一段快速的弦樂，由 細緻的木管點奏維持著輕快的步調。其後融入了高音 弦樂較綿長的段落，以圓號的呼應作結。一段嗡嗡的 引子，帶出了由單簧管領頭的迴旋的中段（聽起來很 有蘇格蘭風格，但比才大概不這樣認為）。接著一如所 料，開頭諧謔曲般的音樂再度出現，雖然標題是小步 舞曲。 在齊奏的和弦過後，靈巧的弦樂和長笛為終曲設定了 步調。主題的第二部份是一段帶刺的重複小塊，在樂 隊之間來回拋擲。之後的兩個主題，第一個有較為抒 情而平順的8分音，另一個則較為匆忙，它們把呈現部 帶到結尾，然後再重複。正如首樂章一樣，比才再次 巧妙地通過發展部把幾個主題交織在一起，動力同樣 沒有被削弱。再現部接著把主題逐一重奏，朝向簡短 的尾聲，它只是由木管奏出了一個 16 分音的小段，便 來到了最後兩下和弦。 此樂曲的樂隊編制 弦樂： 第一及第二小提琴、中提琴、大提琴、低音大提琴 木管樂： 長笛（2）、雙簧管（2）、單簧管（2）、巴松管（2） 銅管樂： 圓號（4）、小號（2） 定音鼓

第一樂章以同樣重要的上升樂句開始和結束，當音樂 向前推進時，鮮有失去動力，甚至加強了具有對比性 的第二主題，後者標號為「抒情的」（espressivo），由 慵懶的雙簧管在弦樂重複的琶音上獨奏。在呈現部重 複過後，發展部主要圍繞著第二主題展開，它由多種 樂器演奏，直至弦樂第一次接手。但步調仍沒有舒 緩，因為圓號、巴松管和長笛在嘎嘎的弦樂上奏起了 突出的樂句。再現部的兩個主題重複後（第二主題現 在由長笛和單簧管吹奏），尾聲重奏了最開頭的樂句， 最後樂章以兩下和弦結束。 步調緩慢的慢板，讓剛健的雙簧管獨奏有大量演繹的 空間，它主要由弦樂的撥弦和疏落的木管音符伴奏。 其後木管和圓號開始延伸雙簧管的主題，再由柔和的 弦樂接過（仍由低音弦樂的撥弦伴奏），但圓號幫助提 升了情感的溫度，接著音樂的調子從這個高峰緩緩下 降。低音弦樂在中間的賦格段落改變了方向，開始並 不是很強烈，但後來變得較為粗獷。張力其後由祥和

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

15

Programme Notes Amongst three recognisable Bs in the classical music repertoire – Bach, Berlioz and Bizet – plus a contemporary of Bach’s, Handel, tonight we also hear two lesser-known Ps, although Paganini is much better known than our other composer, David Popper, who might not be familiar to those of you who do not play the cello.

We also travel from the early 18th century to the second half of the 19th century: Bach and Handel representing the glories of the Baroque, with Berlioz and Bizet offering their different takes on the orchestra in 19th-century France. And while Paganini and Rossini are both Italian, they spent much time in Paris (Rossini settling there after he had given up composing at the tender age of 39; Paganini falling foul of French authorities when he wanted to set up a casino in Paris!).

Bizet is a very popular and well-known composer, but basically on the reputation of just one work: his opera Carmen premiered shortly before he died – not yet 40 – and without him knowing how successful it would become. But he wrote other operas and much else besides, even if his Symphony that ends tonight’s concert was left unpublished (and perhaps ignored) not only in its composer’s all-too-short remaining lifespan, but for another 60 years after.

Started on 29 October 1855 – four days after his 17th birthday – and finished in late November, Bizet’s Symphony displayed his extraordinary aptitude at learning from, if not bettering, one of his principal teachers at the Conservatoire de Paris, Charles Gounod. Modelling, sometimes very closely, after Gounod’s own First Symphony composed the previous year, Bizet later told Gounod: “You were the beginning of my life as an artist. I spring from you. You are the cause; I am the consequence.” Bizet had made a reduction for two pianos of Gounod’s symphony and never pursued public performance and publication of his own, perhaps because of the similarities (especially as Gounod’s Symphony was a major success).

Paganini is best known as a violinist or as the composer of a short piece that has become a favourite for other composers to base variations upon: his famous 24th Caprice for solo violin, which is often heard in Rachmaninov’s wonderful Rhapsody on a Theme of Paganini for piano and orchestra. Even musical maestro Andrew Lloyd Webber composed a set of Variations for his cellist brother Julian and rock band. But how many know anything of Paganini’s life, or any of his other works?

Paganini was three years dead when David Popper was born in Prague’s Jewish ghetto in 1843. As we will see, Popper became a well-travelled cellist, for a time in the Vienna Philharmonic Orchestra (and the Vienna Opera orchestra) as well as an itinerant soloist and, eventually, a professor in Budapest. He was once very, very popular: the great playwright and 16

critic George Bernard Shaw both applauded him as “the best player in the world, as far as we know” but also complained he had had to sit through Popper’s Mazurka no fewer than “14,000” times in two seasons (he was prone to exaggeration). Yet by the end of his life, Popper acknowledged himself that he had largely been forgotten by the public. Take his Hungarian Rhapsody for example. It was programmed in the opening night of Sir Henry Wood’s famous Promenade Concerts in London (then only in its sixth season), but it would be 117 years before it appeared at the Proms again, this time in Schlegel’s orchestration, in 2017. Such is the way for most composers…

Hector Berlioz (1803–1869)

Roman Carnival Overture, Op 9 After three failed attempts, Berlioz eventually won the Prix de Rome in 1830, the prize (awarded by the Institut de France) allowing him to live in Rome for four years at the Villa Medici. So, it comes as little surprise that a number of Berlioz’s works have an Italian connection: his symphonies Roméo et Juliette (after Shakespeare’s Verona lovers) and Harold en Italie (after Byron) and his opera based on the Italian artist and goldsmith Benvenuto Cellini.

He conceived this latter project in 1834, writing that “his strange career had made such an impression on me that I stupidly concluded that it would be both dramatic and interesting to other people”.

This comment was written after the première at the Opéra de Paris on 3 September 1838, which had been a failure, with derisive laughter from the audience and a mass exodus, despite an enthusiastic initial response to the overture, which was subsequently published separately.

However, never one to consign ideas to the rubbish bin, Berlioz salvaged some of the music in the opera for other works, which included the Rêverie et Caprice for violin and orchestra and the Roman Carnival Overture, constructed in 1843 mainly from

the carnival scene at the end of the opera’s second act. Its first performance was on 3 February 1844, and it remains one of the most energetic and virtuosic concert overtures in the repertoire.

It opens with a fiery saltarello (originally sung in the carnival scene) which dies away suddenly for the English horn to play the theme from the Act I love duet. This follows the normal form of Berlioz’s overtures – a brief fast introduction prefacing a slower theme, in this case repeated in a number of keys, which later leads into the main Allegro. The timpani, percussion and brass become insistent to start the dance, despite the apparent deafness of the love theme, and then suddenly and explosively, we find ourselves right in the middle of the carnival, with the return of the opening saltarello. Only one quieter respite is allowed before the climactic end, with overwhelming brass chords and a surprise in the last bars: the strings and percussion leaving only the wind for the final chords.

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flutes (2), piccolo (1), oboes (2), English horn (1), clarinets (2), bassoons (2) Brass: horns (4), trumpets (2), cornets (2), trombones (3) Percussion: timpani, cymbals, tambourines, triangle

17

Johann Sebastian Bach (1685–1750) From Orchestral Suite No

in D, BWV1068: Air

3

(Adapted for Cello) Bach, although never having set foot outside what we now know as Germany, was not averse to musical influences from elsewhere. His concertos owe much to the Italian model of Vivaldi and others, whereas his four Orchestral Suites imitated the French Overture style. Indeed, he called his four Orchestral Suites “Ouvertüren” and did not need to proffer any tempo marking for the first movements of them, as they would have so recognisably been in the French Overture style of Jean-Baptiste Lully: a slow dotted rhythm opening section, a faster, often contrapuntal, second section, then a third bringing back the dotted rhythm at least of the opening section. The nature of the Suite (literally from the French word for “following”), developed from the Ouverture to include orchestral dance movements.

But it is the second movement, the Air, that we hear from his Third Orchestral Suite BWV1068, for which there is a set of orchestral parts dating from 1731 (though it could have been composed earlier than that, of course). Certainly, it is the most famous movement of the Suite and, indeed, one of Bach’s most recognised works, which has attracted its nickname “Air on the G String”.

Scored for strings alone with a cello solo in this adaptation, its rapt calm and gentle demeanour need no further introduction.

Instrumentation of this adaptation Strings: violins, violas, cellos, double basses Solo cello

Niccolò Paganini (1782–1840) Arranged by Mert Karabey (born 1976)

Variations on One String on a Theme by Rossini (“Moses” Variations) The musical world that Bach knew – courtly or sacred patronage – was a world away from the romance and commercialism of Paganini’s 19th-century Europe, bustling with entrepreneurship and the rise of the middle classes. Music had become a commercial proposition, not only in the form of live performances but with the sale of sheet music for people to play at home and in small soirees. One of its first superstars was Italian violinist Niccolò Paganini, shortly followed on the keyboard by the equally dashing Franz Liszt (of whom more anon). Indeed, the two could be seen as opposites, at least from the common belief that Paganini was in cahoots with the devil (how else could he be that good on the violin), whereas Liszt in his old age turned to the church and received holy orders, leaving the heady touring days of his youth far behind.

Paganini was born in Genoa and first studied with his father but, although he astounded audiences at the age of 13, he did not break into the international scene until much later. He withdrew completely from the concert platform for five years between 1801 and 1804 during a love affair, during which he took up the guitar in addition to the violin (in fact he admitted it was easier to compose at the guitar). From 1805 to 1809 he was Director of Music to the Princess of Lucca, and only then did he start touring further afield – Milan in 1813, Vienna in 1828, Paris (where he met Berlioz, from whom he commissioned a viola concerto, although he never actually played the resultant symphony with solo viola Harold en Italie) and London in 1831.

Paganini was a friend of Rossini’s and it is no surprise that, as soon as the latter’s revised opera Mosè in Egitto had been staged in Naples in March 1819 (a year after the first version, this time with a

18

new final act), Paganini would make variations on one of the new version’s hit tunes – Moses’ prayer at the end of the new third act, Dal Tuo Stellato Soglio (“From Your Starry Throne”), originally for violin, but more appropriate for cello, given Moses was taken by a bass. The wonder of course, is that it is composed to be played on a single string.

It opens with Rossini’s prayer for Moses, rapt and heartfelt and favouring the cello’s higher register, slipping into the major and ending in a cadenza before a gentle martial rhythm characterises the theme. Paganini develops this for his set of three variations, the outer fast sections contrasting with the slower second variation. Even though he strays far from Rossini’s original contemplation, he produces a marvellous virtuoso work.

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

Georg Frideric Handel (1685–1759) From Rinaldo: Lascia Ch’io Pianga (Adapted for Cello) Another opera, though from over 100 years earlier, forms the basis of our third solo vehicle. Rinaldo was Handel’s first opera for London. With a libretto

by Giacomo Rossi, which followed Aaron Hill’s scenario based on Torquato Tasso’s Gerusalemme Liberata (1596), it was sensationally produced at the Queen’s Theatre, Haymarket on 24 February 1711, and became popular thereafter. Indeed, it was to sing Rinaldo that the castrato Senesino made his expensive return to London in the early years of the 1730s, before splitting from Handel to run the rival Opera of the Nobility.

The librettist, Giacomo Rossi, claimed that Handel had only taken a fortnight to compose it. Set during the Crusades, Rinaldo is part of the Christian force outside the gates of Jerusalem. He has been promised the hand of Almirena, the general Goffredo’s daughter, on the successful

taking of the city, but she is spirited away by an “Amazonian” enchantress, Armida.

The second act encompasses Rinaldo’s rescue attempt while Almirena has to resist the advances of Armida’s lover, Argante, when she pleads to be left alone – Lascia Ch’io Pianga (“Let Me Lament My Cruel Fate”). Stately and slow, this aria contains the expected Handelian repetitions on many of the phrases, a slightly more ornamented second verse, “Let the grief of my suffering break these chains out of pity” (sung straight with no repeats), before the return of the first verse, all clothed in sombre tones. It is one of Handel’s most beautiful melodies, perfectly suitable for the cello’s most poignant timbre. For the record, the third act pits magic against magic and eventually Goffredo and his Christian army rescue Rinaldo and Almirena, and with Rinaldo’s help, Jerusalem is taken.

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

David Popper (1843–1913) Orchestrated by Max Schlegel

Hungarian Rhapsody, Op 68 David Popper was born in Prague’s Jewish ghetto in 1843. When Emperor Franz Joseph I declared civil equality to Jews in 1848, Popper was able to pursue his music education and entered the Prague Conservatory at 12 to study the violin. However, due to a sparsity of cellists, he graduated on the cello, quickly thereafter appearing with the likes of the famous Leipzig Gewandhaus Orchestra and (under Hans von Bülow) the Berlin Philharmonic before settling into orchestral work, eventually joining the Vienna Court Opera orchestra as its youngest-ever principal cellist in 1868, where he premiered his first cello concerto in 1871 and joined the Hellmesberger Quartet. He resigned 19

from his orchestral position two years later as he had been refused leave to do lucrative solo tours, which he subsequently did with his pianist wife (and pupil of Liszt), Sophie Menter. After their marriage was dissolved in 1886, Popper became – at Liszt’s suggestion – Professor at Budapest’s Royal National Hungarian Academy of Music, where he remained for the rest of his life, as well as becoming cellist in the Hubay Quartet, when he worked closely with Brahms.

Among some 75 compositions, which included four cello concertos and many stand-alone pieces reflecting his many tours (Tarantella, Op 33; Chanson d’Autrefois; Fantasy on Little Russian Songs, Op 43; Scottish Fantasy, Op 71; and tonight’s Hungarian Rhapsody, Op 68), Popper composed influential studies still used today. He died in 1913, while his second wife long-survived him, only to be a victim – with other members of his family – in the Holocaust.

Composed in 1893 and originally published for cello and piano in June 1894, Popper’s Hungarian Rhapsody was dedicated to the Belgian cellist Jean Gérardy, and orchestrated by Max Schlegel in December 1902. If Popper is now a marginal character in music’s history, Schlegel is even more opaque, with no further information (not even his birth and death dates) about him to be related.

Typical of Liszt’s Hungarian Rhapsodies, Popper’s Rhapsody is multi-sectional, with contrasting tempos, like the slow (lassú) and fast (friss) sections of a typical csárdás. He used eight Romany melodies which at the time were regarded as indigenous Hungarian melodies (as also in Brahms’ Hungarian Dances), while later research by the likes of Bartók and Kodály discovered even older folk traditions.

Four grand orchestral phrases herald a cello cadenza which takes the orchestra’s triplet and dotted rhythm as its starting point. Pizzicato semiquavers for cellos and basses start accompanying the cello in its mournful theme, eventually leading to another cadenza which reaches the highest end of the instrument’s range 20

before melting into a typical slow section (lassú) of a csárdás, alternating minor modes (the minor tonic and minor dominant keys), before segueing immediately into the Allegretto section, the theme from which you may recognise from Brahms’ Hungarian Dance No 15 or Liszt’s Hungarian Rhapsody No 12, although it is likely that Popper took it from Feri Kletzer’s Hungarian Rhapsody, Op 8. The pace speeds again into the Presto, the cello skittering away in semiquaver passages that allow for no letup until a heavy quaver descent into the Adagio section, another lassú, with the same theme as Liszt begins his Hungarian Rhapsody No 8. The Allegro vivace final section also uses three themes that Liszt used in three separate Hungarian Rhapsodies (the finales of Nos 14, 8 and 6), bringing Popper’s Hungarian Rhapsody to a rousing close.

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

Georges Bizet (1838–1875)

Symphony No 1 in C Allegro vivo Adagio Scherzo: Allegro vivace Finale: Allegro vivace It was only in 1933 – some 60 years after Bizet’s death – that French musicologist Jean Chantavoine discovered his youthful Symphony in the library of publisher Chevrier-Choudens and announced it in Le Ménestrel periodical that year. Douglas Charles Parker (a biographer of the composer) let Austrian conductor Felix Weingartner know and it was he who conducted the modern première of the Symphony in Basel on 26 February 1935. While nowhere nearly as popular as Carmen, Bizet’s Symphony in C is certainly now more regularly

featured in concert programmes than its model, Gounod’s First Symphony in D. It is worth mentioning that Bizet did not forget the work, as he did reuse some of its themes in later works. For example, Les Pêcheurs de Perles (the introduction to Nadir’s air “De Mon Amie”) and L’Arlésienne (trio of the Minuet) both use the Symphony’s slow movement theme for oboe, while Don Procopio (Act 1) utilises the Finale’s second subject.

The first movement begins and ends with the same vital impetus in rising steps, and rarely loses its propulsive nature as the music tumbles forth, even underpinning the contrasting second subject, marked espressivo with a languorous oboe solo over the strings’ repeated arpeggios. After the exposition has been repeated, the development is mainly concerned with the second theme, introduced by various instruments before the strings take it for the first time. Yet the pace still does not slacken as horns, bassoons and flutes raise a distinctive phrase above the chugging strings. After the recapitulation of both themes (the second now for flutes and clarinets), the coda repeats the very opening phrase before the final two chords.

The slower tread of the Adagio leaves plenty of space for the sinewy oboe solo that follows, accompanied mainly with pizzicato strings and spare wind notes, before winds and horns begin to elaborate the oboe’s theme. Gently the strings take over the singing theme (still with lower string pizzicato), but horns help the emotional temperature to rise, an apex from which the music and mood gently fall. Lower strings change tack for a central fugal section, but this is not at first hard driven, although it too becomes more strident until tension is dissipated by the calming influence of both oboe and flute which return us to the opening mood and melody, the winds now in constant counterpoint with their gentle punctuation. Gradually the music winds down to the final chord.

There is a rustic tread to the dance of the third movement, a fast string phrase, but with delicate wind pointing keeping things rhythmically buoyant, although this melts into a longer-breathed section for high strings, complete with answering horn calls. A musette (drone) introduces the clarinet-led swirl of the trio (to our ears rather Scottish, but presumably not to Bizet), before the expected return to the scherzo-like opening music, despite its “minuet” title.

Nimble fingered strings and flutes set the pace of the Finale, after a tutti opening chord. The second part of the theme is a spiky repeated nugget that gets tossed across the orchestra. A further two themes – the first more lyrical with smoother quavers for strings and then one even more scurrying – bring the exposition to a close, which is then repeated. Once again, just as in the first movement, Bizet cleverly intertwines the various themes throughout the short development and, again, he does not let the impetus fall. The recapitulation follows suit with the themes reintroduced in turn, leading to the short coda that simply winds proceedings up to a semiquaver quip for the wind before the two final chords.

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

© Nick Breckenfield, 2022 British programme-note writer Nick Breckenfield was the Classical Music and Opera Editor for whatsonwhen.com for 13 years and now works for the Borletti-Buitoni Trust which awards young classical music artists

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

何博欣 Vivian HO (2022-2023)

鄺展維 Charles KWONG (2020-2022)

麥兜 McDull (2019-2020)

麥兜 McDull (2019-2020)

高世章 Leon KO (2018-2019)

陳慶恩 CHAN Hing-yan (2016-2018)

石家豪 Wilson SHIEH (2015-2016)

朱�� CHU Pak-him (2014-2015)

麥淑賢 MAK Su-yin (2014-2015)

羅詠媞 Wendy LAW (2013-2014)

盧思泓 LOO Sze-wang (2012-2013)

伍宇烈 Yuri NG (2011-2013)

李嘉齡 Colleen LEE (2010-2011)

黎志華 Jason LAI (2009-2011)

楊嘉輝 Samson YOUNG (2008-2009)

伍卓賢 NG Cheuk-yin (2006-2008)

小提琴 Violin 格德霍特 樂團首席

金仁善 署理助理樂團首席

李海南 第二小提琴首席

蔡柏沂 陳劭楠 周止善 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

James CUDDEFORD Concertmaster

KIM In-sun

Acting Assistant Concertmaster

LE Hoai-nam

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 ▼ 柯斯達（休假） MARTÍNEZ (on Leave) HUANG Tun-pin △ 黃敦品

Freelance Musicians: Violin 小提琴：CHAN Ming-chak Alvin (陳銘澤), CHUA Vince Eliezer N. (蔡君賢), WONG Nina Sin I (王倩兒), Viola 中提琴：Cecilia HO (何永妍) Cello 大提琴：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) Trumpet 小號：CHEUNG Ho-sing (張浩昇), TUNG Wai-lok Jimmy (董煒樂) Percussion 敲擊樂：Samuel CHAN (陳梓浩) (Fellow of The Orchestra Academy Hong Kong, co-directed by HK Phil and HKAPA), Ashley LO (勞善雯)

22

長笛 Flute ○ 上杉晃代

Akiyo UESUGI

雙簧管 Oboe ◆ 薛宇曦 福原真美

SZE Yu-hey Kenneth Mami FUKUHARA

單簧管 Clarinet ● 方曉佳（休假） ○ 陳秋媛 ■ 馮智恆

FONG Hiu-kai Johnny (on Leave) CHEN Chiu-yuan FUNG Chi-hang Eric

巴松管 Bassoon ◆ 歐啟詩 田口美奈子

AU Kai-see Tiffany 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

低音長號 Bass Trombone KONG Tze-man Jason 江子文 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 署理首席 Acting Principal 署理助理首席 Acting Assistant Principal 客席首席 Guest Principal 客席樂師 Guest Musician Orchestral Associate

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

Board of Governors

榮譽監察委員

Honorary Governors

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

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

行政統籌 Administrative Coordinator 柯玉嬌 Noel QUAH

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

行政助理 Office Administrator 楊瑞遠 YANG Jui-yuan

特別節目經理 Special Projects Manager 黃紫菱 Athena WONG

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

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 羅希寧 Kening LAW 朱嘉懿 Denise CHU 黎舜喬 Jeffrey LAI

23

謝謝！Thank You Partners!

2022/2023 樂季贊助機構 Sponsors of the 2022/2023 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)

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Dr & Mrs Chan Kow Tak Chiu Music Fund 周莉莉女士 Ms Lily Chow 林育義醫生 Dr Lam Yuk Yee Paul 謝智剛教授 Prof C K Michael Tse 徐行悅醫生 Dr Michelle Tsui 多位無名氏 Anonymous

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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 • 周莉莉女士 Ms Lily Chow • 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon • 冼為堅博士 Dr David Sin Wai-kin • 唐柏泉醫生 Dr Tong Pak Chuen Patrick • 謝智剛教授 Prof C K Michael Tse • 多位無名氏 Anonymous

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Association Culturelle France Hong Kong Ltd 澳洲駐港總領事館 Australia Consulate-General Hong Kong CASH音樂基金 CASH Music Fund 法國駐港澳總領事館 Consulat Général de France à Hong Kong et Macao 德國駐港總領事館 German Consulate General Hong Kong 香港歌德學院 Goethe-Institut Hongkong 民政事務局 Home Affairs Bureau 康樂及文化事務署 Leisure and Cultural Services Department 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 • MOViE MOViE • 通利琴行 Tom Lee Music Co Ltd • Mr Jiři Votruba 31