House Prog: Great Violin Concertos: Dmitry Sitkovetsky Plays Tchaikovsky(21.8.2021)

小提琴 Violin

© MARCO BORGGREVE

© © GREENSBORO

薛高維茨基 Dmitry Sitkovetsky

21.8.2021 (星期六 Sat) 7:30pm

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

賴斯健 Daniel Raiskin

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

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

《最愛小提琴》：柴可夫斯基小提琴協奏曲 Great Violin Concertos: Dmitry Sitkovetsky Plays Tchaikovsky 指揮 Conductor

節目

賴斯健 Daniel Raiskin

瓦斯克斯

《夜曲》 （2015）（亞洲首演）

柴可夫斯基

D大調小提琴協奏曲，作品35 中庸的快板 短歌：行板－ 非常活潑的快板

小提琴 Violin

薛高維茨基 Dmitry Sitkovetsky

－中場休息15分鐘－

柴可夫斯基

E小調第五交響曲，作品64 行板－生氣勃勃的快板 如歌的行板，稍為自由的 圓舞曲：中庸的快板 終曲：莊嚴的行板－活潑的快板

Programme

Pēteris Vasks

Musica Serena (2015) (Asian première)

Tchaikovsky

Violin Concerto in D, Op 35 Allegro moderato Canzonetta: Andante – Allegro vivacissimo

– 15-minute intermission –

Tchaikovsky 支持 With support from

Symphony No 5 in E minor, Op 64 Andante – Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso – 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 「培育文化新一代」，並以富創意的節目及充滿熱忱 的演奏稱譽本地及海外樂壇。 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、馬林斯基大劇院芭蕾舞團、 莫斯科大劇院芭蕾舞團、英國皇家芭蕾舞團、英國 國家芭蕾舞團、美國芭蕾舞劇院、紐約市芭蕾舞 團、斯圖加特芭蕾舞團及翩娜．包殊烏珀塔爾舞蹈 劇場等。樂團亦經常應邀與本地藝術節及藝團合 作，如香港藝術節、法國五月、香港芭蕾舞團及香 港歌劇院等。 2018 年舉辦第一屆香港國際指揮 大賽，吸引了 310 位來自 49 個國家及地區的參 賽者。 香港小交響樂團自 2009 年起為香港大會堂的場地 伙伴，每樂季演出逾100場次。除了傳統的管弦樂 章外，樂團每年均委約作曲家為樂團譜新曲，並銳 意與不同界別的藝術家製作新節目， 2020 年躍進 大銀幕，推出音樂電影系列《Back On Stage》 ，大 獲好評。2021年更進一步，與MOViE MOViE聯合 呈獻「Life is Art 盛夏藝術祭」，更多面向推廣古典 音樂。樂團亦針對不同年齡的觀眾，舉辦多套別樹 一格的普及音樂會，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》等節目，而且不限於 音樂廳等場地，例如網上室樂系列《Tiny Galaxy 2

Concerts》，在香港別具特色的旅舍拍攝，拓展古 典音樂觀眾的層面。 樂團自 2006 年起舉辦「駐團藝術家」計劃，邀請 本地不同界別的藝術家與樂團緊密合作及交流，培 育新一代藝術家之餘更為古典音樂創造新的可能 性。樂團灌錄過多套唱片，收錄不少華人作曲家的 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。 樂團經常應邀作客海外，包括：美國紐約林肯中心 羅斯劇院、加拿大多個以出色音效著稱的音樂廳； 南美洲的巴西、阿根廷及烏拉圭；在歐洲計有法國 的拉羅克．昂迪榮國際鋼琴音樂節和蒙頓音樂節 等、德國東弗里斯蘭「浪潮」音樂節、波蘭貝多芬 復活節音樂節、意大利米凱朗傑利國際音樂節和維 琴察音樂節、葡萄牙馬爾旺國際音樂節、立陶宛的 兩個音樂節、瑞士蘇黎世、日內瓦和弗里堡；北京 中國交響樂之春（國家大劇院）、中國上海國際藝 術節（世博會「香港活動周」閉幕節目）、韓國統 營國際音樂節、新加坡及台灣，並五度獲邀參與東 京《 》音樂祭演出。 樂團2002年至2020年由著名指揮家葉詠詩擔任音 樂總監，期間致力推動本地古典音樂發展。葉詠詩 現為樂團的桂冠音樂總監，她將會在樂團委任新總 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, Mariinsky Ballet, Bolshoi Ballet, The Royal Ballet, English National Ballet, American Ballet Theatre, New York City Ballet, Stuttgart Ballet and Tanztheater Wuppertal Pina Bausch. A regular participant at all the major festivals in Hong Kong including the Hong Kong Arts Festival and Le French May, the orchestra also partners regularly with Hong Kong Ballet and Opera Hong Kong in their staged productions.

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

As an avid believer of keeping music alive and contemporary, Hong Kong Sinfonietta – the Venue Partner of the Hong Kong City Hall since 2009 – performs year-round with over 100 performances a season, presenting not only standard orchestral repertoire but also newly commissioned works, as well as specially-designed concert series for different audiences and age groups, including Good Music for Babies/Kids, Know Your Classical Music, Short-cut to Classical Music and HKS McDull Music Project. The orchestra also frequently ventures into new initiatives, recently receiving wide acclaim for its groundbreaking Back On Stage concert film series, as well as the Tiny Galaxy Concerts online series featuring performances recorded at a fascinating hostel in Hong Kong. In 2021, the orchestra co-curated the “Life is Art” film festival with MOViE MOViE, while continuing to break down barriers between music and audience with free chamber concerts held regularly at Hong Kong City Hall.

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

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

Having taken on the new role of Music Director Emeritus since May 2020, she and Principal Guest Conductor Christoph Poppen are responsible for the artistic development of the orchestra before the next Music Director is appointed.

香港小交響樂團有限公司是註冊之慈善團體。 The Hong Kong Sinfonietta Limited is a registered charity. 香港灣仔譚臣道 98 號運盛大廈 3樓 3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong 電話 Tel : (852) 2836 3336 電郵 Email: enquiries@hksinfonietta.org 網址 Website: www.HKSL.org

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指揮 Conductor

賴斯健 Daniel Raiskin 過往樂季，賴斯健曾任西班牙特內里費島小交響樂 團首席客席指揮（2017/2018），德國科布倫茨萊 茵國家愛樂（2005-2016）及波蘭羅茲魯賓斯坦愛 樂（2008-2015）的首席指揮。賴斯健經常合作的 樂團包括雅典國家樂團、哥本哈根愛樂、杜塞爾多 夫交響樂團、冰島交響樂團、日本世紀交響樂團、 馬爾默交響樂團、馬林斯基劇院樂團、莫斯科愛 樂、薩爾茨堡莫扎特樂團、台灣愛樂、 NDR 電台 愛樂、弗羅茨雅夫 NFM 愛樂、比利時國家樂團、 里昂國家樂團、墨西哥國家小交響樂團、大阪愛 樂、海牙駐留樂團、聖安東尼奧交響樂團、聖彼得 堡愛樂及瑞典室樂團等。 賴斯健曾合作的獨奏家包括艾斯、費林明、 費洛斯、葛哈特、格盧茲曼、顧德曼、克里庫、 林斯馬、郎朗、利謝茨基、路比莫夫、瑪舒恩科、 邁耶、米勒索特、穆斯托寧、奧斯博尼、拉克林、 賴斯健於聖彼得堡成長，父親是著名音樂學家。他 於赫赫有名的聖彼得堡音樂學院修讀，隨後於阿姆 斯特丹及弗萊堡留學，最初主修中提琴演奏，後受 著名指揮導師沙維治啟發，決定轉執指揮棒。此 外，他亦曾受教於楊遜斯、尼姆．約菲、霍維特、 尼爾遜及潘努拉等大師。 賴斯健現為斯洛伐克愛樂首席指揮、加拿大溫尼伯 交響樂團音樂總監及貝爾格萊德愛樂首席客席指 揮。賴斯健指揮的曲目廣泛，往往在主流以外另闢 蹊徑。 2020/2021 樂季合作樂團包括冰島交響樂 團、波蘭俄斯特拉發雅納切克愛樂、華沙交響樂團 及符騰堡愛樂。新樂季演出包括將首度與華沙愛樂 合作，與香港小交響樂團及斯圖加特愛樂再度合 作，並率領溫尼伯交響樂團於日本及歐洲巡演，將 於阿姆斯特丹皇家音樂廳、鹿特丹多倫音樂廳及安 特衛普音樂廳等著名場地演出。

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舒密特、斯特克爾、維妮斯卡雅和霍羅丁。歌劇方 面，賴斯健曾指揮《卡門》、蕭斯達高維契《鼻子》 及莫扎特《唐．喬望尼》等。他亦致力與年輕音樂 家分享其音樂知識及熱誠，投入加拿大、愛沙尼 亞、德國、冰島、荷蘭、俄羅斯及南非等地的青年 樂團指揮工作。 近期錄音包括備受讚譽的馬勒第三交響曲及蕭斯達 高維契第四交響曲，他與斯特克爾合作灌錄的康高 特、布洛克及戈爾德施密特大提琴協奏曲唱片， 獲 2012 年 ECHO 古典音樂獎。其他錄音包括 路易斯．格拉斯交響曲系列、全套哈察圖良協奏曲 及狂想曲系列，盧托斯瓦夫斯基的聲樂作品，以及 湯斯曼的《先知以賽亞》及《詩篇》。

Son of a prominent musicologist, Daniel Raiskin grew up in St Petersburg. He attended the celebrated conservatory in his native city and continued his studies in Amsterdam and Freiburg.

First focusing on the viola, he was inspired to take up the baton by an encounter with the distinguished teacher Lev Savich. In addition, he also took classes with maestri such as Mariss Jansons, Neeme Järvi, Milan Horvat, Woldemar Nelson and Jorma Panula.

Currently Principal Conductor of the Slovak Philharmonic Orchestra, Music Director of the Winnipeg Symphony Orchestra and Principal Guest Conductor of the Belgrade Philharmonic Orchestra, Raiskin cultivates a broad repertoire and often looks beyond the mainstream in his strikingly conceived programmes. The 2020/2021 season included appearances with Iceland Symphony Orchestra, Janáčkova Filharmonie Ostrava, Sinfonia Varsovia and Württembergische Philharmonie Reutlingen. Further ahead, he will give his début with the Warsaw Philharmonic and will return to Hong Kong Sinfonietta and Stuttgarter Philharmoniker. With the Winnipeg Symphony, he will undertake a Japan and a European tour with appearances at the Concertgebouw in Amsterdam, De Doelen in Rotterdam and De Singel in Antwerp among others.

Raiskin was Principal Guest Conductor of the Orquesta Sinfónica de Tenerife (2017-2018), and Chief Conductor of both the Staatsorchester Rheinische Philharmonie in Koblenz (2005-2016) and Artur Rubinstein Philharmonic Orchestra in Lódz (2008-2015). His regular guest engagements include the Athens State Orchestra, Copenhagen Philharmonic, Düsseldorfer Symphoniker, Iceland Symphony Orchestra, Japan Century Symphony Orchestra, Malmö Symphony Orchestra, Mariinsky Theatre Orchestra, Moscow Philharmonic Orchestra, Mozarteumorchester Salzburg, Taiwan

Philharmonic, NDR Radiophilharmonie, NFM Philharmonic, Orchestre National de Belgique, Orchestre National de Lyon, Orquesta Sinfónica Nacional de México, Osaka Philharmonic Orchestra, Residentie Orkest, San Antonio Symphony, St Petersburg Philharmonic Orchestra, Stavanger Symphony Orchestra, Swedish Chamber Orchestra and the Tonkünstler Orchestra.

Among the major soloists with whom he has appeared are Emanuel Ax, Renée Fleming, Nelson Freire, Martin Fröst, Alban Gerhardt, Vadim Gluzman, Natalia Gutman, Kari Kriikku, Simone Lamsma, Lang Lang, François Leleux, Jan Lisiecki, Alexei Lubimov, Tatjana Masurenko, Albrecht Mayer, Daniel Müller-Schott, Olli Mustonen, Steven Osborne, Julian Rachlin, Benjamin Schmid, Julian Steckel, Anna Vinnitskaya and Alexei Volodin.

Raiskin’s appearances in opera productions include Carmen, Shostakovich’s The Nose and Mozart’s Don Giovanni. He is also relentlessly committed to sharing his knowledge and passion with young musicians around the world. He devotes his time regularly to working with youth orchestras in Canada, Estonia, Germany, Iceland, Netherlands, Russia and South Africa.

Recent recordings include Mahler Symphony No 3 and Shostakovich Symphony No 4 with the label AVI, both to great critical acclaim. His recording with cello concertos by Korngold, Bloch and Goldschmidt with Julian Steckel under the same label received an Echo Klassik Award in 2012.

Other recent recording projects include a Louis Glass symphony cycle and a concerto cycle with the entire concertos rhapsodies by Aram Khachaturian with the label CPO, ’s vocalinstrumental works with the label Dux, and a recording of Alexander Tansman’s Isaïe, le Prophète and Psaumes with the label World Premiere Recordings.

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小提琴 Violin

薛高維茨基 Dmitry Sitkovetsky 交響樂團等。他於 1990 年創立新歐洲弦樂團，匯 集了多位出身於歐洲頂尖樂團、以及來自俄羅斯及 西方等不同背景的精英音樂家。薛高維茨基自 2003 年起出任格林斯伯勒交響樂團的音樂總監， 並邀得艾斯、布朗夫曼、奧爾遜、蘇嘉文與樂團攜 手演出。 他輝煌的成就並不局限於指揮和演奏，他經常獲邀 參與及領導音樂節的組織及籌備工作，包括芬蘭科 什霍爾姆音樂節、西雅圖國際音樂節、阿塞拜疆絲 路音樂節、托斯卡尼太陽音樂節。他擔任過列賓創 辦的跨西伯利亞藝術節的駐節藝術家，也曾於艾奈 © DARJA ŠTRAVS TISU

斯庫、盧比安納、費比爾藝術節中亮相。

俄羅斯小提琴大師薛高維茨基享譽樂壇 40 年，不 但是殿堂級的小提琴家，同時亦是備受尊崇的指揮 及音樂發展的推手。

近期他曾為印第安納波利斯國際小提琴大賽、蒙特 利爾國際音樂比賽、第 16 屆柴可夫斯基國際音樂 大賽及布加勒斯特艾奈斯庫國際小提琴比賽擔任評 判。2019/2020樂季的活動以他於英國皇家伯明翰 音樂學院的駐校教學項目展開，其他重點活動

薛高維茨基無懈可擊的演奏技巧為樂迷所津津樂

包括：初次亮相於TED大會、出版首本個人著作，

道，他對音樂深刻的理解在其錄音作品中亦表現

並接受古典音樂直播平台Medici.tv的訪問。

得淋漓盡致，至今累積的錄音已超過 40 張，合作 的樂團和指揮包括倫敦交響樂團、倫敦愛樂管弦 樂團及阿姆斯特丹皇家音樂廳樂團、戴維斯、楊 遜斯、馬連拿、曼奴軒等。他又與柴可夫斯基國 際音樂大賽得獎鋼琴家魯卡斯合作灌錄唱片，並 於2019年推出，以此向兩位 20世紀偉大的音樂家 克萊斯勒及拉赫曼尼諾夫致敬。他以獨奏身份與 柏林愛樂樂團、芝加哥交響樂團、克里夫蘭樂 團、洛杉磯愛樂樂團、萊比錫布業大廳樂團、紐 約愛樂樂團、 NHK 交響樂團、費城樂團等世界頂 尖樂團同台演出。

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薛高維茨基亦經常為音樂比賽出任評判及導師。

不少由薛高維茨基改編過的弦樂作品均甚具代表 性和影響力，經常被樂團演奏及製成錄音，廣受 樂迷喜愛。他曾為超過 50 首巴托克、貝多芬、布 拉姆斯、海頓、舒尼特克及蕭斯達高維契等作曲 家的主要曲目編曲。他又改編史達拉汶斯基的 《仙子之吻》，作品在 2015 年發表，並由赫德里希 於紐約卡奈基音樂廳首演。受史達拉汶斯基的 《士兵的故事》所啟發而改編的《魔鬼、士兵、小 提琴》亦於 2017/2018 樂季首演，大獲成功。其 後他又改編了薩拉沙蒂的《納瓦拉幻想曲》，這首 由費比爾音樂節委約的改編作品於 2018 年世界首

在指揮的工作方面，薛高維茨基與許多知名樂團合

演，以慶祝音樂節創辨 25 周年，薛高維茨基亦與

作過，包括聖馬田室樂團、巴黎室樂團、達拉斯交

多位星級音樂家如芭迪舒維莉、卡華高斯、麥斯

響樂團、三藩市交響樂團、上海交響樂團及東京都

基、列賓、溫格羅夫、塔比亞．齊默曼、蘇嘉文 等進行了全球直播。

A renaissance man and a magnetic creative force with a prolific career spanning more than four decades, Dmitry Sitkovetsky is celebrated globally as a violinist, conductor, creator, transcriber, and facilitator – and holds an undisputed and venerable position in musical society as a giant personality and educator.

Sitkovetsky’s celebrated career as a violinist is documented in an extensive discography of more than 40 recordings, reflecting the impressive breadth of his repertoire. His recording

also been invited to create, develop and lead a number of festivals, including the Korsholm Music Festival in Finland, Seattle International Music Festival, Silk Route of Music in Azerbaijan and Festival del Sole in Tuscany. He was Artist in Residence of Vadim Repin’s Trans-Siberian Festival, with other festival visits of note include the Enescu, Ljubljana, and Verbier festivals.

Sitkovetsky is also in high demand as a jury member and educator. Recent jury roles have included the Indianapolis International Violin

collaborators to date include such orchestras as the London Symphony, Philharmonia and Royal Concertgebouw orchestras, working with such legendary maestros as Colin Davis, Mariss Jansons, Neville Marriner and Yehudi Menuhin. In 2019, he celebrated the release of a new recital disc on the Melodia label, recorded with Tchaikovsky Competition-winner Lukas Geniušas – with a programme designed as an homage to the legendary duo of Kreisler & Rachmaninov. As soloist, he has performed with the world’s leading orchestras, including the Berlin Philharmonic, Chicago Symphony, Cleveland, LA Philharmonic, Leipzig Gewandhaus, New York Philharmonic, NHK Symphony, and Philadelphia orchestras, amongst others.

Competition, Concours Musical International de Montréal, XVI International Tchaikovsky Competition, and the Enescu Violin Competition, and the 2019/2020 season opened with the first of a series of teaching residencies at the Royal Birmingham Conservatoire. Additional highlights include Sitkovetsky’s début TEDx talk (The Power of Curiosity), the launch of his first book (Dmitry Sitkovetsky: Dialogues), and his interview series on Medici.tv (It Ain’t Necessarily So). Sitkovetsky’s name has also become synonymous with the art of transcription. His iconic orchestral and string trio versions of Bach’s Goldberg Variations have taken on a life of their own, enjoying regular performances and acclaimed recordings by many of the leading performers of today. He has also

Sitkovetsky also enjoys a flourishing career as a conductor, having worked with the Academy of St Martin in the Fields, Orchestre de Chambre de Paris, Dallas Symphony, London Philharmonic, San Francisco Symphony, Shanghai Symphony, and Tokyo Metropolitan orchestras, amongst others. In 1990, he founded the New European Strings Chamber Orchestra, bringing together the most distinguished string players from the top European ensembles, from both Russian and Western musical backgrounds. Since 2003, Sitkovetsky has served as the Music Director of the Greensboro Symphony Orchestra in North Carolina, to whom he has brought such soloists as Emanuel Ax, Yefim Bronfman, Garrick Ohlsson, and Pinchas Zukerman.

arranged over 50 works of major repertoire by Bartók, Beethoven, Brahms, Haydn, Schnittke and Shostakovich. In 2015, he unveiled his transcription of Stravinsky’s Le Baiser de la Fée, premiered by Augustin Hadelich at Carnegie Hall. The 2017/2018 season saw the successful premières the multi-genre work Devil, Solider & Violin (inspired by Stravinsky’s A Soldier’s Tale), and 2018 saw the world première of his transcription of Sarasate’s Navarra Fantasy, commissioned by the Verbier Festival. This performance – marking the Festival’s 25th anniversary – was broadcast live worldwide with an all-star line-up of musicians, including Lisa Batiashvili, Leonidas Kavakos, Mischa Maisky, Vadim Repin, Maxim Vengerov, Tabea Zimmermann, and Pinchas Zukerman – as well as, of course, Dmitry Sitkovetsky himself.

Given his unmatched ability to turn any project into a highly anticipated artistic event, Sitkovetsky has

7

On Adès’ Shanty – Over the Sea

“A hypnotic, captivating piece.”

The Guardian

18.9.2021 (星期六 Sat) 7:30pm

香港大會堂音樂廳 HK City Hall Concert Hall $420 $280 $160

La Montagne

節目Programme

阿迪斯

《水手歌 – 在海上》 （2020） （亞洲首演）

© JEAN-BAPTISTE MILLOT

“He does not direct a score, he is the score, and his musicians do not take their eyes off him.”

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

布列頓 《彼得．格賴姆斯》 ：四首海之間奏曲，作品33a 布拉姆斯 C小調第一交響曲，作品68 Thomas Adès Shanty – Over the Sea (2020) (Asian première) Commissioned by Australian Chamber Orchestra, New Jersey Symphony Orchestra, Münchener Kammerorchester, Hong Kong Sinfonietta, Amsterdam Sinfonietta, Swedish Chamber Orchestra, Kammerorchester Basel with Gstaad Menuhin Festival & Academy, Istanbul Music Festival, and Barbican Centre with Britten Sinfonia

Britten Brahms

Peter Grimes: Four Sea Interludes, Op 33a Symphony No 1 in C minor, Op 68

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

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

指揮 Conductor

佛里斯．維塞斯 Roberto Forés Veses Chief Conductor & Artistic Director of the Orchestre National d’Auvergne (2011-2021)

節目介紹 今場音樂會首先出場的作曲家瓦斯克斯，在柴可夫斯基出生一個世紀後，於 1946 年 4 月 16 日誕生於波羅的海小國拉脫維亞的一個浸信會家庭。當時蘇聯仍控制愛沙尼 亞、拉脫維亞和立陶宛這三個波羅的海國家，這些國家除了本地語言被禁外，浸信教 徒也受到嚴厲的監控。瓦斯克斯起初學的是小提琴（他與甘祈頓 [Gidon Kremer] 同 班，後者成為他作品的大力推動者）和鋼琴，後來轉習低音大提琴，在 1964 至 1970 年間於立陶宛音樂學院學習，以及在里加（Riga）的拉脫維亞國家歌劇院、維爾紐斯 （Vilnius）的立陶宛愛樂及立陶宛愛樂室樂團、以及拉脫維亞電台交響樂團中任職。要 到 1973 年，即他 37 歲那年，他才獲批准在拉脫維亞音樂學院學習作曲，師隨烏特金 （Valentin Utkin）至1978年。 在蘇聯以前的俄羅斯帝國時期，藝術家有更大的自由，也可以出國，柴可夫斯基就經 常造訪歐洲大陸。今晚演出的他的兩首作品，部份或全首都是在前往歐洲訪問或療養 的時候創作的。首先是他撰寫於1878年的小提琴協奏曲。 當時，柴可夫斯基正從其災難般的婚姻中復元，在前往意大利和瑞士的旅途中經過克 拉朗斯（Clarens） 。他在當地與他的作曲學生、年輕小提琴家高迪克（Yosif Kotek）會 面 — 他剛寫了一首短篇的《諧謔圓舞曲》（Valse-Scherzo，作品34）給對方。柴可夫 斯基正是通過他的介紹而認識了梅克夫人（Nadezhda von Meck），此後她成為了作曲 家從未謀面的贊助人。 高迪克於 3 月 14日從柏林來到克拉朗斯。他向柴可夫斯基展示了多首他帶來的鋼琴二 重奏樂譜及其他改編作品，當中包括拉羅的《西班牙交響曲》 。柴可夫斯基立刻對這首 包含小提琴獨奏的樂曲產生興趣，並形容作品充滿「大量清新、輕盈、振奮的節奏， 以及美妙、和聲出色的旋律⋯⋯並不刻意追求深邃，但審慎地避免了慣例，以求找到 新的形式，對音樂美感有更深的思索，多於對既定傳統的遵守」。 這次會面激發了他為高迪克撰寫小提琴協奏曲的靈感，於是他暫時將棘手的鋼琴奏鳴 曲擱在一旁。一個星期後的 3月 23日，柴可夫斯基便完成了協奏曲的第一樂章。接下 來三天，他又勾勒了慢樂章的草稿，再過兩天，又完成了終樂章的草稿。柴可夫斯基 在 4 月 1 日將整首作品彈奏給他弟弟穆迪斯達（Modest）和高迪克聽，他們對第一和 第三樂章都甚感滿意，但認為慢樂章不太相配。柴可夫斯基同意他們的看法，於是在 4 月 5 日重新撰寫了一個慢樂章（原來的第二樂章單獨出版，成為《故地回憶》中的 「沉思曲」（“Méditation”, Souvenir d’un Lieu Cher，作品42）。到了4月11日，他已完 成了全曲的管弦配器。不過，故事還沒結束⋯⋯ 9

幾近 10 年後，柴可夫斯基於 1887 年在聖彼得堡首次擔任指揮工作。次年初，他踏上 了一次歐洲之旅，在德國（在該處他遇上了布拉姆斯和葛利格）、法國、英國和波希 米亞指揮演出，並在波希米亞結識了德伏扎克，兩人成了很要好的朋友。他在1888年 回到布拉格，指揮了他新創作的第五交響曲。 這首交響曲是他在1888年春天，回到莫斯科時才完成的。他懷著頗愉快的心情寫信給 贊助人梅克夫人說： 「每天看著我的花朵生長，甚至每時每刻都可以看見新的蓓蕾長出來，那真是一件 難以言詮的賞心樂事。當我年老並不再作曲的時候，我希望把全副精神都用來種 花！現時我正在寫作一首新的交響曲，有半首的配器已經做好了。」 之後他又寫道： 「現在交響曲已差不多完成，我可以說，謝天謝地，它並不比另一首 [第四交響曲] 差。」

瓦斯克斯（1946年生）

《夜曲》（2015） （亞洲首演） 瓦斯克斯的音樂深邃且充滿沉思意味，但卻能包含 突如其來的情緒宣洩和音量的變化。他作品的和聲 風格也相當有名，與帕特後期獨特的作品，一起簡 化了20世紀音樂的複雜性，創造出一種馬上能令人 辨識的聲音世界，尤其在弦樂方面。今晚我們借他 的2015年作品《夜曲》的亞洲首演，向這位 75歲 的當代偉大作曲家致以崇高的敬意。 瓦斯克斯的作品種類豐富，包括三首交響曲和其他 管弦樂作品，多首小提琴、中提琴（2018年由香港 小交響樂團作亞洲首演）、大提琴（兩首）、長笛和 英國管協奏曲，以及不少室樂（包括五首弦樂四重 奏） 、器樂和合唱作品。他有三首弦樂作品，標題的 首字都是 Musica。 第一首是《悲傷之曲》 （Musica Dolorosa） ，創作於 1983年為他姊姊瑪塔（Marta）守靈之時。瓦斯克 斯這樣形容作品道：「這是我最為悲情的作品，它 是唯一一首沒有樂觀情緒、沒有希望，只有傷痛的 作品。」將近20年後，他的《熱情之曲》（Musica Appassionata）面世，這是三首之中最長的一首，如 標題所示，激情之中帶有感嘆的樂句和半音的上 升，與較快段落的撥弦和「哀傷的」（Lamento） 10

F小調一節形成對比。作品在2002年7月1日由瓦斯 克斯的長期合作伙伴 — 芬蘭的博滕室樂團 （Ostrobothnian Chamber Orchestra）及其指揮坎加 斯（Juha Kangas）首演。最近期的一首就是瓦斯克 斯寫於 2015 年的《夜曲》，他把作品題獻給坎加 斯，作為他70歲生日的賀禮。坎加斯指揮博滕室樂 團於2015年11月15日在芬蘭西海岸波的尼亞海灣 （Gulf of Bothnia）中部的科科拉（Kokkola）首演了 該首作品。 在三首以Musica為題的作品中，《夜曲》是最為和 諧和充滿希望的一首，與它的創作目的極為相稱。 開首泛漾的兩個第一小提琴分部，為第二小提琴引 介出來的緩慢綿延的主題打下了基礎，音域的寬度 維持在小範圍內，中提琴最後加上了柔和的附點節 奏，帶出了上升的主題動機。中提琴及後再次奏出 切分節奏，而音樂也稍稍變得更為緩慢（Meno mosso） 。自此，音樂的情緒慢慢高漲，和聲也變得 較為寬廣，在「莊嚴的」段落，迎來了大提琴款擺 不定的八度 16 分音符，但音樂很快便安靜下來， 開頭的情調重現，緩緩地步向最終的和弦。

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

柴可夫斯基（1840–1893）

這首作品與柴可夫斯基的第一鋼琴協奏曲頗為相像

D大調小提琴協奏曲，作品35

— 開頭的主題（頗為委婉曲折，與鋼琴協奏曲排

中庸的快板 短歌：行板－ 非常活潑的快板

山倒海的氣勢不同）都只出現了一次，與整個樂章 甚至與全曲的發展都再沒有關連。但它畢竟是全曲 的基調，強化了作品詩性的特質。隨後的兩個主 題，對比或許不是很強烈，卻能使獨奏展現其技巧

柴可夫斯基完成小提琴協奏曲的配器後，決定把作

的高峰（特別是在華彩段），而且賦予了獨奏樂器

品題獻給比高迪克更為著名的小提琴家。他選了奧

極為甜美的旋律。

爾（Leopold Auer），並公佈了1879年3月22日在 聖彼得堡首演，但兩人卻無法達成合作。柴可夫斯 基在大約九年後的日記中回憶道：「我不知道奧爾 是否因為我的題獻而受寵若驚，儘管他的友誼出於 至誠，他卻沒意思去駕馭協奏曲的難度， 並宣稱作品不可能演奏。這話出自像他這般權威的 聖彼得堡大師之口，使我這首不幸的出品被埋沒了 多年。」 兩年後，出版商約根森（Jürgenson）發行了協奏

G小調第二樂章短歌，在表現俄羅斯情調方面實質 上與終樂章緊扣，柴可夫斯基亦指明兩者之間沒有 停頓。樂章採用了三段式，木管合奏帶出裝了弱音 器的獨奏，在換成大調的中段過後，木管合奏重新 出現，然後猛然被D大調終樂章開頭狂野的主題樂 句打斷。接下來的 A 大調第二主題模仿俄羅斯舞 曲，調子更為壯美和深沉。這兩個主題將樂隊和獨 奏者一直帶往疾急的最後幾小節，氣氛緊張得令人 透不過氣來。

曲，柴可夫斯基得悉布羅茲基（Adolf Brodsky）將 於1881年12月4日，與里希特（Hans Richter）指 揮的維也納愛樂首演。但作品與別不同的特性仍引 起觀眾及樂評人的非議。 10 位樂評人中有八位都 不喜歡作品，而給予正面評價的兩位卻沒有甚麼地 位。漢斯歷克（Eduard Hanslick，華格納很厭惡的 那位樂評人）的批評最為嚴厲：「協奏曲有些時候

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 獨奏小提琴

頗為均衡，也有音樂性及能表現出作曲家的天賦， 但很快野蠻佔據了上風，一直主宰到第一樂章的結 尾。小提琴不再是被演奏，而是被猛力拉扯、撕 裂，被捶打得口腫面青。我不知道有誰可以克服這 些令人髮指的難度，但我確知布羅茲基犧牲了聽眾 以及他本人。慢板柔和的民族旋律，幾乎調和，幾 乎贏得了我們的歡心。但它卻突兀地讓位給終樂 章，把我們置於俄羅斯露天市集那種蠻橫和廉價的 歡樂之中。弗舍爾（Friedrich Fischer）曾就一些淫 穢的繪畫強調有些畫作會『刺痛眼睛』。柴可夫斯 基的小提琴協奏曲讓我們第一次產生有些音樂會刺 痛我們的耳朵這種可怖的念頭。」在羅馬的柴可夫 斯基看到樂評，難免有點受創，也記住了這些批 評。幸好，1882年8月20日在俄國的首演 — 同樣 由布羅茲基擔任獨奏 — 卻獲得熱烈的讚賞。布羅 茲基一直推動演奏此曲。後來奧爾察覺到自己的不 是，重新演練此曲，也大受讚賞。

柴可夫斯基（1840–1893）

E小調第五交響曲，作品64 行板－生氣勃勃的快板 如歌的行板，稍為自由的 圓舞曲：中庸的快板 終曲：莊嚴的行板－活潑的快板 柴可夫斯基簡單地向梅克夫人介紹了一下第五交響 曲第一樂章的概念，他說： 「前奏 — 在命運面前完全屈服，或者，換句 話說，屈服在謎一樣的宿命之前。快板： 1) 11

喃喃細語，疑慮，哀傷，對 XXX 的斥責。

樂曲整體上浪漫的情調，而樂章也在寧靜的氣氛中

2) 我應�把自已�進信�的����???」

完結。

「XXX」現在廣泛地被解作柴可夫斯基同性戀傾向

A大調圓舞曲將作品帶往了芭蕾舞的世界，主題由

的代碼。但這次他對命運的屈服卻不像在第四交響

弦樂傳到木管樂。中段弦樂的 16 分音符斷奏

曲一樣化為喧鬧的「命運」主題，而是在開始已由

（spiccato），使人想起柴可夫斯基十分喜愛的德利

持續的、縈迴的、踏實的樂音冷靜地表現出來。

布《夢偶情緣》（Coppélia）的某些段落。這些快

第五交響曲在 1888 年 11 月 5 日由柴可夫斯基親自

速的段落一一傳遍整個樂隊，直至木管（首先是雙

在聖彼得堡指揮首演。雖然他最初對作品充滿期

簧管）再次引進了圓舞曲主題。然而我們仍然無法

望，後來卻向梅克夫人表示了對作品某些不滿，並

擺脫「命運」的纏繞：柴可夫斯基在尾聲重新推出

指觀眾們都能聽得出這些缺點，然而，第五交響曲

了代表命運的前導主題，這次仍然是由單簧管和巴

現在已成為他最受歡迎的作品之一。

松管奏出。

第一樂章有三個主題元素：一是在開頭由單簧管

弦樂拉奏的E大調前導主題主宰了終樂章的開頭，

獨奏的低音「命運/宿命」前導主題；二是雀躍的

小號和圓號及後接過了拍子，繼而低音弦樂起伏的

6/8 拍旋律（即快板�的第一主題，再次由單簧管

三連音段落將樂曲驅往令人氣喘的快板，將我們一

帶出，但有巴松管和長笛相伴，及後發展成銳利的

頭摔進暴風兩般的E小調。兩個主題展開了這段忙

附點節奏） ；最後是第二主題，那是以較為溫潤的

亂的、採用了奏鳴曲式的進行曲，稍為猶豫的雙簧

D大調奏出的充滿渴望、令人沉醉的旋律，也是柴

管之後與較為流暢的主題並行。但前導主題始終徘

可夫斯基寫過的最為出色的段落之一。發展部與之

徊左右，因為樂章的真正意圖是要把令人畏懼的

前的前導主題和第一主題���的附點節奏，以及

「命運」戰勝，故此前導主題就要不時在樂曲間穿

較為自由、柔和甜美的第二主題形成對比。前導主

插，直到一下突然的停頓⋯⋯在漩渦般的伴奏聲

題�有柴可夫斯基典型的�色：�單的第一音型立

中，尾聲將前導主題頗為著跡地大事宣揚，以示勝

即以高三度的形式重複，隨後是兩段緩慢的下行音

利已完全掌握在手中。最後是小號「雄赳赳、用盡

階。附點 4 分加兩個 16 分的音型同樣也適合單獨

全力」奏出的段落，而急板則將樂章帶往如雷鳴般

用來作節奏單位，然而也能立刻被人辨認出來。總

的終結。

之這是一個刺激而令人振奮的樂章，不同的主題和 情調互相交纏，前衝的力量十足。但高潮過後，結 尾卻與開頭一樣，顯得較為陰暗。在低沉的弦樂和 弦伴奏下，單簧管和巴松管最後一次回顧了 6/8 拍 的主題。 第二樂章開頭是低音的弦樂和輕細而亮麗的和弦， 接下來是D大調圓號堂皇而蜿蜒的獨奏。其後單簧

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 (3)、短笛 (1)、雙簧管 (2)、單簧管 (2)、 巴松管 (2) 銅管樂： 圓號 (4)、小號 (2)、長號 (3)、大號 (1) 定音鼓

管的應對，轉入雙簧管稍快的段落。樂音時起時 伏，低音弦樂自成一格的旋律，襯托著漸趨強烈的 感情。單簧管和巴松管帶顫音效果的調子出現後， 樂音便顯得較為強而有力，直到「命運」主題突然 插進來，打斷了之前祥和的氣氛。但很快這個主題 就消失了，只剩下弦樂的撥弦。小提琴這時在單聲 高潮出現，命運主題再次插入，彷彿罪疚感在折磨 著一對戀人的幽會。但這次的情感爆發仍沒有破壞

中文翻譯：行之

部木管樂的伴奏下帶出了樂章的主題。接著另一個

12

英文節目介紹：Nick Breckenfield 英國作家 Nick Breckenfield 專門撰寫節目介紹， 曾任whatsonwhen.com的古典音樂及歌劇版編輯13年， 現於支持青年音樂家的博萊蒂-布托妮信托基金會工作。

Programme Notes Just over a century after Tchaikovsky’s birth, Pēteris Vasks was born into a Baptist family in the Baltic state of Latvia on 16 April 1946. Given the nature of Soviet overlordship of the trio of Baltic states – Estonia, Latvia and Lithuania – not only were indigenous languages banned, but heavy restrictions were levied particularly against Baptists. Although Vasks first learnt the violin (he was in the same class as Gidon Kremer, who has become such a champion of his music) and piano, he later studied double bass – including seven years at the Lithuanian Academy of Music, between 1964 and 1970 – and played in the Latvian National Opera, Riga, the Lithuanian Philharmonic and Lithuanian Philharmonic Chamber orchestras in Vilnius, and the Latvian Radio Symphony Orchestra. Only then, when he was 37 in 1973, was he allowed to study composition at the Latvian Academy of Music, tutored by Valentin Utkin, until 1978.

Pre-Soviet Imperial Russia afforded its artists much greater freedom, including travel abroad, and Tchaikovsky was a frequent visitor to mainland Europe. Both of his works we hear tonight were partly or wholly composed when he was on tour or recuperating in Europe. First, his Violin Concerto, which dates from 1878.

Fleeing from his disastrous marriage of convenience, Tchaikovsky found himself in Clarens on a trip to Italy and Switzerland in the early months of 1878. By chance, a young violinist acquaintance and one of his composition students, Yosif Kotek, visited him. Tchaikovsky had just written a short concertante piece, Valse-Scherzo, Op 34, for Kotek and it was through him that Tchaikovsky had been put in touch with Nadezhda von Meck, who then became the composer’s unseen and unmet mentor.

Kotek arrived from Berlin on 14 March bringing with him a pile of piano duet music and other arrangements, including Lalo’s Symphonie Espagnole which Tchaikovsky immediately took to, describing it as having “a lot of freshness, lightness, piquant rhythms and beautiful, excellently harmonised melodies... [which] does not strive after profundity but carefully avoids routine, seeks out new forms and thinks more about musical beauty than observing established traditions.”

Perhaps unsurprisingly Tchaikovsky’s thoughts turned to writing a violin concerto for Kotek, putting aside a piano sonata that was giving him some trouble. A week later, by 23 March, he had finished the first movement. It took the next three days to sketch the slow movement and only a further two to complete the Finale. When he played the work through on 1 April to his brother, Modest, and Kotek, they expressed delight at the outer movements, but felt the slow movement did not quite fit. Tchaikovsky agreed and he sketched a new slow movement on 5 April (the original movement became his “Méditation” in Souvenir d’un Lieu Cher, Op 42). By 11 April, Tchaikovsky had orchestrated the whole work. Not that the tale ends there…

Almost a decade on, we find Tchaikovsky in 1887 having just taken up conducting for the first time in St Petersburg. Early the following year he undertook a European tour, conducting in

13

Germany (where he met Brahms and Grieg), France, England and Bohemia, meeting Dvořák, with whom he became firm friends. He returned to Prague later in 1888 to conduct his newly composed Fifth Symphony.

That symphony had been completed on Tchaikovsky’s return to Russia, in Spring 1888. In a relatively happy frame of mind he wrote to von Meck: “I cannot tell you what a pleasure it has been to watch my flowers grow and see daily – even hourly – new blossoms coming out. When I am old and past composing I shall devote myself to growing flowers! Meanwhile I have been working well on a new symphony: half of it is now orchestrated.” Later he wrote: “Now that the symphony is about to be finished I may say that, thanks be to God, it is not inferior to the other one [ie No 4].”

Pēteris Vasks (born 1946)

Musica Serena (2015) (Asian première) Vasks’ music is contemplative and profound but can encompass sudden mood and volume changes. His is a recognisably harmonic style in the way that Arvo Pärt’s later music is distinctive, matching Pärt in paring down the 20th-century’s myriad musical complexities to produce an instantly recognisable soundworld, particularly for strings.

Tonight’s Asian première of his 2015 Musica Serena marks a fitting 75th-anniversary tribute to a great contemporary composer.

In his wide-ranging catalogue of works, which includes three symphonies and other orchestral works, various concertos for violin, viola (given its Asian première by Hong Kong Sinfonietta in 2018), cello (two), flute and English horn, much chamber music (including five string quartets), instrumental works and choral pieces, Vasks has composed three string ensemble pieces that have Musica as the first part of their title.

The first was Musica Dolorosa, dating from 1983 and composed in the wake of his sister Marta’s death, of which Vasks commented “This is my most tragic opus, the only one in which there is no optimism, no hope – only pain.” Nearly two decades on, his Musica Appassionata – by far the longest of the three – is, as its title suggests, passionately emotional with sighing phrases and 14

chromatic rises, contrasted with pizzicato faster passage and a mournful Lamento section in F minor. It was premiered on 1 July 2002 by regular collaborators of Vasks’, the Ostrobothnian Chamber Orchestra from Finland and its conductor Juha Kangas. Most recently, in 2015, Vasks composed Musica Serena which was dedicated to Juha Kangas on the occasion of his 70th birthday.

Kangas conducted the première with the Ostrobothnian Chamber Orchestra on 15 November 2015 in Kokkola, midway up the Gulf of Bothnia on Finland’s west coast.

Of all three of Vasks’ Musicas, Musica Serena is much the most harmonious and hopeful of the three, as befits its dedication. A shimmering effect on divided first violins provides the base for the second violins to introduce the slow, meandering theme, keeping to a close pitch range, with violas eventually adding a gentle dotted rhythmic cell which offers a rising motif. And again it is the violas that introduce a syncopated rhythm as the music gets ever-so-slightly slower (Meno mosso).

From this, the music and emotional content gradually build – with wider harmonic ranges – into the Maestoso section heralded by cello oscillating octave semiquavers, but the music calms down quickly and the opening mood is reprised, eventually slowing to the final chord.

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

Pyotr Ilyich Tchaikovsky (1840–1893)

Violin Concerto in D, Op 35 Allegro moderato Canzonetta: Andante – Allegro vivacissimo It was after orchestrating his Violin Concerto that Tchaikovsky decided he should dedicate the work to a more prominent violinist than Kotek then was, to act as its champion. He chose Leopold Auer, and the première was even advertised for St Petersburg on 22 March 1879, but the match did not work out, as Tchaikovsky eventually reported to his diary some nine years later, remarking: “I do not know whether Auer was flattered by my dedication – only that, despite his sincere friendship, he never wanted to master the difficulties of this concerto.

He pronounced it impossible to play and this verdict, coming from such an authority as the St Petersburg virtuoso himself, had the effect of casting my unfortunate offspring into eternal oblivion for what, it seemed, many years.”

Two years later the publisher Jürgenson printed the concerto, and Tchaikovsky heard that Adolf Brodsky was to play it with the Vienna Philharmonic under Hans Richter on 4 December 1881. But the unusual nature of the work caused consternation for the audience and the critics.

Eight of the 10 reporting the concert found it not to their liking and the two who did like it were the least important. Eduard Hanslick (Wagner’s bête noire) was the most cutting: “For a while the concerto has proportion, is musical and is not without genius, but soon savagery gains the upper hand and lords it to the end of the first movement.

The violin is no longer played: it is yanked about, it is torn asunder, it is beaten black and blue. I do not know whether it is possible for anyone to conquer these hair-raising difficulties, but I do know that Mr Brodsky martyred his audience as well as himself.

The Adagio, with its tender national melody, almost conciliates, almost wins us. But it breaks off abruptly to make way for a Finale that puts us in the midst of the brutal and wretched jollity of a

Russian kermess. Friedrich Fischer once asserted in reference to lascivious paintings that there are pictures which ‘stink in the eye’. Tchaikovsky’s Violin Concerto brings to us for the first time the horrid idea that there may be music that stinks in the ear.” Chancing on the review in Rome, Tchaikovsky – somewhat hurt – learned the criticism by heart. Thankfully, though, the Russian première on 20 August 1882, again with Brodsky, was very enthusiastically received. Brodsky continued to champion it, until Auer saw the error of his ways and learnt the work, to great acclaim.

Just like Tchaikovsky’s First Piano Concerto, the opening theme (here meandering as opposed to the piano concerto’s heaven-storming mood) is heard only the once, not taking any part in the movement’s or indeed the concerto’s development.

However, it does hold the key to the concerto in that it stresses the lyrical nature of the work – and thus follows the two main subjects. Albeit not as contrasted as they might be, these subjects afford the soloist not only the heights of virtuosity (especially in the cadenza) but also the most luscious melodies for the instrument.

The Canzonetta, in G minor, is connected to the final movement both in its Russian mood and Tchaikovsky’s instruction that there should be no break between them. Introduced by a woodwind chorale, with violin muted, the slow movement is in ternary form, with a major-key middle section before the woodwind chorale returns to be rudely interrupted by a frenetic rhythmic phrase which forms the opening of the first theme of the Finale, back in D. The second theme – more robust and deliberate – is in A, again in the form of a Russian dance, and together these two themes carry the orchestra and soloist before them to the breath-taking, headlong rush to the closing bars.

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 Solo violin

15

Pyotr Ilyich Tchaikovsky (1840–1893)

Symphony No 5 in E minor, Op 64 Andante – Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso – Allegro vivace Tchaikovsky gave a rough programmatic idea of the Fifth Symphony’s first movement to his benefactress, Nadezhda von Meck: “Introduction – Complete resignation before Fate, or – which is the same – before the inscrutable predestination of Providence.

Allegro i) Murmurs, doubts, lamentations, reproaches against xxx. ii) Shall I throw myself into the embraces of faith???” “xxx” is now generally assumed to be code for his homosexuality. But his complete resignation in the face of this resulted in no blaring “fate” motif as in the Fourth Symphony, but rather an insistent, nagging, tramping figure which is introduced, quietly and sombrely, at the very outset.

Tchaikovsky conducted the première in St Petersburg on 5 November 1888 and, despite his initial enthusiasm, he later expressed to von Meck certain doubts about the symphony, which he claimed the public had instantly recognised. Not so now, as the Fifth reigns supreme as one of his most popular works.

There are three main elements to the first movement: the motto theme “Fate/Providence”, monopolised at the start by low clarinet; then a chirpier 6/8 tune, the first subject of the main Allegro, introduced again on clarinets but this time with bassoons then flutes, before being richly developed with stabbing dotted figures; and, finally, the second subject proper – a yearning, melting melody (one of Tchaikovsky’s greatest), in a much warmer D major. The development pits the nervousness of the dotted rhythms of both the motto theme and the first subject with the freer 16

and calmer flow of the luscious second subject.

The motto has a typical Tchaikovsky trait: the opening figure is repeated immediately a third higher, with two slow downward scales to follow.

The dotted crotchet/double semiquaver figure is also ideal to be used as rhythm alone yet still be immediately recognisable. In its interweaving of themes and moods, this is an exciting and exhilarating movement with powerful forward momentum, but it ends in the sombre mood of the opening after a stabbing climax, dying away with clarinets and bassoons offering a final reminder of the 6/8 theme, over deep string chords.

Low strings with sonorous slow piano chords open the slow movement, gently preparing the way for a gorgeous, meandering D major horn solo; eventually counterbalanced first by the clarinet and then, in a slightly faster section, by the oboe. The music ebbs and flows yearningly, growing passionate with the lower strings making the melody their own. A clarinet and bassoon tune, with trill-like ornamentation, increases in power until suddenly interrupted by the “fate” motif.

Over quickly, it leaves pizzicato chords underpinning the violins’ reintroduction of the main theme with solo wind counterpoint. Another grand climax is reached and once again the motto pounds in, as if guilt is preying on a secret love scene. But even this second outburst cannot dispel the romantic mood and the quiet ending.

The world of the ballet is evoked in the A major Waltz, with the main theme passed from strings to wind. The central Trio section has the strings playing spiccato semiquavers, echoing passages from Delibes’ Coppélia. These scurrying passages spread through the whole orchestra until the winds (oboe first) reintroduce the waltz theme over them.

However, we are not allowed to escape to the ballet for too long: Tchaikovsky reminds us that “fate” is only ever just round the corner by introducing the motto theme into the coda (again on clarinets and bassoons).

The motto theme on strings reigns triumphant (in E major) at the start of the Finale, with the rhythm alone taken by trumpets and horns. Ebbing and flowing triplet passagework on lower strings urges the music on to the breathless Allegro, which plunges us back into stormy E minor. Once again in sonata form, the movement’s two main themes start with this hectic march, with its less-certain oboe phrase, then joined by a more flowing wind theme. Even if the major key statement of the motto theme has not already given it away, the real purpose of the movement is to remove the threat of “fate” by treating it triumphantly. The burgeoning triumph of the motto theme keeps breaking through before a sudden pause... Then, amidst swirling accompaniment, the coda emblazons the motto theme, perhaps artificially, in its full glory, finally ringing out on trumpets marked marziale, energico con tutte forza (“with full force”). Only the final Presto is to go, as the speed picks up to the thundering close.

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

© Nick Breckenfield, 2021 British programme-note writer Nick Breckenfield was the Classical Music and Opera Editor for whatsonwhen.com for 13 years and now works for the Borletti-Buitoni Trust which awards young classical music artists

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

鄺展維 Charles KWONG

小提琴 Violin 格德霍特 樂團首席

(2020-2022)

金仁善

麥兜 McDull

李海南

(2019-2020)

高世章 Leon KO (2018-2019)

陳慶恩 CHAN Hing-yan (2016-2018)

石家豪 Wilson SHIEH (2015-2016)

朱�� CHU Pak-him (2014-2015)

麥淑賢 MAK Su-yin (2014-2015)

羅詠媞 Wendy LAW (2013-2014)

盧思泓 LOO Sze-wang (2012-2013)

伍宇烈 Yuri NG (2011-2013)

李嘉齡 Colleen LEE (2010-2011)

黎志華 Jason LAI (2009-2011)

楊嘉輝 Samson YOUNG (2008-2009)

伍卓賢 NG Cheuk-yin (2006-2008)

署理助理樂團首席 第二小提琴首席

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

長笛 Flute 上杉晃代

Akiyo UESUGI

KIM In-sun

雙簧管 Oboe 福原真美

LE Hoai-nam

Mami FUKUHARA

單簧管 Clarinet ● 方曉佳 陳秋媛

FONG Hiu-kai Johnny CHEN Chiu-yuan

巴松管 Bassoon ● 秦慶生（休假） 田口美奈子

CHIN Hing-sang (On Leave) Minako TAGUCHI

圓號 Horn ● 包文慶 東出真澄 岑慶璋 ★ 陳珈文

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

小號 Trumpet ● 黃山 文曦

HUANG Shan MAN Hay

長號 Trombone ● 羅澤基 陳學賢

Christopher RODGERS CHAN Hok-yin

James CUDDEFORD Concertmaster

Acting Assistant Concertmaster Principal Second Violin

CAI Pak-yi CHAN Shaw-nan Sharon Kiann CHOW JIA Shu-chen John KRUER Sally LAW Ambrose LUI LUO Wei-min PANG Hiu-wan POON Ka-mei Camille YANG Min-yu YANG Yu-si YIP Siu-hay Elvis CHAN LAU Sum-yin Christina BEAN Ringo CHAN NGAN Sing-on LUNG Kwan-wai Kenny TANG Wing-shuen Rebecca CHANG Pei-chieh Laurent PERRIN HO Kwok-chee Karey LEE Eun-sol PARK Si-won YIP Chun-hei Eric

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

低音長號 Bass Trombone 江子文 KONG Tze-man Jason 大號 Tuba ● 林榮燦

LAM Wing-tsan

定音鼓 Timpani ● 村本曉洋

Akihiro MURAMOTO

敲擊樂 Percussion ● 周展彤 小山理惠子

CHAU Chin-tung Rieko KOYAMA

豎琴 Harp ● 黃士倫

Ann HUANG

鍵琴 Keyboard ● 朱偉恆

Alan CHU

● 首席 Principal ▼ 助理首席 Assistant Principal ★ Orchestral Associate Notes 1. Guest Principal Flute 客席長笛首席 – Megan STERLING (史德琳) (with kind permission of the Hong Kong Philharmonic) 2. Guest Principal Oboe 客席雙簧管首席 – SZE Yu-hey Kenneth (薛宇曦) 3. Guest Principal Bassoon 客席巴松管首席 – AU Kai-see Tiffany (歐啟詩) 4. Freelance Musicians: Violin 小提琴：Alvin CHAN ( 陳樹泉), CHUA Vince Eliezer N. ( 蔡君賢), Double Bass 低音大提琴：CHAN Ping-chi (陳秉智), Harty TAM (譚泳佳) LOUIE Lai-lai (雷麗麗), Mark HUI (許榮臻), WEI Ning-yi (魏宁一), Flute 長笛：HUI Wing-hang Bob (許榮鏗) WONG Chun-hong John (黃俊匡), WONG Nina Sin-i (王倩兒) Horn 圓號：CHAN Wai-ling Winnie (陳慧玲) (with kind permission of The Hong Kong Academy for Performing Arts) Viola 中提琴：Cecilia HO (何永妍) Trumpet 小號：CHAN Kin-sing Kinson (陳健勝) Cello 大提琴：Bernard CHAN (陳駿軒), Cecilia CHAN (陳希琳)

18

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 特別節目經理 Special Projects Manager 黃紫菱 Athena WONG 助理樂團經理 Assistant Orchestra Manager 黎希潼 Carvina LAI 節目主任 Projects & Programme Officer 林海欣 Hayley LAM 製作經理 Production Manager 陳冠宏 Eddie CHAN 當代音樂研究 Contemporary Music Research 鄺展維 Charles KWONG 藝術行政主任 Arts Administration Officers 馮碧琪 Betty FUNG 羅希寧 Kening LAW

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 • 亞洲保險有限公司 Asia Insurance Company Ltd • 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 加拿大琴行 Canada Piano Co 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 鄭慶弘先生 Mr Howard Cheng 鄭錦德先生 Mr Cheng Kam Tak Mr C Y Chow 鍾寶圈小姐 Miss Pollyanna Chung 鍾穎彤小姐 Miss Chung Wing Tung In Memory of Esther

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• • • • • • • • • • • • • • • •

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 Mr Dennis Lam Ms Law Jessica Yun Pui Mr Sung Chak Kyle Lee Mr Sheung Lee Ms Mary Leung Ms Florence Leung 林燕女士 Ms Lemon Lim 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 • Mr Victor Paraschiv • 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 • Mr Wang Weiyao • 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

• 魏玉華小姐 Miss Winnie Ngai

•

• 郭立成律師 Mr Chris Kok

• Mr Wong Kai Chun

• Mr Chan Kwan Ho

• 紀念劉葉珍女士

• Mr Marcus Woo

• Jonman, Monika & Joel Chan Family

• Mr Sheung Lee

• Ms Yeung Lai Fong Alice

• Miss Chan Yin Fei Joyce

• Ms Luk Yee On

• 多位無名氏 Anonymous

• 鄭慶弘先生 Mr Howard Cheng

• 吳天天先生 Mr Ng Tin Tin Timothy

• 兜仔先生 Mr Dullchai

• 吳榮奎先生 Mr Ng W F Nicholas

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 27

11.9.2021 (星期六 Sat) 7:30pm

香港大會堂音樂廳 Artwork Courtesy of Jiří Votruba

HK City Hall Concert Hall $420 $280 $160

stein

Bern

Gershwin Bernstein

Bernstein Copland Barber Barber Exhibition

Circuits (1990) (Hong Kong première) Old American Songs, Sets 1 & 2: Long Time Ago Simple Gifts The Little Horses I Bought Me A Cat From Porgy and Bess: Introduction & Summertime From West Side Story: Overture I Feel Pretty 女高音 Soprano Somewhere 邱芷芊 Vivian Candide Overture Appalachian Spring Suite Adagio for Strings Second Essay for Orchestra, Op 17 From

MOViE MOViE x Hong Kong Sinfonietta Life is Art 2021 Jiří Votruba 音樂偉人插畫展

16.8 (Mon) – 19.9 (Sun) 誠品生活尖沙咀店 3/F eslite spectrum Tsim Sha Tsui store

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and

© DAVID NOLES

Cindy McTee Copland

© ALYONA SEMENOV (ALYONA PHOTOGRAPHY)

Programme

Yau 指揮 Conductor

林敬基 Ken Lam

• Music Director, Charleston Symphony Orchestra • Music Director, Illinois Symphony Orchestra • Resident Conductor, Brevard Music Center

門票：城市售票網 Tickets at URBTIX 香港小交響樂團由香港特別行政區政府資助 Hong Kong Sinfonietta is financially supported by the Government of the Hong Kong Special Administrative Region 香港小交響樂團為香港大會堂場地伙伴 Hong Kong Sinfonietta is the Venue Partner of the Hong Kong City Hall