House Prog: Mozart Clarinet Concerto (23.10.2021)

單簧管 Clarinet

© JEAN-BAPTISTE MILLOT

哈雷爾 Gilad Harel

指揮 Conductor

黎志華 Jason Lai

23.10.2021 (星期六 Sat) 7:30pm

香港大會堂音樂廳 HK City Hall Concert Hall

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

6.11.2021 7.11.2021 © YVONNE CHAN

(星期六 Sat) 7:30pm

(星期日 Sun) 3pm

香港大會堂音樂廳

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

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

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

葉詠詩 Yip Wing-sie

信用卡購票 Credit Card Booking: 2111 5999 | www.URBTIX.hk 門票查詢 Ticketing Enquiries: 3761 6661 香港小交響樂團由香港特別行政區政府資助 Hong Kong Sinfonietta is financially supported by the Government of the Hong Kong Special Administrative Region

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

莫扎特單簧管協奏曲 Mozart Clarinet Concerto 指揮 Conductor

節目

莫扎特 莫扎特

《狄托的仁慈》序曲，K621 A大調單簧管協奏曲，K622 快板 慢板 迴旋曲：快板

阿比爾

《克萊茲默微笑》 （世界首演） 為哈雷爾而寫的單簧管及室樂團傳統民謠隨想曲 －中場休息15分鐘－

德伏扎克

黎志華 Jason Lai (駐團藝術家 HKS Artist Associate 2009-2011) 單簧管 Clarinet

哈雷爾 Gilad Harel

G大調第八交響曲，作品88 活潑的快板 慢板 優雅的快板 — 更活潑的 從容的快板

Programme

Mozart

La Clemenza di Tito Overture, K621

Mozart

Clarinet Concerto in A, K622 Allegro Adagio Rondo: Allegro

Sergei Abir

Klezmer’s Smile (world première) Caprice on traditional tunes for clarinet & chamber orchestra specially composed for Gilad Harel

– 15-minute intermission –

Dvořák

Symphony No 8 in G, Op 88 Allegro con brio Adagio Allegretto grazioso – molto vivace Allegro ma non troppo

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。

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

自 1999 年起，與香港小交響樂團合作過的國際知

本地不同界別的藝術家與樂團緊密合作及交流，培

名音樂家及藝團包括阿爾斯達德、法蘭、格林高

育新一代藝術家之餘更為古典音樂創造新的可能

特、赫姆森、麥米蘭、納卡里亞科夫、彭德雷茨

性。樂團灌錄過多套唱片，收錄不少華人作曲家的

基、凱拉斯、塞伊、馬林斯基大劇院芭蕾舞團、

優秀作品；由DECCA發行的三輯《就是古典音樂》

莫斯科大劇院芭蕾舞團、英國皇家芭蕾舞團、英國

系列，均獲白金及金唱片佳績。雙 CD《一屋寶貝

國家芭蕾舞團、美國芭蕾舞劇院、紐約市芭蕾舞

音樂廳》於2018年由DECCA出版。

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

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《Tiny Galaxy Concerts》 ，在香港別具特色的旅舍拍

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

》音樂祭演出。

向推廣古典音樂。樂團亦針對不同年齡的觀眾，舉

樂團 2002 年至 2020 年由著名指揮家葉詠詩擔任

辦多套別樹一格的普及音樂會，包括《寶寶/幼兒

音樂總監，期間致力推動本地古典音樂發展。

愛音樂》、《古典音樂速成》、 《古典音樂知多少》

葉詠詩現為樂團的桂冠音樂總監，她會在樂團委

和《我個名叫麥兜兜．古典音樂小計劃》等節目，

任新總監前，與首席客席指揮柏鵬一起負責樂團

而且不限於音樂廳等場地，例如網上室樂系列

藝術發展事宜。

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

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

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

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

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

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

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

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

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指揮 Conductor 駐團藝術家 HKS Artist Associate 2009-2011

© ALAN LIM

黎志華 Jason Lai

指揮黎志華現為新加坡國立大學楊秀桃音樂學院樂

參與BBC《亞洲之心》及《當代中國故事》系列的攝

團及英國天鵝管弦樂團首席客席指揮，曾任新加坡

錄工作，帶領觀眾探索亞洲多國的當代藝術及文化。

交響樂團及香港小交響樂團副指揮，並於 2009 至

黎志華父母早年從元朗八鄉移居英國，他自幼學習

2011年出任香港小交響樂團駐團藝術家。自 2010

大提琴，後獲獎學金入讀曼徹斯特徹斯咸音樂學

年移居新加坡後，積極參與當地音樂發展，同時定

校，師隨華費殊和索迪，並獲哈杜獎學金入讀牛津

期於歐洲及中國教授大師班。他近年曾與新日本愛

大學，主修音樂及作曲，並與亞歷基爾弦樂四重奏

樂樂團、波蘭波德拉謝歌劇院愛樂樂團、阿德萊德

進行巡迴演出。他曾入圍BBC青年作曲家決賽，由

交響樂團及澳門樂團等合作演出。

倫敦小交響樂團演奏其作品。及後再獲獎學金於倫

為了向廣大觀眾推廣古典音樂，黎志華積極參與

敦吉爾德霍爾音樂及戲劇學院深造指揮。

英國及亞洲的電視節目製作，當中包括擔任 BBC

黎志華自從於 2002 年英國 BBC 青年指揮家工作坊

青年音樂家大賽及BBC《古典音樂之星》的評判、

勝出後，在2002年至2005年擔任BBC愛樂的助理

《指揮大師》系列的指揮導師，及於《騷文化》和

指揮，與首席指揮諾斯達緊密合作，並在 2003 年

《合唱團解碼》等節目中亮相。

首度於BBC逍遙音樂會演出。

憑著強大的親和力與了得的口才，定居於新加坡

黎志華亦是一位教育家。他現於新加坡國立大學楊

後，黎志華繼續積極參與電視節目工作。他為

秀桃音樂學院指導年青指揮家，亦帶領新加坡交響

奧多頻道一共八節的《交響樂計劃》系列擔任主持

樂團積極發展其教育及觀眾拓展計劃。

及指揮，記錄了他建立一個社區樂團的過程。他也 4

Jason Lai is the Principal Conductor at the Yong

explores the contemporary arts and culture scene

Siew Toh Conservatory, Principal Guest Conductor

in Thailand, Indonesia, Korea and the Philippines,

of the Orchestra of the Swan, and former Associate

and a further series for BBC World called Tales

Conductor of the Singapore Symphony Orchestra

from Modern China.

and Hong Kong Sinfonietta, where he was also HKS Artist Associate from 2009 to 2011. He has been a prominent figure in Singapore’s musical life since his arrival in 2010, while also actively giving international masterclasses in Europe and China. He has guest conducted the New Japan Philharmonic, Podlasie Opera Philharmonic in Poland, Adelaide Symphony Orchestra and Macao Orchestra.

Intent on broadening the appeal of classical music to audiences who would not normally think of going into a concert hall, Lai is also building a unique reputation as a communicator with mass appeal through his television appearances in both the UK and Asia. He has frequently appeared on BBC television as a judge in both the BBC Young Musician of the Year competition and the classical talent show Classical Star. He reached his widest audience when, as a conducting mentor in the series Maestro, his celebrity student, the popular comedienne Sue Perkins, won with a nail-biting final in front of the BBC Concert Orchestra and a live studio audience. Other BBC television appearances included How a Choir Works and The Culture Show. Lai also starred in Clash for the

Lai’s roots lie in Hong Kong but he was born in the UK and was a pupil at the prestigious specialist music school in Manchester, Chetham’s, where he studied cello. At Oxford University he studied both cello and composition, and went on to the Guildhall School of Music and Drama in London where he was awarded a Fellowship in Conducting.

Despite having toured as a cellist with the Allegri String Quartet and having been a finalist in the BBC Young Composers Award, Lai gravitated increasingly towards conducting after he won the BBC Young Conductors Workshop in 2002. This led to his appointment as Assistant Conductor to the BBC Philharmonic with whom he made his BBC Proms début in 2003.

Education is an important part of Lai’s work in Singapore. At the Yong Siew Toh Conservatory, he trains the next generation of conductors, many of whom have had many successes both at home and abroad, and with the SSO he spearheaded the education and outreach programme, helping the orchestra reach new audiences notably through his Discovering Music and Children’s concerts.

children’s television channel, CBBC. Lai has continued with his television work since settling in Singapore. He was presenter and conductor for Project Symphony, an eight-part series for OKTO where he was filmed setting up a community orchestra. He has been heavily involved in filming for a BBC series Heart of Asia which 5

單簧管 Clarinet

哈雷爾 Gilad Harel 以色列單簧管演奏家哈雷爾憑藉其精湛的技藝及獨 具魅力的演奏，成為近年最備受追捧的音樂家之 一。從古典到當代音樂、克萊茲默、搖擺樂乃至民 謠，各種曲風他都駕馭自如。由他策劃的節目亦是 大膽創新，每次演出均為樂迷帶來驚喜。 哈雷爾曾以獨奏身份與世界各地的樂團同台演出， 包括日內瓦室樂團、日內瓦樂團、都林愛樂管弦樂 團、列治文交響樂團、曼哈頓小交響樂團、耶路撒 冷交響樂團、以色列室樂團及以色列小交響樂團。 哈雷爾是德國著名歌手塢迪．琳珀的長期合作夥 伴，又曾與人氣曼陀林演奏家艾維塔在跨界音樂會 中合作，巡演於台灣、巴黎及日內瓦三地。他亦曾 於克拉科夫猶太文化節中獻演，最近更籌劃了一套 © MARIA ROSENBLATT

以迪克西蘭爵士樂及克萊茲默為主的節目。 哈雷爾先後畢業於巴黎國家高等音樂暨舞蹈學院及 紐約茱莉亞學院，後留居紐約，期間曾與多位當代 著名作曲家如卡特、夏里諾、佐恩、米雷爾、雷昂 及巴比特等合作，返回以色列後他又首演了超過 200首新作。哈雷爾亦曾灌錄多張唱片。 哈雷爾現任教於特拉維夫耶路撒冷音樂及舞蹈 學院，並曾到世界各地講授大師班及克萊茲默 工作坊。

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When Israeli clarinettist Gilad Harel first started his

After finishing his studies at the Paris Conservatory

classical clarinet training, he got two tapes as a

and Juilliard School, Harel remained in New York

gift – one of Benny Goodman, the other of Giora

and worked with some of the leading composers

Feidman. Since then, Gilad Harel has continuously

of this century – Elliott Carter, Salvatore Sciarrino,

combined all genres throughout his career –

John Zorn, Tristan Murail, Tania León and Milton

Mozart with Klezmer, Klezmer with swing,

Babbitt, to name a few. Since returning to his

contemporary music with folk. His programmes

homeland, Harel has given over 200 premières of

are adventurous, fresh and exhilarating.

works newly written. He also plays in theatre

Harel performs regularly with German cabaret

shows for the leading theatre houses in Israel, and

singer Ute Lemper. He played as a soloist with

appears on recording labels such as the Tzadik,

different orchestras around the world – the Geneva

Albany and Nonesuch records, as well as Soupir

Chamber Orchestra, Geneva Camerata, Torino

Editions and New Focus Recordings.

Philharmonic Orchestra, Richmond Symphony

Harel is a faculty member at the Jerusalem

Orchestra, Manhattan Sinfonietta, Jerusalem

Academy of Music and Israel Conservatory of

Symphony Orchestra, Israel Chamber Orchestra

Music in Tel Aviv. He gives masterclasses and

and Israel Sinfonietta. He has collaborated with

Klezmer workshops around the world.

mandolin virtuoso Avi Avital at the Taipei International Festival of Arts, created a unique concert of Klezmer music with electronics which was performed at the Paris Centquatre and the Comédie de Genève, played at the Jewish Culture Festival in Kraków with a band playing CubanKlezmer music, and recently created a programme of Dixieland Klezmer.

哈雷爾是次首度訪港演出由香港小交響樂團與飛躍演奏香港攜手邀請，分別舉行了《莫扎特單簧管協奏曲》

Support received from

(10月23日) 及《哈雷爾獨奏會：單簧管狂想曲》(10月20日)兩場音樂會。 A collaboration between Hong Kong Sinfonietta and Premiere Performances in bringing international artists to Hong Kong, Gilad Harel made his Hong Kong début with two concerts: “Mozart Clarinet Concerto” (23 Oct) and “Gilad Harel: A Clarinet Rhapsody” (20 Oct).

Consulate General of Israel in Hong Kong

for Gilad Harel’s visit

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作曲 Composer

阿比爾 Sergei Abir Born in Moscow in 1944, Sergei Abir is a composer, arranger, conductor and teacher. Educated at the Moscow State Tchaikovsky Conservatory in the 1960s, he taught at the Institute of Military Conductors affiliated to the Conservatory (1970-1979), as well © REGINE HEILAND

as the Gnesins Russian Academy of

Music

(1979-1990)

and

Jerusalem Academy of Music and Dance in Tel Aviv (1991-2002). He

集作曲、編曲、指揮及教師於一身的阿比爾，

has written books on the 18th-century French

1944年於莫斯科出生。1960年代就讀於莫斯科柴

symphony and on Christoph Willibald Gluck

可夫斯基音樂學院，曾於附屬音樂學院的軍事指揮

(Moscow, 1977, 1987). Having migrated to Israel

學院（1970-1979 年）、格涅辛音樂學院（1979-

in 1990, he contributed a lot to its music and

1990 年）、特拉維夫的耶路撒冷音樂與舞蹈學院 （1991-2002 年）任教。 1977 及 1987 年分別出版 了關於 18 世紀法國交響曲及作曲家格魯克的專

cultural scene, writing new Klezmer concert repertoire while working with Giora Feidman. Since 2020, he has been living in New York.

書。 1990 年移居以色列後，阿比爾積極參與當地

Abir’s sophisticated and authentic approach to

的音樂及文化活動，又與「克萊茲默之王」費德曼

arrangement and orchestration sees him creating

合作。阿比爾2020年移居紐約。

insightful and imaginative versions of works as if they were written by the original composer

阿比爾精細及地道的編曲及配器方法，令他編寫出

himself. Among his most prominent orchestral

充滿見地及想像力、猶如原作曲家親自撰寫的樂曲

arrangements are Tchaikovsky’s The Seasons

版本。阿比爾著名的配器作品包括柴可夫斯基的

(2012), Children’s Album (2019) and Schumann’s

《季節》(2012) 和《兒童曲集》，以及舒曼的《女 人的愛情與一生》(2011) 等。

8

Frauenliebe und Leben (2011).

節目介紹 音樂以不同的面貌、長度和聲音呈現，各種形式和旋律本身也可以是一個故事。說到 「古典音樂」，你大概會想起交響樂團、或者較小型的室樂組合如弦樂四重奏，在特別 為聽音樂而建造的房間或大廳中演奏，正如我們現在所處的地方。但音樂本身並沒有 帶著這樣的限制。我們可以（也應該）在大街小巷和每個村落或廣場中聽到音樂，這 些地方都是音樂的發源地，現在我們還可以找到這類音樂的痕跡，那就是民謠了。我 們會在這場音樂會中聽到不少民謠。 莫扎特不用多介紹了，大家都知道他是最著名的古典作曲家之一。眾所週知，他35歲 便英年早逝了。我們的音樂會就以他兩首最後期的作品展開，一首是他最後一部歌劇 的序曲，另一首是最後的協奏曲。然後我們把焦點轉移到戶外，特別是中歐和東歐的 民間傳統音樂。我們會考察猶太語（Yiddish）中稱為克萊茲默（Klezmer）的德系猶太 （Ashkenazi Jews）音樂家演奏的音樂，接著我們便聆聽波希米亞作曲家德伏扎克的作 品，他很自然地採用了成長期間聽過的音樂。 德伏扎克生前為人所知的五首交響曲中，只有 D 小調（我們所知的第七交響曲） 一首，被認為是將交響奏鳴曲式駕馭得宜。它被稱為「布拉姆斯式」並不是沒有道理 的。德伏扎克與布拉姆斯是好朋友，將他和布拉姆斯相比顯然讓他很滿意。但他下一 首於1889年仲夏在維索卡（Vysoká）鄉間別墅創作的交響曲，純粹是出於自娛。他形 容這首作品「與其他作品迥然不同，以嶄新方式表達獨特的思想」 。他之前已經向世人 證明了他能夠以傳統的方式創作傑出的交響曲，他覺得現在可更大膽地嘗試新的形 式。他採用的音調，還有音調之間的關係 — 由大調至小調 — 也有所不同，他創作了 一首�有��個人��，�有�明波希米亞氣息的作品。這首作品�發�他家鄉的� 調和純樸的鄉土氣息，滿溢歡欣的野趣。 這就是德伏扎克的第八交響曲。早期它被稱為第四交響曲，因為德伏扎克有生之年只 出版了五首交響曲，最早的四首在他去世前並沒有計算在內。一些權威學者把第八交 響曲冠以「英國」交響曲的別號，儘管在音樂方面它和英國無甚關連。他的確經常造 訪英國，1884年至1896年間至少九次到訪英國。1885年皇家愛樂協會委約他創作交 響曲，那便是他的第七交響曲。他於1885年4月28日，交響曲完成一個月後，親自指 揮了在倫敦的首演。第八交響曲五年後面世，雖然德伏扎克在1892年獲劍橋大學頒贈 榮譽博士學位時，曾將之當成「習作」遞交，但這首G 大調的交響曲有此別號的真正 原因是德伏扎克把它交給了英國出版商諾韋洛（Novello）出版（後來也成了艾爾加的 出版商）。 9

這段時間，德伏扎克正與他慣常合作的出版商西姆羅克（Simrock）不和。德伏扎克當 時在國際間聲望漸隆，他覺得西姆羅克所付的酬金與他當時的地位不相稱。他成功說 服出版商把他那首第七交響曲的酬金由原來的三千馬克增加一倍，不過也同時應允創 作第二套（十分暢銷的）斯拉夫舞曲。但是西姆羅克只答應給德伏扎克的第八交響曲 一千馬克，聲稱大型作品的銷路並不理想。同時，德伏扎克也十分不滿西姆羅克用德 語而不是捷克語書寫他的名字。因為這首交響曲，兩者的關係就破裂了。當德伏扎克 由美國歸來，他們的關係已見改善，他最後一首交響曲（第九交響曲） ，便再次交由西 姆羅克出版。

莫扎特（1756–1791）

《狄托的仁慈》序曲，K621

日簽了合同，並在短短 18 天內便完成了作品（雖 然有人說他的學生蘇斯邁爾 Franz Xaver Süssmayr 幫忙寫了劇中的宣敘調，而這些亦的確沒有留存在

莫扎特於 1791 年 12 月 5 日去世，雖然他並不知道

莫扎特的手稿中）。馬佐拉（Caterino Mazzolà）根

自己大限將至，但在這最後一年他完成了精緻的單

據莫扎特的指示，採用並簡化了梅塔斯塔西奧的歌

簧管協奏曲、第六弦樂五重奏和兩部歌劇 —《魔

詞（格魯克的版本有將近四小時之長，而莫扎特的

笛》和《狄托的仁慈》。兩部都在 1791 年 9 月首

只有兩小時多一點），莫扎特在其主題目錄中聲稱

演，前者在維也納，後者在布拉格。莫扎特的《安

這是「一部由馬佐拉改為真正歌劇的正歌劇」。莫

魂曲》是唯一一部他沒有完成的主要作品。不過，

扎特在戲劇性的C大調序曲中，預告了一位精明的

因為好幾位作曲家為它接續完成了不同的完整版

羅馬皇帝，寬大處理背叛者的故事。它不僅是一套

本，所以它仍成為現代音樂會中的重要曲目。

描寫高尚情操的歌劇，而且也相當適用於加冕典

莫扎特的《魔笛》回歸到八年前他第一部維也納歌 劇《後宮誘逃》（Die Entführung aus dem Serail）

禮，即使瓜達索尼因為歌劇不大受歡迎，踫了一鼻 子灰，也虧了本。

的德語歌劇（singspiel）模式，以對話將詠嘆調以

序曲和歌劇的音樂並沒有主題上的關連，但它很合

及合唱分開。但《狄托的仁慈》卻回到更早的正歌

宜地設定了場景。開頭的齊奏（tutti，意大利文即

劇（opera seria）風格，它採用了梅塔斯塔西奧

「全部」之意）和弦氣勢磅礡，然後重複的附點節

（Pietro Metastasio，1698-1782）的經典歌詞。繼

奏由疾急的 32 分三連音引路。接續一連串的下行

最早的、 1734 年卡爾達拉（Antonio Caldara）歌

音階，使氣氛更形熱烈。較為怡人的第二主題則由

劇版本後，另有超過 40 位作曲家據之寫成歌劇，

長笛和雙簧管獨奏帶出，重複時變成了雙簧管和巴

包括哈塞（Johann Adolf Hasse）的三個版本

松管獨奏，圓號後來加入。樂曲稍為喘息了一下，

（1735 、 1739 、 1759），以及格魯克（Gluck ，

便迅猛且決斷地奔向了雷鳴般的結尾。

1752）和米斯利維切克（Josef Mysliveček，1774） 的版本。莫扎特的版本乃由布拉格的劇院經理瓜達 索尼（Domenico Guardasoni）委約，他當時正籌 備適合利奧波特二世（Leopold II ，神聖羅馬帝國 的皇帝）在1791年9月6日加冕成為波希米亞國王 的節目。 莫扎特並不是瓜達索尼的首選，但原本委約的薩里 埃利（Salieri）太忙了，於是莫扎特頂上，在7月8 10

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： 長笛（2）、雙簧管（2）、單簧管（2）、巴松管（2） 銅管： 圓號（2）、小號（2） 定音鼓

莫扎特（1756–1791）

A大調單簧管協奏曲，K622 快板 慢板 迴旋曲：快板

開首的快板意外地相當舒緩，綿長的樂隊齊奏 （tutti），與主題一起優雅地展開，並以近乎賦格曲 的手法與新主題的前奏互相抗衡。單簧管進入時， 即展示出其高超的技巧，然後帶出一個令人著迷的 主題，由弦樂單獨伴奏，首先以A小調吹奏，接著 轉為C大調，與單簧管五重奏的情調和結構相近。

莫扎特一生寫了約 30 首鋼琴協奏曲（包括早期的

繼而出現了E大調第二主題，它同樣也有兩個突出

移調改編之作）、五首小提琴協奏曲和四首圓號協

的段落。莫扎特不斷地把和聲變換，特別是在發展

奏曲，但他為木管樂創作的協奏曲卻相對較少。他

部。再現部較呈現部短了約 70 個小節，最後終於

有兩首為長笛撰寫的協奏曲（其中一首只是從雙簧

以穩當的和聲結束了這個樂章。

管協奏曲移調改編而成），還有一首長笛和豎琴二 重協奏曲，另有雙簧管、巴松管、單簧管協奏曲各 一首。後者不但是他最後一首協奏曲，而且是他 35 歲去世前最後完成的作品。他在 1791 年 10 月 7日寫給妻子康斯坦茲（Constanze）的信中，曾提 到要為單簧管協奏曲中的迴旋曲配器。其實協奏曲 是為巴賽特單簧管（basset clarinet）而寫的，它的 管身要比現代的單簧管長，故此可以吹奏較低的音 域。現時的演奏一般採用現代單簧管。 莫扎特有關此曲的手稿只有199小節長，那是G大 調第一樂章的其中一個片段，而且在最後 20 小節 轉為A大調。有人認為這個段落其實是莫扎特早年 棄置的一首樂曲，他在1791年9月尾才把它借用來 創作一首新作品。那時他的歌劇《魔笛》正在綵排 之中。

D大調慢板如絲絨一樣順滑，獨奏者隨即帶出的主 題讓人迷醉不已。在搖擺的弦樂伴奏下，開展一系 列更細緻的演繹。它就像柔和的歌劇詠嘆調一樣， 情感充沛（或許像《女人心》[ Così Fan Tutte ] 那樣，四個年輕的主角之一正沉醉於愛情夢中，若 有所思）。中間段簡短地以 A 大調演奏，跳躍的音 符和裝飾音讓獨奏者有更多發揮的機會，然後樂章 回到開頭簡樸而令人神往的主題。 終樂章是典型的迴旋曲，主題在多段插曲之後不斷 重複。它神采飛揚、悅耳暢快的 16 分音旋律有一 種不可抑止的感覺。一下輕巧的下行段落帶出了第 二主題，把獨奏者引到最低的音域，但精神奕奕的 齊奏，引發了一連串根據獨奏者的第二主題譜寫的 新插曲，似乎是與樂隊作更深入的交談。最後這些 都回歸到以多種形式展現的迴旋曲主題，以及一段

可以肯定的是，這首單簧管協奏曲是為一位特定的

調皮的尾聲。總而言之，莫扎特最後一首協奏曲是

演奏者而寫的。他就是莫扎特的朋友舒達拿

他最平易近人、但也是最有深度的作品之一。

（Anton Stadler）。五年前，莫扎特曾為他撰寫過降 E大調單簧管三重奏（K498），1789年又為他寫過 A 大調單簧管五重奏（K581），以及歌劇《狄托的 仁慈》 （La Clemenza di Tito）中的單簧管和巴賽特 管的助奏聲部（obbligato，即必須的助奏聲部），

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 管樂： 長笛（2）、巴松管（2）、圓號（2） 獨奏單簧管

後者於1791年9月5日在布拉格的首演，即由舒達 拿吹奏。舒達拿對改進巴賽特單簧管居功至偉， 在宮廷樂器匠洛茲（Theodor Lotz）的幫助下，他 為該樂器的低音部多加了四個半音，使其聲音更為 深沉、圓潤。

11

阿比爾（1944生）

《克萊茲默微笑》（世界首演） 為哈雷爾而寫的單簧管及室樂團 傳統民謠隨想曲 像莫扎特一樣，阿比爾的單簧管協奏曲也是為一位 特定的演奏家而寫的。這首樂曲，原本在 2011 年 由哈雷爾和日內瓦室樂團首演，但當時的版本除了 單簧管之外，還有曼陀林獨奏，後來阿比爾特別為 哈雷爾及香港小交響樂團將作品改寫為今晚世界首 演的版本。 克萊茲默（Klezmer）在猶太語中指樂器（kley 指 「器具」或「工具」，而 zemer 指「旋律」）。其後 此辭便有演奏者的意思，而非單指他們的樂器。近 來它又指樂手演奏的獨特音樂。由於 19 世紀末和 20 世紀在俄國和東歐發生的連串大屠殺，猶太人 被逼四處離散，而克萊茲默一辭也透過如百老匯的 音樂劇《錦繡良緣》（Fiddler on the Roof）等，在 世界各地為人認識，。每個猶太村落，無論多貧 窮，都會有樂手為集體活動演奏，如嬰兒的出生、 成人禮、婚禮、葬禮等。即使他們用的只是 一把小提琴、鋼琴還是克萊茲默最突出的樂器 — 單簧管。 正因為這一傳統，出生於莫斯科的音樂學家和作曲 家阿比爾為哈雷爾寫了這首樂曲。阿比爾在蘇聯解 體後移居以色列，從1991至2002年在特拉維夫的 耶路撒冷音樂與舞蹈學院（Jerusalem Academy of Music and Dance）任教。他出版了關於18世紀法 國交響曲和早期古典歌劇作曲家格魯克的研究，並 改編了多首民謠。 阿比爾形容他的的《克萊茲默微笑》 ，說它就是連串： 「色彩斑駁的畫面反映了克萊茲默的生活場景。 克萊茲默的音樂由始至終陪伴著小鎮居民的生 活週期，他們的節慶和婚禮都是喧鬧、擁擠和 充滿幽默感的。選取的多個不同特色和氣質的 民謠旋律，從抒情的沉思到熱烈的舞蹈，都生 動地呈現了克萊茲默的演奏風格。克萊茲默的 音樂大膽地結合了喜悅、失望和希望，而整體 上《隨想曲》都體現了這一偉大傳統的精神。」 12

可以肯定的是，在聆聽的過程中，你必會著迷和禁 不住想翩翩起舞。

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： 長笛（2）、雙簧管（2）、單簧管（2）、巴松管（2） 銅管： 圓號（2）、小號（2） 定音鼓 獨奏單簧管

德伏扎克（1841–1904）

克祖國的波希米亞鄉村的揚琴。兩個段落都重複再

G大調第八交響曲，作品88

現，然後這樂章逐漸淡出。

活潑的快板 慢板 優雅的快板 — 更活潑的 從容的快板 1889 年 11 月，德伏扎克為他第八交響曲的樂譜作 最後修改，並在 1890 年 2 月 2 日於布拉格指揮首 演。兩個月後，他把它帶到倫敦，其後由里赫特 （Hans Richter）指揮演出。里赫特也在維也納指揮 了這首作品，德伏扎克未能出席這場奧地利的首 演，里赫特便寫信給他：「你必定會為演出大感欣 慰，我們所有人也覺得這是一首精彩絕倫的作品，

優雅的快板樂章與開首的樂章一樣，以G小調（諧 謔曲）開始，然後在中間的三聲中部段落轉向大 調。近乎圓舞曲的弦樂主題，配上如微波盪漾的管 樂伴奏和如軍樂響亮的音型，把音樂引向中段，長 笛和雙簧管奏出附點8分音/16分音節奏，然後由弦 樂接上，切分音的銅管樂和弦作襯托。這個曲調原 本來自德伏扎克的獨幕歌劇《頑固的情人》（The Stubborn Lovers，1874年） ，但1881年在布拉格上 演後，他便收回這套歌劇。開始的圓舞曲主題重 現，音樂隨之步進尾聲，一股勁兒直奔向前，直至 最後戛然靜止。

所以我們十分熱誠投入。可惜你這位第四交響曲

小號以D大調響亮奏出，揭開最後一個樂章，它貫

[即是第八] 的生父不在現場，演出後，布拉姆斯與

徹這樂曲的風格，全首樂章其實不是基於D大調，

我共進晚餐，我們向你舉杯祝酒致意。」

而是再次回到G大調。正如第一樂章開始時長笛的

德伏扎克創造的樂曲旋律如此輕鬆，所以開始的樂 章曾被比喻作一本小說，當中的角色（主題）隨著 故事的發展時隱時現，既有發展，亦會重現。序奏 中，單簧管、巴松管、圓號和大提琴以G小調奏出 舒緩醉人的旋律，當長笛獨奏彷如初醒的小鳥把其 他樂器陸續召喚起來，音樂悠然融入主音的 G 大 調。長笛與單簧管以B小調宣示輕快的第二主旨， 弦樂以三連音符在旁起舞伴奏。主題來回往復，作 曲家靈巧熟練地把各個主題加以發展。開首深沉的 主題曾經兩次重現，都是首先以G小調開始，然後 再次幾乎毫不著跡地過渡至大調，另外也有一些較 響亮而激烈的樂段，它們令音樂更富活力，不過這 兩者都無損全篇樂章基本的陽光氣息。臨近結束， 英國號再次引入長笛那彷如初醒小鳥的主題，樂章 隨即以亮麗的管弦色彩結束。 慢板樂章由兩個對比鮮明的樂段組成，首先以弦樂 奏出一個簡單而哀怨，若隱若現的降 E 大調旋律。

鳥叫，這�的主題首先由一個上�的G大調和弦作 序幕，而且它與較早前出現的獨奏頗為相似。大提 琴先出現，第二巴松管則以對位伴奏，兩個段落都 重複了一次。樂章其餘的部份都是這個主題的不同 變奏，不過整個樂章多次引用第二變奏 — 它突然 加快，由全樂隊（尤其是圓號）響亮地奏出主題。 第三變奏是長笛的阿拉伯風格曲，而循環出現的第 二變奏再次奏出後，德伏扎克轉變調子，以開首長 號響亮的樂段為基礎，採用C小調，製造一段低沉 的猶如進行曲的樂段。最後回到主題，再有四個變 奏相繼出現，第二變奏最後一次奏出後，到了尾 聲，更加生氣勃勃，演奏急勁猛烈。 中文翻譯：古時月 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： 長笛（1）、長笛/短笛（1）、雙簧管（1）、 雙簧管/英國管（1） 、單簧管（2）、巴松管（2） 銅管： 圓號（4）、小號（2）、長號（3）、大號（1） 定音鼓

只是不久長笛和單簧管在一片寂靜中奏出一個新的 鳥叫聲，展示了這樂章的調性其實是C大調。主題 和鳥叫聲強力奏出，引出一段聽來似是較快的音 樂，但是事實上它以同樣速度寫成。首先是管樂， 繼而是小提琴獨奏奏出一些樂調作主導，從旁襯托 的有大提琴的撥奏加上低音大提琴，還有小提琴重 複奏出下降的16分音階，這些襯托使人想起德伏扎

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。

除特別註明外，中文翻譯：行之

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Programme Notes Music comes in all shapes, sizes and sounds, and the various modes and melodies themselves can tell a story. If you think of “classical music” then you might naturally think of orchestras, or smaller ensembles like string quartets, playing in a special room or hall built for the listening of music, such as the one we are sitting in now – but music itself knows no such constraints. It can (and should) be heard at every street corner and in every village or town square. That is where music started and we hear the vestiges of that type of music – folk music – the more we go through this concert.

Mozart needs little introduction, as he is one of the most famous Classical composers. As you know, he died tragically young, at just 35, and we open with two of his very last works – one of his last opera overtures and his last concerto. We then turn our attention to the outdoors and, specifically, to the folk traditions of central and eastern Europe. We will investigate the musical traditions of the Ashkenazi Jews played by musicians that are called Klezmer in Yiddish, but before that let’s join Bohemian composer Antonín Dvořák, who could not help himself using the music he heard when growing up.

Of the five symphonies for which Dvořák was known during his lifetime, it was only with the D minor one (No 7 as we know it) that he was recognised for mastering the symphonic sonata form. It is not without reason that the Seventh was called “Brahmsian” – a comparison which obviously pleased Dvořák, who was great friends with Brahms. But the next symphony he started in the late summer of 1889, at his country home in Vysoká, was simply to please himself. He described it as “different from the others, with individual thoughts worked out in a new way”.

Having proved to the world that he could write masterful symphonies in the accepted form, he now felt free to use a far greater degree of freedom. His use of keys, and their relationship – major to minor – is different, and he composed a work that is both hugely idiomatic and unmistakably Bohemian, full of the rhythms and melodies of his homeland and exuding the atmosphere, rusticity and pleasures of outdoor life.

This was Dvořák’s Eighth Symphony, although it was – for the early part of its history – known as his Fourth. That was because only five symphonies were published in his lifetime, the earliest four not counted until well after his death. The Eighth has also been nicknamed by some authorities his “English Symphony”, even if it has no musical connection to Britain. Dvořák was a regular visitor to Britain, making no fewer than nine visits from 1884. In 1885 he was commissioned for a new symphony by London’s Royal Philharmonic Society: the D minor (Seventh), although it was originally published as his Second, and he conducted the première in London’s St James’s Hall on 28 April 1885, a month after he had completed it. The Eighth followed around five years later and, although Dvořák offered it as his obligatory “exercise” when he was awarded an honorary doctorate from Cambridge in 1892, the real reason for its “English” nickname is the fact that it was published by the English firm of Novello (later to become Elgar’s publishers).

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At this time Dvořák was having problems with his usual publisher, Simrock. With a growing international reputation, Dvořák felt the fees offered by Simrock did not reflect his current

status. The composer had managed to persuade the publisher to double his original offer of 3,000 Marks for the Seventh Symphony, although only after promising to produce a second set of (very saleable) Slavonic Dances. But Simrock would only offer Dvořák 1,000 Marks for the Eighth Symphony, claiming that large works simply did not sell well. Dvořák was also annoyed with Simrock’s refusal to spell his Christian name in the Czech way, as opposed to the German form (Anton). So, over this symphony they parted. By the time Dvořák was returning from his American sojourn their relationship had much improved, so his Ninth – and final – Symphony was once again published by his long-standing publisher.

Wolfgang Amadeus Mozart (1756–1791)

La Clemenza di Tito Overture, K621 Unaware of his impending demise on 5 December 1791, what in hindsight turned out to be Mozart’s final year saw the completion of his sublime Clarinet Concerto, the Sixth String Quintet and two operas – The Magic Flute and La Clemenza di Tito, both premiered in September 1791, the former in Vienna and the latter in Prague. Mozart’s Requiem was the only main work he left incomplete, but it remains a major staple of the modern repertoire in whichever of its various completions by others.

The Magic Flute returned Mozart to the singspiel of his first Viennese opera Die Entführung aus dem Serail from eight years earlier, with dialogue separating the arias and ensembles. But La Clemenza di Tito harked even further back to the style of opera seria, utilising a classic libretto by Pietro Metastasio (1698–1782), which had already been set as an opera by more than 40 composers after Antonio Caldara’s original in 1734, including three versions by Johann Adolf Hasse (1735, 1739 and 1759), Gluck (1752) and Josef Mysliveček (1774). Mozart’s version of it was a commission from an impresario in Prague, Domenico Guardasoni, who was arranging something suitable for the coronation of Leopold II (already Holy Roman Emperor) as King of Bohemia, set for 6 September 1791.

Because Mozart had not been Guardasoni’s first choice (Salieri was too busy), he was only contracted on 8 July, and is reputed to have

composed the work in just 18 days (though some say his pupil Franz Xaver Süssmayr filled in the recitatives, and certainly none of those survive in Mozart’s handwriting). Metasasio’s text was adapted and shortened (Gluck’s version is nearly four hours; Mozart’s just over two) by Caterino Mazzolà to Mozart’s specification, claiming in his thematic catalogue that it was “an opera seria turned into a true opera by Signor Mazzolà”.

Mozart prefaced the astute tale of a Roman emperor offering clemency in the face of treachery, with a dramatic overture in C major, as befits not only a noble opera but also a coronation, even though Guardasoni got his nose burned because the opera was not well-received and he lost money.

There are no thematic connections between the overture and the music of the opera, but it suitably sets the scene, with its imposing tutti opening chords (where all the orchestral instruments play together: tutti is Italian for “all”), then repeated dotted rhythm prefaced by triplet demisemiquaver runs. A sequence of downward scales follows, increasing the excitement, with a second, more intimate theme for solo flute and oboe. When that returns it is for solo oboe and bassoon, later with horn added, a brief further respite for the strident, almost single-minded overture that powers to a thundering close.

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

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Wolfgang Amadeus Mozart (1756–1791)

Clarinet Concerto in A, K622 Allegro Adagio Rondo: Allegro While Mozart wrote some 30 piano concertos (including early transcriptions), five violin concertos and four for horn, he wrote relatively few for wind.

There are two for flute (though one is a transcription of the Oboe Concerto) as well as a double concerto for flute and harp, and one each for oboe, bassoon and clarinet. The latter is not only the last concerto he wrote, but also the very last work he completed before his untimely death at the age of 35. Mozart referred to orchestrating the Rondo in a letter to his wife Constanze on 7 October 1791, and the work is actually for the basset clarinet (like the basset horn, physically longer than the modern clarinet, which can reach lower notes), although performances are usually on the clarinet.

The only manuscript for the work in Mozart’s hand is a mere 199 bars long: a fragment of the first movement, composed in G and only within 20 bars of the end turning to A. Some have argued that the fragment is actually an earlier abandoned work, which Mozart then borrowed from to compose a new work around the end of September 1791, at the time when The Magic Flute was being rehearsed.

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What is certain is that it was written for a particular player in mind – Mozart’s friend Anton Stadler (1753–1812), for whom he had already written the Clarinet Trio in E-flat, K498 five years earlier and the Clarinet Quintet in A, K581 in 1789, as well as the clarinet and basset horn obbligato parts in La Clemenza di Tito, which Stadler had played at the première in Prague on 5 September 1791. It was Stadler who had helped develop the basset clarinet, with the help of the court’s instrument maker, Theodor Lotz, and it added four semitones at the bass of the instrument’s range, adding a deeper, more mellifluous tone.

The opening Allegro is actually surprisingly relaxed, with its long orchestral tutti that unfolds gracefully with the main theme treated almost fugally as opposed to the introduction of a new theme. The clarinet enters and displays its prowess, before introducing a haunting subject, accompanied by strings alone, first in A minor, then C major, similar in mood and texture to the Clarinet Quintet. Only then is the second subject properly introduced (in E), also in two distinct sections. Mozart revels in various different harmonic shifts, especially in the development, until the recapitulation, some 70 bars shorter than the exposition, reigns in the harmonic exploration to end on secure ground.

The Adagio, in D, is silky smooth and rapt with the soloist introducing the theme immediately, over rocking strings before unfolding the music with ever more elaboration. It is like a gentle operatic aria full of feeling (from Così Fan Tutte, perhaps, where one of the four young protagonists is lost in an amorous reverie, misplaced or otherwise). The middle section, briefly in A, allows the soloist more space to shine, with jumps and ornamentations, before eventually returning to the sublime simplicity of the opening, yearning theme.

The Finale – a typical Rondo, where the main theme returns after various episodes – is spirited and joyous, irrepressible in its effortless tunefulness and jollity with its semiquaver runs. A delicate downward trajectory, officially the second subject, leads the soloist into its lowest reaches, but a spirited tutti raises the spirit for a string of new episodes based on the second subject for the soloist, as if in deep conversation with the orchestra. Ultimately all this leads back to the main rondo theme in its various guises and a playful coda to end. All in all Mozart’s last concerto is one of his most intimate, but most profound.

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Winds: flutes (2), bassoons (2), horns (2) Solo clarinet

Sergei Abir (born 1944)

Klezmer’s Smile (world première) Caprice on traditional tunes for clarinet & chamber orchestra specially composed for Gilad Harel Just like Mozart who composed his Clarinet Concerto for a particular player, Anton Stadler, our next piece was composed specifically for tonight’s soloist. First heard in a 2011 concert given by Gilad Harel with the Geneva Chamber Orchestra, in a version with not only clarinet but mandolin (with Avi Avital), Sergei Abir’s Klezmer’s Smile now acquired a new version for this very concert, allowing the clarinettist to demonstrate his hugely expressive playing in a unique klezmer fantasy.

Klezmer is the Yiddish word for musical instrument (from kley meaning “tool” or “instrument” and zemer meaning “melody”). Over time the word encompassed the players rather than solely their instruments, and more recently it has come to mean the distinctive music played by the players.

Given the Jewish diaspora – mainly enforced following the litany of pogroms in Russia and east Europe through the late 19th and 20th centuries – Klezmer has become recognisable the world over, particularly with the likes of the Broadway musical Fiddler on the Roof. Every village, however poor, would have musicians who would accompany the communal events – births, bar mitzvahs, weddings, deaths etc – even if only on a violin, piano and perhaps the most distinctive of Klezmer instruments: the clarinet.

In the composer’s own words, Klezmer’s Smile is a sequence of “colourful tableaux reflecting scenes of klezmer’s life. Klezmer music accompanies the life cycle of small-town inhabitants from beginning to the end. Their fests and weddings are loud, crowded, and always good-humoured. The selected folk melodies of various characters and temperaments vividly represent scenes of klezmer performance – from lyrical contemplation to fiery dances.

Klezmer music daringly combines joy, despair and hope, and altogether the Caprice channels the spirit of this great tradition.”

One thing is guaranteed: you will be swooning or furiously toe-tapping throughout.

Klezmer’s Smile is published by Scorestra Music Publishing.

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

It is from that tradition that Moscow-born musicologist and composer Sergei Abir fashioned his work for Gilad Harel. Abir moved to Israel after the fall of the Soviet Union and taught at Tel Aviv’s Jerusalem Academy of Music and Dance between 1991 and 2002. He has published on the 18th-century French symphony and on the early Classical operatic composer Christoph-Willibald Gluck, as well as making many arrangements of folk music.

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Antonín Dvořák (1841–1904)

Symphony No 8 in G, Op 88 Allegro con brio Adagio Allegretto grazioso – molto vivace Allegro ma non troppo Dvoř ák completed the scoring of his Eighth Symphony in November 1889 and conducted the première in Prague on 2 February 1890. Two months later he brought it to London, where it was subsequently performed under the baton of Hans Richter. It was Richter who championed it in Vienna, writing the following to the composer who could not be present at the Austrian première: “You would certainly have been pleased with the performance. All of us felt that it is a magnificent work, and so we were all enthusiastic. Brahms dined with me after the performance and we drank to the health of the unfortunately absent father of No 4 (ie No 8)”.

So fertile was Dvořák’s facility in writing melodies that this opening movement has been likened to a novel wherein characters (the themes) appear and disappear, develop and recur within the narrative.

The introduction, with its relaxed mahogany-rich melody for clarinets, bassoons, horns and cello, is in G minor, but this simply merges into the tonic G major when the solo flute, like an awakening bird, calls the other instruments to order. The lilting second subject, in B minor, is announced by the flute and clarinets over strings with dancing triplets. The development of themes, ebbing and flowing, is deftly crafted and the sunny mood is neither obscured by the two reappearances of the dark-hued opening theme – both starting in G minor before once again merging almost imperceptibly into the major – nor the louder, stormy passages which move the music on with ever greater gusto. Towards the end, the English horn reintroduces the flute’s original awakening theme, and the movement ends in resplendent orchestral colour.

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The slow movement consists of two contrasted sections, opening in E-flat with a simple yearning, rising and falling melody for strings. However, it is soon evident that the true tonality of the movement is C major, with the flute and clarinet delicately punctuating the silence with a new birdcall. Forceful statements of both the theme and birdcall lead to what sounds like a faster section, but which is in fact written at the same tempo.

Here – under the wind and then solo violin tune – pizzicato cellos and basses and repeated descending semiquaver scales on the violin echo the memory of the village cimbalom from Dvořák’s Bohemian homeland. Both sections are repeated, and the movement gradually dies away.

As with the first movement, the Allegretto grazioso opens in G minor (Scherzo) and veers to the major for the central Trio section. The waltz-like string theme, with its rippling wind accompaniment and its martial fanfare figures, leads to the central section where flute and oboe introduce a dotted-quaver/semiquaver rhythm, which is then taken by the strings over syncopated brass chords.

This tune originally came from Dvořák’s one-act opera The Stubborn Lovers (1874), which he withdrew after its 1881 Prague production.

A repeat of the opening waltz leads to the coda (Molto vivace) which rushes headlong to a sudden, quiet close.

Trumpet fanfares in D herald the final movement which, characteristically, is based not in D, but back in G major again. Here, like the opening flute birdcall of the first movement, the theme is prefaced by a rising G major triad, bearing much resemblance to that earlier solo. Introduced by the cellos, with the second bassoon accompanying in counterpoint, the two sections are both repeated.

The rest of the movement is a set of variations on this theme, with the second variation – suddenly faster with the whole orchestra (especially horns) ringing out the theme – brought back throughout the movement. The third variation is for flute

arabesque and, after a second airing of the barnstorming second variation, Dvořák goes off at a tangent in a droning C minor march-like section based on the opening fanfare. Eventually returning to the theme for four more variations, there is a final sounding of the second variation before the Più animato coda, played both fast and furious.

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flute (1), flute/piccolo (1), oboe (1), oboe/English horn (1), 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 Oboe 客席雙簧管首席 – SZE Yu-hey Kenneth (薛宇曦) 2. Guest Principal Bassoon 客席巴松管首席 – AU Kai-see Tiffany (歐啟詩) 3. Freelance Musicians: Violin 小提琴：CHENG Ho-chung (鄭皓宗), CHEUNG Man-yui Kitty (張文蕊), CHUA Vince Eliezer N. (蔡君賢) Double Bass 低音大提琴：LEE Shing-chun David (李鋮浚), Harty TAM (譚泳佳) Flute 長笛：HUI Wing-hang Bob (許榮鏗)

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

Board of Governors

榮譽監察委員

Honorary Governors

潘燊昌博士（主席）

Dr Patrick S C POON (Chairman)

金董建平女士

Mrs Alice KING

翟紹唐先生（副主席）

Mr JAT Sew-tong (Vice-chairman)

施永青先生

Mr SHIH Wing-ching

鍾思源醫生（司庫）

Dr CHUNG See-yuen (Treasurer)

楊雪姬女士

Ms Serena YANG

周莉莉女士

Ms Lily CHOW

何汝祥醫生

Dr HO Yu-cheung

劉文文女士

Ms LAU Man-man Lisa

義務公司秘書

Honorary Company Secretary

陳智文先生

Mr Stephen TAN

徐行悅醫生

Dr Michelle TSUI

黃偉雄先生

Mr Addy W H WONG

阮偉文博士

Dr Andrew S YUEN

Tricor Corporate Secretary Limited 義務骨科專科醫生

Honorary Orthopaedic Surgeon

傅偉俊醫生

Dr Dan HOOLEY

樂團行政 Administration 行政總裁 Chief Executive Officer 楊惠惠 Margaret YANG 總經理 General Manager 李浩儀 LEE Ho-yee 行政秘書 Executive Assistant to CEO 何淑娟 Rose HO 會計經理 Accounting Manager 李靄玲 Judith LEE 行政統籌 Administrative Coordinator 柯玉嬌 Noel QUAH 行政助理 Office Administrator 楊瑞遠 YANG Jui-yuan

市場推廣及發展 Marketing & Development 高級市場及業務拓展經理 Senior Marketing & Development Manager 莫皓明 Amanda MOK 市場及業務拓展經理 Marketing & Development Manager 何珮鈴 Pauline HO 助理市場經理 Assistant Marketing Manager 袁穎芝 Christine YUEN

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 Officer 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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從微塵到繁星的第一次旅程 在《All-Star Tiny Galaxy @ Wontonmeen》的世界首映 中，小男孩 Kasper 在片尾吐出了一句：「我而家做完喇， 已經好

喇！」亦標誌著在播放這套閉幕電影的同時，

Kasper in All-Star Tiny Galaxy @ Wontonmeen

Life is Art 盛夏藝術祭 2021 終於來到尾聲了。電影節以 《Back On Stage III: DESTINY》開幕，然後又舉行了 《Vive la Musique!》的世界首映，其實這些都是在不足一 個月內的時間發生。 回想起來，香港小交響樂團能與 MOViE MOViE 攜手策劃了 這次電影節，又製作了三套全新音樂會電影，實屬不可思 議。由挑選電影，構思不同活動講座，以至怎樣宣傳整個電 影節，都是經營交響樂團以來從未涉足過的領域。 所以我在宣傳片中曾說這一次的學習曲線「真的很斜」，其 實也未足以形容整個籌備過程。無疑這次合作的機會難能可 貴，亦使我們獲益良多。我得出以下三大結論： 1) 音樂會電影與現場音樂會是可以雙軌發展的，可以互容。 2) 透過電影的鏡頭讓我們「看見音樂」，可提升固有聽音樂 的體驗。 3) 完場後與大家的交流分享往往帶來新鮮感。 如舉辦這個電影節的機會重來，我們必定毫不猶豫，向著繁 星再走一回。

楊惠 Life is Art 盛夏藝術祭2021聯合節目總監 香港小交響樂團行政總裁

蔡靄兒（Life is Art 盛夏藝術祭節目總監 暨 MOViE MOViE 頻道總經理） （左）與楊惠 Joycelyn Choi (Festival Director of Life is Art Festival and General Manager of MOViE MOViE) (Left) and Margaret Yang

Per Aspera ad Astra! Encore!

As Kasper muttered the words “I have finished. I am really tired...”, the Life is Art Festival 2021 officially drew to a close with the world première of the closing film All-Star Tiny Galaxy @ Wontonmeen. It was just less than a month ago when the film festival opened with Back On Stage III: DESTINY, followed by Vive la Musique!

The fact that Hong Kong Sinfonietta actually produced three new films and co-curated this festival with MOViE MOViE is, in hindsight, something of a miracle. Choosing films, programming talks, marketing the festival… all uncharted territory as far as an orchestra is concerned.

Describing the learning curve as “steep” was an understatement as far as the process was concerned – both on the preparation front and the execution of the festival. The learning afterwards however, was precious. We came to three big conclusions: 1) Concert films can be developed alongside live concerts. They do not have to be mutually exclusive.

2) “Seeing the music” with our ears enhances the experience of listening to music.

3) Talking to people after a live cinema screening is a refreshing way of connecting with people.

If we were given the chance to do it again, we will definitely reach for the stars again – in a heartbeat.

Margaret Yang Co-Festival Director, Life is Art Festival 2021 CEO, Hong Kong Sinfonietta

香港小交響樂團首度與 MOViE MOViE 合辦的「Life is Art 盛夏藝術祭 2021」電影節 於8月27日假 MOVIE MOViE Pacific Place 揭開序幕，呈獻超過50場電影， 包括香港小交響樂團三套音樂會電影之世界首映。 Hong Kong Sinfonietta collaborated with MOViE MOViE to co-curate the “Life is Art 2021” film festival for the first time ever. Having opened on 27 Aug at MOViE MOViE Pacific Place, the festival featured over 50 screenings, including three world premières of Hong Kong Sinfonietta’s original concert film productions.

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

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

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

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

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

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

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

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

• • • • • • • •

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

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

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

• 陳文偉博士 Dr Chan Man Wai

• Ms Sandra W M Lee

• 張�昌博士 Dr Thomas H C Cheung, MH, FCII

• Mr Allan Leung

• 張綺年醫生 Dr Vivian Cheung

• Dr & Mrs Arthur Van Langenberg

• Ms Bebe Pui Ying Chu

• 多位無名氏 Anonymous

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

• • • • • • • • • • • • • •

BELIEVING MUSIC CAN 加拿大琴行 Canada Piano Co Ms Chan Ching Yi Ms Cynthia Chan Jonman, Monika & Joel Chan Family In Memory of Ms Mariette Mimi Chan 陳燕婷 陳騰龍先生 德仔 sir 鄭慶弘先生 Mr Howard Cheng Mr C Y Chow In Memory of Esther Ms Roselanie Ho 何汝祥醫生 Dr Ho Yu Cheung

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• • • • • • • • • • • •

Ms Hung Ying Kwan 郭立成律師 Mr Chris Kok 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 Ms Mary Leung Abido Lim & Dka Nara Kwok 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 Mr John Ngan Mr Victor Paraschiv Poon Shing Chi & Liao E Wen Ms Jojo Sin John & Anthea Strickland Ms Elsie Tam The Music Place Ltd Mr Paul Tsang 謝建宏先生 Mr Penny Tse Ms TT Tsui Mr Wang Weiyao 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

• PLC Foundation

• 多位無名氏 Anonymous

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

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

• 王煒東先生 Mr Wong Wai Tung

• 孫永輝施熙德伉儷 Edith & Stephen Sun

• 多位無名氏 Anonymous

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

• 紀念劉葉珍女士

• 蔡雄及區慕英 Andy Tsoi & Mary Au

• Jonman, Monika & Joel Chan Family

• Ms Luk Yee On

• Mr Wong Kai Chun

• 鄭慶弘先生 Mr Howard Cheng

• 吳榮奎先生 Mr Ng W F Nicholas

• Mr Marcus Woo

• Ms Fiorella Fong

• 魏玉華小姐 Miss Winnie Ngai

• Ms Yeung Lai Fong Alice

• Gavin Gonsalves & Family

• Mr Adrian Tam

• 多位無名氏 Anonymous

• 郭立成律師 Mr Chris Kok

• 鄭新文教授 Prof Tseng Sun Man

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

• 鍾陳碧璋女士 Mrs Shirley Chung

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

• Dr Jennie Lee & Mr Jonathan Lee

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

• 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

• 唐柏泉醫生 Dr Tong Pak Chuen Patrick

• 荷蘭駐香港及澳門總領事館 Netherlands Consulate General in Hong Kong and Macao

• 謝智剛教授 Prof C K Michael Tse

• Mr Ozawa Kazuo

• 阮偉文博士 Dr Andrew S Yuen

• 通利琴行 Tom Lee Music Co Ltd

• 多位無名氏 Anonymous

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

• 民政事務局 Home Affairs Bureau • 邁騰路通有限公司 Maestro GT Limited

• MOViE MOViE • Mr Jiři Votruba 31

“He combines sensitivity and agility at the highest level.”

Gramophone Magazine

“Every nuance perfectly judged, poised and placed… His sound is unique.”

Seen and Heard International

鋼琴 Piano © KAUPO KIKKAS

奧爾曼 Alexander Ullman

節目Programme

帕特 拉赫曼尼諾夫 布拉姆斯 Arvo Pärt Rachmaninov Brahms

《紀念布列頓之歌》 （1977/1980） D小調第三鋼琴協奏曲，作品30 E小調第四交響曲，作品98 Cantus in Memory of Benjamin Britten (1977/1980) Piano Concerto No 3 in D minor, Op 30 Symphony No 4 in E minor, Op 98

20% OFF 同時購買此音樂會及飛躍演奏 香港「奧爾曼鋼琴獨奏會： 奏鳴曲三首」(11月18日)的 正價門票可享8折優惠。 20% discount when you purchase standard tickets to this concert and Premiere Performances “Alexander Ullman: 3 Sonatas” recital (18 Nov).

20.11.2021

“It was surprising with what ease and naturalness Rudner managed to find new facets.”

(星期六 Sat) 7:30pm

Südwestpresse

香港大會堂音樂廳 HK City Hall Concert Hall

魯德納 Ola Rudner Chief Conductor, Württembergische Philharmonie Reutlingen (2008-2016)

$420 $280 $160

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

指揮 Conductor

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