© DARJA ŠTRAVS TISU
小提琴 Violin
薛高維茨基 Dmitry Sitkovetsky
25.8.2021 (星期三 Wed) 8pm
西九文化區戲曲中心大劇院 Grand Theatre, Xiqu Centre West Kowloon Cultural District
鋼琴 Piano
李嘉齡 Colleen Lee 駐團藝術家 (HKS Artist Associate 2010-2011) 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
薛高維茨基小提琴獨奏會 Dmitry Sitkovetsky Violin Recital 節目
D大調第一鋼琴及小提琴奏鳴曲，作品12之1
貝多芬
富有生氣的快板 主題與變奏：流暢的行板 迴旋曲：快板
浦羅哥菲夫
F小調第一小提琴及鋼琴奏鳴曲，作品80 非常行板 粗獷的快板 行板 快而活躍的 — 像原來的非常行板
小提琴： 薛高維茨基 鋼琴： 李嘉齡（駐團藝術家 2010-2011）
－中場休息15分鐘－
香港小交響樂團 Hong Kong Sinfonietta 問卷調查 Audience Survey
孟德爾遜
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.
小提琴： 薛高維茨基、格德霍特、金仁善、李海南 中提琴： 陳子信、卞思琦 大提琴： 張培節、貝樂安
中庸的快板，但火熱的 行板 諧謔曲：非常輕鬆的快板 急板
Programme
Beethoven
Sonata for Piano & Violin No 1 in D, Op 12 No 1
Prokofiev
Sonata for Violin & Piano No 1 in F minor, Op 80
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.
降E大調八重奏，作品20
Violin: Piano:
Allegro con brio Tema con variazioni: Andante con moto Rondo: Allegro
Andante assai Allegro brusco Andante Allegrissimo– Andante assai come prima
Dmitry Sitkovetsky Colleen Lee (HKS Artist Associate 2010-2011)
– 15-minute intermission –
Mendelssohn Octet in E-flat, Op 20
Allegro moderato, ma con fuoco Andante Scherzo: Allegro leggierissimo Presto
支持 With support from
Violin: Viola: Cello:
Dmitry Sitkovetsky, James Cuddeford, Kim In-sun, Le Hoai-nam Elvis Chan, Christina Bean Chang Pei-chieh, Laurent Perrin
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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。
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」，更多面向推廣古典
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Concerts》，在香港別具特色的旅舍拍攝，拓展古
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。
音樂。樂團亦針對不同年齡的觀眾，舉辦多套別樹
樂團2002年至2020年由著名指揮家葉詠詩擔任音
一格的普及音樂會，包括《寶寶/幼兒愛音樂》、
樂總監，期間致力推動本地古典音樂發展。葉詠詩
《古典音樂速成》、 《古典音樂知多少》和《我個名
現為樂團的桂冠音樂總監，她將會在樂團委任新總
叫麥兜兜．古典音樂小計劃》等節目，而且不限於
監前，與首席客席指揮柏鵬一起負責樂團藝術發展
音樂廳等場地，例如網上室樂系列《Tiny Galaxy
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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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 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. 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. Given his unmatched ability to turn any project into a highly anticipated artistic event, Sitkovetsky has
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 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 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. 5
鋼琴 Piano
李嘉齡 Colleen Lee
駐團藝術家 HKS Artist Associate 2010-2011
琴與蕭邦短篇》作現場演奏，廣受各界好評。李嘉 齡亦曾兩度受邀於維也納及香港演出「貝多芬鋼琴 奏鳴曲馬拉松」。她又於2018年上海音樂學院當代 音樂周中以獨奏者身份與香港創樂團同台演出。 近年重點演出包括與歷圖指揮的倫敦交響樂團合作 獻演。 李嘉齡熱愛室樂，經常於室樂音樂會中演出，她曾 與多位享譽國際的音樂家合作，包括小提琴家寧 峰、姜東錫、大提琴家李垂誼、米勒索特、克亞尼 瑟夫以及上海弦樂四重奏。李嘉齡亦為 2018 年成 立的香港電台室樂演奏家成員。 李嘉齡生於香港，四歲開始學習鋼琴，於香港演藝 學院就讀期間隨黃懿倫學習，後負笈德國漢諾威音 樂及戲劇學院深造，師事瓦迪。她獲得的獎項包 括：第三屆德國賽樂爾國際鋼琴比賽冠軍、 2003 年麥肯齊藝術家成就獎、第 15 屆意大利國際協奏 曲比賽季軍及樂評和觀眾獎，亦是第一屆香港國際 鋼琴比賽、樂府國際音樂大獎、真娜．巴侯雅國際 鋼琴大賽、仙台國際音樂比賽以及第 16 屆西班牙 桑坦德國際鋼琴比賽等項目的獎項得主。 李嘉齡自2005年獲得波蘭第15屆蕭邦國際鋼琴大 賽第六名後，便正式踏上國際舞台。她頻繁的演奏 足跡遍及歐亞及北美各地，除獨奏演出外，亦經常 與世界知名的樂團合作獻演，包括以色列愛樂、華
集、史卡拉蒂奏鳴曲全集，以及與香港小交響樂團 合作的《就是古典音樂3》。
沙愛樂、西班牙加利西雅皇家愛樂、日本仙台愛樂
李嘉齡曾獲民政事務局局長頒發嘉許狀，以及獲頒
管弦樂團、中國愛樂、廣州交響樂團、武漢愛樂樂
行政長官社區服務獎狀和香港藝術發展局藝術新秀
團、上海交響樂團、香港小交響樂團及香港管弦樂
獎，以表彰她在音樂領域的傑出成就及在推廣藝術
團等。2010/2011樂季她獲香港小交響樂團邀請出
文化方面的超卓貢獻。
任駐團藝術家，亦曾隨樂團遠赴南美、意大利及台
李嘉齡現為香港教育大學的榮譽駐校藝術家，並任
灣巡演。
教於香港演藝學院及香港浸會大學。
李嘉齡亦為多個大型音樂節的常客，曾參與的音樂 節包括波蘭蕭邦國際音樂節、格但斯克音樂節、意 大利阿西西音樂節、德國邁森鋼琴音樂節、紐約國 際鍵盤音樂節、鮑登國際音樂節、芬蘭埃斯波音樂 節等。她於第 42 屆香港藝術節中為動畫《魔法鋼 6
李嘉齡推出過的專輯包括由蕭邦學會發行的蕭邦全
Since winning the 6th Prize at the 15th
Quartet. She is also a member of the RTHK
International Frederic Chopin Piano Competition,
Chamber Soloists which was formed in 2018.
Colleen Lee has performed extensively throughout Asia, Europe and North America in solo recitals and with orchestras such as the Israel Philharmonic Orchestra, Warsaw Philharmonic Orchestra, Galacia Royal Philharmonic Orchestra, Sendai Philharmonic Orchestra, China Philharmonic Orchestra, Guangzhou Symphony Orchestra, Wuhan Philharmonic Orchestra, Shanghai Symphony Orchestra, Hong Kong Sinfonietta and Hong Kong Philharmonic, among others. Lee was the Artist Associate of Hong Kong Sinfonietta in 2010/2011, and has toured with the orchestra in South America, Italy and Taiwan.
Born in Hong Kong, Lee started her piano lessons at the age of four. Subsequently she was trained at the Hong Kong Academy for Performing Arts (HKAPA) under Eleanor Wong and at the Hochschule für Musik, Theater und Medien in Hannover with Arie Vardi. She won the First Prize at the 3rd Seiler International Piano Competition in Kitzingen, Germany, the 2003 Dorothy Mackenzie Artist Recognition Award, Third Place and Critic and Audience Prizes at the 15th International Competition for Piano and Orchestra in Cantú, Italy, and was a prize winner at the 1st Hong Kong International Piano Competition, the Pro Musicis
She has also been a featured artist at several
International Award, Gina Bachauer International
international music festivals including the
Artist Competition, Sendai International Music
International Chopin Festival in Duszniki and
Competition, and the 16th Santander International
Gdansk in Poland, Assisi International Piano Festival
Piano Competition in Spain.
in Italy, Meissen Pianoforte Festival in Germany, International Keyboard Festival in New York, Bowdoin International Music Festival and Musicus Fest in Espoo, Finland. Her performance of the “Magic Piano and Chopin Shorts” animation series at the 42nd Hong Kong Arts Festival had garnered rave review. She was invited to perform twice in the “Beethoven Piano Sonatas Marathon” in Vienna and Hong Kong. She appeared as soloist with the Hong Kong New Music Ensemble in the 2018 Shanghai New Music Week. In 2019, she made her début with London Symphony Orchestra under Simon Rattle. As an enthusiastic chamber musician, Lee frequently appears in chamber music concerts and has also collaborated with world famous instrumentalists including violinists Ning Feng amd Kang Dong-suk, cellists Trey Lee, Daniel Müller-
Her discography includes an all-Chopin album recorded on the Pleyel Piano released by the Fryderyk Chopin Institute, and a complete Scarlatti Sonatas album by Naxos. She was also featured on the Hong Kong Sinfonietta DECCA album This is Classical Music 3. In recognition of her outstanding achievements in music and in the promotion of arts and culture, she has been awarded Certificate of Commendation by the Secretary of Home Affairs, Commendation for Community Service by the Hong Kong Government and Young Artist Award by the Hong Kong Arts Development Council. Currently Lee is the Honorary-Artist-in-Residence of The Education University of Hong Kong and on the piano faculty of HKAPA and Hong Kong Baptist University.
Schott and Alexander Kniazev, and the Shanghai 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 海頓的首次英國之旅，來回都途經貝多芬的家鄉波恩，讓年輕的貝多芬能兩次遇上這 位奧地利作曲大師，並決心跟他學藝。1792年，貝多芬到達維也納，初到該地的他， 需要證明自己是一位才華洋溢的作曲家兼鋼琴家。因此，貝多芬早期出版的作品，涉 獵多種室樂和器樂曲類，希望以此逐步建立他的名聲。他第一套「正式的」作品是三 首鋼琴三重奏，以作品 1 的編號出版。然後是三首鋼琴奏鳴曲（作品 2）。不久又推出 了單獨成篇的作品7和另三首鋼琴奏鳴曲（作品10），弦樂三重奏（作品3，《小夜曲》 作品 8 和作品 9 的三首作品）、一首弦樂五重奏（作品 4）、兩首大提琴奏鳴曲（作品 5）、一首為鋼琴四手聯彈創作的奏鳴曲（作品6）、為單簧管或小提琴以及大提琴和鋼 琴撰寫的《街頭之歌》（Gassenhauer）三重奏（作品11）等不同種類的樂曲也很快接 踵而來。直至 1797年，他才轉向小提琴奏鳴曲，頭三首以作品 12的編號於1799年出 版，稍後，他又嘗試室樂的頂尖曲種，寫出了六首弦樂四重奏（作品 18），並將之題 獻給海頓。這些早期作品，很多都是受委約而寫的，由此可見貝多芬已聲名鵲起。 和貝多芬歡騰的作品形成最佳對比的，是浦羅哥菲夫的F小調小提琴奏鳴曲，通常都被 認為是他的第一奏鳴曲，雖然它是在其第二小提琴奏鳴曲首演之後才完成的。 1938年，在偉大的蘇聯小提琴家奧伊斯特拉赫（David Oistrakh）游說下，浦羅哥菲夫 著手起草F小調第一奏鳴曲，但卻被其他計劃延誤了，包括他的歌劇《戰爭與和平》、 芭蕾舞劇《仙履奇緣》 、為愛森斯坦的電影《亞歷山大．涅夫斯基》 （Alexander Nevsky） 和《伊凡雷帝》（Ivan the Terrible）撰寫的配樂，以及第五交響曲。1943年，他也寫 了另一首充滿陽光氣息的長笛奏鳴曲，樂曲在哈薩克開始創作，同年夏天於烏拉爾 （Urals）完成，並在12月7日於莫斯科首演。 奧伊斯特拉赫瞬即向浦羅哥菲夫提議，長笛奏鳴曲也同樣可作為小提琴奏鳴曲。因 此，在奧伊斯特拉赫的直接幫助下， D 大調小提琴奏鳴曲就成形了，兩首的作品編號 都是94，而後者則多加了bis一字，以與原來的長笛奏鳴曲區分開來，此外它也被稱為 第二小提琴奏鳴曲，雖然第一首還沒完成。那首陰沉的奏鳴曲，和 D 大調那一首對比 鮮明，而且是浦羅哥菲夫最晦暗的出品之一。它很大原因是受到作曲家心臟病發所影 響，之後在1945年1月，他又因此摔倒，導至頭部受創。 從浦羅哥菲夫的後期作品，我們轉到19世紀其中一位最天才橫溢的作曲家 — 孟德爾遜。 他的祖父是德國的哲學之父（Moses Mendelssohn），而他自己同時也是一位相當優秀 的畫家、作家和指揮家。雖然他早年已寫出了12首弦樂交響曲、第一交響曲（1824） ， 1825 年之後又創作了歌劇《卡馬喬的婚禮》（The Wedding of the Camacho）和 9
《仲夏夜之夢》序曲，還有一直大受歡迎的弦樂八重奏，不過，孟德爾遜在柏林大學 （1826–1829）進修之前，並沒有選擇音樂作為職業。 從柏林大學畢業後，在 1829 年，孟德爾遜像 19 世紀很多教育背景良好的富家子弟 （他父親是銀行家）一樣，開始漫遊歐洲。他先前往英國，然後回到德國和奧地利， 再造訪意大利。他「業餘」的成就包括指揮了自巴赫去世後便沒公演過的《聖馬太受 難曲》（St Matthew Passion） ，以及為貝多芬的第五鋼琴協奏曲「皇帝」作英國首演， 該演出在倫敦大獲好評。 孟德爾遜並不只學習鋼琴，他也是一位小提琴家。1825年10月17日，他在其小提琴 老師里茨（Eduard Rietz）23 歲生日那天，把早兩天才完成的弦樂八重奏作為禮物題 獻給他。而里茨在孟德爾遜所交遊的人士中，已不算耀眼。在他12歲的時候，孟德爾 遜認識了已 70 多歲的德國大文豪歌德。在 1825 這忙於創作的一年，孟德爾遜的父親 又把他介紹給遠道而來的意大利作曲家凱魯比尼（Luigi Cherubini）。他對這位男孩甚 為讚賞，雖然孟德爾遜反過來對他並不怎麼恭維。事實上，孟德爾遜自稱其八重奏中 的諧謔曲，是受到歌德的《浮士德》中「女巫的安息日」 （Walpurgisnacht）最後一段 所啟發，它形容疾風如何把這個惡魔般的節日驅散了。
貝多芬（1770–1827）
芬與小提琴家朋友舒鵬齊格（Ignaz Schuppanzigh）
D大調第一鋼琴及小提琴 奏鳴曲，作品12之1
演出。其終樂章，有人也認為和貝多芬第一首創作
富有生氣的快板 主題與變奏：流暢的行板 迴旋曲：快板
章中的主題頗為相似。 作品 12 的三首小提琴奏鳴曲都有三個樂章， D 大 調的第一首，開始時就像一首練習曲：一個強而有 力的D大調和弦，然後沿著和弦作三步的上揚及下
不計《街頭之歌》，貝多芬總共寫了10首小提琴奏
降。之後第一主題才靜靜進入，小提琴在鋼琴的
鳴曲。繼作品 12（1799 年出版，題獻給宮廷作曲
8分音奔跑中繞行。開首的「練習曲」偶然重現，
家薩里埃尼）的三首之後，另外六首在接下來幾年
同樣重複的是小提琴和鋼琴之間彈跳的粗獷的回應
陸續面世：三首單一的作品（作品23「春」，作品
樂句。整個呈現部重複了一遍，然後音樂轉到 F 大
24 和作品 47「克萊采」）夾著另外的作品 30 三
調，進入較為神秘的發展部，讓經常奏得頗微弱的
首，後者寫於 1802 年，題獻給俄國的沙皇亞歷山
主題聽起來稍不穩定，直至再現部和最後一次的彈
大一世。將近10年後，貝多芬才於1812年寫出最
跳樂句，才平穩地結束了樂章。
後一首奏鳴曲（作品96）。
10
的鋼琴協奏曲（出版時的編號卻是第二）原來終樂
A大調的慢樂章由主題和四個變奏組成。小提琴在
初出版時，三首作品 12 的奏鳴曲標題是「為古鍵
鋼琴的引子之後奏出了主題。在第一個變奏，鋼琴
琴或鋼琴，與小提琴而寫」，儘管貝多芬已把這類
改變了主題，小提琴再加上小小的裝飾。在第二變
樂曲的小提琴部份寫得更為有趣。其中一首應該趕
奏，小提琴將主題演繹成上行的 16 分音符，而第
及一場於 1798 年 3 月 28 日舉行的音樂會，由貝多
三變奏則轉到A小調，鋼琴帶出的下行滾動顯得相
安的樂章展開，當中氣氛的營造較旋律性更為明
當有戲劇性，接著再由小提琴接過。但這風暴維時
顯。兩種樂器都在較低的音域演奏，直至裝了弱音
很短，樂章很快回到A大調，第四變奏變得較為安
器的小提琴，奏出花腔式的奔跑樂句，浦羅哥菲夫
祥，將樂章帶往靜謐的收結。
在此的標示是「冷」（freddo），並對奧伊斯特拉赫
在終樂章迴旋曲，鋼琴帶出輕盈的擺動主題，跟著
說這就像「秋天傍晚的風，吹過被人遺棄的
馬上由小提琴接手。研究貝多芬的學者金德曼
墓地」。之後帶刺的小提琴撥弦音束步向不確定的
（William Kinderman）形容這是「像小丑般的」，
結尾。
且有一點鬧劇的感覺，特別是當小提琴的上行 16
C 大調第二樂章，標號是「粗獷」，因此一開始，
分音，是由鋼琴下行的奔跑對應著。中間有較多對
小提琴便奏起有刺的主題動機，追逐著鋼琴（或反
比的段落，樂調也不停地轉換（這將會是貝多芬後
過來），直至鋼琴帶頭突破一道道音符的狙擊，小
來的一種創作特色），但小丑般的滑稽（以及主樂
提琴則闖進更長、更慢的主題，由繁忙的鋼琴伴奏
調）始終緊隨，它們最後把貝多芬的第一小提琴奏
著。這個樂章從沒安靜下來，一直在多個段落中旋
鳴曲帶到激動人心的終點。
轉，即使在由小提琴加入鋼琴帶有裝飾的12小節2 分音段落也是如此，之後隨即是更慢的「較為安祥 的」段落，而鋼琴和小提琴也少有地一起以齊奏展 開。帶刺的主題動機始終徘徊左右，主題也再次出 現，在結尾之前，小提琴兩次加上了上升的音階。
浦羅哥菲夫（1891–1953）
F小調第一小提琴及鋼琴 奏鳴曲，作品80 非常行板 粗獷的快板 行板 快而活躍的 – 像原來的非常行板 浦羅哥菲夫的兩首小提琴奏鳴曲都題贈給奧伊斯特 拉赫，可見作曲家與小提琴家之間的友誼。奧伊斯 特拉赫與固定的鋼琴伴奏拍檔奧博林（Lev Oborin），於 1946 年 10 月 23 日在莫斯科音樂學院 首演了第一奏鳴曲，這是在第二奏鳴曲的首演的三 年後。浦羅哥菲夫兩日後聽了第一奏鳴曲的第二次 演出，聽眾中包括史太林獎委員會。幸好他們都認 為作品相當優秀，將之形容為「蘇維埃音樂的驕傲」 （引自 Simon Morrison ， The People’s Artist – Prokofiev’s Soviet Years ， Oxford University Press，2009年，頁278）。 樂曲有四個樂章，嚴肅與粗獷交替出現，但長度都 差不多。開首是 3/4 和 4/4 拍的交替小節，鋼琴陰 沉的下降句子，帶出了小提琴低音的顫音。之後不
F 大調的慢樂章回到首樂章的情調，裝上了弱音器 的小提琴顯得甚為飄逸，它接過由鋼琴在開首三小 節奏出的 16 分三連音，然後帶出緩緩發展的主 題，將樂章編織起來。它就如輕輕的嘆喟，與浦羅 哥菲夫不久前為愛森斯坦撰寫的電影配樂《亞歷山 大．涅夫斯基》中的女中音獨唱「死者的田野」， 還有從電影配樂中抽取寫成的清唱套曲（作品78） 的倒數第二樂章很相近。一段打顫的小提琴音型和 抖動的顫音，將樂章帶到了結尾。 終樂章最終回到奏鳴曲最開頭的情調，它也像第一 樂章那樣，採用了不一般的拍號：5/8 、 7/8 和8/8 堆在一起。三個四小節的短句，每個都以響亮的和 弦結束，帶出了小提琴的撥弦。之後是較安靜的發 展段落，鋼琴在小提琴之前接過主題，但隨後小提 琴的撥弦樂句再把樂曲帶回開頭。最後音樂從 F 大 調進入 F 小調的「稍慢」段落，伴隨著鐘鳴般的鋼 琴和弦，小提琴以上行音階盤旋而去，並採用了三 連音。之後樂章再回到第一樂章「風中的墓地」那 段，讓奏鳴曲在一陣悄悄的耳語中完結。 七年後，奧伊斯特拉赫與鋼琴家費恩伯格（Samuil Feinberg），在浦羅哥菲夫的葬禮上演奏了這首奏 鳴曲的第一和第三樂章。他與史太林一樣，在 1953年3月5日那天逝世。 11
孟德爾遜（1809–1847）
降E大調八重奏，作品20 中庸的快板，但火熱的 行板 諧謔曲：非常輕鬆的快板 急板
作曲家的姊姊芬妮（Fanny）提及歌德對 G 小調諧 謔曲的影響，而這很自然地也成為了他最喜愛的單 獨樂章之一，和其華麗莊嚴的《仲夏夜之夢》有很 清晰的關連。當然，這首名作中也有一首著名的諧 謔曲（雖然為該劇撰寫的插曲在序曲面世之後 17 年才完成）。八重奏的諧謔曲由悄悄跳躍的音符嘶 嘶地推動，在此感人的主題出現了，與調皮的樂句
無論是否刻意而為，孟德爾遜的弦樂八重奏創造了
一起在樂器組合之間上下穿越。簡短的發展部更為
一種新的室樂曲種。它並不像施波爾（Louis Spohr）
詭異，但整體上，樂曲的動力從沒鬆懈。而在最後
之前創作、把兩組四重奏加在一起的雙四重奏，而
幾小節，音域越攀越高，音量也越來越輕，來到最
是四把小提琴、兩把中提琴和兩把大提琴的和諧作
後的和弦時，音樂就像被蒸發了一樣。
品。他指示「所有樂器要以交響樂的心態」去演 奏，「弱音和強音必須很準確和明顯地分開，比同 類的作品要做得更為突出。」像他同年創作的《仲 夏夜之夢》序曲一樣，弦樂八重奏充滿了旋律和音 樂的創新元素：令人難忘的調子一個接一個出現。 如果你之前對作品並不認識，在聽過一次演奏後， ��你的���會整�響著這些調子。 和浦羅哥菲夫各樂章長度相約的第一小提琴奏鳴曲
終樂章以急匆匆的樂音展開，實際上這是由中提 琴和大提琴構築起來的賦格曲，中間還有一段回 到諧謔曲。孟德爾遜也引用了韓德爾《彌賽亞》 中著名的「哈利路亞」合唱曲的一句音樂（「祂將 永遠永遠主宰」），讓重疊的獨奏線條全都加進 去。而這些都是轉瞬即逝，充份展示出孟德爾遜 熟練的賦格技巧。最後，所有樂器一起競相衝向 了末尾的四小節。
不同，孟德爾遜的弦樂八重奏首樂章比其他任何兩 個樂章加起來都要長，毫不費力地營造了他想要的 交響樂效果。在稠密的弦樂伴奏下，第一小提琴奏 出三組上升的琶音，接著是一串 16 分音下行樂 句，這些元素貫串了整個輝煌的第一樂章。它又在 大提琴接過上升的主題動機前馬上重複，而稍為不 那麼流動的第二主題與之形成了對比。透過這些核 心元素， 16 歲的孟德爾遜塑造出第一樂章，就如 降E大調這一樂調所顯示那樣具有史詩氣質：貝多 芬的第三交響曲「英雄」，以及李察．史特勞斯的 《英雄的一生》都採用了這一樂調。呈現部重複了 一次之後，發展部以旋風般的姿態展開，帶出了甚 為安靜的中段，有點像反省一樣，繼而第二小提琴 和第一中提琴的 16 分音符慢慢推進，其他樂器及 後加入，一起進入高揚的再現部。 隨後是 6/8 拍的 C 小調慢樂章。一段憂愁的嘆喟， 由無間斷的 16 分三連音構成，在中段和下行樂句 一起營造出滿有希望的效果，大提琴的撥弦則柔和 地幫助樂曲推進。樂章最後以緩慢柔和的單一樂器 獨奏結束。
英文節目介紹：Nick Breckenfield 英國作家 Nick Breckenfield 專門撰寫節目介紹， 曾任whatsonwhen.com的古典音樂及歌劇版編輯13年， 現於支持青年音樂家的博萊蒂-布托妮信托基金會工作。
中文翻譯：行之
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Programme Notes Beethoven needed to prove his worth as a budding composer-pianist in his early days in Vienna, having arrived there in 1792, after he had met his future teacher Haydn twice as the great composer travelled, via Beethoven’s hometown of Bonn, to and from Britain for his first visit. Thus, Beethoven’s early published works show him steadily working through various chamber and instrumental genres to help make his name. His first “official” works were three piano trios, published as his Op 1. Then there were solo piano sonatas (three again, Op 2) followed soon after by the stand-alone Op 7 and another trio of sonatas, Op 10. String trios (Op 3, the Serenade Op 8 and a trio of works Op 9), a string quintet (Op 4), two cello sonatas (Op 5), a sonata for piano four hands (Op 6) and the Gassenhauer Trio for clarinet or violin, with cello and piano (Op 11) quickly followed as Beethoven extended his range. Only then, in 1797, did he turn to violin sonatas, the first three of which he published as his Op 12 in 1799 and, later still, first dabbling in the pinnacle of chamber music – the string quartet – with his six Op 18 works, dedicated to Haydn. Many of these early works were commissioned, which goes to show how Beethoven’s reputation was spreading. Nothing could be more contrasting to Beethoven’s ebullience than Prokofiev’s F minor Violin Sonata, which has always been known as his First, even though it was not completed until after what we know as his Second Violin Sonata had been premiered. Intriguingly that “Second” Sonata was in the key of D, so we have the same key relationship in our pairing tonight. Soon after returning to Russia after his years in Europe and America, Prokofiev – in 1938 – started sketching a Violin Sonata in F minor after being persuaded by the great Soviet violinist David Oistrakh, but work was delayed with a number of projects including the opera War and Peace, the ballet Cinderella, the film scores to Eisenstein’s Alexander Nevsky and Ivan the Terrible, and his Fifth Symphony. He also turned to a sunny Flute Sonata in 1943, which was started in Kazakhstan and completed that summer in the Urals, receiving its première in Moscow on 7 December. Almost immediately, David Oistrakh suggested to Prokofiev that the Flute Sonata would work equally well as a Violin Sonata. Thus, with Oistrakh’s direct help, the D major Violin Sonata was fashioned, and became known both as Op 94 bis – to distinguish it from the original flute version – and as Violin Sonata No 2, even though the First was not yet completed. That dour work – to which the D major Sonata is a corollary – is one of the darkest in Prokofiev’s output, very much affected by the heart attack and subsequent fall, suffered by him in January 1945, which resulted in head injuries, From a late work in Prokofiev’s career, we move on to one of the youthful gems by one of the 19th century’s most remarkable geniuses, Felix Mendelssohn. From a family boasting the father of German Philosophy (Moses Mendelssohn, Felix’s grandfather), Felix was an extremely good painter, writer and conductor. Despite his 12 string symphonies, First Symphony (1824) and, 13
from 1825, not only an opera, The Wedding of the Camacho, and his A Midsummer Night’s Dream overture, but also his ever-popular String Octet, Mendelssohn did not finally choose music as a career until he attended Berlin University (1826–1829). Straight out of Berlin University, in 1829 Mendelssohn followed the 19th century’s example to well-educated and wealthy young men (his father was a banker) and started a grand tour around Europe, which took him first to Britain, then round Germany, Austria, and finally to Italy. His “amateur” achievements included conducting the first performance of Bach’s St Matthew Passion since the composer’s death, and giving the British première of Beethoven’s “Emperor” Concerto (No 5), which was received with wide public acclaim in London. But Mendelssohn had not just studied piano – he was also a violinist, and he dedicated his String Octet to his violin teacher, Eduard Rietz, on the occasion of Rietz’s 23rd birthday on 17 October 1825, having finished it just two days before. And Rietz was only a lesser luminary in Mendelssohn’s acquaintance. When he was only 12 he had met the great German man of letters, Johann Wolfgang von Goethe, who was in his 70s and, in that busy compositional year of 1825, Mendelssohn’s father Abraham took his son to meet the great Italian (but far-travelled) composer Luigi Cherubini, who was enthusiastic about the boy (even if Mendelssohn was not quite as complimentary back). Indeed Mendelssohn reported that the Scherzo of the Octet was inspired by the final stanza of the “Walpurgisnacht” (Witches’ Sabbath) sequence from Faust, describing how gusts of wind blow the remnants of the diabolical festivities away.
Ludwig van Beethoven (1770–1827)
Sonata for Piano & Violin No 1 in D, Op 12 No 1 Allegro con brio Tema con variazioni: Andante con moto Rondo: Allegro In all, Beethoven composed 10 violin sonatas, not counting the Gassenhauer. Another six followed the three of Op 12 (published in 1799, dedicated to court composer Antonio Salieri) over the next handful of years: three single works (Op 23, “Spring” Op 24 and “Kreutzer” Sonata Op 47) flanking the three Op 30 sonatas, dedicated to Tsar Alexander I of Russia in 1802. There was then a lengthy gap of nearly a decade before Beethoven’s last violin sonata Op 96 (1812). 14
When originally published the three Op 12 sonatas were titled “for harpsichord or piano, with violin”, though Beethoven was already changing the scope of the genre to make the violin part much more interesting. One of the three was probably finished in time for Beethoven to accompany his violinist friend Ignaz Schuppanzigh at a concert on 28 March 1798, while the finale of the first sonata bears a resemblance to the theme of what is thought to have been the original finale of Beethoven’s first-composed (though published second) piano concerto, discarded (and now known as WoO 6) before it was published as his Second Piano Concerto, Op 19. All three violin sonatas of Op 12 are in three movements and the first, in D, opens with what sounds like an exercise: a forceful chord, then a
three-step rise, up the D major triad, followed by coming down the triad in reverse steps. Only then does the first theme enter quietly, the violin meandering over piano running quavers. The opening “exercise” returns occasionally, as does a similarly strident answering phrase ricocheted between violin and piano. The whole exposition is repeated, before a key change to F major for the more mysterious development, which worries the main themes – often quietly – until the recapitulation and a final ricocheting phrase to end. The slow movement is a theme with four variations in A, the violin offering the theme after a piano introduction. In the first variation the piano varies the theme, with the violin eventually offering little ornamental glosses. The violin filters the theme through rising semiquavers in the second variation, while the third turns to A minor and is much more overtly dramatic with downward cascades introduced by the piano, then taken up by the violin. But the storm is relatively short-lived and, back in A, the fourth variation is gently consoling, leading to the hushed close. A gently rollicking theme is introduced by the piano in the rondo finale, immediately repeated by the violin. Beethoven scholar William Kinderman describes this as “clownish” and it has a slapstick quality, especially when the violin’s upward semiquaver runs are matched by the piano’s downward runs. There are slightly more contrasting sections and departures to a bewildering set of key changes (indicating what was to become a typical Beethoven trait), but the clownish antics (and the home key) are never far away and bring Beethoven’s first violin sonata to a rousing close.
Sergei Prokofiev (1891–1953)
Sonata for Violin & Piano No 1 in F minor, Op 80 Andante assai Allegro brusco Andante Allegrissimo– Andante assai come prima Both of Prokofiev’s violin sonatas were dedicated to David Oistrakh: an indication of the composer’s friendship with the violinist. Accompanied by his regular piano partner, Lev Oborin, Oistrakh premiered the First Sonata at the Moscow Conservatoire on 23 October 1946, three years after the Second Sonata. Prokofiev heard the repeat performance two days later, when the audience also included members of the Stalin Prize Committee. Thankfully they eventually decided it was exceptional, describing it as “the pride of Soviet music” (quoted in Simon Morrison’s The People’s Artist – Prokofiev’s Soviet Years, Oxford University Press, 2009, p278). Cast in four movements, serious and strident by turns but all of similar length, the Sonata opens with alternating bars of 3/4 and 4/4, a sombre downward tread from the piano ushering low tremolos from the violin. Eventually an uneasy movement gradually develops – though more atmospherically than melodically. The instruments play mostly at the lower ends of their pitches, until the violin, now muted, runs with melismatic passages which Prokofiev marked freddo (“cold”) and described to Oistrakh as being like an “autumn evening wind blowing across a neglected cemetery grave”. Later, spikey pizzicato violin clusters lead to the uncertain ending. The second movement, in C, is marked “brusquely” and so it opens, with stabbing motifs, violin chasing piano (or the other way round), until the piano leads the way in breaking out of the alternating barrage of notes, and the violin digs into a longer, slower-sounding theme with busy piano passagework beneath. This music never 15
stands still and pirouettes through various sections, even in the 12-bar passage of grace-noted minims introduced by the violin and joined by the piano, shortly before the slower Poco più tranquillo section – again rare in that the piano and violin start off in unison. The stabbing motifs are never far away, and the main themes are recapitulated, the violin adding upward scales twice before the very end. The F major slow movement returns to the mood of the opening movement, with the ethereal violin muted, taking up the triplet semiquavers which the piano has introduced in the first three bars, before offering a slowly developing theme to weave through the movement. It is like a hushed lament, not far from the mezzosoprano solo “The Field of the Dead” from Prokofiev’s recently composed film score to Eisenstein’s Alexander Nevsky, and the penultimate movement of the cantata he extracted from the film score, Op 78. A stuttering violin figure and oscillating tremolos bring the movement to a close. The Finale – eventually returning to the mood of the sonata’s very opening – also follows the first movement by adopting an unusual time signature: here it is a repeated three bars of different lengths – 5/8, 7/8 and 8/8. Three four-bar patterns, each ending in a loud chord, usher in a pizzicato passage for the violin. Quieter reaches develop, with the piano taking the theme before the violin, but then violin pizzicato phrases build up to a return of the opening. On the movement ranges. Ultimately the music moves into F minor (from F major) – Poco meno – the violin spiralling away in an upward scale and adopting triplets, over bell-like piano chords. This melts into a return to “wind in the graveyard” music from the first movement for the sonata to end in a low whisper. Barely seven years later, Oistrakh with pianist Samuil Feinberg, played the first and third movements of this sonata at Prokofiev’s funeral – he had died the very same day as his nemesis Joseph Stalin on 5 March 1953. 16
Felix Mendelssohn Bartholdy (1809–1847)
Octet for Strings in E-flat, Op 20 Allegro moderato, ma con fuoco Andante Scherzo: Allegro leggierissimo Presto Whether he meant it or not, Mendelssohn invented a new chamber genre with his String Octet. It was not a double quartet as Louis Spohr had been composing – two string quartets in contention with each other; rather it was a harmonious work for four violins, two violas and two cellos, which he instructed to be played “by all instruments in a symphonic manner; the pianos and fortes must be separated very exactly and distinctly and be made to stand out more than usual with pieces of this kind”. Like the Shakespeare overture (A Midsummer Night’s Dream) from the same year, the String Octet bursts with melodic and musical invention: memorable tunes tumbling over each other. If you do not already know the work, a performance is guaranteed to send you out into the night with them forever popping into your mind. Unlike Prokofiev’s even-length movements of his First Violin Sonata, Mendelssohn’s opening movement of his String Octet is more than twice the length of any pair of the remaining movements combined, effortlessly achieving the symphonic breadth he was aiming for. From dense accompanying string textures, the first violin bursts forth with three sets of rising arpeggios followed by a semiquaver descent which pervades the whole of the glorious first movement. It is immediately repeated before the cellos take up the rising motif, while a less roving second subject provides contrast. From these kernels, the 16-year-old Mendelssohn fashions his first movement, as epic as his choice of E-flat would indicate: think of Beethoven’s Eroica Symphony (No 3) which is in E-flat – and later – Richard Strauss’ Ein Heldenleben
(A Hero’s Life), also in E-flat. After the exposition repeat, a stormy start to the development leads to a much quieter central passage, somewhat reflective before second violin and first viola semiquavers gradually build with all the other instruments joining to make way for the soaring recapitulation. The C minor slow movement in 6/8 comes next. A melancholy lament, characterised by unceasing triplet semiquavers, achieves a more hopeful effect in the central section with descending phrases, and a pizzicato cello line moving the music gently on. The movement ends with gently slowing and single instrument solos. It was the composer’s sister, Fanny, who wrote about Goethe’s influence on the G minor Scherzo, and this has unsurprisingly become one of Felix’s favourite stand-alone movements, with clear connections to the filigree majesty of his A Midsummer Night’s Dream music where – of course – there is another famous Scherzo (even though the incidental music to the play was written 17 years after the miraculous overture). The Octet’s Scherzo fizzes with hushed galloping movement, out of which the infectious theme naturally arises, with much playful passing of phrases up and down the ensemble. The short development is even more eerie but, in general, the propulsive accompaniment hardly relents, and – in the last few bars – builds ever higher but ever quieter to the final chord, as if the music has evaporated. The Finale opens with a headlong surging rush, in effect a fugue building from violas and cellos, and there is a return to the Scherzo as well, let alone a quote from the “Hallelujah” chorus from Handel’s Messiah (“And He Shall Reign for Ever and Ever”) for overlapping solo lines all mixed in. And all of this passes by in a flash, so inventive is Mendelssohn’s fugal dexterity, eventually all coming together for a race to the final four chords. © 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 田口美奈子
CHIN Hing-sang 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
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Miss Sandra W M Lee Mr Allan Leung Dr Yvonne Ou Dr & Mrs Arthur Van Langenberg 多位無名氏 Anonymous
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• 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
26
• • • • • • • • • • • • • • • •
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
Copl
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