House Prog: Hong Kong Sinfonietta & Adrien La Marca (27.3.2021)

27.3.2021 (星期六 Sat) 8pm

中提琴 Viola

香港大會堂音樂廳

拉．馬爾卡 Adrien La Marca

HK City Hall Concert Hall

小提琴 Violin

柏鵬 Christoph Poppen 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

“Heavenly trumpet sound.”

Die Welt

“Unbelievably stunning!”

Pizzicato

“Sergei Nakariakov must be a fish, who breathes with his gills!” © THIERRY COHEN

Münchner Merkur

鋼琴 Piano

李嘉齡 Colleen Lee

小號/柔音小號 Trumpet/Flugelhorn

納卡里亞科夫 Sergei Nakariakov 節目Programme

莫扎特 葛令卡/巴拉基列夫編 佛瑞 呂芙 布拉姆斯 Mozart Glinka/Balakirev arr Fauré Jeanine Rueff Brahms

E小調第21小提琴奏鳴曲，K304* 《雲雀》 《夢後》，作品7之1* 小號及鋼琴小奏鳴曲 降E大調圓號三重奏，作品40* Violin Sonata No 21 in E minor, K304* The Lark Trois Mélodies, Op 7: No 1 Après un Rêve* Sonatine for Trumpet & Piano Trio in E-flat for Horn, Violin & Piano, Op 40*

*（Arranged for Flugelhorn 柔音小號版本）

30.4.2021 (星期五 Fri) 8pm

元朗劇院演藝廳 Yuen Long Theatre Auditorium $400, $280, $160

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

© YVONNE CHAN

（駐團藝術家 HKS Artist Associate 2010-2011）

小提琴 Violin

格德霍特 James Cuddeford

4.5.2021 (星期二 Tue) 8pm

西九文化區戲曲中心大劇院 Grand Theatre, Xiqu Centre West Kowloon Cultural District

© THIERRY COHEN

$450, $320, $180

「小號界的帕格尼尼」神級演出再現！ 小號/柔音小號 Trumpet/Flugelhorn

納卡里亞科夫 Sergei Nakariakov

柴可夫斯基 柴可夫斯基 阿爾邦 柴可夫斯基 Tchaikovsky Tchaikovsky Arban Tchaikovsky

《尤金．奧涅金》 ：波蘭舞曲 洛可可主題變奏曲，作品33（柔音小號版本） 《威尼斯嘉年華》 （小號版本） C小調第二交響曲，作品17，「小俄羅斯」 Eugene Onegin: Polonaise Variations on a Rococo Theme, Op 33 (Adapted for Flugelhorn) The Carnival of Venice (Adapted for Trumpet) Symphony No 2 in C minor, Op 17, “Little Russian”

門票由4月4日起於戲曲中心票務處發售 Tickets available at Xiqu Centre Ticket Office from 4.4.2021 網上購票 Online Booking: www.westkowloon.hk 電話購票 Ticketing Booking: 2200 0022 節目查詢 Programme Enquiries: 2836 3336 | www.HKSL.org 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

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

葉詠詩 Yip Wing-sie

© YVONNE CHAN

節目Programme

獻辭 Message 第 49 屆香港藝術節思考「距離」 及「聯繫」的意義，我亦希望藉此 機會感謝一眾促成今天表演的支持 者，這場表演為我們提供難得的機 會，探索與他人聯繫的方法。 我衷心感謝香港特別行政區政府透 過康樂及文化事務署提供年度撥 款，以及香港賽馬會慈善信託基金 持續並堅定地支持我們，也感謝眾多企業贊助商、慈善 基金會以至個人捐助者，在這前所未有的挑戰中給予我 們莫大的幫助，與我們並肩同行。 亦要感謝一眾富有才華的藝術家傾力演出，令今天的 表演生色不少。同時也感謝觀眾的參與，令演出能圓滿 成功。

我連同藝術節團隊，很高興歡迎 閣下觀賞第 49 屆香港藝術節的 演出。 過去一年，香港以至世界情勢面臨 前所未有的變化，使我們都體會到 分離和孤獨的滋味。「遠在咫尺」 所指的，正是我們這種共同經歷的 感受。今屆藝術節的不少節目亦與 之呼應，身處各地的藝術家及觀眾，因為藝術節的演出 及活動而拉近彼此距離。另一方面， 「遠在咫尺」亦點 出所有優秀藝術作品擁有的奇妙力量：既能喚起最獨 特、深刻的個人感受和回應，但同時又能讓觀者一同分 享種種奧妙、感動、啟迪和鼓舞。今屆藝術節將呈獻眾 多演出，我衷心希望我們會一起體會藝術的奇妙力量。

希望你會在今天的演出中找到屬於自己的聯繫，並像 我一樣珍視這些連結。

此外，敬請留意一連串「加料節目」活動，為你在演出 以外打開新的觀賞角度，令觀賞體驗更豐富。請盡情 投入！

香港藝術節主席

香港藝術節行政總監

查懋成

何嘉坤

As we reflect on distance and connection in the 49th Hong Kong Arts Festival, I would like to thank everyone who has made this performance possible, giving us an invaluable opportunity to explore ways of connecting with others.

With all my colleagues, I am thrilled to welcome you to this performance in the 49th Hong Kong Arts Festival.

I am grateful to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention; and to The Hong Kong Jockey Club Charities Trust for its staunch and ongoing support. Thanks are also due to our corporate sponsors, charitable foundations and individual donors, who continue to stand by us in these unprecedented circumstances.

Sincere thanks also go to all of the participating artists, whose talent and dedication have gone into today’s performance; and to you, the audience, without whom the show would not be complete.

Over the past year, we have shared the isolation resulting from unprecedented circumstances both in Hong Kong and around the world. “Separate Together” acknowledges what we have all been going through, and is referenced in a number of productions this year. It also alludes to all the separate artists and audiences brought together for performances and events.

At the same time, “Separate Together” describes one of the most magical aspects of great art: its capacity to elicit uniquely and deeply personal responses while paradoxically giving us a shared moment of wonder, to be moved, inspired and uplifted.

I hope very much that we will experience this together in many performances in the course of the Festival.

I hope you will find your own connection to today’s performance and will treasure it as much as I do.

Please also look out for ancillary PLUS programmes and events, which are curated to provide additional dimensions to the work presented, and enrich your Festival experience. Enjoy!

Victor Cha

Tisa Ho

Chairman, Hong Kong Arts Festival

Executive Director, Hong Kong Arts Festival

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莫扎特交響協奏曲 Hong Kong Sinfonietta & Adrien La Marca 小提琴 Violin #

中提琴 Viola *

柏鵬 Christoph Poppen

拉．馬爾卡 Adrien La Marca

節目

莫扎特

降E大調交響協奏曲，K364 *# 莊嚴的快板 行板 急板

布拉姆斯

G大調第二弦樂五重奏，作品111 *（室樂團版本） 不太快但富有活力的快板 慢板 小快板般 活潑但不太快的急板

Programme

Mozart

Sinfonia Concertante in E-flat, K364 *# Allegro maestoso Andante Presto

Brahms

String Quintet No 2 in G, Op 111* (Arranged for Chamber Orchestra) Allegro non troppo, ma con brio Adagio Un poco allegretto Vivace ma non troppo presto

支持機構 With support from

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.

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.

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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

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

的演奏稱譽本地及海外樂壇。

樂團自 2006 年起舉辦「駐團藝術家」計劃，邀請

自 1999 年起，香港小交響樂團經常與國際知名音

本地不同界別的藝術家與樂團緊密合作及交流，培

樂家及藝團合作，包括阿爾斯達德、法蘭、格林高

育新一代藝術家之餘更為古典音樂創造新的可能

特、赫姆森、麥米蘭、納卡里亞科夫、彭德雷茨

性。樂團灌錄過多套唱片，收錄不少華人作曲家的

基、凱拉斯、塞伊、馬林斯基大劇院芭蕾舞團、莫

優秀作品；由DECCA發行的三輯《就是古典音樂》

斯科大劇院芭蕾舞團、英國皇家芭蕾舞團、英國國

系列，均獲白金及金唱片佳績。雙 CD《一屋寶貝

家芭蕾舞團、美國芭蕾舞劇院、紐約市芭蕾舞團、

音樂廳》於2018年由DECCA出版。

斯圖加特芭蕾舞團及翩娜．包殊烏珀塔爾舞蹈劇場

樂團經常應邀作客海外，包括：美國紐約林肯中心

等。樂團亦經常應邀與本地藝術節及藝團合作，

羅斯劇院、加拿大多個以出色音效著稱的音樂廳；

如香港藝術節、法國五月、香港芭蕾舞團及香港歌

南美洲的巴西、阿根廷及烏拉圭；在歐洲計有法國

劇院等。 2018 年舉辦第一屆香港國際指揮大賽，

的拉羅克．昂迪榮國際鋼琴音樂節和蒙頓音樂節

吸引了310位來自49個國家及地區的參賽者。

等、德國東弗里斯蘭「浪潮」音樂節、波蘭貝多芬

香港小交響樂團自 2009 年起為香港大會堂的場地

復活節音樂節、意大利的米凱朗傑利國際音樂節和

伙伴，每樂季演出逾100場次。除了傳統的管弦樂

維琴察音樂節、葡萄牙馬爾旺國際音樂節、立陶宛

章外，樂團每年均委約作曲家為樂團譜新曲，並銳

的兩個音樂節、瑞士蘇黎世、日內瓦和弗里堡；北

意與不同界別的藝術家製作嶄新的跨界節目，

京第二屆中國交響樂之春（國家大劇院）、中國上

於2020年更躍進大銀幕，推出音樂電影《Back On

海國際藝術節（世博會「香港活動周」閉幕節

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

目）、韓國統營國際音樂節、新加坡、台灣、日本

大獲好評並數度加場。樂團深明培育下一代的重要

東京、金澤、長野、新潟和郡山等，並五度獲邀參

性，針對不同年齡的觀眾，舉辦多套別樹一格的普

與東京《

及音樂會，包括《寶寶愛音樂》、《幼兒愛音樂》、

樂團2002年至2020年由著名指揮葉詠詩擔任音樂

《古典音樂速成》、《古典音樂知多少》和《我個名

總監，期間致力推動本地古典音樂發展，拉近音樂

叫麥兜兜．古典音樂小計劃》等節目，又經常在音

與普羅大眾的距離。作為樂團的桂冠音樂總監，她

樂廳以外的場地舉行室樂及跨界音樂會，大大拓展

將會在樂團委任新總監前，與首席客席指揮柏鵬一

古典音樂觀眾的層面。近期推出的網上室樂系列

起負責藝術發展事宜。

》音樂祭演出。

One of Hong Kong’s flagship orchestras, Hong Kong Sinfonietta has achieved significant local and 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, Good Music for Kids, Know Your Classical Music, Short-cut to Classical Music and HKS McDull Music Project. The orchestra also frequently ventures into crossover initiatives, recently receiving wide acclaim for its groundbreaking concert films Back On Stage and Back On Stage II (Quarantined!) which landed in the cinemas and on other popular platforms. The orchestra also continues to break down barriers between music and audience with free chamber concerts held regularly at Hong Kong City Hall and beyond, recently presenting the Tiny Galaxy Concerts online series featuring performances recorded at unconventional and fascinating locations of Hong Kong.

Launched in 2006, the HKS Artist Associate scheme provides a platform for intensive collaboration with local artists from different arts disciplines to expand the horizon of classical music. The orchestra’s discography includes CDs of works by Chinese composers on HUGO, and three double-CD albums This is Classical Music on DECCA which have been awarded Platinum and Gold Records. In 2008, The Passage Beyond in Concert by Leon Ko, was released on DECCA. On tour, Hong Kong Sinfonietta has been invited to perform in North America in Canada and New York City; in Brazil, Argentina and Uruguay in South America; in Europe at prestigious festivals in France including Festival International de Piano La Roque d’Anthéron and Festival de Musique Menton, in Germany at Gezeitenkonzerte Ostfriesland, at Beethoven Easter Festival in Poland, in Switzerland at Tonhalle Zürich, Geneva Victoria Hall and Fribourg, at festivals in Italy including the Michelangeli Festival, in Portugal at the Marvão International Music Festival, and in Lithuania; in China at China Shanghai International Arts Festival (Expo 2010), in Beijing at the National Centre for the Performing Arts; in Japan at Tokyo Opera City, La Folle Journée in Tokyo and Niigata, Nagano, Kanazawa and Koriyama; in Korea at the Tongyeong International Music Festival and in Singapore at the Esplanade, and at National Concert Hall Taipei and National Taichung Theater.

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

Starting from May 2020, she takes on the new role of Music Director Emeritus. 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／ 首席客席指揮 Violin/Principal Guest Conductor

© HK SINFONIETTA LTD

柏鵬 Christoph Poppen

指揮家、小提琴家、室樂演奏家及音樂教育家柏鵬

此外，柏鵬經常為歌劇執棒，先後為斯圖加特國家

在國際音樂界中享負盛名，現任科隆室樂團首席指

歌劇院、法蘭克福歌劇院、科隆歌劇院、卡羅費利

揮及香港小交響樂團首席客席指揮。最近他出任首

切劇院、埃森音樂劇院及由魯爾三年展委約的新製

爾新成立的古典革新音樂節藝術總監，節目策劃極

作等出任指揮，大獲好評。

具創意，多位國際知名獨奏家亮相。他於 2014 年 創辦及出任藝術總監的葡萄牙馬爾旺國際音樂節也 聲譽日隆。

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柏鵬亦為出色的小提琴家，於 1978 年聯合創立了 凱魯比尼四重奏。他曾任德特莫爾特音樂學院小提 琴及室樂教授，其後於1996至2000年出任柏林艾

柏鵬於1995至2006年間擔任慕尼黑室樂團藝術總

斯勒音樂學院院長。他於2001至2005年間同時擔

監，在短時間內即令樂團實力大增，形象煥然一

任著名的 ARD 慕尼黑國際音樂比賽藝術總監，

新。 2006 年他被委任為薩爾布呂肯電台交響樂團

並自 2003 年起為慕尼黑音樂及戲劇學院小提琴及

音樂總監，2007年至2011年出任新的德意志電台

室樂教授。 2019 年柏鵬創立馬爾旺國際音樂藝術

愛樂樂團的音樂總監。

科學學院。

柏鵬合作過的樂團包括維也納交響樂團、德累斯

柏鵬於2015/2016樂季起獲委任為香港小交響樂團

頓國家樂團、柏林德意志交響樂團、底特律交響

首席客席指揮，於「相約大師柏鵬系列」中為香港

樂團、法國電台愛樂、班貝格交響樂團、薩爾茨

觀眾帶來不少德奧經典及當代音樂作品。他曾帶領

堡室樂團、荷蘭電台愛樂、海牙愛樂、以色列室

樂團於德國及葡萄牙馬爾旺國際音樂節中演出。他

樂團、巴西聖保羅交響樂團、印第安納波利斯交

亦是第一屆香港國際指揮大賽的評審聯合主席，並

響樂團、首爾愛樂、新日本愛樂及新加坡交響樂

於樂團廣獲好評的音樂會電影《Back On Stage II

團等。他在意大利亦演出頻繁，常與當地頂尖樂

(Quarantined!)》擔綱演出。樂團音樂總監葉詠詩

團合作，並在多個藝術節如威尼斯雙年音樂節中

2020 年 5 月卸任後至樂團委任新總監之前，柏鵬

亮相和主持大師班。

會與葉詠詩攜手負責樂團的藝術發展事宜。

Conductor, soloist, chamber musician and pedagogue, Christoph Poppen has made a name for himself in diverse roles in the international musical world, winning many awards along the way. During the current season, Christoph Poppen continues his close and highly successful collaboration with the Cologne Chamber Orchestra in his role as Principal Conductor, and as Principal Guest Conductor of Hong Kong Sinfonietta. He was named Artistic Director of the newly-created Classic Revolution Festival in Seoul, South Korea, for which he curates highly inventive programmes and unites many of the best international artists for performances exclusively at the Lotte Concert Hall.

He is also Artistic Director of the Marvão International Music Festival, which he founded in 2014 and has grown to become a highly successful and award-winning musical event featuring soloists such as Jörg Widmann, Augustin Hadelich, Javier Perianes and Clara-Jumi Kang.

From 1995 to 2006, Poppen was Artistic Director of Munich Chamber Orchestra, establishing the ensemble’s new profile in a short period of time.

His distinctive programmes, often contrasting classical and contemporary styles with numerous commissioned works, were highly successful. In 2006, Poppen was appointed Music Director of Radio Symphony Orchestra Saarbrücken and from 2007 until 2011, he was Music Director of the newly formed Deutsche Radio Philharmonie. He has appeared with orchestras such as Vienna Symphony, Staatskapelle Dresden, Deutsches Symphonie-Orchester Berlin, Detroit Symphony, Orchestra Philharmonique de Radio France, Bamberg Symphony, Camerata Salzburg, Netherlands Philharmonic Orchestra, Residentie Orkest, Israel Chamber Orchestra, Orquestra Sinfônica do Estado de São Paulo, Indianapolis Symphony, Seoul Philharmonic, New Japan Philharmonic and Singapore Symphony Orchestra.

He also has a strong presence in Italy, performing regularly with the country’s leading orchestras and at festivals such as the Venice Biennale, as well as giving masterclasses.

As an opera conductor, he very successfully led a new production of The Abduction from the Seraglio at the Aalto-Musiktheater in Essen and performances of Gluck’s Iphigénie en Aulide at Staatsoper Stuttgart. In 2016, he returned to Teatro Carlo Felice in Genoa for a new production of Don Giovanni. He conducted performances of The Pearl Fishers at Oper Frankfurt – which led to an immediate re-invitation for The Magic Flute – and created the new production of Sing For Me, Death by composer Claude Vivier with the RuhrTriennale company in Gelsenkirchen.

In 2017, he conducted Weber’s Oberon in concert at Opera Köln.

As a prize-winning violinist, Poppen co-founded the Cherubini Quartet in 1978. He was appointed Professor of Violin and Chamber Music at Hochschule für Musik Detmold, and later at Hanns Eisler Hochschule für Musik in Berlin, where he was President from 1996 to 2000. From 2001 to 2005, he was Artistic Director of the renowned ARD International Music Competition.

Since 2003, he has been Professor of Violin and Chamber Music at Hochschule für Musik und Theater in Munich. In 2019, he founded the International Academy for Music, Arts and Science in Marvão, Portugal.

As Hong Kong Sinfonietta’s Principal Guest Conductor since 2015/2016, Poppen has presented to the Hong Kong audience a rich repertoire ranging from Austro-German masterpieces to contemporary works, and has brought the orchestra on tour to Germany and to his festival in Portugal. He co-chaired the 1st Hong Kong International Conducting Competition and was also featured in the orchestra’s concert film Back On Stage II (Quarantined!), which received great acclaim. Following the stepping-down of Music Director Yip Wing-sie in May 2020 and before the next Music Director is appointed, Poppen and Yip are jointly responsible for the artistic development of the orchestra.

7

中提琴 Viola

拉．馬爾卡 Adrien La Marca 愛樂樂團、圖盧茲樂團、香港小交響樂團、梅斯 國家樂團、茵瑟勒樂團及法國世紀室樂團等，並 為列日皇家愛樂樂團 2018/2019 樂季的駐團藝術 家。他於 2014年榮獲法國古典音樂大獎之「年度 新人」，演奏足跡遍及世界各重要場地，如巴黎愛 樂廳、倫敦巴比肯中心和域摩堂、阿姆斯特丹音 樂廳、柏林音樂廳、維也納黃金大廳、羅浮宮、 埃爾毛城堡、香榭麗舍劇院、巴黎城市劇院及嘉 禾音樂廳等。 拉．馬爾卡於2016年推出的首張專輯廣受樂評讚 賞，並榮獲金音叉獎、《Télérama》雜誌「ffff」 獎、FNAC「每月之選」及《留聲機》雜誌「編輯 之選」。最近的錄音作品包括與列日愛樂樂團合奏 的沃爾頓中提琴協奏曲、格里西為他譜寫的中提 琴協奏曲之世界首演，以及浦羅哥菲夫的《羅密 歐與茱麗葉》，是此獨奏中提琴及樂團錄音版本的 首次。 拉．馬爾卡1989年在法國普羅旺斯艾克斯出生， 長於音樂世家，四歲開始學習鋼琴和中提琴， 16 歲考入巴黎音樂學院，師事蘇霖。於萊比錫學 習期間曾受教於瑪蘇蘭科，畢業後轉赴柏林隨齊 默曼習琴。在學期間，他經常獲邀於各音樂學院 演出，合作過的著名音樂家有小澤征爾、格杰 夫、甘祈頓、席夫及普萊斯勒等。他亦是多項國 際音樂比賽如普林羅斯中提琴比賽、泰提斯國際 被樂評譽為「真正才華橫溢的天才」 （《金融時報》）

中提琴大賽及布拉姆斯音樂大賽的得獎者。他在

及「中提琴新英雄」（《世界報》），拉．馬爾卡以

2016 年獲得拉加代爾集團基金會資助，是首名獲

具深度的詮釋、精湛的琴藝及豐富的音色聞名樂

該基金會支持的古典音樂家，並獲法國人民銀

壇。他有著與生俱來的舞台魅力及引起觀眾共鳴

行、金萊茵及賽峰集團等基金會的資助。

的強大感染力，廣受各地樂迷愛戴，是當今最受 矚目的音樂家之一。 作為獨奏家，他曾與多個知名樂團合作，包括法 國國家樂團、法國電台愛樂樂團、 MDR 萊比錫電 台交響樂團、波蘭國家電台交響樂團、列日皇家 8

拉．馬爾卡演奏用的是一把1780年於克里莫納製 造的貝爾貢齊中提琴，由布博基金會慷慨借出。

Hailed by The Financial Times as “a truly pure

Gramophone. His latest recording projects

talent” and described by Le Monde as “a new

i nc l ude the W al ton Vi ol a C onc erto wi th

viola hero”, Adrien La Marca’s playing is

Orchestre Philharmonique Royal de Liège, a

characterised by its depth of expression, technical

world première of Gwenaël Mario Grisi’s Viola

mastery and a rich, deep, burnished tone. Gifted

Concerto written for him, and Prokofiev’s Romeo

with a charismatic stage presence and the ability

and Juliet – which is the first time the work has

to create an immediate emotional connection

been recorded for solo viola and orchestra.

with his audience, La Marca is considered one of today's most compelling musicians.

Born in Aix-en-Provence, France in 1989 to a family of musicians, La Marca began playing the

As a soloist, La Marca has performed with

piano and viola at the age of four. He entered the

renowned orchestras such as the Orchestre

Paris Conservatoire at 16 and studied with Jean

National de France, Orchestre Philharmonique de

Sulem. He completed his studies in Leipzig with

Radio France, MDR Leipzig Radio Symphony

Tatjana Masurenko and further in Berlin with

Orchestra, Polish National Radio Symphony

Tabea Zimmermann. During his studies, he was

Orchestra, Orchestre Philharmonique Royal de

regularly invited to take part in different musical

Liège (as artist in residence for the 2018/2019

academies and had the opportunity to work with

season), Orchestre du Capitole de Toulouse,

inspiring musicians including Seiji Ozawa, Valery

Hong Kong Sinfonietta, Orchestre National de

Gergiev, Gidon Kremer, András Schiff and

Metz, Insula Orchestra, Les Siècles and more.

Menahem Pressler. He has won numerous prizes

Named "New Soloist of the Year" in 2014 by

in international competitions including the

Victoires de la Musique Classique, La Marca has

William Primrose Competition, Lionel Tertis

since performed at prestigious venues such as the

Competition and Johannes Brahms Competition.

Paris Philharmonie, London Barbican Centre and

In 2016, La Marca was the first classical musician

Wigmore Hall, Amsterdam Concertgebouw,

to receive a grant from the prestigious Fondation

Be r lin K onz e r t h a us , V i e n n a M u s i k v e re i n ,

Jean-Luc Lagardère. He is also supported by

Auditorium du Louvre, Schloss Elmau, Théâtre

Fondation Banque Populaire, L’Or du Rhin and the

des Champs-Elysées, Théâtre de la Ville de Paris

Safran Foundation.

and Salle Gaveau.

La Marca plays an outstanding viola by Nicola

Released in 2016 on the label La Dolce Volta, La

Bergonzi made in Cremona in 1780, on generous

Marca’s first album English Delight has received

loan from the Boubo-Music Foundation.

critical acclaim from The Strad, Gramophone, Str ings Ma ga z i ne , L e M o n d e , L e Fi g a ro , Diapason, Classica etc, and was awarded the Diapason d’Or, ffff Télérama, Coup de Coeur FNAC, as well as named Editor’s Choice on 9

節目介紹 1843年，10歲的布拉姆斯便在家鄉漢堡作了第一次公開表演。這場演奏會由其父親策 劃，目的是為他未來的音樂教育籌款。節目表上有貝多芬的鋼琴與木管五重奏，赫茲 （Henri Herz）炫技的獨奏練習曲，還有莫扎特的鋼琴五重奏。年輕的布拉姆斯不出所 料地被莫扎特這位奧地利先輩所吸引，他對莫扎特的仰慕終其一生絲毫不減。他為莫 扎特未完成的《安魂曲》編寫了一個完整的版本，而他的小提琴和大提琴二重協奏曲 也顯然受今晚曲目之一、莫扎特的「交響協奏曲」影響。他所收藏的音樂手稿中，他 最引以為傲的就是莫扎特G小調第40交響曲（K550）的原譜。那是他把雙鋼琴奏鳴曲 以及根據其改編的鋼琴五重奏獻給普魯士黑森領地（Hesse）的安娜公主後，獲其回贈 的禮物。1864年夏天，他曾與克拉娜．舒曼一起為公主演奏原來的雙鋼琴版本，而當 公主詢問克拉娜，布拉姆斯想要甚麼禮物時，她就提到了莫扎特的手稿。 四分一世紀多之後，布拉姆斯開始考慮退休，但他卻被說服再多創作一首作品，那就 是第二弦樂五重奏。不久後他遇到單簧管演奏家穆爾菲德（Richard Mühlfeld），並在 其啟發下再度延長了他的創作生涯，寫下了最後四首室樂作品。 回到他的第二弦樂五重奏。 1890 年夏，在把樂譜寫完後，布拉姆斯將它與新改寫的 第一鋼琴三重奏（作品8）寄給他的好朋友赫爾佐根伯格（Elisabeth von Herzogenberg） 。 她在同年10月9日的回信中寫道： 「⋯⋯若有甚麼東西能為我注入新生命的話，那就是看到你這兩份樂譜，好比漫步 於陽光明媚的郊外的這首新五重奏，它那樣的美麗迷人。早前的F大調五重奏給我 留下極為深刻的印象，因此我本以為新作會比不上它（老朋友總是最好的！）；但 現在我卻不得不承認新作在優美度和情感深度方面都超越了舊作。但當一首作品成 為了另一首作品完美的對應時，有甚麼好比較呢？這首五重奏從開始就使我著迷， 我也發覺自己回到了G大調六重奏的情調之中。它是那樣的清晰和緊湊；表達方式 是那樣的分明。 「除了從中得到的樂趣外，研究它也可以學到很多東西。我希望很快就可以聽到它！ 「開頭的大提琴旋律一定是很悅耳的，第二主題又是何等的親切，那樣巧妙地被引 導出來！⋯⋯我覺得慢板在情感的統一和持續方面，比之前那首五重奏的升C小調 樂章更為優越。我通常比較擔心側重於營造對比的中間樂章，但此處卻能相互映照 和推進。小快板是釋放了之前音樂中的冷峻嚴肅，而且不像世上眾多的小快板那 樣，活潑度並不會比藝術上允許的多。⋯⋯如果我能聽到終樂章，我是應該會十分 欣賞它的。這不是一首為眼而寫，而是為耳朵而寫的音樂。它太過豐富了，使我不 能確切地想像它聽起來會是怎樣的。第二主題很美妙。能夠寫得出這些的人必定懷 有一個快樂的心境！那是30 歲的人的作品。」（引自艾爾特曼的奧倫堡版本樂譜）

11

莫扎特（1756–1791）

降E大調交響協奏曲，K364 莊嚴的快板 行板 急板

帶出了莫扎特所撰寫的華采段，在樂章開首的上行 音階後作出最後一次動心的二重奏。樂隊則作出簡 短而有力的伴奏，以激越的和弦結束了這個樂章。 C小調的行板是整首樂曲的核心所在，在氣若游絲 的伴奏下，小提琴和中提琴分別若有所思地奏出主 題。這個以卡農曲式為骨幹的樂章，帶有弦樂四重

作於 1779 年的小提琴和中提琴交響協奏曲，可能

奏般親密的感覺。它被認為是莫扎特最美妙的樂章

是莫扎特同類作品中最卓越的。樂譜的原稿已佚，

之一，沒有任何分析可以說得清其形式上的奧妙和

但我們卻找到第一樂章的幾個小節及華采段的草

魅力。華采段把樂曲深情的特質發揮到極點，之後

稿。之所以推斷是 1779 年的作品，是因為中提琴

樂隊的伴奏又像開頭一般重現，漸漸越來越弱，終

的段落，和作曲家一首被確認為同年所作的，為小

於無聲無息。

提琴、中提琴及大提琴所寫的A大調三重協奏曲頗 為相似。在兩首作品中，獨奏中提琴都被調高了半 度（scordatura），在樂譜上則寫成D大調，以使獨 奏的音色更光亮，能在樂隊中較為突出。 莫扎特共有五首多於一種獨奏樂器的協奏曲，其中

終曲相對地活潑，像火花般浮動及跳躍。這個樂章 有一段急板的迴旋曲再加上兩段插曲（其中第一段 的開頭由於以屬音和弦進行，所以是唯一明顯遠離 主音的段落），充滿不可壓抑的動力和氣勢，兩位 獨奏者同樣也各自使出渾身解數。

兩首沒有完成，即三重協奏曲和一首小提琴及鋼琴 交響協奏曲，另外三首完整的作品，除了今晚演奏 的小提琴和中提琴交響協奏曲外，還有長笛和豎琴 協奏曲（K299）和木管交響協奏曲（K297b），後 者在現存的版本中擔任獨奏的有雙簧管、單簧管、

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： 雙簧管 (2)、圓號 (2) 獨奏小提琴、獨奏中提琴

圓號和巴松管，但從莫扎特的信中所見，原來的獨 奏樂器並沒有單簧管，但卻有長笛。 降E大調交響協奏曲第一樂章開首的標號是「莊嚴 的」，節奏別具一格（全音符 + 2 分音符 + 附點 4 分音符 + 8 分音符），給人一種高傲的感覺。優美 的主題互相交織，當中加入漸強的樂段，莫扎特大 概經常在曼海姆聽到這種漸強手法（當時稱為「曼 海姆漸強」）。另外嘎嘎的伴奏聲也頗具代表性。高 潮在漸強的樂段過後逐漸消散，兩位獨奏者便在此 時奏起長音，幾乎讓人察覺不到他們的出現，樂隊 同時也將開首那段獨特的節奏稍作修飾，不斷用來 與獨奏者對答。一般來說中提琴都會被認為是較弱

12

布拉姆斯（1833–1897）

G大調第二弦樂五重奏， 作品111（室樂團版本） 不太快但富有活力的快板 慢板 小快板般 活潑但不太快的急板

的獨奏樂器，但在此曲中它和小提琴所扮演的角色

1890 年 5 月，布拉姆斯年屆 57 歲，覺得自己的作

可謂旗鼓相當，尤其把弦線調高後更形突出，音色

曲家生涯已到了終點。但他的老朋友 — 匈牙利小

帶有強烈的感染力。接著出現的是一段較慢的、更

提琴家約阿希姆（Joseph Joachim）卻哄使他延遲

為深情的主題，在眾多變奏和變調之間，又重複了

退休的計劃。或許受到 1890 年初意大利之旅的啟

那段「曼海姆漸強」。再現部出現的時候，獨奏者

發，布拉姆斯開始創作他斷言是擱筆的作品，那就

又立即奏出開首的主題，小提琴和中提琴在段落之

是第二弦樂五重奏。第一個知道此事的人是他的朋

間你來我往。在樂隊喧嚷的齊奏之後，兩位獨奏者

友曼迪捷夫斯基（Eusebius Mandyczewski），布拉

姆斯曾於 7 月 4 日寫給他的信中提及此事。這首作

音加 2 分音段落，明顯指向了巴赫《馬太受難曲》

品是在布拉姆斯喜愛的奧地利伊斯爾（Bad Ischl）

最後的一個詞「安息」（ruhe sanfte）。 G 大調的

溫泉度假勝地創作的。他 1882 年第一次造訪該

「中段」較為恬靜，帶有令人舒緩的輕快調子和愉

地，並由 1889 年起，每個夏天都前往租房小住

悅的回憶。最後一次回顧了「中段」後，音樂又回

（他的朋友小約翰．史特勞斯也是如此）。作品在該

到開頭。

年 11 月於維也納首演，由羅瑟四重奏（Rosé

終樂章是吉卜賽的夏爾達什（csárdás）舞曲：這

Quartet）加上另一位樂手演奏，不久又在柏林由

是對約阿希姆的祖國匈牙利的致敬，但這種舞曲同

約阿希姆四重奏演出。

樣在維也納廣受歡迎。布拉姆斯在開首已殺我們一

約阿希姆希望布拉姆斯撰寫的作品，可以成為他

個措手不及，在八個小節的 B 小調之後， G 大調才

1882 年的 F 大調弦樂五重奏（作品 88）的姊妹

爆發出來，然後這兩個樂調便在這個全曲最短的樂

篇。布拉姆斯顯然回顧著年輕的自己，再次根據莫

章中一直盤旋。夏爾達什舞在簡短的尾聲中更為快

扎特的模式，在弦樂四重奏的基礎上增加了第二把

速，像漩渦一樣衝向了結句。

中提琴。開首的快板就像春天的花朵一樣綻放。雖 然羅瑟四重奏和約阿希姆四重奏都難以令大提琴在 其他弦樂器的強力震音中脫穎而出，就如生氣蓬勃 的第一主題所示那樣，開始的樂段卻仍充滿熱望和 少年的激情。撰寫第一部布拉姆斯傳記的卡爾貝克 （Max Kalbeck）曾向作曲家作此總結，說它展現了

這首樂曲是布拉姆斯生前倒數第二首現場聽到的作 品。 1897 年 1 月在維也納聽了由約阿希姆增加了 一人的四重奏演出之後，布拉姆斯在台上接受了聽 眾熱烈的掌聲。隨後，在 4 月 3 日去世前，又於 3 月7日在維也納的金色大廳（Musikverein）聽了里 希特指揮他的第四交響曲。

「布拉姆斯在普拉特公園（維也納的一個著名遊樂 園）」的情形。布拉姆斯也表示認同，並補充說： 「和那���的��，是��」第二主題雖然�對 比較細緻，但其圓舞曲般的格調仍與維也納有清晰

這室樂版本�的低音大提琴部�由�國奧維�國家 樂團的低音大提琴手貝卡姆（Laurent Bécamel） 改編，他同時在克萊蒙費朗區國家音樂學院任教。

的聯繫。發展部移往G小調，及後又回到更為盛大 的大調對答，這很容易便能套用到改編的弦樂隊之 上。事實上，卡爾貝克認為開首的主題本來要用於 布拉姆斯的另一首交響曲中（他曾經一度被認為正

此版本的樂隊編制 弦樂： 第一及第二小提琴、第一及第二中提琴、大提琴、 低音大提琴

在起草過的第五或第六交響曲）。 第二樂章似乎也是沉醉於時光倒流。科爾哈澤 （Hans Kohlhase）的研究顯示主題與兩個與音樂有 關的名稱交織在一起。其一是吉賽拉（Gisela von Arnim），她在1850年代與約阿希姆分手，1889年 去 世 。 另 一 個 是 「 自 由 但 寂 寞 」（ Frei aber einsam），那是約阿希姆在分手後，提醒自己向前 看的座右銘。在 D 小調的慢樂章中，升 G-E-A （Gis-e-la）和 F-A-E 合成了主題，並將之從不同角 度緩緩地擴展。在將近結束時，布拉姆斯為第一中 提琴撰寫了一段瑰麗的獨奏，這在任何室樂的改編 版中最好原封不動地保留。 這種個人元素似乎同樣籠罩了鄉郊舞曲般的G小調

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

第三樂章。第一小提琴一往情深、重複的三個 8分 13

Programme Notes In 1843, when Brahms was just 10, he made his first public appearance in his hometown of Hamburg, in a concert arranged by his father to raise funds for his further musical education. On the programme was Beethoven’s Quintet for Piano and Winds, a bravura solo étude by Henri Herz and a Mozart Piano Quartet. No surprise that a young piano player would be enamoured of his Austrian forebear, but it is clear that Brahms never lost his love for Mozart. He edited Mozart’s unfinished Requiem for a complete edition and was clearly influenced by the Mozart Sinfonia Concertante we hear tonight in his own Double Concerto for Violin and Cello. Also, the crowning glory of his manuscript collection was the original score of Mozart’s Symphony No 40 in G minor, K550, which had been a present from Princess Anna of Prussia, Landgravine of Hesse after his dedication of his Sonata for Two Pianos, and its arrangement as his Piano Quintet, to her. He and Clara Schumann had played the original two-piano version to the Princess in the summer of 1864, and the Princess had asked Clara what Brahms would like as a present; she mentioned the manuscript…

Over a quarter-century later, Brahms was considering retirement, although – as we will see – he was persuaded to compose one more piece, his Second String Quintet. Shortly thereafter he met the clarinettist Richard Mühlfeld and was inspired again to extend his compositional career with his last four chamber works (but that is another story).

Back to his Second String Quintet. Shortly after finishing the score in the summer of 1890, he sent it along with his newly revised First Piano Trio, Op 8 to his great friend Elisabeth von Herzogenberg. She wrote back to him on 9 October 1890: “… if anything could put new life into me, it would be a peep into your two scores, a stroll through the sunny country of the new Quintet, so rich in beauty and charm.

I was so impressed by the earlier F major Quintet that the new one seemed to stand but a poor chance (old friends are the best!); but I am now faithless enough to admit that it surpasses the older work in beauty, grace and depth of feeling. But what is the good of comparison when one is so perfect a counter-part of the other?

The Quintet held me from the very start and I found myself back in the atmosphere of the G major Sextet. It is all wonderfully clear and compact; distinct in its manner of expression.

“Besides the pleasure to be derived from it, there is much to be learned from the study of it. I wish I could hear it soon!

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“How delightful the opening cello melody must sound, and how intimate the second theme, so artfully introduced! …The Adagio I found superior to the C-sharp minor movement of the earlier Quintet in its unity and continuity of feeling. I am always rather worried by middle movements, written in the spirit of contrast, but here it is a case of mutual reflection and enhancement. The Allegretto comes as a relief of the grim seriousness of the preceding music and, unlike so many allegrettos in the world, does not contain more liveliness than is warranted artistically… I should appreciate the Finale better if I could hear it. This is not music for the eye but for the ear, and too rich for me to imagine properly how it must sound. The second theme is delicious. He who can invent all this must be in a happy frame of mind! It is the work of a man of 30.” [Quoted in Wilhelm Altmann’s Eulenburg edition of the score]

Wolfgang Amadeus Mozart (1756–1791)

Sinfonia Concertante in E-flat, K364 Allegro maestoso Andante Presto

Perhaps the most sublime of all of Mozart’s concertante works, the Sinfonia Concertante for violin and viola was composed in 1779. The full manuscript is lost, but there are autograph sketches for a few bars of the first movement as well as a cadenza, and the dating is calculated because of the similarity in the viola writing between this and the sketch for an A major triple concerto (for violin, viola and cello) which is more easily dated to 1779. In both cases, to make the solo viola stand out against the orchestral counterparts, it is tuned a semitone higher (“scordatura”) and the part is written in D instead of E-flat.

That sketched triple-string concerto joins both an earlier unfinished torso for a violin and piano concertante work as well as three completed works

to make Mozart’s tally of multiple-instrument “concertos” amount to five. The completed works are the Flute and Harp Concerto (K299), the wind Sinfonia Concertante (K297b, which has come down to us in a version for oboe, clarinet, horn and bassoon, although originally it is reported in Mozart’s letters to be for flute, oboe, horn and bassoon) and tonight’s violin and viola work.

A distinctive rhythm opens the Sinfonia Concertante (semibreve–minim–dotted crotchet–quaver), giving the opening movement, marked maestoso, an imperious feel. The delicious themes entwine around each other, with added crescendo typical of those Mozart would have heard in Mannheim (indeed they were called “Mannheim crescendi”) and a chugging accompaniment that also typifies the movement. After the effortless dissipation of energy from that climax, the two soloists enter, almost imperceptibly on long held notes and are answered repeatedly by an adaptation of the distinctive opening rhythm. The equal weight given to both instruments (when the viola was often regarded as the poor cousin) is notable and, with the tuning of the viola making it clearly distinct, there is an expressive power to its timbre. A slower 15

theme is heard, more yearning, amongst a plethora of invention (and harmonic modulation) with, also, a repeat of the Mannheim crescendo.

The recapitulation heralds a quick return to the soloists’ opening theme, and violin and viola toss and swap passages amongst themselves. After a furious tutti, the written-out cadenza offers an ultimately poignant final duo following opening rising scales, topped by a brief orchestral burst and climactic chords.

The pure heart of the Sinfonia Concertante is the C-minor Andante where, over a listless accompaniment, the violin and viola take their separate place in rapt contemplation of the theme.

Built in canonic form, this has the feeling of the most intimate string quartet, and is justly regarded as one of Mozart’s most sublime movements, which no amount of musical analysis will crack its perfect form or deep magic. The cadenza brings the yearning quality of the music to a head, after which the opening mood of the orchestral accompaniment returns, to let the music ebb away.

The Finale, by contrast, is buoyant and scintillating.

A Presto rondo with two episodes (the start of the first is the only major deviation from the tonic, as it is couched in the dominant), the movement bustles along with verve and unrepressed energy, again often with the two soloists playing separately.

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Winds: oboes (2), horns (2) Solo violin & viola

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Johannes Brahms (1833–1897)

String Quintet No 2 in G, Op 111

(Arranged for Chamber Orchestra) Allegro non troppo, ma con brio Adagio Un poco allegretto Vivace ma non troppo presto

Brahms turned 57 in May 1890 and felt he had come to the end of his life as a composer. He was only cajoled out of his musical retirement by his long-standing friend, the Hungarian violinist Joseph Joachim and, perhaps inspired by his trip to Italy earlier in 1890, Brahms set to composing what he definitely said would be his valedictory work – his second String Quintet. The first to know anything about it was his friend Eusebius Mandyczewski, to whom Brahms wrote about it on 4 July.

Composed at a favourite summer holiday destination, the Austrian spa resort of Bad Ischl, which he had first visited in 1882 and from 1889 sojourned in rented rooms there every summer (he was not the only one – his friend Johann Strauss Jr had also done so), the Quintet was premiered in Vienna by an augmented Rosé Quartet on 11 November that year, and shortly after in Berlin (with the Joachim Quartet).

Joachim’s request had been for a companion piece to Brahms’ F major String Quintet, Op 88, from 1882. Again using Mozart’s example of adding a second viola to the string quartet, Brahms obviously was harking back to more youthful days. The opening Allegro bursts into life like spring blossom. Even if the Rosé and Joachim Quartets had difficulty making the cello sound clearly over the forte tremolos of the other strings, as it states the vibrant first theme, the opening is full of passion and youthful ardour, summed up by Brahms’ first biographer, Max Kalbeck, who suggested to the composer that it represented “Brahms in the Prater [Vienna’s famous amusement park].” Brahms responded in

the affirmative, adding “And all the pretty girls there, eh?” While the second theme is contrastingly subtler, its waltz-like demeanour still has clear Viennese associations. The development moves to G minor, and back to the major with more sumptuous interplay, which easily accommodates a transcription for string orchestra. Indeed, Kalbeck suggests the opening theme was originally intended for another Brahms symphony – the fifth or sixth, which at one time he was thought to be sketching.

Turning back the clock seems to have been a pre-occupation in the second movement too. Hans Kohlhase’s research suggests that its theme entwines two musical monikers, that of Gisela von Arnim, who broke off her engagement to Joachim in the 1850s and who had died in 1889, and the motto Joachim had characterised his philosophy moving forward from the break-up, Frei aber einsam (“free but lonely”). Together G-sharp–E–A (“Gis-e-la”) and F–A–E combine in the theme of the D minor slow movement that gently explores the theme for various perspectives. Towards the end Brahms writes a florid solo for the first viola, ideally retained as a solo in any chamber arrangement.

This was the penultimate of Brahms’ works he heard live, receiving applause from the stage after a performance by Joachim’s expanded Quartet in January 1897 in Vienna. On 7 March, Brahms heard Richter conduct his Fourth Symphony at Vienna’s Musikverein, before dying on 3 April.

This chamber arrangement features a bass line by Laurent Bécamel. He is a double bass player in the Orchestre National d'Auvergne and teaches at Conservatoire à Rayonnement Régional de Clermont-Ferrand.

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

That personal aspect seems enshrined too in the ländler-like G minor third movement, which surely alludes to the final words “ruhe sanfte” (“rest gently”) of Bach’s St Matthew Passion, in the first violins’ yearning repeated three-quaver–minim phrases. There is sweeter repose in the G major central “Trio” with soothing lilt and happier memories. A final glimpse at the “Trio” follows a return to the opening.

The Finale is a gypsy csárdás: a nod to Joachim’s homeland, Hungary, but equally enjoyed in Vienna too, of course. Brahms wrong-foots us to start, with eight bars in B minor before erupting in G major, then veers between the two keys throughout the work’s shortest movement. An even faster csárdás forms the brief coda, swirling and speeding to the end.

© 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

(2020-2021)

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

蔡路（休假） 第二小提琴助理首席

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

長笛 Flute 上杉晃代

Akiyo UESUGI

KIM In-sun

雙簧管 Oboe 福原真美

Mami FUKUHARA

LE Hoai-nam

單簧管 Clarinet ● 方曉佳 陳秋媛

FONG Hiu-kai Johnny CHEN Chiu-yuan

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

巴松管 Bassoon ● 秦慶生（休假） 田口美奈子

CHIN Hing-sang (On Leave) Minako TAGUCHI

圓號 Horn ● 包文慶 東出真澄 岑慶璋 ★ 陳珈文

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

小號 Trumpet ● 黃山 文曦

HUANG Shan MAN Hay

長號 Trombone ● 羅澤基 陳學賢

Christopher RODGERS CHAN Hok-yin

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

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

James CUDDEFORD Concertmaster

Acting Assistant Concertmaster Principal Second Violin

TSAI Loo

(On Leave) Assistant Principal Second Violin

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

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

Notes Freelance Musician: Oboe 雙簧管：WAN Lok-yu Cecilia (溫樂愉)

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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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Board of Governors

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Honorary Governors

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Mrs Shirley CHUNG

何汝祥醫生

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義務公司秘書

Honorary Company Secretary

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(Treasurer)

Tricor Corporate Secretary Limited 義務骨科專科醫生

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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

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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

特別節目統籌 Special Projects Adminstrator 柯玉嬌 Noel QUAH 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

市場及業務拓展主任 Marketing & Development Officer 柯娉庭 Pantane OR 藝術行政主任 Arts Administration Officers 林海欣 Hayley LAM 馮碧琪 Betty FUNG

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郭立成律師 Mr Chris Kok 紀念劉葉珍女士 Mr Sheung Lee Mr Lee Wai Ho 廖炳輝醫生 Dr Liu Bing Fai 吳天天先生 Mr Ng Tin Tin Timothy 吳思博先生及蕭詠欣女士 Winny and Nigel Ng

• • • • • • •

魏玉華小姐 Miss Winnie Ngai 蘇國輝教授 Prof So Kwok Fai Mr Wong Kai Chun 黃乃禧先生 Mr Wong Nai Hay Mr Marcus Woo Ms Yeung Lai Fong Alice 多位無名氏 Anonymous

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!

• • • • • • • • • • • • • • •

Association Culturelle France Hong Kong Ltd CASH音樂基金 CASH Music Fund 法國駐港澳總領事館 Consulat Général de France à Hong Kong et Macao 德國駐港總領事館 German Consulate General Hong Kong 香港歌德學院 Goethe-Institut Hongkong 民政事務局 Home Affairs Bureau 日本駐港總領事館 Consulate General of Japan in Hong Kong 光華新聞文化中心 Kwang Hwa Information and Culture Center 康樂及文化事務署 Leisure and Cultural Services Department 邁騰路通有限公司 Maestro GT Limited Mr Ozawa Kazuo 香港電台 Radio Television Hong Kong 瑞士駐港總領事館 Consulate General of Switzerland in Hong Kong 通利琴行 Tom Lee Music Co Ltd Mr Jiři Votruba

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鳴謝 ACKNOWLEDGEMENTS 貢獻香港藝術節49年伙伴及藝術節開幕演出贊助 The Hong Kong Arts Festival’s Proud Partner for 49 Years & Festival Opening Sponsor 香港賽馬會慈善信託基金 The Hong Kong Jockey Club Charities Trust 藝術節閉幕演出贊助 Festival Finale Sponsor 工銀亞洲

ICBC (Asia)

節目贊助 Programme Sponsors 查氏基金會 香港興業國際集團 尤德爵士紀念基金

The Cha Foundation HKR International Limited Sir Edward Youde Memorial Fund

藝術節指定高級用車伙伴 Official Premium Car Partner 大昌行汽車租賃

DCH Motor Leasing

藝術節指定航空公司 Official Airline 芬蘭航空

Finnair

藝術節指定影視錄音室支持伙伴 Official Film Studio Recording Partner 邵氏影城

Shaw Studios

藝術節指定網上直播合作伙伴 Official Live Streaming Technology Partner 天開數碼媒體有限公司

TFI

主要酒店夥伴 Major Hotel Partner 香港君悅酒店

Grand Hyatt Hong Kong

學生票捐助計劃 Student Ticket Scheme 鉑金捐款者 Platinum Donors

黃金捐款者 Gold Donors

青銅捐款者 Bronze Donors

HK$140,000或以上 AND ABOVE

HK$12,000 - HK$29,999

HK$3,000 - HK$5,999

• 無名氏 (2) Anonymous (2) • Burger Collection

• Dr Chung See Yuen • Peter and Nancy Thompson • Mr William To

• 無名氏 (5) Anonymous (5) • Ms Chan Wan Tung • Mr D Chang • Ms Christine Lam • Ms Savita Leung • Mrs A.M. Peyer • Ms Janice Ritchie • Mr Alex So • Mrs Teresa Pong Tam • Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao • 殷和順先生劉善萍女士

鑽石捐款者 Diamond Donors HK$70,000 - HK$139,999

純銀捐款者 Silver Donors

• Rusy and Purviz Shroff Charitable Foundation • 田家炳基金會 Tin Ka Ping Foundation • 芝蘭基金會 Zhilan Foundation

HK$6,000 - HK$11,999

網上藝術教育捐助計劃 Digital Arts Education Scheme 鑽石捐款者 Diamond Donors

純銀捐款者 Silver Donors

HK$70,000 - HK$139,999

HK$6,000 - HK$11,999

• 法國巴黎銀行 BNP Paribas • Lincoln & Yu-San Leong • Sino Group

• 無名氏 Anonymous • Mrs Germaine Tso • Ms Wu Tseng Helen

黃金捐款者 Gold Donors

青銅捐款者 Bronze Donors

HK$12,000 - HK$29,999

HK$3,000 - HK$5,999

• Dr & Mrs Samuel and Ellen Lam • Stefan & Caroline Kracht

• 無名氏 (4) Anonymous (4) • Star B Chan & MDB • Mr Lee King Fung

鉑金會員 Platinum Member 嘉里控股有限公司

Kerry Holdings Limited

翡翠捐款者 Jade Donors HK$30,000 - HK$69,999

• 無名氏 Anonymous • Nine Queens Investment Limited • Shun Hing Group

HK$12,000 - HK$29,999

• Mr & Mrs Jeffrey & Helen Chan • Mr SHN Cheng • Ms Jenny Hodgson • Mr Stephen Tan

黃金會員 Gold Member 怡和集團

The Jardine Matheson Group

純銀會員 Silver Member 太古集團慈善信託基金

The Swire Group Charitable Trust

青銅會員 Bronze Members 鷹君集團 上海商業銀行有限公司 香港藝術節的資助來自： The Hong Kong Arts Festival is made possible with the funding support of:

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• Mrs A.M. Peyer • Mr Alex So • Mrs Teresa Pong Tam • Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao

藝術節捐助計劃 Festival Donation Scheme

黃金捐款者 Gold Donors

贊助舍計劃會員 Patron’s Club Members

• 無名氏 Anonymous • Mr Iain Bruce • 馮兆林先生夫人 Mr & Mrs Fung Shiu Lam • Dr Mak Lai Wo • • Ms Wong Pie Yue Cleresa

• Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao • Samuel & Amy Wang • Mr Andric Yew 純銀捐款者 Silver Donors HK$6,000 - HK$11,999

• 無名氏 (4) Anonymous (4) • Mr & Mrs David S L Lin • Dr Michael Mak • Dr Ronald Paul Ng • Mrs A.M. Peyer • Leland & Helen Sun • Mr Wong Yick Kam • Ms Isabel Yiu

青銅捐款者 Bronze Donors HK$3,000 - HK$5,999

• 無名氏 (7) Anonymous (7) • Mrs Veryan E. Bradshaw • Ms Grace Chiang • Ms Fung Man Yee • Dr Alfred Lau • Ms Khoo Li Lian • Flavia & Gary Ma • Mr & Mrs Gary Ma • Mr Jose Manuel Sevilla • Mr & Mrs Ian Stone • Mrs Teresa Pong Tam • Yeung’s family • Dr Jason Yeung

新作捐助計劃 New Works Scheme 翡翠捐款者 Jade Donor

黃金捐款者 Gold Donor

青銅捐款者 Bronze Donors

HK$30,000 - HK$69,999

HK$12,000 - HK$29,999

HK$3,000 - HK$5,999

• Nine Queens Investment Limited

• 劉仰澤先生 Mr Lau Yeung Chak

• 無名氏 Anonymous • Ms Grace Chiang • Mr S C Tony Ling • Mrs A.M. Peyer • Mrs Teresa Pong Tam

純銀捐款者 Silver Donor

Great Eagle Group Shanghai Commercial Bank Limited

HK$6,000 - HK$11,999

• 無名氏 Anonymous

實物支持機構 In-kind Supporters Initial Fashion

香港灣仔港灣道2號12樓1205室 Room 1205, 12/F, 2 Harbour Road, Wanchai, Hong Kong 電話 Telephone: 2824 3555 傳真 Fax: 2824 3798, 2824 3722 網址 Website: www.hk.artsfestival.org 電郵 Email: afgen@hkaf.org 節目查詢熱線 Programme Enquiry Hotline: 2824 2430

贊助人 Patron

節目委員會 Programme Committee

發展委員會 Development Committee

林鄭月娥女士 The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS

主席 Chairman 盧景文教授 Prof. Lo King-man, MBE, JP, SBS 委員 Members 白諾信教授 Prof. Giorgio Biancorosso 紀大衛教授 Prof. David Gwilt, MBE 羅志力先生 Mr Peter C L Lo 毛俊輝先生 Mr Fredric Mao, BBS 李義法官 The Hon Mr Justice Ribeiro 約瑟．施力先生 + Mr Joseph Seelig+ 譚榮邦先生 Mr Wing-pong Tam, SBS JP 姚�女士 Ms Jue Yao, JP

主席 Chairman 梁靳羽珊女士 Mrs Yu-san Leong 副主席 Vice Chairman 雍景欣女士 Ms Jane Yong 委員 Members 鄭阮培恩女士 Mrs Betty Yuen Cheng 龐建貽先生 Mr Paulo Kin-yee Pong 孫林宣雅女士 Mrs Helen Lin Sun 姚祖輝先生 Mr Andrew Yao 顧問 Advisors 夏佳理先生The Hon Ronald Arculli, GBM CVO GBS OBE JP 鮑磊先生 Mr Martin Barrow, GBS CBE JP 陳祖澤博士Dr John C C Chan, GBS CBE LVO JP 陳達文博士Dr Darwin Chen, SBS ISO 霍璽先生 Mr Angus H Forsyth 李業廣先生The Hon Charles Y K Lee, GBM GBS OBE JP 梁紹榮夫人Mrs Mona Leong, SBS BBS MBE JP 李國寶博士 Dr The Hon Sir David K P Li, GBM GBS OBE JP

永遠名譽會長 Honorary Life President 邵逸夫爵士 Sir Run Run Shaw, CBE（1907-2014）

執行委員會 Executive Committee 主席 Chairman 查懋成先生 Mr Victor Cha 副主席 Vice Chairman 盧景文教授 Prof. Lo King-man, MBE, JP, SBS 義務司庫 Honorary Treasurer 李錦榮先生 Mr William Li 委員 Members 鄭維新先生 Mr Edward Cheng, GBS JP 鄭惠貞女士 Ms Margaret Cheng 梁靳羽珊女士Mrs Yu-san Leong 梁卓偉教授 Prof Gabriel Leung, GBS JP 文肇偉先生 Mr Sebastian Shiu Wai Man 孫大倫博士Dr Dennis T L Sun BBS JP 姚潔莉女士 Ms Miriam Yao 楊光先生 Mr Sunny Yeung

職員 STAFF 行政總監 Executive Director

何嘉坤 Tisa Ho**

行政總監助理 Assistant to Executive Director

何丹蓉 Connie Ho 節目 PROGRAMME

節目總監 Programme Director

財務委員會 Finance Committee 主席 Chairman 李錦榮先生 Mr William Li 委員 Members 鄭惠貞女士 Ms Margaret Cheng 梁國輝先生 Mr Nelson Leong

• 行政 ADMINISTRATION 節目經理 (行政) Programme Manager (Administration)

蘇雪凌 Shirley So

節目主任 (行政) Programme Officer (Administration)

程鶩誼 Spaky Ching* • 技術 TECHNICAL

製作經理 Production Manager

梁掌瑋 Grace Lang**

梁雅芝 Shirley Leung*

副節目總監 Associate Programme Director

助理製作經理 Assistant Production Manager

名譽法律顧問 Honorary Solicitor

甘乃迪女士（孖士打） Ms Gabriela Kennedy, Mayer Brown

核數師 Auditor

羅兵咸永道會計師事務所 PricewaterhouseCoopers + 榮譽節目顧問 外展主任 Outreach Officers

張翠騫 Tracy Cheung* 李玨熙 Michael Lee* 李萬祺 Kelvin Li* 市場推廣 MARKETING 市場總監 Marketing Director

鄭尚榮 Katy Cheng**

副市場總監 Associate Marketing Director

胡銘堯 Dennis Wu**

市場經理 Marketing Managers

蘇國雲 So Kwok-wan

莫賦斌 Benny Mok*

陳志雄 Dennis Chan* 周 怡 Alexia Chow

節目經理 Programme Managers

• 出版 PUBLICATIONS

副市場經理 Deputy Marketing Manager

游慧姿 Janet Yau* 葉健鈴 Linda Yip 余瑞婷 Susanna Yu*

助理節目經理 Assistant Programme Managers

譚小敏 Tracy Tam* 黃傲軒 Joseph Wong*

節目統籌 Programme Coordinator

袁潔敏 Loui Yuen*

藝術行政見習員 Arts Administrator Trainee

郭笑 Stephanie Kuo*

物流及接待經理 Logistics Manager

金學忠 Elvis King*

編輯 Editor

廖健邦 James Liu* 英文編輯 English Editor

Oliver Farry*

助理編輯 Assistant Editors

鄭豐榮 Rain Cheng* 黎家欣 Melody Lai* • 外展 OUTREACH

高級外展經理 Senior Outreach Manager

項目主管 Project Administrator

發展經理 Development Managers

項目統籌 Project Coordinator

余潔儀 Flora Yu**

張慧芝 Anna Cheung * 麥紫琴 Mak Tsz-kam * 譚樂瑤 Lorna Tam

助理發展經理 Assistant Development Manager

蘇寶蓮 Conny Souw*

藝術行政見習員 Arts Administrator Trainee

郭駿成 Joel Kwok*

鄺敬婷 Teresa Kwong**

陳閏霖 Ben Chan*

杜詩麗 Connie To*

助理市場經理 Assistant Marketing Manager 財務主管 Head of Finance

數碼營銷專員 Digital Marketing Specialist 會計經理 Accounting Manager 市場主任 Marketing Officer

劉萍 Erica Lau*

藝術行政見習員 Arts Administrator Trainee

副外展經理 Deputy Outreach Manager

市場經理（票務） Marketing Manager (Ticketing)

林嘉敏 Carman Lam*

無限亮 NO LIMITS

發展總監 Development Director

楊璞 Michelle Yeung*

張予心 Stephanie Cheung*

助理外展經理 Assistant Outreach Manager

發展 DEVELOPMENT

吳樂怡 Lois Ng* 會計 ACCOUNTS

李冠輝 Kenneth Lee** 鄧冠恆 Joe Tang*

Honorary Programme Advisor

梁彩雲 Eppie Leung

票務主任 Ticketing Officers

陳偲穎 Stephanie Chan* 鍾卓祐 Chung Cheuk-yau*

會計主任 Accounting Officer

鍾雅妍 Fiona Chung* 陸凱盈 Helen Luk*

節目及外展經理 Programme and Outreach Manager

林淦鈞 Lam Kam-kwan*

助理節目及外展經理助理市場經理 Assistant Programme and Outreach Manager

陳慧晶 Ainslee Chan*

市場經理 Marketing Manager

雷淑雯 Germaine Lui*

助理市場經理 Assistant Marketing Managers

朱穎欣 Wendy Chu* 汪盈 Tiffany Wong*

外展統籌 Outreach Coordinator

馮顯峰 Wilson Fung*

蘇永恆 Peter So* 人力資源及行政 HR & ADMINISTRATION

助理技術及製作經理 Assistant Technical and Production Manager

行政經理 Administration Manager

彭健欣 Janice Pang*

譚智盈 Judy Tam*

接待員／初級秘書 Receptionist/Junior Secretary

李美娟 Virginia Li

助理 General Assistant

黃國愛 Bonia Wong

陳梓衡 Jacob Chan*

高級會計主任 Senior Accounting Officer

* 合約職員 Contract Staff ** 無限亮指導委員會成員 No Limits Steering Committee Members 按英文字母姓氏首字母排列 In alphabetical order

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