House Prog: Inspired by Beethoven - Hong Kong Sinfonietta‧Eroica (28.3.2021) by Hong Kong Sinfonietta Limited

首席客席指揮 Principal Guest Conductor

柏鵬 Christoph Poppen

28.3.2021 (星期日 Sun) 8pm

香港大會堂音樂廳 HK City Hall Concert Hall

中提琴 Viola

拉．馬爾卡 Adrien La Marca

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

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

$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”

納卡里亞科夫小號獨奏會 Sergei Nakariakov Trumpet Recital

30.4.2021 星期五 Fri

8pm

元朗劇院演藝廳 Yuen Long Theatre Auditorium 門票現已於城市售票網發售 Tickets NOW available at URBTIX outlets

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

節目Programme

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

葉詠詩 Yip Wing-sie

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

香港小交響樂團 • 英雄 • 貝多芬 Hong Kong Sinfonietta • Eroica 首席客席指揮 Principal Guest Conductor

柏鵬 Christoph Poppen

中提琴 Viola

作曲 Composer

拉．馬爾卡 Adrien La Marca

鄺展維 Charles Kwong (駐團藝術家 HKS Artist Associate)

節目

鄺展維

《虛構序曲》（2021年版本，世界首演）由香港小交響樂團委約

舒曼

A小調大提琴協奏曲，作品129（中提琴版本）不太急速的－緩慢的－非常活潑的－中場休息15分鐘－

貝多芬

降E大調第三交響曲，作品55，「英雄」精神抖擻的快板葬禮進行曲：相當緩慢的諧謔曲：活潑的快板終曲：甚快板

Programme

Charles Kwong Schumann

a fictional overture (2021 version, world première)

Commissioned by Hong Kong Sinfonietta

Cello Concerto in A minor, Op 129 (Adapted for Viola) Nicht zu schnell – Langsam – Sehr lebhaft – 15-minute intermission –

Beethoven 支持機構 With support from

Symphony No 3 in E-flat, Op 55, “Eroica” Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto

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.

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

《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

首席客席指揮 Principal Guest Conductor

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。

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.

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版本的首次錄音。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

鋼琴 Piano 作曲家/駐團藝術家 Composer/HKS Artist Associate

唐契夫 Charles 鄺展維 Antoni Donchev Kwong 自 2015 年起鄺展維為香港小交響樂團作當代音樂研究，本樂季獲邀擔任樂團之駐團藝術家。其他近期動向包括於 2020 年為期四個月的蘇黎世藝術家駐留計劃，以及大館當代美術館為期半年的藝術家駐留計劃。他亦於今年年初與德國 Ensemble recherche 聯合策劃「Spotted: Hong Kong」音樂會。鄺展維於 2019 年聯合創辦藝術創作及協作平台「廿一檔」，擔任藝術總監。鄺展維於香港中文大學及倫敦大學國王學院修讀音樂，及後獲利銘澤百年紀念獎學金全費資助，於英國約克大學在冼密古指導下鑽研作曲，並於 2013 年獲頒授博士學位。他近年獲得細川俊夫多次教導，並參加費利戴、蘭沙及比安茨等作曲家之大師班，從中獲重要啟迪。 Born and raised in Hong Kong, composer Charles Kwong has a diverse and growing portfolio of creative output including orchestral, choral, chamber and instrumental works. Distinguished groups and musicians that have performed Kwong’s music include Ensemble Intercontemporain,

鄺展維是香港土生土長的作曲家，創作範疇涵蓋管

Orchestre Philharmonique de Radio France, Hong

弦樂、合唱、以至為各種室樂組合及獨奏者而寫的

Kong Sinfonietta, Ensemble recherche, Neue

音樂作品，曾演出其作品的著名樂團及音樂家包括

Vocalsolisten Stuttgart, Divertimento Ensemble,

法國現代樂集、法國電台愛樂、香港小交響樂團、

Ensemble Offspring, Hong Kong New Music

德國 Ensemble recherche、斯圖加特創聲獨唱團、

Ensemble, Eastman BroadBand, Kreutzer String

意大利 Divertimento 現代室樂團、澳洲 Ensemble

Quartet, Mario Caroli, Tosiya Suzuki, and Tajima

Offspring 、香港創樂團、美國 Eastman

Tadashi, among others. His works have been

BroadBand、英國克萊采弦樂四重奏、長笛演奏家

internationally featured in prestigious festivals such

卡魯利、直笛演奏家鈴木俊哉及尺八大師

as Takefu International Music Festival, Ticino

等，近年其作品曾於日本、瑞士、意大利、法國、

Musica, Rondò a Bobbio, IRCAM ManiFeste,

德國、葡萄牙及香港等多個國際藝術節演出。

Festival International de Piano La Roque

鄺展維在音樂會範式以外，也有探討音樂作為一種

d'Anthéron, Gezeitenkonzerte in Ostfriesland,

體驗處境的創作方向，2018-2019年鄺展維於《聽

Marvão International Music Festival and the Hong

得見的城市》擔任策劃及作曲，為香港多個非音樂

Kong Arts Festival.

廳場域創作一系列的場域特定作品，名為《亞特拉

Kwong’s compositional explorations stretch beyond

斯》。該計劃與香港創樂團、聲音掏腰包及視覺藝

the paradigms of concert hall music, resulting in

術家鄧啟耀合作。

numerous site-specific works, sound installations

and cross-disciplinary collaborations. He was the

2020/2021 season, in addition to his work on

curator of Our Audible City (2018-2019) – a

contemporary music research and programming for

project in collaboration with Hong Kong New

the orchestra since 2015. He is co-founder and

Music Ensemble, soundpocket and visual artist

artistic director of PROJECT21st, a platform for

Frank Tang – for which he wrote Atlas, a series of

artistic productions and collaborations launched

site-specific works tailored for non-concert-hall

in 2019.

spaces in Hong Kong.

Kwong earned his doctorate in Composition from

Kwong’s recent highlights include artist residencies

The University of York in 2013 under the

with the Zurich University of the Arts for the City of

supervision of Thomas Simaku. Over the years, his

Zurich Artist-in-Residence Programme, and with Tai

artistic development has benefitted significantly

Kwun Contemporary in 2020. He co-curated the

through tutelages and masterclasses by Toshio

concert “Spotted: HK” with Ensemble recherche in

Hosokawa, Francesco Filidei, Mauro Lanza and

early 2021. He has also been appointed Artist

Oscar Bianchi, among others.

Associate of the Hong Kong Sinfonietta for their

鄺展維談音樂 Charles Kwong on music 問答

音樂，於你是甚麼？我現時的想法是，音樂是關於創造一些瞬間。我們用各式各樣的聲音去將一些特別的瞬間定義、塑造和改變 — 即「音樂瞬間」，在當中我們可以浸淫其中，將我們的意識與超越我們自身存在的周遭相連，由此對自身存在得到一些在此之外無法經歷的體會。

Q A

To you, what is music? My current thought is that, music is about creating moments. We use all forms of sounds to define, to shape or to transform some very particular moments – the “musical moments”, where we can immerse ourselves, connect our consciousness to our surroundings beyond our existence, and experience our own being in ways that would otherwise be impossible.

問

在創作過程中，你通常尋找和探索的是甚麼？我常將創作視為創造一些予人去體驗和探索的狀況。我較喜歡一些「被動」、去引起和喚起人們的想像、詮釋、以至疑惑的音樂，多於一些嘗試去表述或帶出信息的作品。另外，聲音的脆弱、轉瞬即逝、不確定和難以捉摸，都是使我著迷之處，在所用的 ��我�常常探索�些特�。

What do you usually seek and explore in your creative process? I like to view composing as creating situations to be experienced and navigated. I am interested in “passive” music that invites and evokes imaginations, interpretations, or even confusion (more than those trying to make a statement or convey a message). The fragile, transient and intangible nature in sounds also fascinate me a lot, and they are the qualities I often explore in the materials I employ.

答

問答

你的音樂主要受到甚麼影響？首先是自然；然後是故事、小說、神話、魔幻題材、未來學等等這些牽涉對虛構、不存在和未知事物的想像的東西；還有畫作 — 畫布上素材如何切入和引起深刻的想像十分吸引我，也對我在創作音樂上甚有啟發；當然還有音樂 — 要形容各種音樂和作曲家在過去對自己有何實際影響恐怕有點難（亦會太長篇），不過我可以說，我現在的創作取向大大受益於冼密古、細川俊夫和費利戴這三位恩師的音樂和指導。

Q A

What are the major influences in your music? More than anything else, the nature; then stories, fictions, mythology, fantasies, futurology, the imagination of things that are non-existent and unknown; also paintings – how materials on canvas mediate and conjure profound imagination intrigues and inspires me a lot in composing; and of course, music – it would be difficult (and lengthy) for myself to describe how exactly each type of music and each composer influenced my music over the years. Nevertheless, I can say my current approach of composing owes a lot to the music and teachings of three very important mentors in my life – Thomas Simaku, Toshio Hosokawa, and Francesco Filidei.

問

你會怎樣形容當代音樂在當世生活中的角色？在�個�代和文化�，音樂都是我們人類去定義自己的一種途徑。我們如何對待音樂、認為音樂可以做甚麼，都是我們對於自身有何信念和想法的體現。

How would you describe the role of contemporary music in our contemporary lives? In every age and culture, music is a way of how we as human beings define ourselves. What we do with music and what we think music could do are a manifestation of our beliefs in the being of ourselves.

答

Music nowadays in general has become very much something for personal pleasure and enjoyment, or something simply functional, like a tool; many think that the value of music comes from its value as a commodity – these actually say something about our society today. These are undoubtedly important aspects of music, but not its only roles of significance, neither are they a must. To me, contemporary music still retains the vigorous spirit and somewhat an ecology that allow curious minds to work outside these norms, to critically confront and question fixated beliefs, and to freely explore and expand the possibilities in what music and ourselves can be. Even though it might be something of a niche and might not make immediate and lucrative economic profits, I think these aspects in contemporary music are something essential in the continuation of our society and culture in the long run.

音樂在當今社會，普遍地被視為一些為帶來個人享受、又或像工具般為一些功能而生的物品，也有許多人認為，音樂的價值來自它作為商品的價值，這些其實都在說明我們現今社會的一些狀況。而雖然這些無疑是音樂其中重要的面向，卻不是它唯一的意義，也非必然。於我來說，當代音樂仍保留著那種激烈精神和一定生態，讓那些好奇的想法能夠跳出這些「常態」，去批判和質疑固有的觀念，並自由地探索和拓展音樂與我們自身的可能性。雖然可能只屬小眾，而且未必能立刻造成可觀的經濟利潤，但我認為當代音樂的這些面向，對於我們社會和文化的延續在長遠來說是不可或缺的。問答

對於初次接觸當代音樂的觀眾，你有甚麼建議？ 1 「明白」和「找答案」都被高估了。 2 不要安於把自己的意見簡化為「喜歡／不喜歡」或「好／壞」這些二元判斷。 3 對於一開始令人困惑和困難的東西，別太易太快放手，它們可以成為重要和珍貴的東西。

Q A

Do you have any advice for audience members who are new to contemporary music? 1 “To comprehend” and “to get the answers” are overrated. 2 Do not be content with reducing your opinions to binary judgements such as “like/don’t like” and “good/bad”. 3 Try not to easily and quickly let go of things that are at first perplexing and challenging. They could become something significant and precious.

節目介紹今晚的三首作品都略帶法國元素，雖然並非驟眼可見：開場鄺展維的《虛構序曲》是根據他原本為法國電台愛樂樂團創作的一首作品而寫成的，如標題所示，他要求我們去想像一首虛構的序曲。來自法國的獨奏家為我們帶來的一首協奏曲，原先並非為他演奏的樂器而寫，而是「借」自大提琴這種更低音的弦樂器。但另一方面，我們也沒甚麼好抱怨，因為沒有任何協奏曲比舒曼這首大提琴協奏曲（即今晚的中提琴協奏曲）更值得為更多人所認識。最後，沉緬於法國大革命的貝多芬，本來想把第三交響曲「英雄」題獻給拿破崙，但後來聽到這位法國將軍逕自稱帝之後，便改變了主意。貝多芬一直著迷於劇場，特別是歌劇及芭蕾舞。1800年，貝多芬正處於創作的火熱時期，他受宮廷劇院的委約撰寫名為《普羅米修斯的生民》（ The Creatures of Prometheus）的芭蕾舞劇，作品乃根據希臘神人普羅米修斯以泥土粘製人類和給予他火（因此他受到宙斯的懲罰）的神話改編。芭蕾舞劇結尾的主題迅速竄紅，貝多芬對之甚為滿意，馬上又在一套鋼琴變奏曲（作品35）中採用了這一主題，及後又將這個極有英雄色彩的主題用於下一首交響曲：「英雄」。早於1798年，貝多芬就想把一首作品獻給那時在他心目中，將法國從封建帝王的統治中拯救出來的英雄拿破崙．波拿巴。但他把拿破崙的名字寫在樂譜上之後，才得知拿破崙剛把自己加冕為「皇帝」。貝多芬一怒之下，狠狠地把拿破崙的名字從封面的標題中劃去（標題原為「題為波拿巴的偉大交響曲，貝多芬撰寫」），又斥罵拿破崙原來「只是一個凡夫俗子」。他重新換了一個標題，即是現在我們所知的「英雄交響曲，為紀念一位偉人而寫：獻給盧布科維茲王子（Prince Lobkowitz）」。這首充滿革命性的作品，在古典時期正常的樂隊編製上只是多加了一件樂器，那就是第三支圓號。但其規模與長度，卻令人耳目一新：音樂世界也從此不再一樣。

鄺展維（1985 年生）

《虛構序曲》（2021年版本，世界首演）由香港小交響樂團委約

關於此曲，鄺展維說：「近年我常希望創作一些虛構音樂，這並非指

交響樂團這場音樂會，我終可在接近四年後實踐這念頭。在這次修訂中，我從原本的樂章結尾續筆，將樂曲長度延伸了幾乎一倍，當中更深入思考『序曲』除了是時序上作為一場演出之始，另一方面也是透過聲響的投射，從聽覺上向觀眾打開和揭示身處空間的瞬間。」

以虛構事物為主題的音樂，而是存在於虛構世界、異於我們所身處的現實的音樂，就好像小說的作者憑空創造出不存在的人物、物種和地方。如此我可以自如地擺脫我們文化和習慣中的音樂語言、美學和語境來創作，又或以我個人想像去建構這些創作的前設。創作這樣的作品不單是寫一篇新樂章，而是同時也在創造出這音樂從哪來的故事。這看似脫離歷史和現實，但這樣的音樂並非完全無中生有，而是正如小說故事般反映創作者對歷史和現實的自身體驗。「《虛構序曲》是我第一首以上述方式創作的作品，其靈感來自古琴文化中流傳的一個故事。故事講述春秋時代的傳奇琴人伯牙跟隨了成連習琴三年，成連認為伯牙如欲更上一層樓，則需跟成連自己的老師學習，必獲啟發。於是伯牙跟隨成連到蓬萊山拜訪這位宗師，到達後成連吩咐伯牙靜心等候他去領宗師前來。誰知伯牙苦等數日不見任何人跡，伯牙以為宗師無意前來，失意之中細聽身處的自然中的萬籟，深受觸動，於是開始彈奏一同帶來的琴，竟演奏出以前從未能達致的深刻情感。當刻伯牙終於明白成連要他拜訪的宗師到底是誰，這時終見成連出現，來接已學成的自己回去。這趟旅程後，伯牙成為了聞名天下的頂尖琴人。《虛構序曲》由此傳說出發，想像一個虛構的音樂文化，當中樂手只從大自然學習音樂，而這個文化�的一首管弦序曲又會是何種聲音。「《虛構序曲》的第一個版本是在 2017 年夏天為巴黎音樂與聲學研究中心 ManiFeste 音樂節中的細川俊夫作曲大師班而寫，當時由法國電台愛樂樂團彩排和演出。原版本頗為簡短（因工作坊要求不超過 5 分鐘），自演出後我時常希望將意念延續成更完滿的結構。多得香港小 14

此樂曲的樂隊編制弦樂：第一及第二小提琴、中提琴、大提琴、低音大提琴木管樂：長笛 (2)、雙簧管 (1)、英國管 (1)、單簧管 (1)、低音單簧管 (1)、巴松管 (1)、低音巴松管 (1) 銅管樂：圓號 (2)、小號 (2)、長號 (2) 敲擊樂：大鼓、木魚、彈音器、樂鞭、扁玻璃樽

舒曼（1810–1856）

A小調大提琴協奏曲，作品129（拉．馬爾卡的中提琴版本）不太急速的－緩慢的－非常活潑的

音—2 分音），獨奏旋律性的低音則承托著輕柔的樂隊。第一主題在離主樂調甚遠的升 F 小調中重現，然後三連音的樂句將樂章帶回再現部，略過華采段（它延至終樂章才出現），直接進入只有30小節長的第二樂章。這個樂章採用了F大調和簡單的三段ABA曲式，中提琴在弦樂的撥弦和木管輕細的和弦襯托下吟唱主

舒曼的大提琴協奏曲是首不可多得的作品，除了能

題，中段的獨奏加上雙音，音色更為豐富。在一段

滿足獨奏者的技巧要求，它的旋律抒情性也相當豐

過門之後，作品在獨奏誘人的樂音引領下進入典型

富，很能反映出舒曼個人的風格和源源不絕的靈

的舒曼式終樂章，其中上升的 16 分音符不斷湧

感。協奏曲採用了舒曼偏好的A小調（與鋼琴協奏

現。像第一樂章一樣，終樂章也採用了奏鳴曲式，

曲一樣），創作於作曲家生命中最快樂的日子。舒

獨奏段落與樂隊激昂的齊奏一唱一隨。發展部和再

曼在1850年10月開始撰寫此曲，那時他一家剛移

現部過後，獨奏者終於可以在華采段大展身手（此

居到杜塞爾多夫不久，他也快將完成他的第三交響

時的和弦與撥弦伴奏可說是別具一格），接著樂隊

曲「萊茵」。這是舒曼為其新任職的樂團所寫的作

加速衝向尾聲，獨奏者以炫人的技巧在樂器的各個

品，擔任獨奏的是樂團的大提琴首席。今晚的獨奏

音域上下騰跳，與樂隊一起奔向最後的和弦。

樂器則改成了中提琴，但它並非唯一借用了這首樂曲的樂器。 1853 年，舒曼自己曾經把作品改寫給其朋友 — 小提琴家約阿希姆（Joseph Joachim）。後來，蕭斯達科維契又為這個版本重新配器。因為舒曼主要在樂曲中採用了大提琴的中高音域，故此能輕易地套用於中提琴，正如今晚獨奏家自己改編

此版本的樂隊編制弦樂：第一及第二小提琴、中提琴、大提琴、低音大提琴木管樂：長笛 (2)、雙簧管 (2)、單簧管 (2)、巴松管 (2) 銅管樂：圓號 (2)、小號 (2) 定音鼓獨奏中提琴（原為獨奏大提琴）

的版本所示。起初舒曼打算將作品題為「音樂會小品」（Konzertstück），像他前一年為四支圓號所寫的作品一樣，由三個部份組成，之間以過渡段落連接，使作品一氣呵成；但最後他還是將之定名為協奏曲。舒曼在早年學鋼琴時，曾經用自製的器具控制第四指的移動，卻使右手機能出現永久性的毛病，因此他後來改學大提琴，因為這並不影響他對琴弓的操作。難怪他這首協奏曲能充份展現出大提琴的特性，不但如此，他的室樂作品也顯示他對大提琴有深入的了解。一般而言，協奏曲都有一段樂隊齊奏作為前奏，但此曲的獨奏者，在三下木管的和弦之後便馬上出現。主題利用了獨奏樂器的較高音域，將浪漫主義的風格展露無遺。其後的第二主題，用上了獨奏樂器的差不多整個音域，在樂隊齊奏之後以關係大調（C）奏出。接著發展部帶出了一段三連音主題動機，以及木管回環出現的樂句（附點 4 分音—8 分 15

六個急速下行的 16 分音，最後由強力的樂隊打

貝多芬（1770–1827）

降E大調第三交響曲，作品55，「英雄」精神抖擻的快板葬禮進行曲：相當緩慢的諧謔曲：活潑的快板終曲：甚快板

斷。之後弱拍的長笛和小提琴音符，伴著躊躇的木管和低音弦樂主題，令第二和第四拍顯得頗為凝重，營造出不平衡的感覺，並建構一個新的聲音世界。樂隊在長篇的尾聲開始瓦解，剩下小提琴和最後結結巴巴的大提琴、低音大提琴步向寧靜。歡欣的諧謔曲把我們從深淵拉回來：另一個由弦樂奏出的延展的三連音主題，加上下行的雙簧管，帶

貝多芬的第三交響曲為古典音樂開闢了新天地，它

出了這個迷幻的樂章，接著加入了銅管樂和定音

大大延長了交響曲式的長度（儘管在標準的樂隊編

鼓。三支圓號在中段獨領風騷，而流轉的長笛、雙

制上只增加了第三支圓號）。雖然仍保留了四個樂

簧管和巴松管則與之和應。諧謔曲重現時，最後一

章的形式，整首作品卻展現出空前的英雄氣概和史

次奏起了靈巧的切分音：貝多芬早前曾很成功地使

詩格局。從首樂章的戰鬥氛圍，經過莊嚴的葬禮進

用過一段4分音-2分音的下行節奏，在此他把拍號

行曲和充滿朝氣的諧謔曲，到最後熱情澎湃的終樂

改變，下行對等的2分音顯得頗為顛簸，以此讓聽

章，全曲都爽朗地鼓勵人們向生命中美好的事物邁

眾準備進入由弦樂和宏大的和弦奏出的、翻滾起伏

進。作品在 1805 年 4 月 7 日於維也納劇院

的終樂章。

（Theater an der Wien）首演，當年一位樂評家即

終樂章首先由弦樂以撥弦奏出固定低音。接著木管

把作品總結為「一首鋪張揚厲、充滿膽識而野性的

和銅管樂彷彿在問「甚麼？」，弦樂則再次回應說

幻想曲」。

「這個！」。一段史詩式的變奏由此展開（總共有

首樂章是當時史上篇幅最長的交響曲樂章，它堅定

11個之多，再加上最後的急板），並由木管把著名

不移的步伐將前所未見的意志貫注在三拍的節奏

的普羅米修斯主題在第三次變奏中靜靜地帶出。終

60（即一秒一小節），

於，音樂停頓，以普羅米修斯主題為基調的木管合

此舉無疑產生了極大的威力和強度。降E大調本身

奏悄悄地進入，緩慢而綿延，為狂熱的尾聲作準

就是個具有英雄氣質、響亮的樂調，貝多芬借此以

備，最後尾聲以壓倒一切的氣勢衝向了結句。

中。貝多芬把速度定為

�� =

開頭兩個宏大的和弦來吸引觀眾的注意力。大提琴和低音大提琴瞬即帶出主題，但五小節後卻躊躇地停在升C之上，讓處於弱拍的第一小提琴以另一重要的元素潛入。呈現部逐漸構築成強大的齊奏段落，在三拍子的節奏中引出一連串如雷貫耳的兩拍和弦：這一極具變化的雙重性，充份展現出貝多芬

此樂曲的樂隊編制弦樂：第一及第二小提琴、中提琴、大提琴、低音大提琴木管樂：長笛 (2)、雙簧管 (2)、單簧管 (2)、巴松管 (2) 銅管樂：圓號 (3)、小號 (2) 定音鼓

想要營造的史詩氛圍。呈現部共有 152 小節之長（然後還要重複），發展部自然也要在長度方面與之匹配，於是也長達242小節。不僅如此，它還充滿了出人意表的創意，細緻而不乏激情。完結時的寧靜暗藏期待，由圓號的極輕音收束（聽起來好像早了兩個小節），然後進入再現部。葬禮進行曲同樣具有史詩般的確結構：簡單三段 ABA式的設計顯而易見，樂章的首尾是一段緩慢、吞吐而悲傷的C小調段落。雙簧管帶出了大調的中段落，接著由長笛接過，奏起緩緩上升的 4分音和 16

除《虛構序曲》外，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

Programme Notes Three works, which are not quite what they seem at first glance, come together tonight with a loosely French feel: Charles Kwong’s opener is based on a work he originally composed for L’Orchestre Philharmonique de Radio France, and asks us to imagine – as the title suggests – a fictional overture. Our French soloist brings not a concerto originally composed for his own instrument, but one he has “borrowed” from a lower-pitched string instrument, the cello. But, on the other hand, there can be no complaint because if there is one concerto that deserves to be better known, it is Schumann’s Cello Concerto or – as tonight – his Viola Concerto. Finally, as we will see, Beethoven was besotted with the French Revolution and originally dedicated his epic Third Symphony – the “Eroica” (“Heroic”) – to Napoleon Bonaparte. But that is not how it has come down to us, as Beethoven then heard that the French general had declared himself Emperor… Beethoven – ever the lover of theatre, particularly opera and ballet – was fired up with enthusiasm in 1800 when he was commissioned by the Court Theatre to write a ballet called The Creatures of Prometheus, following the Greek Titan Prometheus’ fashioning of man from clay and giving him fire (for which he was punished by Zeus). The ballet ends with a famous theme which so besotted Beethoven that he immediately used as the basis for a set of piano variations (Op 35) and then as the culmination of his next symphony: the heroic theme which eventually led to Beethoven’s own sobriquet for both the variations and symphony: “Eroica”. From as early as 1798 Beethoven had thought of dedicating a work to his then hero, Napoleon Bonaparte – saviour of France from imperial authority. But, after he had had a fair copy made of this newly completed symphony with Napoleon’s name atop, Beethoven found out that Bonaparte had just crowned himself “Emperor”. The composer famously flew into a rage, heavily scoring out Napoleon’s name from the title page (which had read “Grand Symphony entitled Bonaparte by Mr Louis van Beethoven”), cursing the ex-dedicatee and accusing him of turning out to be “nothing more than an ordinary human being”. He re-titled his symphony with the name by which we know it today: “Sinfonia Eroica. Composed to celebrate the memory of a Great Man: dedicated to Prince Lobkowitz”. Such a revolutionary work was managed with just one addition to the normal “classical” orchestra – a third French horn. But in its scope and length, it was shockingly new: the musical world would never be the same again. 17

Charles Kwong

(born 1985)

a fictional overture (2021 version, world première) Commissioned by Hong Kong Sinfonietta

Charles Kwong writes: “In recent years, I have been intrigued by the idea of creating some kind of fictional music. I am not talking about music that takes fictional subjects as the theme, but music that is thought to exist in a fictional world, an alternate reality, just like how authors of fiction conjure non-existent characters, creatures or places. In such a way, I am free to write music where its musical language, aesthetic and context could be detached from the habits and cultures we possess and live in, or to base these artistic presumptions purely on my personal imagination and fabrication. Writing such compositions is not just creating a new piece of music, but also creating a narrative of where such music comes from. As ahistorical and unreal as it seems, such music – like fiction – does not exist in a vacuum but is instead always a reflection of the author’s experience and perception of history and reality. “a fictional overture was the first composition where I used this particular approach. The inspiration of its narrative comes from a story of the legendary qin player Bo Ya which always fascinates me a lot. The legend goes by: after three years of studying the qin with his teacher Cheng Lian, Bo Ya was told by Cheng Lian that he should go to Cheng Lian’s own teacher – a grandmaster of the qin – to further his artistry. Agreeing to such a proposal with much excitement, Bo Ya followed Cheng Lian to a rustic island, and was told to wait there for Cheng Lian to bring the grandmaster over. After days of futile waiting, Bo Ya deduced that the grandmaster was not coming. The saddened Bo Ya listened to the nature surrounding him and was 18

inspired to play the qin that he brought along, with an emotional intensity that he had never reached in his performances before. At that point Bo Ya realised the true ‘identity’ of the grandmaster that Cheng Lian was referring to, and finally saw Cheng Lian reappearing to show him his way back. It is said that after this trip, Bo Ya became the finest qin player of all lands. a fictional overture took this legend of the qin culture further, imagining a fictional musical culture where musicians study only with nature, and what an orchestral overture in such a culture would sound like. “The first version of a fictional overture was written for a composition masterclass with Toshio Hosokawa at IRCAM’s ManiFeste in summer 2017, where the piece was workshopped and performed by the Orchestre Philharmonie de Radio France. The original version was quite short in duration (of less than 5 minutes, as required by the workshop), and after its performance I have always wanted to expand this sketch into a fuller structure. Thanks to this concert with Hong Kong Sinfonietta, I can finally realise this vision nearly four years after. In this revision, I worked from where the piece ended and extended the piece to nearly double its original duration. The revision contemplates more on the idea of how ‘overtures’ do not only mark the opening of performances, but also function as the moment to aurally ‘open’ and reveal the physicalities of the space to the audience by projecting sounds and sonorities into it.“

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flutes (2), oboe (1), English horn (1), clarinet (1), bass clarinet (1), bassoon (1), contrabassoon (1) Brass: horns (2), trumpets (2), trombones (2) Percusssion: bass drum, woodblocks, flexatone, whip, flat bottles

Robert Schumann (1810-1856)

Cello Concerto in A minor, Op 129 (Adapted for Viola by Adrien La Marca) Nicht zu schnell – Langsam – Sehr lebhaft

Schumann’s Cello Concerto remains an inexplicable rarity on the concert platform, especially as it is a hugely satisfying work for the soloist, rich in lyrical melody, with a strong individual style and abundance of inspiration. Couched in one of his favourite keys (A minor – shared with the more famous Piano Concerto), it was composed during one of the happiest times of the composer’s life, in October 1850, just after the Schumann family had moved to Düsseldorf (and shortly before Robert completed his Rhenish Symphony, the Third) and it was written for his new orchestra. The soloist was the orchestra’s principal cellist. Tonight the original cello part has been claimed by the viola, though it is not the only instrument that has poached the solo part. Schumann himself transcribed it for his violinist friend Joseph Joachim in 1853 and, much later, Shostakovich re-orchestrated that version. As it happens, given that Schumann mainly uses the middle and upper parts of the cello register, much can easily be accommodated by the viola, as in today’s performance arranged by our soloist himself. At first Schumann contemplated terming the work Konzertstück like his work for four horns from the previous year, which is also in three sections all linked by transitional passages in one continuous musical flow, but eventually allowed it to take the traditional title for a solo concertante work. Schumann had taken up the cello himself when, after damaging his right hand early in his career while using a home-made gadget to stop his fourth finger from moving while practising, he realised a piano virtuoso career was no longer possible. The damage did not affect him bowing the cello, and thus he brought valuable practical

insight to the composition of not only his concerto but also in his chamber music. The Concerto opens with three introductory wind chords, which usher the soloist in immediately, Schumann dispensing with the standard initial orchestral tutti. Its theme, making use of the instrument’s tenor range, is a broadly sweeping one in true romantic style, with a second subject, introduced after an orchestral section in the relative major (C), which uses most of the instrument’s range. The ensuing development introduces a triplet motif, as a well as woodwind figures (dotted crotchet–quaver–minim) which often recur, as well as much soloistic writing which acts as a melodic bass to the softly tuned orchestral parts. The first theme reappears in the far distant key of F-sharp minor, then triplet figures lead back to the recapitulation without the customary cadenza (which is displaced until the Finale), then straight into the slow movement. Only 30 bars long, the slow movement is in F major and simple ternary form. Here the cello sings its melody over mainly pizzicato strings and gentle wind chording, with further soloistic enrichment in the central section produced by double-stopping (sounding two notes at the same time on adjacent strings). A further bridging passage, with yearning soloist, leads into the typical Schumannesque Finale, with a rising semiquaver figure which permeates the whole movement. Like the first movement, this last is in sonata form, with solo viola passages interrupted by declamatory orchestral tuttis. After the development and recapitulation, the soloist’s chance at the cadenza finally arrives, although this too is unusual with its chordal and pizzicato accompaniment, speeding up into the coda where the viola’s pyrotechnics over the whole range of the instrument rush headlong into the final chords.

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

Ludwig van Beethoven (1770–1827)

Symphony No 3 in E-flat, Op 55, “Eroica” Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto

which Beethoven has chosen to wrestle. The exposition is 152 bars long (and is then repeated) and thus the development – to match it – has to be of equally massive proportions. Full of incredible invention, subtlety and verve, it is 242 bars long, ending in an atmosphere of hushed anticipation, broken (two bars too early, it might seem) by a pianissimo horn, before the recapitulation.

Breaking new ground, Beethoven’s Third Symphony vastly increased the time-span of symphonic form (although he only added a third horn to standard orchestras of the time). Although still cast in four movements, there is an epic of, more properly, heroic sweep to the whole work, from the battle stations of the opening movement, via the great funeral march and life-affirming Scherzo to the striving Finale, which confidently urges mankind ever onwards to better things, in quite exhilarating style. The first public performance, at the Theater an der Wien, took place on 7 April 1805, and an early critic summed it up as “a very long drawn out, daring and wild fantasia”.

The “Funeral March” is an equally epic structure: a simple ternary design writ large and topped-andtailed by a very slow, stuttering and grief-laden C minor section. The oboe introduces a major-key section, then flute, with slowly rising crotchets and six rapidly descending semiquavers, broken by the full force of the orchestra. An extraordinary passage with off-beat flute and violin figures accompanying a slow moving wind and lower string theme, which rather stress second and fourth beats, creates an off-balance feeling and, quite definitely, a new sound world. A long coda, with the orchestra disintegrating, leaves only violins and a last stutter from the cellos and basses to die away to silence.

The almost unrelenting pace of the opening movement (itself the longest symphonic movement then composed) imbues the three-beat rhythm with a purpose hitherto unknown. Beethoven set a metronome marking at �� = 60 (one bar a second) and there is no doubt of the power and excitement it generates. In E-flat major – very much a heroic, resounding key – Beethoven demands our attention with two massive initial chords. Cellos and basses immediately introduce the theme, but hesitantly end on C-sharp five bars later, allowing off-beat first violins to sneak in with another important component. The exposition builds, and builds to a tremendous tutti passage of thundering second and third beat chords (with silent first beats) which drives straight into chords every second beat, within the triple metre: a cataclysmic duality which aptly shows the epic forces with

The joyous Scherzo pulls us back from the abyss: another extended triplet theme for rising strings topped by a descending oboe, introduces this willo’the-wisp movement, which eventually allows the brass and timpani to join in. However, the three horns come into their own in the Trio, matched by a flowing corollary for flute, oboe and bassoon. The Scherzo returns, with a final syncopated sleight-of-hand: whereas earlier Beethoven used a tutti crotchet-minim descending rhythm to great effect, here he changes time signature and has descending equal minims to jolt us out of any complacency and to prepare us for the Finale, which starts with a furious welter of strings and grand chords.

There follows a pizzicato passacaglia (ground bass), plucked out by the strings. “What?”, shriek the wind and brass. “This!”, argue the strings again. So, an epic set of variations (11 in all, plus the final presto) is set in motion with the famous Prometheus theme (remember that?) being introduced quietly by the wind in the third variation. Eventually, the music stops in its tracks and a wind chorale based on the Prometheus theme quietly fills the silence in an extended and slower precursor to the frenetic coda, which steamrollers its way to the end.

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

(except Charles Kwong’s a fictional overture)

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

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保��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 1. Guest Principal Bassoon 客席巴松管首席 – LIU Tung-bo (廖冬保) 2. Freelance Musicians: Violin 小提琴：CHUA Vince Eliezer N. (蔡君賢), WEI Ning-yi (魏宁一) Flute 長笛：HUI Wing-hang Bob (許榮鏗) Oboe 雙簧管：WAN Lok-yu Cecilia (溫樂愉)

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

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

Board of Governors

榮譽監察委員

Honorary Governors

潘燊昌博士（主席）

Dr Patrick S C POON (Chairman)

金董建平女士

Mrs Alice KING

翟紹唐先生（副主席）

Mr JAT Sew-tong (Vice-chairman)

施永青先生

Mr SHIH Wing-ching

鍾思源醫生（司庫）

Dr CHUNG See-yuen

楊雪姬女士

Ms Serena YANG

周莉莉女士

Ms Lily CHOW

鍾陳碧璋女士

Mrs Shirley CHUNG

何汝祥醫生

Dr HO Yu-cheung

義務公司秘書

Honorary Company Secretary

陳智文先生

Mr Stephen TAN

謝智剛教授

Prof C K Michael TSE

阮偉文博士

Dr Andrew S YUEN

(Treasurer)

Tricor Corporate Secretary Limited 義務骨科專科醫生

Honorary Orthopaedic Surgeon

傅偉俊醫生

Dr Dan HOOLEY

樂團行政 Administration 行政總裁 Chief Executive Officer 楊惠惠 Margaret YANG 總經理 General Manager 李浩儀 LEE Ho-yee 行政秘書 Executive Assistant to CEO 何淑娟 Rose HO

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

會計經理 Accounting Manager 李靄玲 Judith LEE

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

行政助理 Office Adminstrator 楊瑞遠 YANG Jui-yuan

節目經理 Project Manager 黃紫菱 Athena WONG 助理樂團經理 Assistant Orchestra Manager 黎希潼 Carvina LAI

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

謝謝！Thank You Partners! 2020/2021 樂季贊助機構 Sponsors of the 2020/2021 Season 主要贊助機構 Major Sponsors

商業機構贊助計劃 Corporate Members 白金會員 Platinum Member

金會員 Gold Member

銀會員 Silver Member

謝謝！Thank You! 香港小交響樂團對以下的捐款者及機構致以衷心謝意。 Thank you to the following donors and organisations who have supported us with a donation in the past year. 贊助人及捐款者 Patrons & Donors MegaSTAR Patrons (>HK$500,000)

STARplus Donors (HK$30,000 to HK$99,999)

• 陳鋈鋆先生 Mr Chan Yuk-kwan • 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon • 施永青基金有限公司 Shih Wing Ching Foundation Limited • Ms Serena Yang SuperSTAR Patrons (HK$100,000 to HK$499,999)

• 周莉莉女士 Ms Lily Chow • 翟紹唐先生 Mr Jat Sew Tong • 冼為堅基金有限公司 Sin Wai Kin Foundation

• • • • • • • • • •

北山堂基金 Bei Shan Tang Foundation 陳嘉何醫生夫人陳求德醫生 Dr Chan Kow Tak Lowell and Phyllis Chang 鍾陳碧璋女士 Mrs Shirley Chung Ms Cadence Hsiung 關卓然先生 Mr William Kwan Cheuk Yin Ruth & Sidney 謝智剛教授 Prof CK Michael Tse 多位無名氏 Anonymous

STAR Donors (HK$10,000 to HK$29,999) • Mr Douglas Clark

• 莫扎特迷 Mozart’s Fan

• Mr Eugene Fung

• Nathaniel Foundation Limited

• 孫永輝施熙德伉儷 Edith and Stephen Sun

• 高靜芝女士 Ms Sophia Kao

• 曹延洲教授 Prof Tsao Yen Chow

• Miss Sandra W M Lee

• 吳思博先生及蕭詠欣女士 Winny and Nigel Ng

• Mr Allan Leung

• Dr Yvonne Ou

• 多位無名氏 Anonymous

• BELIEVING MUSIC CAN

• 鍾寶圈小姐 Miss Pollyanna Chung

• Ms Florence Leung

• 加拿大琴行 Canada Piano Co

• 鍾穎彤小姐 Miss Chung Wing Tung

• 吳志強先生

• Ms Cynthia Chan

• In memory of Esther

• Mrs Florence Ng

• Jonman, Monika & Joel Chan Family

• Ms Roselanie Ho

• 吳天天先生 Mr Ng Tin Tin Timothy

• 陳昌奇先生 Mr Kelvin Chan

• Ms Hung Ying Kwan

• 魏嘉珩女士 Ms Ngai Kar Hang

• Mr Chan King Fung Thomas Adam

• 郭立成律師 Mr Chris Kok

• Mr John Ngan

• In memory of Ms Mariette Mimi Chan

• Ms Joyce Kwock

• Poon Shing Chi & Liao E Wen

• Miss M Kwok

• Ms Elsie Tam

• Miss Chan Yin Fei Joyce

• Ms Betsy Lai

• 曾作強先生 Mr Henry Tsang

• 陳燕婷

• 黎慧德女士 Ms Wai Tak Lai

• Mr Paul Tsang

• 陳騰龍先生

• Ms Law Jessica Yun Pui

• Ms TT Tsui

• Mr Douglas Cheng

• Mr Sung Chak Kyle Lee

• Ms Carolina Yip

• 鄭錦德先生 Mr Cheng Kam Tak

• Mr Sheung Lee

• Ms Anka Yuen

• 蔡靄兒小姐 Miss Joycelyn Choi

• Mr Lee Wai Ho

• 多位無名氏 Anonymous

• Dr & Mrs Arthur Van Langenberg

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

學生票資助計劃 Student Ticket Scheme Donors Diamond Donors (>HK$100,000)

Jade Donors (HK$50,000 to HK$99,999)

• 翟紹唐先生 Mr Jat Sew Tong

• CLP Holdings Limited • 鍾陳碧璋女士 Mrs Shirley Chung • 多位無名氏 Anonymous

• 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon • 芝蘭基金會 Zhilan Foundation

Pearl Donors (HK$10,000 to HK$29,999) • Mr Iain Bruce

• PLC. Foundation

• 陳德茂教授 Prof Chan Tak Mao Daniel

• 沈昊翔先生 Mr Shum Ho Cheung

• 張德賢博士伉儷 Dr & Mrs Douglas Cheung

• 孫永輝施熙德伉儷 Edith and Stephen Sun

• 趙俊良先生 Mr Chiu Chun Leong David

• 王煒東先生 Mr Wong Wai Tung

• 林定國先生夫人 Mr and Mrs Lam Ting Kwok Paul

• 多位無名氏 Anonymous

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

BELIEVING MUSIC CAN Mrs Charlene Chan Jonman, Monika & Joel Chan Family Mr Chan Kwan Ho Miss Chan Yin Fei Joyce 兜仔先生 Mr Dullchai Caterina, Luca & Joseph Jacobelli

Premium Friends • 張�昌博士 Dr Thomas H C Cheung, MH • 李韶博士伉儷 Dr Lee Shiu & Dr Jennie Lee • 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon • 冼為堅博士 Dr David Sin Wai-kin • 唐柏泉醫生 Dr Patrick Tong • 謝智剛教授 Prof C K Michael Tse • 多位無名氏 Anonymous

• • • • • • •

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

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:

• 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