小提琴/領奏 Violin/Director
© LEO HON-WAI YUEN
格德霍特 James Cuddeford
28.5.2022 (星期六 Sat) 8pm
香港大會堂音樂廳 HK City Hall Concert Hall
香港小交響樂團由香港特別行政區政府資助 Hong Kong Sinfonietta is financially supported by the Government of the Hong Kong Special Administrative Region
弦．續巴羅克 Baroque Connections 節目 小提琴/領奏 Violin/Director
A小調小提琴協奏曲，BWV1041
巴赫
[中庸的快板] 行板 甚快板
格德霍特 James Cuddeford
B小調交響曲，RV169，「聖墓」
韋華第
甚慢板 － 不太快的快板
G大調交響曲，RV146
韋華第
快板 － 行板. 活潑的 － 快板
G小調夏康舞曲
浦賽爾 比貝
《戰爭》 －中場休息15分鐘－
浦賽爾/本傑明
幻想曲7（1995）
庫爾塔克
《連結（已回答的未回答問題） 》 ，作品31/b（1989） A大調第59交響曲，「火」，Hob I:59
海頓
急板 速度更快的行板 小步舞曲 甚快板
Programme 香港小交響樂團 Hong Kong Sinfonietta 問卷調查 Audience Survey
Bach
Violin Concerto in A minor, BWV1041
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.
Vivaldi
Sinfonia in B minor, RV169, “Al Santo Sepolcro”
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.
[Allegro moderato] Andante Allegro assai
Adagio molto – Allegro ma poco
Vivaldi
Sinfonia in G, RV146
Purcell Biber
Chacony in G minor Battalia
Allegro – Andante. Vivace – Allegro
– 15-minute intermission –
Purcell/ George Benjamin György Kurtág Haydn
Fantasia 7 (1995) Ligatura (The Answered Unanswered Question), Op 31/b (1989) Symphony No 59 in A, “Fire”, Hob I:59 Presto Andante o più tosto allegretto Menuetto Allegro assai
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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
目，以及近年推出的網上室樂系列，於香港別具特
「培育文化新一代」，並以富創意的節目及充滿熱忱
色的旅舍拍攝的《Tiny Galaxy Concerts》，亦為古
的演奏稱譽本地及海外樂壇。 自 1999 年起，與香港小交響樂團合作過的國際知 名音樂家及藝團包括阿爾斯達德、法蘭、格林高 特、赫姆森、麥米蘭、納卡里亞科夫、彭德雷茨 基、凱拉斯、塞伊、薛高維茨基、英國皇家芭蕾舞
少華人作曲家的優秀作品；由 DECCA 發行的三輯 《就是古典音樂》系列，均獲白金及金唱片佳績。 雙 CD《一屋寶貝音樂廳》於 2018 年由 DECCA 出 版。
團、英國國家芭蕾舞團、美國芭蕾舞劇院、紐約市
樂團經常應邀作客海外，包括：美國紐約林肯中心
芭蕾舞團、斯圖加特芭蕾舞團及翩娜．包殊烏珀塔
羅斯劇院、加拿大多個以出色音效著稱的音樂廳；
爾舞蹈劇場等。樂團亦經常應邀與香港藝術節、法
南美洲的巴西、阿根廷及烏拉圭；在歐洲計有法國
國五月、香港芭蕾舞團等合作。
的拉羅克．昂迪榮國際鋼琴音樂節和蒙頓音樂節
樂團自 2009 年起為香港大會堂的場地伙伴，每樂
等、德國東弗里斯蘭「浪潮」音樂節、波蘭貝多芬
季演出逾100場次。除了傳統的管弦樂章，樂團於 過去 20 年，委約本地及海外作曲家創作超過 70 首 作品。樂團並於 2006 年起舉辦「駐團藝術家」計 劃，培育新一代本地藝術家之餘更為古典音樂創造 新的可能性。樂團又與不同界別的藝術家製作了不 少大獲好評的跨界節目，包括《士兵的故事》、 《一屋寶貝音樂廳》和《阿飛正轉》等。 2020 年 推出音樂會電影系列《Back On Stage》，成為
復活節音樂節、意大利米凱朗傑利國際音樂節和維 琴察音樂節、葡萄牙馬爾旺國際音樂節、立陶宛的 兩個音樂節、瑞士蘇黎世、日內瓦和弗里堡；北京 中國交響樂之春（國家大劇院）、中國上海國際藝 術節/世博會、日本《
》音樂祭及亞洲交響
樂團音樂節、韓國統營國際音樂節、新加坡、台灣 巡演。 2018 年舉辦第一屆香港國際指揮大賽，參 賽者來自49個國家及地區，成功吸引國際目光。
首個躍進戲院的本地樂團。 2021 年，樂團與
樂團 2002 年至 2020 年由著名指揮家葉詠詩擔任
MOViE MOViE 聯合呈獻「Life is Art 盛夏藝術祭」
音樂總監，期間致力推動本地古典音樂發展。
電影節，帶來音樂新看法。
葉詠詩現為樂團的桂冠音樂總監，她會在樂團委任
而針對不同觀眾的多套普及音樂會，包括《寶寶/ 幼兒愛音樂》、《古典音樂速成》、《古典音樂知多 少》和《我個名叫麥兜兜．古典音樂小計劃》等節 2
典音樂注入新色彩。樂團灌錄過多套唱片，收錄不
新總監前，與首席客席指揮柏鵬一起負責樂團藝術 發展事宜。
One of Hong Kong’s flagship orchestras, Hong Kong Sinfonietta has achieved significant local and international recognition for its passionate performances and innovative programming which have brought music closer to the community. Since 1999, Hong Kong Sinfonietta has collaborated with an illustrious array of international musicians and groups, including in recent years Nicolas Altstaedt, Vilde Frang, Ilya Gringolts, Martin Helmchen, James MacMillan, Sergei Nakariakov, Krzysztof Penderecki, JeanGuihen Queyras, Fazıl Say, Dmitry Sitkovetsky, 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 French May Arts Festival, the orchestra also partners regularly with Hong Kong Ballet in their staged productions. 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 more than 70 newly commissioned works over the past 20 years, as well as launching in 2006 the HKS Artist Associate scheme, which provides a platform for intensive collaboration with local artists from different arts disciplines to expand the horizon of classical music. The orchestra has enjoyed many triumphs with cross-genre productions such as A Soldier’s Story, The Passage Beyond in Concert and Pica Pica Choose, which melded dance and theatre with music to wide critical acclaim. It also became the first local orchestra to appear on the cinema screen in 2020 with its groundbreaking Back On Stage concert film series, and in 2021 further ventured into the cinematic world by co-curating the “Life is Art” film festival with MOViE MOViE. Always breaking down barriers between music and the general audience, Hong Kong Sinfonietta holds specially-designed concert series for different audiences and age groups, including Good Music for Babies/Kids, Short-cut to Classical Music, Know Your Classical Music and HKS McDull Music Project, and recently filmed the Tiny Galaxy
Concerts online series featuring chamber music performances recorded at a fascinating hostel in Hong Kong. The orchestra’s discography includes CDs of works by Chinese composers on HUGO, and three double-CD albums This is Classical Music on DECCA which have been awarded Platinum and Gold Records. In 2018, The Passage Beyond in Concert by Leon Ko, was released on DECCA. Thriving on its strong local roots combined with an ambitious international vision, Hong Kong Sinfonietta has been invited to perform on tour in North America in Canada and New York City; in Brazil, Argentina and Uruguay in South America; in Europe at prestigious festivals in France including Festival International de Piano La Roque d’Anthéron and Festival de Musique Menton, in Germany at Gezeitenkonzerte Ostfriesland, at Beethoven Easter Festival in Poland, in Switzerland at Tonhalle Zürich, Geneva Victoria Hall and Fribourg, at festivals in Italy including the Michelangeli Festival, in Portugal at the Marvão International Music Festival, and in Lithuania; in China at China Shanghai International Arts Festival (Expo 2010), in Beijing at the National Centre for the Performing Arts; in Japan at La Folle Journée and Asia Orchestra Week; in Korea at the Tongyeong International Music Festival and in Singapore at the Esplanade, and at National Concert Hall Taipei and National Taichung Theater. In 2018, the orchestra organised the 1st Hong Kong International Conducting Competition, which attracted 310 applications from 49 countries/regions. Hong Kong Sinfonietta has gone from strength to strength under the direction of Music Director Yip Wing-sie – one of Asia’s most respected conductors – since 2002. Having taken on the new role of Music Director Emeritus since May 2020, she and Principal Guest Conductor Christoph Poppen are responsible for the artistic development of the orchestra before the next Music Director is appointed. 香港小交響樂團有限公司是註冊之慈善團體。 The Hong Kong Sinfonietta Limited is a registered charity. 香港灣仔譚臣道 98 號運盛大廈 3樓 3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong 電話 Tel : (852) 2836 3336 電郵 Email: enquiries@hksinfonietta.org 網址 Website: www.HKSL.org
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小提琴/領奏 Violin/Director
格德霍特 James Cuddeford 現任香港小交響樂團樂團首席的格德霍特生於澳洲 布里斯本，七歲開始學習音樂， 12 歲獲全額獎學 金入讀英國曼奴軒音樂學校，並先後入讀皇家北部 音樂學院及曼徹斯特大學，師隨曼奴軒學習小提 琴，並隨施托克豪森及庫爾塔克學習作曲。此外， 格德霍特是多個重要獎項得主，包括 1996 年荷蘭 查爾斯．赫南國際室樂大賽首獎。 格德霍特經常以獨奏家及室樂演奏家身份在世界各 地演出，曾於多個著名國際音樂節及音樂廳亮相。 他曾與多個樂團合作，包括瑞士利斯室樂團、BBC 蘇格蘭國家樂團、德國耶拿愛樂樂團、昆士蘭交響 樂團、阿得萊德交響樂團、塔斯曼尼亞交響樂團及 香港小交響樂團等，亦曾與李爾、羅森、科瓦切維 奇、奧蒂斯、哥連斯、曼奴軒、朱仁拿、威斯帕維 及戴柏圖合作演奏室樂。 格德霍特是當代音樂的出色詮釋者，曾首演多首當 代作品，包括庫爾塔克、伯特威斯爾和斯莫利等的 小提琴作品。他也是一位作曲家， 15 歲參加 BBC 青年作曲家大賽，成為最年輕的一位晉身決賽的參
© LEO HON-WAI YUEN
賽者，翌年獲昆士蘭愛樂樂團委約創作及首演他第 一首正式的管弦作品。格德霍特的作品亦曾被澳洲 弦樂四重奏、納殊樂團和澳洲新生代樂團等在歐美 及亞洲等地演奏、錄音和廣播。格德霍特的作品由 澳洲音樂中心代理。 格德霍特於 1998 年加入澳洲弦樂四重奏，之後擔 任葛蘭傑弦樂四重奏及悉尼獨奏家樂團的小提琴 手，並曾獲澳洲、日本及歐洲等地的樂團邀請擔任 小提琴獨奏及領奏。他曾於阿得萊德大學艾爾德音 樂學院和澳洲音樂學院任教，亦於世界各地舉辦大 師班，並曾為ABC Classics、Tall Poppies 和Melba 灌錄唱片。他使用的是1769年格里安諾名琴。
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Currently Concertmaster of the Hong Kong Sinfonietta, James Cuddeford has emerged as one of Australia’s leading musicians. After commencing his musical studies at age seven, Cuddeford won a full scholarship at age 12 to study at the Yehudi Menuhin School in England. He continued his studies in performance at the Royal Northern College of Music and composition at the University of Manchester. His principal teachers were Yehudi Menuhin in violin, and Karlheinz Stockhausen and György Kurtág in composition. He has won prizes in a series of important competitions including the first prize in the 1996 Charles Hennen International Competition in Holland. Cuddeford has performed extensively around the world as both soloist and chamber musician. He has frequently appeared at major international festivals in many of the world’s most prestigious halls. As a chamber musician, James has collaborated with artists such as John Lill, Charles Rosen, Stephen Kovacevich, Cristina Ortiz, Michael Collins, Heinz Holliger, Yehudi Menuhin, Bruno Giuranna, Pieter Wispelwey and Michel Dalberto. He has performed concertos with orchestras including the Camerata Lysy Switzerland, BBC Scottish National, Hong Kong Sinfonietta, Jena Philharmonic Germany, Queensland, Adelaide and Tasmanian Symphony Orchestras.
Philharmonic Orchestra commissioned and premiered his first major orchestral work. His compositions have also been performed, recorded and broadcast in Europe, North America and Asia by groups such as the Nash Ensemble, Australian String Quartet, Ensemble Offspring and Psappha Ensemble. His music is represented by the Australian Music Centre. Cuddeford joined the internationally acclaimed Australian String Quartet in 1998, and has directed from the violin many orchestras in Australia, Japan and Europe. Cuddeford lectured in violin at both the Elder Conservatorium and the Australian Institute of Music, and has given masterclasses at many major institutions around the world. He has recorded for ABC Classics, Tall Poppies, Melba Recordings and Toccata Classics and plays on a violin made by Nicolò Gagliano in 1769.
As a highly active and renowned interpreter of contemporary music, Cuddeford has worked with and premiered the music of many of the most important composers of our time, including violin works by Brett Dean, György Kurtág, Roger Smalley and Harrison Birtwistle. At age 15, he was the youngest finalist in the BBC Young Composer of the Year, and the following year the Queensland
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節目介紹 今晚音樂會的節目橫跨超過三個世紀。上半場專注於巴羅克時期：在比貝和浦賽爾的 17世紀後期音樂之前，先有18世紀上半葉德國和意大利作曲家的作品。他們都是有名 的作曲家，如巴赫和較他年長八歲的韋華第。下半場來到當代，兩位在世作曲家的作 品不約而同地取材於以往的作品：本傑明轉寫了浦賽爾的原作，而庫爾塔克則從不久 前、20世紀美國作曲家艾夫斯（Charles Ives）的作品中獲得靈感。最後我們回到18世 紀，以海頓其中一首「狂飆突進」時期的交響曲來結束音樂會。 音樂是不斷演變的，偉大的作曲家不僅會追隨時代，還會進一步發展出新的音樂風 格。例如，稍後我們就會看到，巴赫接過了韋華第三樂章的協奏曲形式，再進行創 新。他把韋華第的一些協奏曲轉寫給其他樂器，於是便有許多協奏曲可供選擇。「紅 髮教士」韋華第最著名的作品是《四季》，但它們只佔了他 84 首出版過的協奏曲中的 四首。與韋華第未曾出版的協奏曲相比，這些已出版的作品又像是滄海一粟。保守估 計他約創作了750 首作品，包括400 首協奏曲、 94 套歌劇等，而聖樂作品還未計算在 內。每一年他都有新的作品被發現。他為單一樂器所寫的協奏曲大約有170 首是寫給 小提琴的，超過 40 首寫給巴松管， 27 首給大提琴， 19 首給雙簧管， 13 首給橫笛和 7 首給古提琴。此外還有一些寫給不同樂器的組合，如兩把小提琴等。 而在 18 世紀，海頓被逼成為偉大的革新者。 1766 年，他晉升為艾斯特哈齊 （Esterházy）王宮的正樂長，隨宮廷遷到模仿凡爾賽宮建成的艾斯特哈齊王宮。它位於 尼古拉斯親王摯愛的狩獵場附近，在現時匈牙利的費爾特德（Fertöd），即新錫德爾湖 （Neusiedler See）南端，在維也納東南約50公里，當時來說是較為偏僻的地方。接下 來25年，海頓深居簡出，在宮廷內鑽研音樂，尤其是交響曲。他記述道：「親王對我 的所有作品都很滿意。我備受讚賞：作為樂隊的領班，我能夠作實驗，觀察甚麼會加 強或減損樂曲的效果，因而可以改善、擴充、刪削和作一些大膽的嘗試。我遠離塵 囂，身邊沒有人影響我，因此我被迫變得很有原創性。」 海頓與艾斯特哈齊的合約訂得相當仔細，他要負責所有音樂表演（包括宗教音樂） 。此 外，還要應王室的要求作曲，以及管理樂手（宮廷樂隊聘有12名樂師，包括三名小提 琴手、一名大提琴手和一名低音大提琴手、一名長笛手，以及雙簧管、巴松管、圓號 手各兩名）、樂器和樂譜。每周宮廷內會舉行兩場音樂會，還有歌劇表演和宗教禮儀。 在工作這麼繁忙的情況下，他還能夠那麼多產，實在令人驚嘆。 7
巴赫（1685–1750）
A小調小提琴協奏曲， BWV1041 [中庸的快板] 行板 甚快板 獨奏協奏曲的歷史在 17 世紀的意大利由托雷利 （Torelli）、柯里利（Corelli）和大概比任何其他的 作曲家所寫的協奏曲都要多的韋華第開始。巴赫從 韋華第那��收了意大利三樂章協奏曲的精華，但 又將之提升到另一個層次。這些協奏曲結合了他獨 特的多聲部創作技巧，有時甚至出現多過一件獨奏 樂器。 巴赫的協奏曲不多，當中只有兩首是寫給小提琴獨
韋華第（1678–1741）
B小調交響曲，RV169， 「聖墓」 甚慢板－ 不太快的快板 關於韋華第個別作品的寫作背景，我們只有為數不 多的確實資料。準確的寫作年期也難以探究，至於 是為誰寫，我們也所知不多。當他還在威尼斯的皮 耶塔女孤兒院（Ospedale della Pietà）工作時，他 很可能為院內學音樂的女孩們創作了一些協奏曲。 即使在他辭去孤兒院的職務，從事樂團經理的工作 後，他每個月仍（根據約定的酬金）為孤兒院提供 兩首協奏曲。從樂曲的難度可以想像那些女孩子是 多麼的有才華。
今晚為大家演奏的韋華第的第一首交響曲是較少聽 到的作品，它是兩首名為「聖墓」的作品中的一 表了巴赫早期的協奏曲，創作年份是 1717 年至 首。除了這首 B 小調交響曲，還有一首是降 E 大調 1723年間，他當時在克滕（Köthen），故此協奏曲 奏鳴曲（編號 RV130）。在意大利有不少名為「聖 或許是為當地樂團的首席史比斯（Joseph Spiess） 墓」的教堂，而這首交響曲的手稿則收藏於都靈 而寫的。史比斯演奏小提琴二重協奏曲時的拍檔， （1930年，都靈的意大利國家圖書館購買了450部 可能是柏林同鄉馬庫斯（Martin Friedrich Marcus） 。 有韋華第親筆簽名的手稿，這是其中一部）。有人 A小調小提琴協奏曲採用了韋華第的快－慢－快曲 認為它可能是為同名的教堂所寫的，另外還有 45 式，以及反複（ritornello，即樂隊的齊奏會在獨奏 部作品寫給不同的教堂和大教堂，它們都供奉拉洛 塞西亞聖山（在意大利北部重構的聖地）的聖瑪利 片段之間重複）和插曲（由獨奏帶領）模式。開首 。現時 是綿長的齊奏引子，持續在樂段之間推進。獨奏的 （Mary of the Sacro Monte of Varallo Sesia） 這個「聖墓」教堂已成為聯合國教科文組織世界遺 插曲與之形成對比，活躍依然，並作出一些美妙的 產之一。它是一所模仿耶路撒冷的聖墓教堂（耶穌 回應效果，最後在結尾處慢下來。 在此處安葬）而建的小型教堂，由方濟各會的僧侶 慢樂章沉重的步伐由於傷感的獨奏出現而得以放 卡爾密（Bernardo Calmi）於 1491 年設計，但整 輕，但齊奏段落時又再出現。隨著樂章的展開，獨 座教堂要到 1728 年才建成，韋華第可能就是為教 奏變得更為精巧和多彩，像小鳥翱翔於伴奏之上， 堂的落成撰寫了這首交響曲。然而，由於手稿沒有 有時又有所收斂。作為對比，終樂章的反複如同吉 標明年份，這個推測仍無法確認。 格舞曲般，讓獨奏能夠歡快地唱詠，在結尾甚至有 交響曲本身肯定含有深奧的意義。它分為兩個樂 些炫耀。 章，由兩組小提琴、中提琴和固定低音演奏。甚慢 板開首的五個小節，其陰沉而遊移不定的和聲或許 比它的時代超前了約300年，最後又帶出了緩慢而 抒情的樂音，三次都落在延長的停頓上。整個樂章 只有 21 小節長。接著「不太快的快板」在樂器之 間交換著四個 8 分音和兩個 4 分音的句式，在第一 和第二個8分音之間包含了一個八度的跳躍，引出 了一個令人著迷的律動，但卻沒有影響開頭樂章的 情調。 奏的，另一首則寫給小提琴二重奏。這三首作品代
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韋華第（1678–1741）
G大調交響曲，RV146 快板－ 行板. 活潑的－ 快板 我們接下來聽韋華第兩首 G 大調交響曲的其中一 首（它們取自一套約有 60 首為弦樂隊撰寫的協奏 曲和交響曲藏品：大部份手稿由韋華第執筆，現 收藏於都靈）。這些交響曲取自或模仿了為歌劇作 序曲的 sinfonias ，或其他相類的名稱（不要忘記 韋華第寫了超過 90 首類似的作品），並採用了傳 統的三樂章形式，前後兩個快樂章，與中間的慢 樂章形成了對比。 G大調交響曲就是這種模式的典型例子。最長的首 樂章開頭如一陣風暴：小提琴狂野地以 16 分音的 琶音把音樂推進。當主題進入時，是以起拍的 32 分音重複，一路爬升，然後又向下急降。第二主題 稍為緩和下來。而線條較為疏落的行板慢樂章，與 首樂章有鮮明的對比：拾級而上的主題，圍繞著柔 和的拍子及一些半音起伏而行。終樂章是一首快速 的 3/8 舞曲，包含了一段 8 分音下行樂句和一段 16 分音的爬升，雖然輕盈，卻頗有感染力。較為柔和 的第二主題的動力並沒有消退，而音樂也一直跳動 至最後的停頓。
浦賽爾（1659–1695）
G小調夏康舞曲
句（固定低音）配合。但有些重複樂句卻比較隱 晦，並沒有很明確地寫出，在此基礎上構建了 18 個有層次的變奏。標題的選擇是證明浦賽爾缺乏經 驗，還是他的年少自傲，則由聽眾自己判斷了。當 樂器的線條交織在一起，累積建構的變奏也變得越 來越響亮。作品如此出色，難怪布列頓會在 1948 年（1963年修改）將之改編給弦樂隊演奏了。
比貝（1644–1704）
《戰爭》 奏鳴曲－ 火槍手放縱的享樂－ 急板－ 進行曲 － 急板－ 詠嘆調 － 戰爭－ 傷者的哀歌 比貝出生於布拉格以北約 80 公里的波希米亞華爾 騰堡（Wartenburg）。他的父親是當地的列支敦士 登-卡斯特爾科恩（Liechtenstein-Kastelkorn）伯爵 的獵場看守者。雖然我們對比貝的教育背景一無所 知，但從 1668 年起，他就成為了伯爵家的小提琴 手和古提琴手，當時伯爵的後人卡爾已成為奧洛穆 克（Olomouc）的采邑主教（離布拉格160餘公里 遠，而其城堡克羅梅日什 [Kroměříž] 則離南面的布 爾諾 [Brno] 稍近）。三年後，比貝不管卡爾的反 對，轉而為薩爾茨堡的大主教服務（1684 年成為 樂長），直到30多年後辭世。
我們並不知道浦賽爾創作G小調夏康舞曲的原因， 在薩爾茨堡，比貝有機會為大型樂隊撰寫樂曲 它似乎是他僅有的三首純管弦樂曲的其中一首（其 （聲樂和器樂家相信可達 80 人）。雖然他寫了兩套 餘兩首是四部的G小調帕凡舞曲和為小號、弦樂和 歌劇和一部安魂曲，但最為人熟悉的卻是他平易近 固定低音樂器而寫的 D 大調奏鳴曲）。四部弦樂的 人的室樂和獨奏作品，包括為獨奏小提琴創作、 夏康舞曲被認為作於1680年代，即浦賽爾在1677 精緻的《神蹟》（或稱《玫瑰經》）奏鳴曲。他的作 年 9 月 10 日（這天被認為是浦賽爾的 18 歲生日） 品也十分前衛，寫於 1679 年的《戰爭》一曲，就 接替洛克（Matthew Locke）出任由24位弦樂手組 是最早期的標題音樂之一，描寫戰役的過程相當富 成的「皇家小提琴隊」（Twenty-Four Violins）的作 有故事性。 曲家不久。浦賽爾似乎按當時習慣分兩次來寫這首 作品題獻給希臘酒神巴克斯，開頭的奏鳴曲大概是 作品，因此在手稿上出現了兩種不同的墨跡。 形容開戰前的軍營，樂句的回響並非發自弦線，而 高低音部首先完成，而形成突出和弦的內部則是 是敲打弦樂器的木製琴身。接著是士兵們「放縱的 後加的。 享樂」，比貝在此模仿他們唱出來自八個國家的八 標題頗令人產生疑惑，一般會被寫成 Chaconne ， 首樂曲（「樂部之間全不和諧，因為不同的歌曲同 而非Chacony，其曲式與典型的八小節低音重複樂 時在吼叫」），使樂曲產生了節奏及和聲大雜燴的撞 9
擊（聲音與 200 年後艾夫斯的作品不無相似）。有 些歌曲已被認出是來自斯洛伐克、波希米亞、意大 利北部、奧地利、匈牙利和斯泰利亞的民謠。顯然 巴克斯一如既往地影響了士兵們的神智，他們都不 知道其他人在唱些甚麼。 接下來是剛唱過的一首歌的急板。到了進行曲，一 把獨奏小提琴高高地在撥弦節奏上拉奏，比貝曾說 「這段早為人所知了」。的確，它就是來自他的小提 琴奏鳴曲《荒漠景象》（Repraesentatio Avium，或 作於1669年）。他繼續說：「但我卻不知道如何將 它運用得更好；低音大提琴要有鼓鳴的聲音，必須 用一張紙放在弦線上⋯⋯」另一段急板出現，三連 音的節奏可能模仿馬匹。然後是甜美的詠嘆調，或 許代表一位祈禱者，至少是大戰前的寧靜。來到 〈戰爭〉一段，樂音在各樂器之間彈跳，槍炮聲由 大提琴模仿。比貝提示道： 「戰役一段一定不可以 用弓去拉奏，但要用右手猛力地勾撥弦線，像扳動 武器一樣。」剩下的就是戰事過後的哀悼，樂曲 變得頗為緩慢，就如人們在沉思戰爭帶來的創傷 一樣。
2021 年新作的樂隊協奏曲。本傑明以作曲家、 指揮和出色的鋼琴家的身份，保留了其當代音樂的 獨特聲音。 本傑明這樣介紹其幻想曲7：「浦賽爾為四把古提 琴而寫的C小調幻想曲，從多個角度來看都是出類 拔萃的；其令人難忘的旋律三全音，通過天衣無縫 的對位產生的螺旋般的起伏，淒苦的不和諧音⋯⋯ 這首是為單簧管、小提琴、大提琴和鋼片琴轉寫 的⋯⋯」 他在 1995 年 5 月 28 日完成了轉寫，除了原有的樂 器外，本傑明只作了一個改變，就是把音樂調高了 五度，由C小調變成G小調。擔任首演的樂手包括 彼得森（George Pieterson）、貝絲（Vera Beths）、 拜 斯 瑪（ Anner Bylsma）和 迪 雷（ Reinbert de Leeuw） 。 本傑明的樂器選擇讓浦賽爾的原作產生了管風琴的 感覺，單簧管手被要求以「回音」（echo tone） 這一種非常清純的音色去演奏。效果既飄渺也令人 慰藉，開首像一道音樂的光環為作品塗上了香脂， 五個段落中的第二、第四段發展出較快的動能，但 總是回到令人迷醉的沉思中。
浦賽爾（1659–1695）/ 本傑明（1960年生）
幻想曲7（1995） [行板] –[輕快的] –[緩慢的] –[快捷的] –[拖延的] 中場休息回來，我們再聽浦賽爾的作品，但卻是通 過20世紀末的稜鏡。1995年，為紀念浦賽爾逝世 300週年，奧爾德堡音樂節（Aldeburgh Festival， 原由布列頓創立）邀請了努森（Oliver Knussen）、 本傑明和馬修斯（Colin Matthews）三位作曲家轉 寫浦賽爾的原作。三首作品在 1995 年 6 月 16 日 第 48 屆奧爾德堡音樂節中首演，總稱《浦賽爾的 花環》（A Purcell Garland） 。
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庫爾塔克（1926年生）
《連結（已回答的未回答 問題）》，作品31/b（1989） 庫爾塔克是當代最受人景仰的作曲家之一。他也是 一位傑出的教育家， 1986 年之前，先後擔任布達 佩斯音樂學院的鋼琴和室樂教授，影響了一代的音 樂人才。但他的創作卻相對較少，在過去 40 年， 他出版作品的速度相當緩慢，還沒有超過 40 部， 而當中大部份也只是片段。他最長的作品是根據貝 克特的劇作《終局》 （Endgame）撰寫的同名歌劇， 歌劇在2018年11月於米蘭的斯卡拉大劇院首演。
本傑明在 1980 年於劍橋就讀時，以其獻給導師梅 湘（Messiaen）的大型管弦樂曲《被地平線環繞》 在許多方面，庫爾塔克都是巴托克和高大宜的繼承 （Ringed by the Flat Horizon）引起音樂界的注意。 人，對音樂教育也同樣充滿熱誠，他以巴托克的 此後，他逐步在創作生涯中推出的作品包括有 《小宇宙》 （Mikrokosmos）為楷模、為鋼琴教學撰 《冬之心》（A Mind of Winter）、《第一道曙光》 寫的《遊戲》 （Játékok）套曲就有八部之多，當中 （ At First Light） 、《 三 首 創 意 曲 》 （ Three 大多數作品（總共超過100首）都非常短，標題都 Inventions）、 《中提琴、中提琴》（Viola, Viola）和 與鍵盤上的手指遊戲有關。較大型的作品（從所需 三部歌劇：《走入小山中》（Into the Little Hill）、 樂器的角度而言）則有《訊息》（Messages）這個 《寫在皮膚上》（Written on Skin）和《愛與暴力的 系列，它追隨了第二維也納學派的腳步，為龐大的 教訓》（Lessons in Love and Violence），以及其 器樂組合撰寫小巧短篇的作品。
《連結》是以上兩個系列音樂之間的橋樑。這首原 創於1989年的作品（編號31/a），是為美國大提琴 家烏蒂（Frances-Marie Uitti）撰寫的，曲中的大提 琴會用上兩把琴弓，加上兩把小提琴和鋼片琴。作 品在 1990 年 9 月 25 日於奧斯陸的國際現代音樂節 （ISCM）中首演。庫爾塔克後來推出了另外兩個版 本：作品 31/b 包括了兩把大提琴、兩把小提琴和 鋼片琴（或弦樂部再多加兩把，就如今晚演出的版 本），作品 31/c 則由兩部管風琴和鋼片琴演奏。而 鋼片琴在這部短篇作品中，只會在最後兩個小節才 出現。 在庫爾塔克的多首《訊息》中，這首明顯是寫給原 來的獨奏家烏蒂的，此外它也向艾夫斯寫於 1906 年 ， 甚 有 影 響 力 的 《 未 回 答 的 問 題 》（ T h e Unanswered Question ，它本身有一個副標題： 《對一個嚴肅話題的沉思》）致敬。至於具體上怎樣 回答「已回答的未回答的問題」，就要由聽眾自己 去推敲了。但庫爾塔克又淘氣地給了作品另一個標 題： 《戀愛中的恐龍》 （The Dinosaur in Love） 。 緩慢的弦樂和弦，像深呼吸一樣，最終變成更飄渺 的和弦，但仍然緩慢地交替，漸漸上升。低音和弦 趁高音和弦在其上鋪展之前重新出現，樂曲最後在 鋼片琴的兩下和弦中結束。
海頓（1732–1809）
A大調第59交響曲， 「火」， Hob I:59 急板 速度更快的行板 小步舞曲 甚快板 海頓的 104 首交響曲中，將近三份之一是有外號 的，儘管有些作品的名稱來源始終是個謎。其中有 「正式」外號的 31 首，多數都撰寫於 1760 年代 末 ， 包 括 第 2 6（「 悲 歌 」）、 4 3（「 水 星 」）、 4 4（「 悼 念 」）、 4 5（「 告 別 」）、 4 7（「 回 文 」）、 49（「受難」）、 52 和今晚演奏的 59（「火」）交響 曲。這些都屬於他「狂飆突進」 （Sturm und Drang） 時期的作品，較德國同名的文學運動稍早，但在表 達熱烈的情感方面大致相同。因此具有儀式性的、 氣勢磅礡的 C 大調作品如第 48（「瑪麗．特蕾西 亞」）、 56 和 63（「羅克梭蘭尼」）交響曲，與較有
挑戰性的小調作品如第 26 、 39 、 44 、 45 、 49 和 52 交響曲形成了對比。由此我們可以看出海頓如 何展示他的音樂力量，而且無人可與之比擬。 許多「狂飆突進」的作品大概都與舞台表演有關， 尤其是稱為「火」的 A 大調第 59 交響曲，雖然其 交響曲版本比舞台的要早。它在海頓的眾多交響曲 中，編號較為偏後，但現在我們相信它的創作年期 要比之前想像的早，大概與排名 40 號內的、寫於 1769 年代的交響曲同期。海頓的手稿也許與格羅 斯曼（Gustav Friedrich Wilhelm Großmann）的一 齣名為《大火》（Der Feuersbrunst）的戲劇有關， 它現收藏於施威林（Schwerin）的梅克倫堡圖書館 （Mecklenburg Library），年份是 1774 年，因此時 間移後了。交響曲獲得「火」的別號，原因之一顯 然是受了這套戲劇的影響。 第一樂章的確擦出了火花，劈啪作響的弦樂8分音 突然加速變為 16 分音，然後緩緩消退，像木柴上 的火那樣難以捉摸。繼而在呈現部，三連音像熱火 一樣起舞，慢下來的發展部則幾乎要停頓，突然一 �木柴��進火�，8分音又重新點燃起來。接著 火光逐漸黯淡，引出了重複的發展部，直至樂章的 終結。 慢樂章節奏標號是「速度更快的行板」，它以弦樂 單獨展開，首先以 A 小調奏出斷斷續續的附點主 題，其後是詠嘆調般的 C 大調旋律，它重複了一 遍。在第二部份，詠嘆調以A大調重現，雙簧管和 圓號此時才出現，後者加插了響亮的軍樂般的號曲 主題動機，在樂章完結前只奏了一次。 小步舞曲的主題與慢樂章開首頗為相似，只有一個 附點音形，它讓清脆的圓號帶頭，而較平和的中段 只有弦樂的演奏，其後再回到小步舞曲。 彷彿為了補償它們在慢樂章中久等，圓號和雙簧管 在終樂章先聲奪人，互相應答，然後弦樂加進來湊 熱鬧。樂章的節奏鮮有鬆懈，在最後兩下和弦之 前，重複的兩大段落也有許多意想不到的插段。
英文節目介紹：Nick Breckenfield 英國作家 Nick Breckenfield 專門撰寫節目介紹， 曾任whatsonwhen.com的古典音樂及歌劇版編輯13年， 現於支持青年音樂家的博萊蒂-布托妮信托基金會工作。
中文翻譯：行之
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Programme Notes Three centuries provide the music in tonight’s time-traversing programme. Our first half is devoted to the Baroque: music from the late 17th century from Biber and Purcell, prefaced by the works of roughly contemporary German and Italian composers from the first half of the 18th century. They are rather famous composers at that: Johann Sebastian Bach and the slightly older (by eight years) Antonio Vivaldi. The second half jumps forward to contemporary times and two living composers, with two works that look back to the past: George Benjamin transcribing an original piece by Purcell and György Kurtág taking inspiration from not so far back – to early 20th-century American composer Charles Ives. A return to the 18th century brings the concert to a close with one of Haydn’s “Sturm und Drang” symphonies. Music is always in a constant flux, and the greatest composers both embrace and develop those changes. So, Bach took Vivaldi’s three-movement concerto form and developed it, as we will see. Amongst his works are transcriptions of a number of Vivaldi’s concertos which he fashioned for other instruments. He would have had many concertos from which to choose. The “Red Priest” – Vivaldi – is most famous for The Four Seasons but they are only four of his 84 published concertos. In turn, they are only a drop in the ocean in comparison to the many other Vivaldi concertos that were not published. At a conservative estimate he wrote some 750 works, including 400 concertos and 94 operas, let alone sacred works. More come to light almost every year. His single instrument concertos number some 170 for violin, over 40 for bassoon, 27 for cellos, 19 for oboes, 13 for transverse flute and a modest seven for viola d’amore, while he also wrote for different combinations of instruments, from two violins upwards. Later in the 18th century, Joseph Haydn was forced to be a great innovator. In 1766, the year Haydn was promoted to sole Kapellmeister in the Esterházy court, the whole court was moved to the Versailles-inspired palace of Esterháza, built on the site of a hunting lodge beloved of Prince Nikolaus. It is now in Fertöd Hungary, just on the south tip of the Neusiedler See, some 50km southeast of Vienna – then something of a backwater. It was there, for the next 25 years, that Haydn lived in splendid isolation, allowing him to develop particularly the symphony to new heights, a fact reported by Haydn himself: “My Prince was satisfied with all my works. I was praised; as head of an orchestra I could experiment, observe what heightened the effect and what weakened it, and so could improve, expand, cut and take risks. I was cut off from the world, there was no one near to confuse me, so I was forced to become original.” Haydn’s contract was quite detailed: he was to be responsible for all musical performances, including church music; he would compose on demand; and he would also have to look after the musicians (the court kept an orchestra of 12: three violins, one cello and double bass; one flute and pairs of oboes, bassoons and horns), the instruments and the music. With two “academies” (ie concerts) a week as well as operas, plays and the church services, it seems remarkable that he could be as prolific as he obviously was. 12
Johann Sebastian Bach (1685–1750)
Violin Concerto in A minor, BWV1041 [Allegro moderato] Andante Allegro assai The history of the solo concerto started in 17thcentury Italy, with the likes of Torelli, Corelli and Vivaldi who probably wrote more concertos than any other single composer. Taking from Vivaldi the three-movement form of a solo concerto, Johann Sebastian Bach introduced a level of complexity rarely heard in Vivaldi’s works, incorporating his characteristic polyphonic lines, sometimes with more than one instrument. Amongst the relatively small tally of Bach’s concertos, only two are for solo violin and one for two violins. All three represent his earliest concertos, composed when he was in Köthen (1717–1723), probably for the leader of the orchestra there, Joseph Spiess. He would have been partnered in the double concerto by Martin Friedrich Marcus, who – like Spiess – had been imported from Berlin. Using the Vivaldi three-movement, fast-slow-fast plan, Bach skilfully adapted Vivaldi’s ritornello (the orchestral tutti returning again and again) and episode (led by the soloist) scheme. The A minor concerto opens with an extended tutti introduction, constantly moving and tumbling between parts. The solo episodes are contrasting, but hardly less calm, with some nice call-and-answer effects, eventually slowing at the end. The ponderous tread of the slow movement lightens with the introduction of the plaintive soloist but returns in the tutti passages. The soloist’s part becomes more elaborated and ornamented, rising bird-like above the accompaniment, which itself is sometimes pared right down.
By contrast, the Finale’s ritornello acquires the dance-like tread of a gigue (the same dance, in effect, as the British jig), allowing the soloist to positively fizz and pop before becoming rather strident to the end.
Antonio Vivaldi (1678–1741)
Sinfonia in B minor, RV169, “Al Santo Sepolcro” Adagio molto – Allegro ma poco Little definite information can be gleaned about the history of Vivaldi’s individual works. Accurate dating is impossible and we do not know for whom he wrote most of them. While he was working for the Ospedale della Pietà, a Venetian orphanage, he would compose for the girls who used to learn music there. Even when he had left the direct employment of the orphanage to pursue a career as an impresario, he still provided two concertos a month for his former workplace (for an agreed sum), so it is likely that most concertos were written for students. How exceptional they must have been. The first of Vivaldi’s sinfonias tonight is a rarer work – one of only two that bear the description “Al Santo Sepolcro” – ie “of the Holy Sepulchre”: in addition to this B minor Sinfonia there is an E-flat Sonata RV130. While there are many chapels throughout Italy named Al Santo Sepolcro, the fact that the manuscript from this Sinfonia is housed in Turin (part of the manuscript collection of some 450 Vivaldi autographed manuscripts bought in 1930 by the Italian National Library, Turin), it has been supposed that it might have been intended for the chapel so called, as part of the 45 different chapels and the basilica dedicated to Mary of the Sacro Monte of Varallo Sesia, recreating in North Italy, the landscape of the Holy Land. Now part of a 13
UNESCO World Heritage Site, the “Al Santo Sepolcro” chapel is a small-scale reproduction of Jerusalem’s Church of the Holy Sepulchre built over where Jesus was entombed. It was the work of Franciscan monk Bernardo Calmi in 1491, but the whole complex was not completed until 1728, which could easily have been a reason for Vivaldi’s Sinfonia. However, given that the manuscript is undated, this must remain speculation. Certainly, there is something profound about the Sinfonia, cast in just two movements for two violins, viola and continuo. The opening Adagio molto starts with five bars which harmonically might be thought some 300 years ahead of its time, creeping uncertainly from sepulchral gloom to eventually offer a slow lyrical germ which three times ends on a long pause. The whole movement is just 21 bars long. The ensuing Allegro ma poco alternates a four-quaver two-crotchet pattern between instruments, encompassing an octave leap between the first and second quavers which provokes a rapt pulse that does not disturb the mood of the opening movement.
Antonio Vivaldi (1678–1741)
Sinfonia in G, RV146 Allegro – Andante. Vivace – Allegro We also hear one of Vivaldi’s two Sinfonias in G major (from a collection of some 60 concertos and sinfonias for string orchestra: most of the manuscripts – in Vivaldi’s hand – are in Turin). The Sinfonias derive from or imitate the sinfonias that would preface operas – overtures, by any other name (remember Vivaldi reputedly composed over 90 of them), and fulfilled their traditional form of two faster movements contrasted with a central slower section.
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As such our G major Sinfonia is a typical example. The longest movement is the stormy opening one: the violins widely spaced arpeggiated semiquavers propel the music along. When the theme is allowed entry it is built of repeated demisemiquaver upbeats, rising in pitch before tumbling down again. There is a slightly less busy second subject. The sparser slow movement, Andante, is in marked contrast: a stepwise theme meandering over a gentle pulse with some chromatic inflections. The Finale is a fast 3/8 dance opening with a quaver descent and a semiquaver rise. It has a light touch but an infectious demeanour which a gentler second theme does not dispel as the music dances itself to a halt.
Henry Purcell (1659–1695)
Chacony in G minor While the original reason for the composition of Purcell’s Chacony in G minor is not known, it seems to be one of just three works we know that he composed as what we would regard purely orchestral music (the other two being the Pavan in G minor in four parts, and the Sonata in D for trumpet, strings and continuo). It is thought that the Chacony – for four-part strings – was composed during the 1680s, not long after Purcell replaced Matthew Locke as Composer in Ordinary of the royal Twenty-Four Violins on 10 September 1677 (the date assumed to be Purcell’s 18th birthday). It seems that Purcell (as was common) wrote the work in two goes, with two different types of ink clear on the manuscript – the outer parts completed first and then the inner parts (creating the distinct harmonic touches) added later. The title is intriguing, as the more normal form would be Chaconne, conforming, as it does, to the typical repetition of an eight-bar bass phrase (“ostinato”) – some of which are more implied than actually stated – over which there are some
18 layered variations. Whether the choice of title indicates Purcell’s lack of experience or youthful arrogance may be left for each listener to decide. The variations build cumulatively in an ever-more resounding sonority as the lines intermingle. It is no surprise that Benjamin Britten in 1948 (and revised in 1963) arranged it for full strings.
Heinrich Ignaz Franz von Biber (1644–1704)
Battalia Sonata – The Dissolute Revelling of Musketeers – Presto – March – Presto – Aria – The Battle – The Lament of the Wounded Something inherently more combative now, courtesy of the impressively named Heinrich Ignaz Franz von Biber. He was born in Wartenburg in Bohemia, about 80km north of Prague. His father was a gamekeeper for the local Count, Christoph Paul von Liechtenstein-Kastelkorn (they went in for big names then) and, although we know nothing about Biber’s education, by 1668 he ended up as a violinist and viola da gamba player in the service of Karl Liechtenstein-Kastelkorn, who was Prince-Bishop of Olomouc (just over 160km east of Prague, although the castle, Kroměříž is closer to Brno a little to the south). Three years later and against Prince-Bishop Karl’s wishes, Biber moved to the court of the Prince-Archbishops of Salzburg and remained there for over 30 years until his death, having become Kapellmeister in 1684. In Salzburg he was able to write for large forces (estimated up to 80, including singers and instrumentalists) and, although he wrote two operas and a Requiem, he is best known for his intimate chamber and solo works, including the exquisite Mystery (or Rosary) Sonatas for solo violin.
He could also be regarded as well over of a century ahead of his time, in that the piece we hear by him, composed in 1679, is one of the earliest examples of programme music: evoking a particular story, in this case the progress of a battle, hence its title. Dedicated to Bacchus (the Greek god of wine), Battalia opens with a Sonata that is perhaps a depiction of an army camp before battle, with phrases echoed not on the strings but by knocking on the wood of the instruments. Next comes the “dissolute revelling” of the soldiers, in which Biber imitates them (“here all parts are dissonant as different songs are bellowed at once!”) singing eight different songs from different nationalities. It makes for a clashing rhythmic and harmonic medley (pre-figuring similar sounds composed by Charles Ives some 200 years later) and some of the songs have been identified: from Slovakia, Bohemia, across Northern Italy, Austria and Hungary and from Styria. Obviously Bacchus has had his usual effect on the soldiers and they are oblivious to what the others are singing. There follows an instrumental Presto that uses one of the tunes just sung, before a solo violin rides high above a strumming rhythm in The March. Biber mentioned that “this is already known” – indeed, it is from his solo violin Repraesentatio Avium (perhaps from 1669) – “but I have not known how better to use it; where the drum is heard in the bass, a piece of paper must be put on the string.” Another Presto ensues, with a triplet rhythm that might suggest horses, before the sweet-toned Aria – perhaps signifying a prayer or at least some repose before the action. The Battle itself ricochets across the instruments, with cannon or musket fire imitated by the cellos who Biber instructs: “the battle must not be played with the bow, but the string snapped, strongly, with the right hand like [artillery] pieces”. All that remains is the lament after the battle – the music is slow as the aftermath is contemplated.
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Henry Purcell (1659–1695) / George Benjamin (born 1960) Fantasia 7 (1995) [Andante] –[Brisk] –[Slow] –[Quick] –[Drag] Back from the interval we return to Purcell, but via the prism of the late-20th century in one of three tributes commissioned as part of the Purcell tercentenary celebrations in 1995. The Aldeburgh Festival (originally founded by Benjamin Britten) invited three composers – Oliver Knussen, George Benjamin and Colin Matthews – to make transcriptions of Purcell originals. They were premiered at the 48th Aldeburgh Festival on 16 June 1995 under the collective title A Purcell Garland. George Benjamin came to the musical establishment’s notice whilst studying at Cambridge, with his expansive orchestral score Ringed by the Flat Horizon in 1980, dedicated to Messiaen, with whom he also studied. Subsequently, in amongst a slow succession of works – including A Mind of Winter, At First Light, Sudden Time, Three Inventions, Viola, Viola, his three operas Into the Little Hill, Written on Skin and Lessons in Love and Violence and, most recently, his 2021 Concerto for Orchestra – Benjamin has retained his distinctive voice in contemporary music, not only as a composer, but also as a conductor and a notable pianist. George Benjamin writes: “Purcell’s C minor Fantasia for four viols is extraordinary from numerous points of view; its haunting melodic tritones, its spiralling sense of modulation created through seamless counterpoint, its poignant and bitter dissonances… This transcription is for clarinet, violin, cello and celesta…” He completed his transcription on 28 May 1995, and – apart from the original instrumental requirements – Benjamin makes only one change, transposing the music up a fifth, from C minor to
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G minor. At the première performance the instrumentalists were George Pieterson, Vera Beths, Anner Bylsma and Reinbert de Leeuw. Benjamin’s instrumental choices give Purcell’s original the feel of an organ, with the clarinettist requested to play with a very pure tone, termed “echo tone”. The effect is both ethereal and comforting, like a musical halo offering a balm in the opening section and developing faster momentum in the second and fourth sections of five, but always returning to rapt contemplation.
György Kurtág (born 1926)
Ligatura (The Answered Unanswered Question), Op 31/b (1989) György Kurtág is one of the most respected of our contemporary composers. As a phenomenal teacher – until 1986 he was Professor of Piano, then Chamber Music, at the Budapest Academy – he has influenced a generation although his compositional output has been somewhat fragmentary. His published works, produced painfully slowly over the last 40 years, have not yet reached 40 and most of these are fragments themselves. His longest work is his opera Fin de Partie, based on Samuel Beckett’s play Endgame, premiered at Milan’s La Scala in November 2018.
Amongst Kurtág’s many Messages this is clearly to the original soloist Frances-Marie, with a nod to Charles Ives’ influential piece The Unanswered Question from 1906 (which itself has its own subtitle: “A Contemplation of a Serious Matter”). How exactly “The Answered Unanswered Question” is actually answered is left to the listener, but – mischievously – Kurtág also gave the piece an alternative title: Der Verliebte Dinosaurier (“The Dinosaur in Love”). Slow string chords, like deep breaths, eventually morph into more ethereal chords, still alternating and slowly getting higher. The lower chords break back in before the higher chords are layered on top with just two celesta chords bringing the work to its close.
In many senses, Kurtág is the heir to Bartók and Kodály, not least in his passionate belief in music education. To that end he has now produced eight books of Játékok (Games) which follow in the footsteps of Bartók’s Mikrokosmos, being intended as a primer for piano players. Typically, most of these – and they number over 100 – are incredibly short, and the title refers to the games for hands at the keyboard. On a larger scale (from the point of view of instrumentation) is another series, Messages, which follows the Second Viennese School’s footsteps by creating the tiniest of pieces for the largest of forces. Ligatura forms a bridge between these sets of works. Originally composed in 1989 for a single cellist with two bows, joined by two violins and celesta (Op 31/a) for American cellist Frances-Marie Uitti (who premiered it on 25 September 1990 at the ISCM Festival in Oslo), Kurtág subsequently made two further versions: Op 31/b for two cellos, two violins and celesta (or multiples of two – tonight four each) and Op 31/c for two organs and celesta. The celesta only joins in the last two bars of this short work.
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Joseph Haydn (1732–1809)
Symphony No 59 in A, “Fire”, Hob I:59 Presto Andante o più tosto allegretto Menuetto Allegro assai Nearly a third of Haydn’s 104 symphonies have nicknames, even if the origin of some are often something of a mystery. And of the 31 with “official” nicknames, most come from the creative period of the late 1760s, including the composition of Symphonies Nos 26 (“Lamentatione”), 43 (“Mercury”), 44 (“Trauer”), 45 (“Farewell”), 47 (“Palindrome”), 49 (“La Passione”), 52 and tonight’s 59 (“Feuersymphonie”) – all part of his “Sturm und Drang” (“Storm and Stress”) period, which slightly predates the German literary movement which bears the same name, but similar in the surge of emotions that are wrapped up in the music. Thus the ceremonial and imposing C major works of such symphonies as Nos 48 (Marie Theresia), 56 and 63 (La Roxelane) – a touch later – are contrasted with the more challenging minor works of symphonies Nos 26, 39, 44, 45, 49 and 52. Here one can see how much Haydn was flexing his compositional muscle – with no competition to offer comparison. Many of the “Sturm und Drang” works probably had connections to music for the stage. That certainly seems to be the case for his Symphony in A known as No 59 and bearing the nickname “Fire Symphony”, even if its symphonic form predates its theatre usage. Numerically placed rather late in the traditional sequence of Haydn’s symphonies, it is now thought to have been composed somewhat earlier than once believed, so contemporary to lower-numbered symphonies in the 40s; ie to the late 1760s. Perhaps Haydn’s manuscript – associated with a play by Gustav Friedrich Wilhelm Großmann entitled Der Feuersbrunst (“The Conflagration”) in 18
Mecklenburg Library at Schwerin, which is dated 1774 – led to a later attribution. It was also surely one of the factors that influenced its nickname. The first movement certainly “crackles” like fire, with spitting string quavers suddenly speeding up in semiquavers, then dying down gently, as unpredictably as wood fire. Later in the exposition, triplets make the fire effect dance. In the development, the slowing almost comes to a stop, and suddenly an extra log is thrown on the fire and the quavers spark up again. A further dying away leads to a repeat of the development until the movement dies away for good. The slow movement, marked Andante o più tosto allegretto, opens with strings alone, first with a halting dotted theme in A minor, followed by an aria-like C major melody, which is repeated. Only in the second half, when the aria returns, this time in A major, do the oboes and horns join in, the latter also interjecting a loud military-like fanfare motif just once before the end. The Menuetto – thematically similar to the opening of the slow movement with just a single dotted figure – allows the ringing horns their head, while the smoother Trio is for strings only, before the return of the Menuetto. As if to make up for the long wait in the slow movement, horns and oboes lead off the Finale answering each other’s statements before the strings join in the fun. The pace rarely relents, and there is plenty of incident in the two parts (both repeated) to the final two chords.
© Nick Breckenfield, 2022 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
小提琴 Violin 格德霍特 樂團首席
何博欣 Vivian HO
金仁善
(2022-2023)
署理助理樂團首席
李海南
鄺展維 Charles KWONG
第二小提琴首席
(2020-2022)
蔡柏沂 陳劭楠 周止善 賈舒晨 顧洛臻 羅莎莉 呂灝然 羅蔚敏 彭曉筠 潘迦薇 陽旻佑 楊宇思 葉紹羲
麥兜 McDull (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
謙 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)
中提琴 Viola ● 陳子信 ▼ 劉琛彥 卞思琦 陳敏聰 龍君蔚 顏星安 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
James CUDDEFORD Concertmaster
KIM In-sun
Acting Assistant Concertmaster
LE Hoai-nam
Principal Second Violin
CAI Pak-yi CHAN Shaw-nan Sharon Kiann CHOW JIA Shu-chen John KRUER Sally LAW Ambrose LUI LUO Wei-min PANG Hiu-wan POON Ka-mei Camille YANG Min-yu YANG Yu-si YIP Siu-hay Elvis CHAN LAU Sum-yin Christina BEAN Ringo CHAN LUNG Kwan-wai Kenny NGAN Sing-on TANG Wing-shuen Rebecca CHANG Pei-chieh Laurent PERRIN HO Kwok-chee Karey LEE Eun-sol PARK Si-won YIP Chun-hei Eric
低音大提琴 Double Bass Masami NAGAI ● 永井雅美 Santiago COSTA ▼ 柯斯達（休假） MARTÍNEZ (on Leave) HUANG Tun-pin △ 黃敦品
● ▼ ○ △ ◆ ■ ★
長笛 Flute ○ 上杉晃代
Akiyo UESUGI
雙簧管 Oboe ◆ 薛宇曦 福原真美
SZE Yu-hey Kenneth Mami FUKUHARA
單簧管 Clarinet ● 方曉佳（休假） ○ 陳秋媛 ■ 馮智恆
FONG Hiu-kai Johnny (on Leave) CHEN Chiu-yuan FUNG Chi-hang Eric
巴松管 Bassoon ◆ 歐啟詩 田口美奈子
AU Kai-see Tiffany 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
低音長號 Bass Trombone KONG Tze-man Jason 江子文 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 署理首席 Acting Principal 署理助理首席 Acting Assistant Principal 客席首席 Guest Principal 客席樂師 Guest Musician Orchestral Associate
客席古鍵琴 Guest Harpsichord: 龍雲山Shane LEVESQUE
(with kind permission of the Hong Kong Academy for Performing Arts)
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香港小交響樂團有限公司 Hong Kong Sinfonietta Limited 監察委員會
Board of Governors
榮譽監察委員
Honorary Governors
潘燊昌博士（主席）
Dr Patrick S C POON (Chairman)
金董建平女士
Mrs Alice KING
翟紹唐先生（副主席）
Mr JAT Sew-tong (Vice-chairman)
施永青先生
Mr SHIH Wing-ching
鍾思源醫生（司庫）
Dr CHUNG See-yuen (Treasurer)
楊雪姬女士
Ms Serena YANG
周莉莉女士
Ms Lily CHOW
何汝祥醫生
Dr HO Yu-cheung
劉文文女士
Ms LAU Man-man Lisa
義務公司秘書
Honorary Company Secretary
陳智文先生
Mr Stephen TAN
徐行悅醫生
Dr Michelle TSUI
黃偉雄先生
Mr Addy W H WONG
阮偉文博士
Dr Andrew S YUEN
Tricor Corporate Secretary Limited 義務骨科專科醫生
Honorary Orthopaedic Surgeon
傅偉俊醫生
Dr Dan HOOLEY
樂團行政 Administration 行政總裁 Chief Executive Officer 楊惠惠 Margaret YANG 總經理 General Manager 李浩儀 LEE Ho-yee 行政秘書 Executive Assistant to CEO 何淑娟 Rose HO 會計經理 Accounting Manager 李靄玲 Judith LEE
樂團事務及節目 Orchestra & Programme 樂團經理 Orchestra Manager 陳成美 Marylu CHAN
行政統籌 Administrative Coordinator 柯玉嬌 Noel QUAH
節目經理 Programme Manager 丘靄雪 YAU Oi-suet Icy
行政助理 Office Administrator 楊瑞遠 YANG Jui-yuan
特別節目經理 Special Projects Manager 黃紫菱 Athena WONG
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 市場及業務拓展主任 Marketing & Development Officer 柯娉庭 Pantane OR
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助理樂團經理 Assistant Orchestra Manager 黎希潼 Carvina LAI 節目主任 Projects & Programme Officer 林海欣 Hayley LAM 製作經理 Production Manager 陳冠宏 Eddie CHAN 當代音樂研究 Contemporary Music Research 鄺展維 Charles KWONG 藝術行政主任 Arts Administration Officers 羅希寧 Kening LAW 朱嘉懿 Denise CHU 黎舜喬 Jeffrey LAI
謝謝！Thank You Partners! 2022/2023 樂季贊助機構 Sponsors of the 2022/2023 Season
主要贊助機構 Major Sponsors
商業機構贊助計劃 Corporate Members 白金會員 Platinum Member
銀會員 Silver Member
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謝謝！Thank You! 香港小交響樂團對以下的捐款者及機構致以衷心謝意。 Thank you to the following donors and organisations who have supported us with a donation in the past year. 贊助人及捐款者 Patrons & Donors MegaSTAR Patrons (HK$500,000 and above)
STARplus Donors (HK$30,000 to HK$99,999)
• 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon
• 陳嘉何醫生夫人 • 陳求德醫生及夫人
• 施永青基金有限公司 Shih Wing Ching Foundation Ltd
• • • • • •
SuperSTAR Patrons (HK$100,000 to HK$499,999)
• • • •
北山堂基金 Bei Shan Tang Foundation 亞洲保險有限公司 Asia Insurance Company Ltd 陳鋈鋆先生 Mr Chan Yuk-kwan 冼為堅基金有限公司 Sin Wai Kin Foundation
Dr & Mrs Chan Kow Tak Chiu Music Fund 周莉莉女士 Ms Lily Chow 林育義醫生 Dr Lam Yuk Yee Paul 謝智剛教授 Prof C K Michael Tse 徐行悅醫生 Dr Michelle Tsui 多位無名氏 Anonymous
STAR Donors (HK$10,000 to HK$29,999)
• • • •
陳文偉博士 Dr Chan Man Wai 張綺年醫生 Dr Vivian Cheung Ms Bebe Pui Ying Chu 鍾陳碧璋女士 Mrs Shirley Chung
• The Fan Family Charitable Trust • Lily Fenn & Partners, Solicitors • Mr Eugene Fung • Ms Sandra W M Lee • Mrs Sophia Kao Lo
• • • • •
彭志剛醫生 Dr Joseph Pang Dr Alfred Tam Dr & Mrs Arthur Van Langenberg 黃偉雄先生 Mr Addy W H Wong 多位無名氏 Anonymous
Donors (HK$1,000 to HK$9,999)
• BELIEVING MUSIC CAN • 加拿大琴行 Canada Piano Co • Ms Chan Ching Yi • Ms D Chan • Jonman, Monika & Joel Chan Family • In Memory of Ms Mariette Mimi Chan • Ms Rosana Chan • 陳騰龍先生 • 陳松青先生 Mr Thomas Chan • 陳永光先生 Mr Chan Wing Kwong • 陳燕婷 26
• Ms Joycelyn Choi • 鄭慶弘先生 Mr Howard Cheng • Mr C Y Chow • In Memory of Esther • 何汝祥醫生 Dr Ho Yu Cheung • KiKi the Cat • 許文傑先生 Mr Hui Man Kit • 郭立成律師 Mr Chris Kok • 黎慧德女士 Ms Lai Wai Tak • 林敏儀女士 Ms Man Yee Twiggy Lam • Mr Dennis Lam • Mr Glenn Lau
• • • • • • • • • • • • • •
Mr Sung Chak Kyle Lee Ms Mary Leung Abido Lim & Dka Nara Kwok 林燕女士 Ms Lemon Lim Ms Luk Yee On 大通會計事務所 Masterpoint Professional Ltd 莫心柔、莫心維 吳志強先生 Mr Victor Paraschiv 潘綺勤女士 Mr Giovanni Salce Ms Jojo Sin John & Anthea Strickland 德仔 sir
• • • • • • • • • • •
Ms Elva Tang Dr Nelson Tang Mr Robert Tang The Music Place Ltd Mr Paul Tsang 謝建宏先生 Mr Penny Tse Mrs Mabel Tsui Simon Tsui & Family Ms TT Tsui 王騰峰先生 Mr Wong Tang Fung • 王煒東先生 Mr Wong Wai Tung • Ms Katherine Yin • 多位無名氏 Anonymous
學生票資助計劃 Student Ticket Scheme Donors Diamond Donors (>HK$100,000)
Pearl Donors (HK$10,000 to HK$29,999)
• CLP Holdings Limited • 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon
• • • • • • • • • • • •
• 芝蘭基金會 Zhilan Foundation Jade Donors (HK$50,000 to HK$99,999)
• 亞洲保險有限公司 Asia Insurance Company Ltd • 多位無名氏 Anonymous Ruby Donors (HK$30,000 to HK$49,999)
Mr Iain Bruce 張德賢博士伉儷 Dr & Mrs Douglas Cheung Mr David C L Chiu 鍾思源醫生 Dr Chung See-yuen Ms Fiorella Fong 林定國先生夫人 Mr and Mrs Lam Ting Kwok Paul Mrs Florence Ng 彭志剛醫生 Dr Joseph Pang PLC Foundation 沈昊翔先生 Mr Shum Ho Cheung 九龍倉集團有限公司 The Wharf (Holdings) Limited 多位無名氏 Anonymous
• 孫永輝施熙德伉儷 Edith & Stephen Sun Opal Donors (HK$1,000 to HK$9,999) • BELIEVING MUSIC CAN
• 廖炳輝醫生 Dr Liu Bing Fai
• 鄭新文教授 Prof Tseng Sun Man
• Jonman, Monika & Joel Chan Family
• Ms Luk Yee On
• 蔡雄及區慕英 Andy Tsoi & Mary Au
• Mr Chan Kwan Ho
• 吳榮奎先生 Mr Ng W F Nicholas
• 鄭慶弘先生 Mr Howard Cheng
• 魏玉華小姐 Ms Winnie Ngai
• 王煒東先生 Mr Wong Wai Tung • Mr Marcus Woo
• Gavin Gonsalves & Family
• Ms Jojo Sin
• Mr Jimmy Yau
• 紀念劉葉珍女士
• Mr Adrian Tam
• 多位無名氏 Anonymous
• Mr Robert Tang
Premium Friends
感謝以下各機構對香港小交響樂團一直的支持! Thank you to the following parties for their continued support!
• 陳鋈鋆先生 Mr Chan Yuk-kwan • 周莉莉女士 Ms Lily Chow • 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 Tong Pak Chuen Patrick • 謝智剛教授 Prof C K Michael Tse • 多位無名氏 Anonymous
• • • • • • • • • •
Association Culturelle France Hong Kong Ltd 澳洲駐港總領事館 Australia Consulate-General Hong Kong 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 康樂及文化事務署 Leisure and Cultural Services Department 邁騰路通有限公司 Maestro GT Limited 荷蘭駐香港及澳門總領事館 Netherlands Consulate General in Hong Kong and Macao • MOViE MOViE • 通利琴行 Tom Lee Music Co Ltd • Mr Jiři Votruba 27