© THIERRY COHEN
鋼琴 Piano
李嘉齡 Colleen Lee
小號/柔音小號 Trumpet/Flugelhorn
納卡里亞科夫 Sergei Nakariakov
© YVONNE CHAN
（駐團藝術家 HKS Artist Associate 2010-2011）
小提琴 Violin
30.4.2021 (星期五 Fri) 8pm
元朗劇院演藝廳 Yuen Long Theatre Auditorium
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
格德霍特 James Cuddeford
納卡里亞科夫小號獨奏會 Sergei Nakariakov Trumpet Recital 小號/柔音小號 Trumpet/Flugelhorn
納卡里亞科夫 Sergei Nakariakov 鋼琴 Piano
李嘉齡 Colleen Lee (駐團藝術家 HKS Artist Associate 2010-2011)
節目 （柔音小號版本） 快板 小步舞曲的速度
葛令卡/巴拉基列夫編 《雲雀》 佛瑞/艾爾曼編
《夢後》，作品7之1（柔音小號版本）
呂芙
小號及鋼琴小奏鳴曲 堅定的快板－ 持續的行板－ 急板
小提琴 Violin
格德霍特 James Cuddeford
E小調第21小提琴奏鳴曲，K304
莫扎特
－中場休息15分鐘－
布拉姆斯
降E大調圓號三重奏，作品40（柔音小號版本） 行板 諧謔曲：快板 哀傷的慢板 終樂章：富有生氣的快板
Programme
Mozart
Violin Sonata No 21 in E minor, K304 (Adapted for Flugelhorn) Allegro Tempo di Menuetto
香港小交響樂團 Hong Kong Sinfonietta 問卷調查 Audience Survey 感謝您蒞臨欣賞香港小交響樂 團的演出，現誠邀您提供對是 次音樂會的意見。請登入網頁 或於前台索取並填妥問卷，將 有機會獲得精美紀念品一份。 Thanks for coming to our concert! We would love to have your feedback. Please complete our questionnaire online or at the reception for a chance to win a limited edition gift. 場地規則 House Rules
Glinka/Balakirev arr
The Lark
Fauré/Elman arr
Trois Mélodies, Op 7: No 1 Après un Rêve (Adapted for Flugelhorn)
Jeanine Rueff
Sonatine for Trumpet & Piano Allegro risoluto – Andante sostenuto – Presto – 15-minute intermission –
Brahms
Trio in E-flat for Horn, Violin & Piano, Op 40 (Adapted for Flugelhorn) Andante Scherzo: Allegro Adagio mesto Finale: Allegro con brio
各位觀眾 Dear Patrons： 為了令大家對今次演出留下美好印象，我們希望各位切勿在場內攝影、錄音或錄影，亦請勿吸煙或飲食。在節目進行前，請關掉手提電話、其他響 鬧及發光的裝置。多謝各位合作。 In order to make this performance a pleasant experience for the artists and other members of the audience, please refrain from recording, filming, taking photographs, and also from smoking, eating or drinking in the auditorium. Please ensure that your mobile phones and any other sound and light emitting devices are switched off before the performance. Thank you for your kind co-operation.
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香港小交響樂團 Hong Kong Sinfonietta 桂冠音樂總監 Music Director Emeritus: 葉詠詩 YIP Wing-sie 首席客席指揮 Principal Guest Conductor: 柏鵬 Christoph POPPEN
香港小交響樂團是香港的旗艦樂團之一，銳意 「培育文化新一代」，並以富創意的節目及充滿熱忱
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《Tiny Galaxy Concerts》 ，在香港別具特色的地點拍 攝，讓觀眾漫遊古典音樂小宇宙。
的演奏稱譽本地及海外樂壇。
樂團自 2006 年起舉辦「駐團藝術家」計劃，邀請
自 1999 年起，香港小交響樂團經常與國際知名音
本地不同界別的藝術家與樂團緊密合作及交流，培
樂家及藝團合作，包括阿爾斯達德、法蘭、格林高
育新一代藝術家之餘更為古典音樂創造新的可能
特、赫姆森、麥米蘭、納卡里亞科夫、彭德雷茨
性。樂團灌錄過多套唱片，收錄不少華人作曲家的
基、凱拉斯、塞伊、馬林斯基大劇院芭蕾舞團、莫
優秀作品；由DECCA發行的三輯《就是古典音樂》
斯科大劇院芭蕾舞團、英國皇家芭蕾舞團、英國國
系列，均獲白金及金唱片佳績。雙 CD《一屋寶貝
家芭蕾舞團、美國芭蕾舞劇院、紐約市芭蕾舞團、
音樂廳》於2018年由DECCA出版。
斯圖加特芭蕾舞團及翩娜．包殊烏珀塔爾舞蹈劇場
樂團經常應邀作客海外，包括：美國紐約林肯中心
等。樂團亦經常應邀與本地藝術節及藝團合作，
羅斯劇院、加拿大多個以出色音效著稱的音樂廳；
如香港藝術節、法國五月、香港芭蕾舞團及香港歌
南美洲的巴西、阿根廷及烏拉圭；在歐洲計有法國
劇院等。 2018 年舉辦第一屆香港國際指揮大賽，
的拉羅克．昂迪榮國際鋼琴音樂節和蒙頓音樂節
吸引了310位來自49個國家及地區的參賽者。
等、德國東弗里斯蘭「浪潮」音樂節、波蘭貝多芬
香港小交響樂團自 2009 年起為香港大會堂的場地
復活節音樂節、意大利的米凱朗傑利國際音樂節和
伙伴，每樂季演出逾100場次。除了傳統的管弦樂
維琴察音樂節、葡萄牙馬爾旺國際音樂節、立陶宛
章外，樂團每年均委約作曲家為樂團譜新曲，並銳
的兩個音樂節、瑞士蘇黎世、日內瓦和弗里堡；北
意與不同界別的藝術家製作嶄新的跨界節目，
京第二屆中國交響樂之春（國家大劇院）、中國上
於2020年更躍進大銀幕，推出音樂電影《Back On
海國際藝術節（世博會「香港活動周」閉幕節
Stage》及《Back On Stage II (Quarantined!)》，
目）、韓國統營國際音樂節、新加坡、台灣、日本
大獲好評並數度加場。樂團深明培育下一代的重要
東京、金澤、長野、新潟和郡山等，並五度獲邀參
性，針對不同年齡的觀眾，舉辦多套別樹一格的普
與東京《
及音樂會，包括《寶寶愛音樂》、《幼兒愛音樂》、
樂團2002年至2020年由著名指揮葉詠詩擔任音樂
《古典音樂速成》、《古典音樂知多少》和《我個名
總監，期間致力推動本地古典音樂發展，拉近音樂
叫麥兜兜．古典音樂小計劃》等節目，又經常在音
與普羅大眾的距離。作為樂團的桂冠音樂總監，她
樂廳以外的場地舉行室樂及跨界音樂會，大大拓展
將會在樂團委任新總監前，與首席客席指揮柏鵬一
古典音樂觀眾的層面。近期推出的網上室樂系列
起負責樂團藝術發展事宜。
》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 2018, The Passage Beyond in Concert by Leon Ko, was released on DECCA. On tour, Hong Kong Sinfonietta has been invited to perform in North America in Canada and New York City; in Brazil, Argentina and Uruguay in South America; in Europe at prestigious festivals in France including Festival International de Piano La Roque d’Anthéron and Festival de Musique Menton, in Germany at Gezeitenkonzerte Ostfriesland, at Beethoven Easter Festival in Poland, in Switzerland at Tonhalle Zürich, Geneva Victoria Hall and Fribourg, at festivals in Italy including the Michelangeli Festival, in Portugal at the Marvão International Music Festival, and in Lithuania; in China at China Shanghai International Arts Festival (Expo 2010), in Beijing at the National Centre for the Performing Arts; in Japan at Tokyo Opera City, La Folle Journée in Tokyo and Niigata, Nagano, Kanazawa and Koriyama; in Korea at the Tongyeong International Music Festival and in Singapore at the Esplanade, and at National Concert Hall Taipei and National Taichung Theater. Hong Kong Sinfonietta has thrived under the direction of Music Director Yip Wing-sie – one of Asia’s most respected conductors – since 2002. Starting from May 2020, she takes on the new role of Music Director Emeritus. She and Principal Guest Conductor Christoph Poppen are responsible for the artistic development of the orchestra before the next Music Director is appointed.
香港小交響樂團有限公司是註冊之慈善團體。 The Hong Kong Sinfonietta Limited is a registered charity. 香港灣仔譚臣道 98 號運盛大廈 3樓 3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong 電話 Tel : (852) 2836 3336 電郵 Email: enquiries@hksinfonietta.org 網址 Website: www.HKSL.org
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小號/柔音小號 Trumpet/Flugelhorn
納卡里亞科夫 Sergei Nakariakov 被樂評形容為「小號界中的帕格尼尼」及「小號界 中的卡羅素」的以色列俄裔小號演奏家納卡里亞科 夫，憑藉令人嘆為觀止的造詣、音色柔美圓潤的演 奏及絕妙的音感譽滿全球。他更致力推廣柔音小 號，經常與世界頂尖樂團和指揮合作，奠定柔音小 號作為獨奏樂器的地位。 他合作過的著名指揮包括格杰夫、阿殊堅納西、梵 志登、馬連拿、艾森巴赫、柏尼夫、史柏華歌夫、 薛高維斯基、長野健、巴舒密、索德基斯、狄米爾 卡洛夫、貝洛拉維克及胡爾夫。納卡里亞科夫又常 與多位優秀的音樂家如列賓、阿嘉莉殊、麥斯基、 帕譽特、拉克林及薛高維斯基等演奏室樂，與鋼琴 家美羅維芝及其親姊薇拉更是合作無間。 納卡里亞科夫的演奏曲目涵蓋所有為小號而寫的作 品，他更積極拓展演奏範疇，包括魯茨卡、布雷 納、舒奈達及韋特文等作曲家的改編曲及委約作 品，同時亦致力探討詮釋音樂的新方式。 納卡里亞科夫與華納合作推出的專輯深受各界好 評，除收錄了經典的小號曲目，亦包括為小號及柔 音小號而改編的作品。 納卡里亞科夫生於俄羅斯高爾基，六歲習琴，其後 隨父親學習小號。父親對納卡里亞科夫的影響甚 深，除傳授小號演奏方面的知識和技巧，亦培育了 兒子獨特的音樂感。他又為納卡里亞科夫譜寫新 曲，並將不少經典作品改編成小號版本予之演奏。 納卡里亞科夫演奏用的樂器由巴黎 Antoine
© THIERRY COHEN
Courtois公司製造。
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Sergei Nakariakov, an Israeli-Russian trumpet player, has established himself as one of the most sought-after trumpet players on the international stage. Gifted with a rare combination of stunning virtuosity, a suave and velvet-toned sound and a deep sensitivity, he was named as “The Paganini of the trumpet” and “Caruso of the trumpet”. Nakariakov has single-handedly brought the flugelhorn to prominence on the concert platform, and has developed long-standing relationships with many of the world’s leading orchestras, conductors and musicians. Renowned conductors with whom Nakariakov has worked include Valery Gergiev, Vladimir Ashkenazy, Jaap van Zweden, Neville Marriner, Christoph Eschenbach, Mikhail Pletnev, Vladimir Spivakov, Dmitry Sitkovetsky, Kent Nagano, Yuri Bashmet, Saulius Sondeckis, Yuri Temirkanov, Jiří Bělohlávek and Hugh Wolff. For chamber music projects, he regularly collaborates with prominent musicians like Vadim Repin, Martha Argerich, Mischa Maisky, Emmanuel Pahud, Julian Rachlin and Dmitry Sitkovetsky. He enjoys a long-lasting musical friendship with pianist Maria Meerovitch and his own sister, Vera Okhotnikova.
Nakariakov’s discography with Teldec Classics International (Warner) has drawn the most enthusiastic public and critical acclaim, and incorporates the most famous original trumpet repertoire as well as numerous arrangements for trumpet and flugelhorn. Born in Gorky, Nakariakov began to play the piano when he was six years old, but moved on to the trumpet – a change of direction supported by his father, Mikhail Nakariakov, who transcribed many classical concertos for the trumpet and created a unique repertoire for his son. He gave him his technical knowledge and has helped him to further develop his exceptional feeling for music to this day. Nakariakov plays on instruments by Antoine Courtois, Paris.
Not only does Nakariakov’s repertoire cover the entire range of original literature for the trumpet, it is also continually expanding into broader territories, comprising many fascinating transcriptions and commissions by Peter Ruzicka, Uri Brener, Enjott Schneider and Jörg Widmann, while he continuously searches for new means of musical expression.
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鋼琴 Piano (駐團藝術家HKS Artist Associate 2010/2011)
李嘉齡 Colleen Lee 節等。她於第 42 屆香港藝術節中為動畫《魔法鋼 琴與蕭邦短篇》作現場演奏，廣受各界好評。李嘉 齡亦曾兩度受邀於維也納及香港演出「貝多芬鋼琴 奏鳴曲馬拉松」。她又於2018年上海音樂學院當代 音樂周中以獨奏者身份與香港創樂團同台演出。 近年重點演出包括與歷圖指揮的倫敦交響樂團合作 獻演。 李嘉齡熱愛室樂，經常於室樂音樂會中演出，她曾 與多位享譽國際的音樂家合作，包括小提琴家寧 峰、姜東錫、大提琴家李垂誼、米勒索特、克亞尼 瑟夫以及上海弦樂四重奏。李嘉齡亦為 2018 年成 立的香港電台室樂演奏家成員。 李嘉齡生於香港，四歲開始學習鋼琴，於香港演藝 學院就讀期間隨黃懿倫學習，後負笈德國漢諾威音 樂及戲劇學院深造，師事瓦迪。她獲得的獎項包 括：第三屆德國賽樂爾國際鋼琴比賽冠軍、 2003 年麥肯齊藝術家成就獎、第 15 屆意大利國際協奏 曲比賽季軍及樂評和觀眾獎，亦是第一屆香港國際 鋼琴比賽、樂府國際音樂大獎、真娜．巴侯雅國際 李嘉齡自2005年獲得波蘭第15屆蕭邦國際鋼琴大
鋼琴大賽、仙台國際音樂比賽以及第 16 屆西班牙
賽第六名後，便正式踏上國際舞台。她頻繁的演奏
桑坦德國際鋼琴比賽等項目的獎項得主。
足跡遍及歐亞及北美各地，除獨奏演出外，亦經常 與世界知名的樂團合作獻演，包括以色列愛樂、 華沙愛樂、西班牙加利西雅皇家愛樂、日本仙台愛 樂管弦樂團、中國愛樂、廣州交響樂團、武漢愛樂
集、史卡拉蒂奏鳴曲全集，以及與香港小交響樂團 合作的《就是古典音樂3》。
樂團、上海交響樂團、香港小交響樂團及香港管弦
李嘉齡曾獲民政事務局局長頒發嘉許狀，以及獲頒
樂團等。2010/2011樂季她獲香港小交響樂團邀請
行政長官社區服務獎狀和香港藝術發展局藝術新秀
出任駐團藝術家，亦曾隨樂團遠赴南美、意大利及
獎，以表彰她在音樂領域的傑出成就及在推廣藝術
台灣巡演。
文化方面的超卓貢獻。
李嘉齡亦為多個大型音樂節的常客，曾參與的音樂
李嘉齡現為香港教育大學的榮譽駐校藝術家，並任
節包括波蘭蕭邦國際音樂節、格但斯克音樂節、意
教於香港演藝學院及香港浸會大學。
大利阿西西音樂節、德國邁森鋼琴音樂節、紐約國 際鍵盤音樂節、鮑登國際音樂節、芬蘭埃斯波音樂
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李嘉齡推出過的專輯包括由蕭邦學會發行的蕭邦全
Since winning the 6th Prize at the 15th
She is also a member of the RTHK Chamber
International Frederic Chopin Piano Competition,
Soloists which was formed in 2018.
Colleen Lee has performed extensively throughout Asia, Europe and North America in solo recitals and with orchestras such as the Israel Philharmonic Orchestra, Warsaw Philharmonic Orchestra, Galacia Royal Philharmonic Orchestra, Sendai Philharmonic Orchestra, China Philharmonic Orchestra, Guangzhou Symphony Orchestra, Wuhan Philharmonic Orchestra, Shanghai Symphony Orchestra, Hong Kong Sinfonietta and Hong Kong Philharmonic, among others. Lee was the Artist Associate of Hong Kong Sinfonietta in 2010/2011, and has toured with the orchestra in South America, Italy and Taiwan.
Born in Hong Kong, Lee started her piano lessons at the age of four. Subsequently she was trained at the Hong Kong Academy for Performing Arts (HKAPA) under Eleanor Wong and at the Hochschule für Musik, Theater und Medien in Hannover with Arie Vardi. She won the First Prize at the 3rd Seiler International Piano Competition in Kitzingen, Germany, the 2003 Dorothy Mackenzie Artist Recognition Award, Third Place and Critic and Audience Prizes at the 15th International Competition for Piano and Orchestra in Cantú, Italy, and was a prize winner at the 1st Hong Kong International Piano Competition, the Pro Musicis
She has also been a featured artist at several
International Award, Gina Bachauer International
international music festivals including the
Artist Competition, Sendai International Music
International Chopin Festival in Duszniki and
Competition, and the 16th Santander International
Gdansk in Poland, Assisi International Piano Festival
Piano Competition in Spain.
in Italy, Meissen Pianoforte Festival in Germany, International Keyboard Festival in New York, Bowdoin International Music Festival and Musicus Fest in Espoo, Finland. Her performance of the “Magic Piano and Chopin Shorts” animation series at the 42nd Hong Kong Arts Festival had garnered rave review. She was invited to perform twice in the “Beethoven Piano Sonatas Marathon” in Vienna and Hong Kong. She appeared as soloist with the Hong Kong New Music Ensemble in the 2018 Shanghai New Music Week. In 2019, she made her début with London Symphony Orchestra under Simon Rattle. As an enthusiastic chamber musician, Lee frequently appears in chamber music concerts and has also collaborated with world famous instrumentalists including violinists Ning Feng and Kang Dong-suk, cellists Trey Lee, Daniel Müller-Schott
Her discography includes an all-Chopin album recorded on the Pleyel Piano released by the Fryderyk Chopin Institute, and a complete Scarlatti Sonatas album by Naxos. She was also featured on the Hong Kong Sinfonietta DECCA album This is Classical Music 3. In recognition of her outstanding achievements in music and in the promotion of arts and culture, she has been awarded Certificate of Commendation by the Secretary of Home Affairs, Commendation for Community Service by the Hong Kong Government and Young Artist Award by the Hong Kong Arts Development Council. Currently Lee is the Honorary-Artist-in-Residence of The Education University of Hong Kong and on the piano faculty of HKAPA and Hong Kong Baptist University.
and Alexander Kniazev, and the Shanghai Quartet. 7
鋼琴 Piano 小提琴 Violin
唐契夫 Antoni 格德霍特 JamesDonchev Cuddeford 現任香港小交響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。 格德霍特是一位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 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。
8
Currently Concertmaster of the Hong Kong
the Year, and the following year the Queensland
Sinfonietta, James Cuddeford has emerged as one
Philharmonic Orchestra commissioned and
of Australia’s leading musicians. After commencing
premiered his first major orchestral work. His
his musical studies at age seven, Cuddeford won a
compositions have also been performed, recorded
full scholarship at age 12 to study at the Yehudi
and broadcast in Europe, North America and Asia
Menuhin School in England. He continued his
by groups such as the Nash Ensemble, Australian
studies in performance at the Royal Northern
String Quartet, Ensemble Offspring and Psappha
College of Music and composition at the University
Ensemble. His music is represented by the
of Manchester. His principal teachers were Yehudi
Australian Music Centre.
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 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
Cuddeford has performed extensively around the
Institute of Music, and has given masterclasses at
world as both soloist and chamber musician. He
many major institutions around the world. He has
has frequently appeared at major international
recorded for ABC Classics, Tall Poppies, Melba
festivals in many of the world’s most prestigious
Recordings and Toccata Classics and plays on a
halls. As a chamber musician, James has
violin made by Nicolò Gagliano in 1769.
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. 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 9
節目介紹 一般人可能認為小號是一種軍樂器，用以揭開戰幕、集結軍隊、提醒軍人起床和熄燈 休息。但在星級小號獨奏家納卡里亞科夫的手中，小號（以及柔音小號，flugelhorn） 的用途遠不止於此。在今晚的獨奏會中，他就像一隻音樂變色龍，以小號代替小提 琴、圓號和人聲，雖然雲雀的鳴叫（同樣源自一首歌曲）仍會留給鋼琴去模仿。結束 上半場的是一首專門為小號撰寫，由法國作曲家呂芙（Jeanine Rueff）創作的樂曲。 銅管樂器有一段很長的歷史。約 2,500 年前，就有埃及人使用金屬樂器的記載，而古 羅馬人也使用了多種金屬樂器，因為金工技術的進步，工人可以把金屬製成管形。使 用的金屬包括青銅、銅、銀，甚至黃金，但這個樂器家族卻普遍被稱為銅管樂。當 然，因其聲音的特質，銅管樂很適用狩獵或戰爭等戶外場合。 早期的銅管樂器相當原始，它們並不能吹奏一個完整音階中的所有 12 個音符。這些 「自然」樂器（”natural” instruments ，早期音樂派的古樂團就會以「自然小號」和 「自然圓號」演奏）是由嘴唇的壓力控制音高的。然而，就如弦樂、木管樂器家族和鍵 盤樂器那樣，經過逐步的改良，銅管樂器也有所進化。 19 世紀初，約在 1815 年，為 銅管樂器設計的閥鍵（valve）開始出現。其重要性在於只要按下閥鍵，樂器管子的長 度可以��改變，就能吹出�要的音符。因此，銅管樂器開始可以吹奏音階�的所有 音符，視乎使用三（或四）個閥鍵中哪一個組合。 整體而言，小號是銅管樂家族的首領，也是典禮上必備的樂器。它們也可以奏出較為 沉鬱的樂音，尤其是使用弱音器的時候，聲量就會被壓低和變得朦朧。不同的弱音器 也有不同的效果，有能令聲音變小的，有使其變得刺耳的，又或是產生其他不同的 音色。 除了小號外，今晚我們主要還會聽到柔音小號。它是由號角（bugle，其中一種像小號 的樂器，包括短號 [cornet] ）演變出來的，到了1820年代才出現。第一把柔音小號實 際是一種加了閥鍵的號角，是在1828年於柏林由斯托澤爾（Heinrich Stölzel）售出。 後來在法國，薩克斯（Adolphe Sax ，即是薩克斯管的發明者）製作了薩克斯號 （saxhorns），這就是現代柔音小號的原型。它比號角、短號或小號的聲音都要圓潤飽 滿和低沉，能代替圓號及其他樂器家族中如巴松管或大提琴的位置。若再加上第四個 閥鍵，也可以使柔音小號在低音區多奏出一個四度的音程。
10
莫扎特（1756–1791）
葛令卡（1804–1857）
E小調第21小提琴奏鳴曲， K304（柔音小號版本）
巴拉基列夫（1837–1910）編
快板 小步舞曲的速度
《雲雀》 依然是改編曲，這首卻是為鋼琴改編的間奏曲，它 跟今晚獨奏家納卡里亞科夫仍有關聯，因為《雲雀》
莫扎特在他後期的交響曲、鋼琴協奏曲和歌劇中確
的作曲家、編曲家都是俄國人。大家對編曲的巴拉
有採用小號，但在室樂作品中卻付諸闕如，也不可
基列夫自己的作品或許不太熟悉，但大概知道他是
能採用柔音小號這種在他去世 30 年後才出現的樂
19 世紀俄國音樂界的主要推手之一，尤其是他和
器。不過這並不表示他的室樂作品就不能轉用小號
其 他 四 位 作 曲 家 組 成 的 「 強 力 集 團 」（ M i g h t y
和柔音小號。在莫扎特的 26 首小提琴奏鳴曲中，
Handful），包括鮑羅丁（Alexander Borodin）、
我們選來一首作品編號約莫在中間的作品。這些奏
居 伊 （ Cesar Cui）、 穆 索 爾 斯 基 （ Modest
鳴曲不大平均地分佈於莫扎特不同的創作時期。頭
Mussorgsky）、林姆斯基-高沙可夫和他自己。葛令
10 首 寫 於 少 兒 時 代 （ K 6 和 7 以 作 品 1 的 編 號 在
卡和柴可夫斯基雖然不屬於這個集團之內，卻與巴
1764 年於巴黎出版， K8 和 9 以作品 2 的編號出
拉基列夫相識。巴拉基列夫不僅提議柴可夫斯基創
版，K26-31則以作品4的編號在1766年出版）。第
作其《羅密歐與茱麗葉》幻想序曲，還提出了許多
二批小提琴奏鳴曲過了 12 年才面世，包括今晚的
修改意見。
一首。它們分別創作於曼海姆和巴黎（K301306），於 1778 年出版（編號卻有點混淆地又是作 品1），K296和另外五首（K376-380）則再以作品 2的編號於1781年出版。最後，在1784至1788年 之間，莫扎特創作了最後四首奏鳴曲（K454 、 K481、K526和K547）。 莫扎特的E小調小提琴奏鳴曲（K304）只有兩個樂
葛令卡是巴拉基列夫的長輩，被譽為「俄國音樂之 父」。他鼓勵剛來到聖彼得堡、只有18歲的巴拉基 列夫以音樂為職業。葛令卡曾前往米蘭，認識了貝 里尼（Bellini）和唐尼采蒂（Donizetti），接著到維 也納，最後造訪柏林，隨德恩（Siegfried Dehn） 學習了六個月。之後他回到俄國，於 1836 年在 聖彼得堡撰寫了第一部俄語歌劇《為沙皇獻身》
章。我們知道第一樂章寫於曼海姆，因為稿紙上的
（A Life for the Tsar） ，接著在1842年又完成了更為
水印顯示那是他在當地購買的。然後他和母親一起
著 名 的 《 魯 斯 蘭 與 柳 德 米 拉 》（ Russlan and
到了巴黎，但不幸她在1778年7月3日去世，於是
Ludmilla）。他去世時，年僅 20 歲的巴拉基列夫便
他便決定回到薩爾茨堡。
接過了葛令卡打造俄國音樂風格的使命。
這首沒有慢樂章的奏鳴曲，比較強勢和高貴，用柔 音小號來吹奏便顯得相當突出。肯恩爵士（Sir Nicholas Kenyon）把作品稱為「這系列中的寶石」 （The Faber Pocket Guide to Mozart，2005年，頁 241），並解釋道：「（它是）⋯⋯嚴肅、抑制而激 烈的⋯⋯第一樂章中的重要時刻是再現部，該處 （獨奏）在沒有伴奏的情況下歌唱，但鋼琴卻以完 全意想不到的和弦撞進來。末尾 E 小調的小步舞
1840 年，葛令卡為他的朋友庫科列尼克（Nestor Kukolnik）的詩歌創作了一套聲樂組曲，作品的標 題反映了作曲家因為遇上婚姻問題而離開聖彼得堡 的計劃。第 10 首《雲雀》是其中最著名的一首 歌，因此它被單獨改寫為鋼琴曲毫不為奇。作曲家 去世五年後，巴拉基列夫在 1862 年將之改寫，把 原曲包裝成一首精緻的鋼琴曲。
曲，其精神接近巴羅克時代，但卻有一段治愈性的
原曲是一首緩慢抒情的讚歌，它讚美了草原上空不
E 大調中段，小調和大調旋律的對比聽起來像舒伯
見影蹤的雲雀，歌者在思索，雲雀的歌聲必是為某
特。」或許正是這種近似舒伯特的浪漫主義色彩，
處的聽者而發的。巴拉基列夫把作品從原來的E小
使作品那麼適合用柔音小號來演奏。 11
調改為降B小調，使雲雀的歌聲更為突出。他也把 篇幅加多了約兩分鐘，把 32 分音旋繞上升的、似 乎把時間停頓了的花腔重奏了三次，感覺像是雲雀 的歌聲在半空中盤旋。
呂芙（1922–1999）
小號及鋼琴小奏鳴曲 堅定的快板－ 持續的行板－ 急板
巴黎出生的呂芙畢業於巴黎音樂學院，師從奧賓
佛瑞（1845–1924） 艾爾曼（1891-1967）編
《夢後》，作品7之1 （柔音小號版本） 艾爾曼把佛瑞《旋律》（Mélodies）�曲�的一 首，也是他最著名的一首歌曲改編給柔音小號。 佛瑞在 50 年之內曾創作了超過 100 首歌曲，《夢 後》是他最早期的作品之一，寫於 1870 年代，並 在 1878 年和其他兩首一起出版（20 年後，它們被 統一收編入作品7之中）。
（Tony Aubin）、夏隆（Henri Challan）、賈隆兄弟 （Jean and Noël Gallon）和畢賽爾（Henri Büsser） ， 後來又留校任教。她起初擔任穆爾（Marcel Mule） 的薩克斯管班助教和德烈庫魯茲（Ulysse Delécluse） 的單簧管班助教，接著教授唱名法（Solfège）的視 唱及和聲，她的學生包括夏爾（Jean-Michel Jarre， 以唱片專輯《Oxygène》聞名） 。除了為薩克斯管撰 寫樂曲外（包括一首四支薩克斯管的小交響曲）， 還 寫 了 一 部 室 樂 歌 劇 《 埃 涅 阿 斯 的 妻 子 》（ L a Femme d'Enée） 。在20年之間她也為學院的小號比 賽撰寫了三首示範作品。首先，在1949年，她為短 號創作了《協奏幻想曲》 （Fantaisie Concertante） ， 然後在1957年寫下了今晚的《小奏鳴曲》（原本也
我們置身於夢境中 — 佛瑞採用了他的朋友、男中
是為短號撰寫的，採用了降B大調） ，最後是1967年
音歌唱家布辛（Romain Bussine）翻譯的歌詞，他
為小號撰寫的《風鈴》 （Mobiles） 。
並不太遵照無名氏所寫的意大利原文，歌詞是他們 一起在托馬塞奧（Niccolò Tommaseo）所編的 《民俗歌曲》（Canti Popolari）�發現的（1841 年 在威尼斯出版）。布辛的版本描寫當詩人醒來的時 候，發覺他心目中的愛人忽然不知所蹤，於是他想 回到睡鄉重尋好夢。
呂芙的《小奏鳴曲》原有「向薩巴利殊和阿祖安奴 致敬（國家音樂學院比賽）」的標題。它由三個連 貫的樂章組成，採用了典型的快 — 慢 — 快形 式。第一樂章是奏鳴曲式，鋼琴濺起的樂音帶出了 尖銳而帶有切分節奏的小號，及後節奏變得較為平 和，融入了更為流暢的第二主題。發展部用上了弱
上行的4分音和其後下行的三連音帶著懶洋洋的感
音器，但開首狂熱的樂音重現，更為尖銳的重音帶
覺，首先由鋼琴帶出，接著被鋼琴的 8分音和弦所
出了最後高潮前響亮而嘶啞的段落。第二樂章「持
加強，然後柔音小號把主題接過來。樂曲雖然簡
續的行板」採用了二段曲式，它以緩慢的如歌
短，卻令人無法忘懷，瀰漫著回憶與深沉的哀思。
（cantabile）段落展開，再次簡短地由鋼琴作介
難怪繼 1910 年西班牙著名的大提家卡薩爾斯
紹，聽起來像蜿蜒的夜景（或許是巴黎人對柯普蘭
（Pablo Casals）的版本之後，會被改編給其他樂器 演奏。
的《寧靜城市》的回應，當時它面世不過20年）。 第二段是華采段，它將開頭的號曲主題動機加以擴 展，直接進入了全曲篇幅最短的終樂章。但它仍能 容納下三段的 ABA 曲式，第一段中極為困難的附 點節奏和以三吐法（triple-tongued）吹奏的急速 段落，與較平和的第二段交互躍進，最後第三度以 開頭的樂句結束。
12
納卡里亞科夫一直以來都相當推崇呂芙的這首作
「哀傷的慢板」是全曲感情的中心。在此布拉姆斯
品。他早於在 1992 年便灌錄了此曲，當時他才 15
深摯地哀悼他三個月前去世的母親（同時期的《德
歲。這首作品無疑值得被更多人認識。
意志安魂曲》也是在傷感的情況下動筆的）。樂章 採用了降E小調，開頭和結尾都有一段盪漾的「搖 籃曲」（berceuse），隨後是對位的第二主題，由柔 音小號展開，直至其後的 F 大調的主題出現，才稍 現曙光，雖然結尾還是那段「搖籃曲」。
布拉姆斯（1830–1897）
降E大調圓號三重奏，作品40 （柔音小號版本）
終樂章打破了凝重的氣氛，但 6/8 拍的吉格舞曲， 再次帶出了（原版的）圓號的狩獵氛圍，與第三樂 章的 F 大調主題有所聯繫。拍子也隨之加快，氣氛 也完全不同了，而「搖籃曲」低沉的低音半音，在 此也約略可聞。
行板 諧謔曲：快板 哀傷的慢板 終樂章：富有生氣的快板
這首四樂章的室樂作品，撰寫於 1865 年夏天。當 時布拉姆斯在黑森林的利希滕塔（Lichtenthal）度 假。圓號、小提琴和鋼琴這組合並不常見，所以布 拉姆斯亦允許大提琴代替圓號演奏（像是典型的鋼 琴三重奏組合），但他從不大喜歡這種做法。最 後，他傾向以中提琴作替代，並於 1884 年出版了 這樣的版本。基於柔音小號的特質，大概他也會喜 歡今晚的改編。 布拉姆斯在第一樂章並沒有採用奏鳴曲式（即有 兩個對比的主題交替出現，重複、發展並在再現 部回歸）。他反而把開頭緩慢的、充滿沉思意味的 行板與不太快的「漸趨活潑的」段落互相交替。 樂調往常的關係也被忽略了，因此頭兩次的行板 都以主音調（降 E）開首和結尾，而與之相對的舞 曲般的三拍子主題，則以 C 小調出現，並奏了兩 次。最後，行板重現時，音樂脫離了主音調，以 甚疏離的樂調帶出了極靜的段落，然後才迂迴地 回到降E調來結束。 諧謔曲則用上了奏鳴曲式，採用（原版的）圓 號，其傳統的狩獵角色，使樂音顯得較為粗獷。 但在緩慢的降 A 小調中段，卻回到第一樂章的情 調，令音樂出現了對比，由此也預示了緩慢的第 三樂章的到來。
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 We think of the trumpet as a martial instrument – heralding battles, rallying troops, sounding the reveille alarm-call and last post. But our star soloist Sergei Nakariakov can do more with the trumpet (and the flugelhorn) than all that. In fact, in tonight’s recital, he becomes something of a musical chameleon taking over the music (if not actually the shape) of a violin, French horn and the human voice, although he leaves the birdsong of a lark (also originally from a song) to the piano. Ending the first half is an actual piece composed for the trumpet itself, by French composer Jeanine Rueff. Brass instruments have a very long history. There is evidence of the Egyptians using metal instruments some 2,500 years ago, and the Romans also used various metal instruments, fashioned by the new skills metal-workers were able to devise to create tubes. The metals used included bronze, copper, silver, even gold – but the family of instruments has become known by the common alloy, brass. Of course, given the nature of the sound, brass instruments were ideal for use outdoors, in hunting or in battle. The early instruments were primitive in the sense that they could not play all the notes in the octave; these “natural” instruments (period instrument bands play with “natural trumpets” and “natural horns”) were controlled by lip pressure. However, just as the string and woodwind families – and especially keyboard instruments – developed over time, so did brass instruments. In the early 19th century – around 1815 – valves were invented for brass. Their importance was to be able to easily change the length of piping used to produce a note by the simple depression of a valve. The immediate effect was to allow them to play all notes on the scale, depending on which combination of the three (or four) valves they use. And while trumpets still lead the charge when, en masse, they are de rigueur for ceremonial purposes, they can also become much subtler in their sound, especially when they are played with a mute, which subdues or muffles the sound – though there are various different mutes that have different effects, making it quieter or more rasping and many other shades in between. In addition to the trumpet, tonight we will mainly hear the flugelhorn. It was developed from the bugle (one of the varieties of trumpet-like instruments, which also include the cornet), and it was not invented until the 1820s. In effect a valved bugle, the first flugelhorn was sold by Heinrich Stölzel in Berlin in 1828, and later – in France – it was taken up by Adolphe Sax (of saxophone fame), who developed “saxhorns”, which are the basis of the modern flugelhorn. With a richer, lower sound than bugles, cornets or trumpets, the flugelhorn can assume the same position of say, the French horn, bassoon or cello in the other instrumental families. An addition of a fourth valve on the flugelhorn can increase the range by adding to a perfect fourth to the lower register. 14
Wolfgang Amadeus Mozart (1756–1791)
Violin Sonata No 21 in E minor, K304 (Adapted for Flugelhorn) Allegro Tempo di Menuetto
Mozart did use trumpets in some of his later symphonies, piano concertos and operas, but he left no chamber music for it and he could not have composed for the flugelhorn as it was not invented until 30 years after his death. But that is not to say some of his other chamber music cannot be readily adopted for either instrument. Of Mozart’s 26 violin sonatas, we hear one that falls roughly half way in numerical order. They fall unevenly through Mozart’s career. His first 10 violin sonatas were teenage works (K6 & 7 published in Paris in 1764 as Op 1; K8 & 9 published as Op 2, with K26-31 following in 1766 as Op 4). 12 years passed before his next violin sonatas – seven in all, including the one tonight, composed in Mannheim and Paris (K301-306) and published (confusingly as another Op 1) in 1778, and also K296, which joined five more (K376-380) as another Op 2 in 1781. Finally, between 1784 and 1788, Mozart composed his final four (K454, K481, K526 and K547). Mozart’s E minor Violin Sonata K304, is in just two movements. We know the first movement was composed in Mannheim, as the watermark of the paper he composed it on was bought there. He then moved to Paris with his mother – although she tragically died there on 3 July 1778, and he made the decision to go back to Salzburg. Without a slow movement, this Sonata – rather strident and noble – is eminently playable on the flugelhorn. Regarded as the “gem of this set” – in Sir Nicholas Kenyon’s words (The Faber Pocket Guide to Mozart, 2005, p241) – he goes on to explain why: “[It is]… serious, suppressed, intense… The great moment in the first movement is the recapitulation, where the [soloist] sings the
theme unaccompanied but the piano comes crashing in with a totally unexpected chord. The spirit of the concluding E minor minuet is almost Baroque, but with a healing trio in E major, sounding like Schubert in its contrast of minor and major melodies.” Perhaps it is that hint of romanticism in the likeness to Schubert that makes it so appropriate to be played by the flugelhorn.
Mikhail Ivanovich Glinka (1804–1857) Arranged by Mily Alexeyevich Balakirev (1837–1910)
The Lark We stay with transcriptions as we move to a piano interlude, but a connection to Sergei Nakariakov remains in the Russian nationality of both composers connected with The Lark. Mily Balakirev, the arranger, is perhaps less known for his own music, than being a motive force in a swathe of 19th-century Russian music composed by others, mainly those he corralled into a group known as “the Mighty Handful” – Alexander Borodin, Cesar Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Balakirev himself. Even two composers not included in the group – Glinka and Tchaikovsky – were associated with Balakirev. Tchaikovsky’s Romeo and Juliet Fantasy Overture was not only suggested by Balakirev, but was revised following Balakirev’s numerous comments. A generation older than Balakirev, Glinka – known as “the father of Russian music” – was the one to encourage the young Mily, newly arrived in St Petersburg at just 18, to pursue music. Glinka himself had earlier headed west to Milan – meeting Bellini and Donizetti – then Vienna and finally Berlin, studying for six months with Siegfried Dehn, before returning to Russia and composing the first 15
Russian Opera, A Life for the Tsar in St Petersburg in 1836, following it up with his more famous Russlan and Ludmilla in 1842. When he died Balakirev was just 20, but Balakirev was the man to take up Glinka’s mantle of forging a Russian musical style. Glinka collated his song cycle to poetry by his friend Nestor Kukolnik in 1840 and the overall title reflects the composer’s plan at the time to leave St Petersburg, in the wake of matrimonial difficulties. By far the most popular of the songs was the tenth, The Lark, and it is no surprise that it achieved a stand-alone existence in a piano solo. Balakirev did the honours in 1862, some five years after its original composer’s death, clothing the original song with exquisite embellishment. The original song is a slow, lyrical paean to the unseen lark high above the meadow, the singer musing that somewhere will be the listener for whom the lark’s song is meant. Balakirev, transposing the original’s E minor to B-flat minor, makes the lark’s song more overt. He extends Glinka’s original running time by some two minutes by thrice rising high in melismatic swathes of demisemiquavers that seem to suspend time; the lark’s song suspended in mid air.
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Gabriel Fauré (1845–1924) Arranged by Mischa Elman (1891–1967)
From Trois Mélodies Op 7: No 1 Après un Rêve (Adapted for Flugelhorn)
Sergei returns, flugelhorn in hand for a transcription of one of Fauré’s Mélodies, one of his most popular pieces. He composed more than 100 songs over an astonishing 50-year period, but Après un Rêve (After a Dream) is one of his earliest, from the 1870s, and published with two others in 1878 (20 years later, they were collectively given the opus number, Op 7, though they were not conceived as a set). We are in the land of dreams – Fauré setting translated words by a singer friend, the baritone Romain Bussine, who paid scant regard to the anonymous Italian original which they had found in Niccolò Tommaseo’s Canti Popolari (published in Venice 1841). Bussine’s version is an idealised vision of a lover who suddenly vanishes when the poet awakes; the poet then wants to fall back to sleep to recapture the vision. There is something languishingly relaxing about the rising crotchets then falling triplets; first introduced by the piano before, underpinned by pulsing piano quaver chords, the flugelhorn makes the theme its own. It may be short, but it is haunting, nostalgic and laden with melancholy. Not surprisingly it has been adopted by other instruments, in the wake of the famous Spanish cellist Pablo Casals’ version from 1910.
Jeanine Rueff (1922–1999)
Sonatine for Trumpet & Piano Allegro risoluto – Andante sostenuto – Presto
Born in Paris, Jeanine Rueff both studied at the Conservatoire de Paris (with the likes of Tony Aubin, Henri Challan, Jean and Noël Gallon, and Henri Büsser) and then spent her career teaching there, firstly as assistant in Marcel Mule’s saxophone class and then in Ulysse Delécluse’s clarinet class, before teaching Solfège sight reading and harmony, where her pupils included JeanMichel Jarre (of Oxygène fame). In addition to works for saxophone (including a Symphonietta for four saxophones), and a chamber opera La Femme d'Enée, Rueff composed three exhibition pieces for the Conservatoire’s trumpet concours over two decades. Firstly, in 1949, she composed Fantaisie Concertante for cornet, followed by tonight’s Sonatine in 1957 (again originally for cornet in Bflat) and, finally in 1967, her Mobiles for trumpet.
extending its opening fanfare-like motif and leading straight into the briefest of finales that still manages to accommodate ternary form, where the fiendishly dotted rhythms and triple-tongued running passages of the first section and smoother second section leapfrog each other, ending in a third sounding of the opening. Nakariakov has championed this work by Rueff throughout his career, recording it as early as 1992, when he was just 15. It certainly deserves to be more widely known.
Dedicated to “Raymond Sabarich et Albert Adriano, amicalement (Concours du Conservatoire National de Musique)”, Rueff’s Sonatine is in three seamless movements in typical fast–slow–fast format. The first is in sonata form, a splash on the piano setting the trumpet off with spiky fervour and syncopated snatches, later opting for smoother rhythms that melt into the more flowing second theme. The development requires a straight mute for the trumpet, but the frenetic opening music returns, with even more stabbing accents leading to a resounding rasp before the concluding flourish. The Andante sostenuto middle “movement” is in binary form, its slow cantabile (“song-like”) opening section, again heralded very briefly by the piano, sounding like a meandering nightscape (a Parisian answer to Aaron Copland’s Quiet City perhaps, which was only 20 years old at the time). The second section is a cadenza ever17
Johannes Brahms (1830–1897)
Trio in E-flat for Horn, Violin & Piano, Op 40 (Adapted for Flugelhorn) Andante Scherzo: Allegro Adagio mesto Finale: Allegro con brio
This four-movement chamber work dates from the summer of 1865, where Brahms composed it on holiday in Lichtenthal in the Black Forest. The unusual combination of horn, violin and piano meant that Brahms sanctioned performances with the cello taking the horn part (thus a typical piano trio formation), but he was never particularly convinced by it. He eventually came to like the idea of the viola as a substitute and published just such a part in 1884, and given the qualities of the flugelhorn he may well have enjoyed the transcription we hear tonight.
The Adagio mesto (“mournfully slow”) is the emotional heart of the whole work. In it Brahms poured out his feelings following the death of his mother three months earlier (the German Requiem was also a contemporary work in which he started to work through his grief). In E-flat minor, the Adagio opens and closes with a rocking berceuse followed by a contrapuntal second theme, started by the flugelhorn, before more hope is offered by a flowing F major theme, although it is the berceuse that returns at the close. The Finale breaks the sombre mood, but its 6/8 gigue, once again making use of the (original) horn’s hunting associations, is connected to the third movement in the use of the F major theme now speeded up (and a completely different mood), as well as a hint of the berceuse’s growling bass semitone that it is heard again here.
The work is particularly notable in that Brahms, in the first movement, opted against sonata form (ie two contrasted themes introduced in turn, repeated and then developed before being brought back – in the recapitulation – before the final coda). Instead he alternates the slow meditation of the opening Andante with the not-too-much-faster animato sections. The normal key relationships are also ignored, so the first two times the Andante is heard it begins and ends in the tonic (E-flat) while the contrasting dance-like theme (in triple time) is given in C minor, which appears twice. Finally, in the return of the Andante, the music does manage to escape the tonic by being reintroduced pianissimo in a far away key, before wending its slow trajectory back to E-flat to close. The Scherzo, this time encompassing sonata form, is rustic in its use of the original horn in its traditional hunting guise but is contrasted with a return to the mood of the first movement in the slower A-flat minor section (Trio) that also foreshadows the slow third movement. 18
© Nick Breckenfield, 2021 British programme-note writer Nick Breckenfield was the Classical Music and Opera Editor for whatsonwhen.com for 13 years and now works for the Borletti-Buitoni Trust which awards young classical music artists
香港小交響樂團 Hong Kong Sinfonietta 桂冠音樂總監 Music Director Emeritus: 葉詠詩 YIP Wing-sie 首席客席指揮 Principal Guest Conductor: 柏鵬 Christoph POPPEN 駐團藝術家 HKS Artist Associates
鄺展維 Charles KWONG
小提琴 Violin 格德霍特 樂團首席
(2020-2022)
金仁善
麥兜 McDull
李海南
(2019-2020)
高世章 Leon KO (2018-2019)
陳慶恩 CHAN Hing-yan (2016-2018)
石家豪 Wilson SHIEH (2015-2016)
朱�� CHU Pak-him (2014-2015)
麥淑賢 MAK Su-yin (2014-2015)
羅詠媞 Wendy LAW (2013-2014)
盧思泓 LOO Sze-wang (2012-2013)
伍宇烈 Yuri NG (2011-2013)
李嘉齡 Colleen LEE (2010-2011)
黎志華 Jason LAI (2009-2011)
楊嘉輝 Samson YOUNG (2008-2009)
伍卓賢 NG Cheuk-yin (2006-2008)
署理助理樂團首席 第二小提琴首席
蔡路（休假） 第二小提琴助理首席
蔡柏沂 陳劭楠 周止善 ���子（休假） 賈舒晨 顧洛臻 羅莎莉 呂灝然 羅蔚敏 彭曉筠 潘迦薇 陽旻佑 楊宇思 葉紹羲 中提琴 Viola ● 陳子信 ▼ 劉琛彥 卞思琦 陳敏聰 顏星安 ★ 龍君蔚 ★ 鄧詠旋 大提琴 Cello ● 張培節 ▼ 貝樂安 何國芝 李恩率 朴詩媛 葉俊禧
長笛 Flute 上杉晃代
Akiyo UESUGI
KIM In-sun
雙簧管 Oboe 福原真美
Mami FUKUHARA
LE Hoai-nam
單簧管 Clarinet ● 方曉佳 陳秋媛
FONG Hiu-kai Johnny CHEN Chiu-yuan
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小號 Trumpet ● 黃山 文曦
HUANG Shan MAN Hay
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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
大號 Tuba ● 林榮燦
LAM Wing-tsan
定音鼓 Timpani ● 村本曉洋
Akihiro MURAMOTO
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CHAU Chin-tung Rieko KOYAMA
豎琴 Harp ● 黃士倫
Ann HUANG
鍵琴 Keyboard ● 朱偉恆
Alan CHU
● 首席 Principal ▼ 助理首席 Assistant Principal ★ Orchestral Associate
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當代音樂研究 Contemporary Music Research 鄺展維 Charles KWONG 藝術行政主任 Arts Administration Officers 林海欣 Hayley LAM 馮碧琪 Betty FUNG
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 © THIERRY COHEN
！ 從速 欲購 D tickets ITE
LIM
lable
avai
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”
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• 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 Chan Yin Fei Joyce
• Miss M Kwok
• John & Anthea Strickland
• 陳燕婷
• 黎慧德女士 Ms Wai Tak Lai
• Ms Elsie Tam
• 陳騰龍先生
• Ms Law Jessica Yun Pui
• Mr Paul Tsang
• Mr Douglas Cheng
• Mr Sung Chak Kyle Lee
• Ms TT Tsui
• 鄭錦德先生 Mr Cheng Kam Tak
• Mr Sheung Lee
• Ms Carolina Yip
• 蔡靄兒小姐 Miss Joycelyn Choi
• Ms Mary Leung
• Ms Anka Yuen
• Mr C Y Chow
• Ms Florence Leung
• 多位無名氏 Anonymous
• 鍾寶圈小姐 Miss Pollyanna Chung
• 大通會計事務所 Masterpoint Professional Ltd
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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)
• 芝蘭基金會 Zhilan Foundation
• CLP Holdings Limited • 多位無名氏 Anonymous
Pearl Donors (HK$10,000 to HK$29,999)
• Mr Iain Bruce
• 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
• 郭立成律師 Mr Chris Kok
• Mr Wong Kai Chun
•
• 紀念劉葉珍女士
• Mr Marcus Woo
• Mr Chan Kwan Ho
• Mr Sheung Lee
• Ms Yeung Lai Fong Alice
• Jonman, Monika & Joel Chan Family
• 吳天天先生 Mr Ng Tin Tin Timothy
• 多位無名氏 Anonymous
• Miss Chan Yin Fei Joyce
• 吳榮奎先生 Mr Ng W F Nicholas
• 兜仔先生 Mr Dullchai
• 魏玉華小姐 Miss Winnie Ngai
Premium Friends
感謝以下各機構對香港小交響樂團一直的支持! Thank you to the following parties for their continued support!
• 陳鋈鋆先生 Mr Chan Yuk-kwan
• Association Culturelle France Hong Kong Ltd
Mrs Charlene Chan
• 周莉莉女士 Ms Lily Chow
• 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
• 李韶博士伉儷 Dr Lee Shiu & Dr Jennie Lee
• 德國駐港總領事館 German Consulate General Hong Kong
• 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon
• 民政事務局 Home Affairs Bureau
• 香港歌德學院 Goethe-Institut Hongkong
• 冼為堅博士 Dr David Sin Wai-kin
• 光華新聞文化中心 Kwang Hwa Information and Culture Center
• 謝智剛教授 Prof C K Michael Tse
• 邁騰路通有限公司 Maestro GT Limited
• 多位無名氏 Anonymous
• 康樂及文化事務署 Leisure and Cultural Services Department • 荷蘭駐香港及澳門總領事館 Netherlands Consulate General in Hong Kong and Macao • Mr Ozawa Kazuo • MOViE MOViE • 通利琴行 Tom Lee Music Co Ltd • Mr Jiři Votruba 27