House Prog: Collage on Bach (31.7.2021)

© YVONNE CHAN

小提琴/領奏 Violin/Director

格德霍特 James Cuddeford

長笛 Flute

史德琳 Megan Sterling

31.7.2021 (星期六 Sat) 7:30pm

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 香港小交響樂團為香港大會堂場地伙伴 Hong Kong Sinfonietta is the Venue Partner of the Hong Kong City Hall

巴赫意象 Collage on Bach 小提琴/領奏 Violin/Director

長笛 Flute

格德霍特 James Cuddeford

史德琳 Megan Sterling* * 承蒙香港管弦樂團允許參與演出 With kind permission of the Hong Kong Philharmonic

節目

韋華第

Programme

D大調雙小提琴協奏曲，RV512 （長笛及小提琴版本） 甚快板 廣板 快板

莫扎特 海頓

C大調長笛與樂隊行板， K315 (285e) D大調第六交響曲，Hob I:6， 「晨」

Vivaldi

Concerto in D for 2 Violins, RV512 (Adapted for Flute & Violin) Allegro molto Largo Allegro

Mozart

Andante for Flute & Orchestra in C, K315 (285e)

Haydn

Symphony No 6 in D, Hob I:6, “Le Matin”

慢板 － 快板 慢板 － 行板 － 慢板 小步舞曲與中段 終曲：快板

Adagio – Allegro Adagio – Andante – Adagio Menuet & Trio Finale: Allegro

－中場休息15分鐘－

– 15-minute intermission –

帕特

Arvo Pärt Collage On B-A-C-H (1964/1973)

《巴–赫意象》（1964/1973） 觸技曲：準確的 薩拉班德舞曲：緩慢的 賦格練習曲：決斷的

巴赫

B小調第二管弦組曲，BWV1067 序曲 迴旋曲 薩拉班德舞曲 布雷舞曲 I 布雷舞曲 II 波蘭舞曲 小步舞曲 嬉戲曲

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.

Toccata: Preciso Sarabande: Lento Ricercare: Deciso

J S Bach

Suite No 2 in B minor, BWV1067 Ouverture Rondeau Sarabande Bourrée I Bourrée II Polonaise Menuet Badinerie

香港小交響樂團 Hong Kong Sinfonietta 問卷調查 Audience Survey 感謝您蒞臨欣賞香港小交響樂團的演出，現誠邀您提供對是 次音樂會的意見。請登入網頁或於前台索取並填妥問卷，將 有機會獲得精美紀念品一份。 Thanks for coming to our concert! We would love to have your feedback. Please complete our questionnaire online or at the reception for a chance to win a limited edition gift.

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香港小交響樂團 Hong Kong Sinfonietta 桂冠音樂總監 Music Director Emeritus: 葉詠詩 YIP Wing-sie 首席客席指揮 Principal Guest Conductor: 柏鵬 Christoph POPPEN

香港小交響樂團是香港的旗艦樂團之一，銳意 「培育文化新一代」，並以富創意的節目及充滿熱忱

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

的演奏稱譽本地及海外樂壇。

樂團自 2006 年起舉辦「駐團藝術家」計劃，邀請

自 1999 年起，香港小交響樂團經常與國際知名音

本地不同界別的藝術家與樂團緊密合作及交流，培

樂家及藝團合作，包括阿爾斯達德、法蘭、格林高

育新一代藝術家之餘更為古典音樂創造新的可能

特、赫姆森、麥米蘭、納卡里亞科夫、彭德雷茨

性。樂團灌錄過多套唱片，收錄不少華人作曲家的

基、凱拉斯、塞伊、馬林斯基大劇院芭蕾舞團、莫

優秀作品；由DECCA發行的三輯《就是古典音樂》

斯科大劇院芭蕾舞團、英國皇家芭蕾舞團、英國國

系列，均獲白金及金唱片佳績。雙 CD《一屋寶貝

家芭蕾舞團、美國芭蕾舞劇院、紐約市芭蕾舞團、

音樂廳》於2018年由DECCA出版。

斯圖加特芭蕾舞團及翩娜．包殊烏珀塔爾舞蹈劇場

樂團經常應邀作客海外，包括：美國紐約林肯中心

等。樂團亦經常應邀與本地藝術節及藝團合作，

羅斯劇院、加拿大多個以出色音效著稱的音樂廳；

如香港藝術節、法國五月、香港芭蕾舞團及香港歌

南美洲的巴西、阿根廷及烏拉圭；在歐洲計有法國

劇院等。 2018 年舉辦第一屆香港國際指揮大賽，

的拉羅克．昂迪榮國際鋼琴音樂節和蒙頓音樂節

吸引了310位來自49個國家及地區的參賽者。

等、德國東弗里斯蘭「浪潮」音樂節、波蘭貝多芬

香港小交響樂團自 2009 年起為香港大會堂的場地

復活節音樂節、意大利的米凱朗傑利國際音樂節和

伙伴，每樂季演出逾100場次。除了傳統的管弦樂

維琴察音樂節、葡萄牙馬爾旺國際音樂節、立陶宛

章外，樂團每年均委約作曲家為樂團譜新曲，並銳

的兩個音樂節、瑞士蘇黎世、日內瓦和弗里堡；北

意與不同界別的藝術家製作嶄新的跨界節目，

京第二屆中國交響樂之春（國家大劇院）、中國上

於2020年更躍進大銀幕，推出音樂電影《Back On

海國際藝術節（世博會「香港活動周」閉幕節

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

目）、韓國統營國際音樂節、新加坡、台灣、日本

大獲好評並數度加場。樂團深明培育下一代的重要

東京、金澤、長野、新潟和郡山等，並五度獲邀參

性，針對不同年齡的觀眾，舉辦多套別樹一格的普

與東京《

及音樂會，包括《寶寶愛音樂》、《幼兒愛音樂》、

樂團2002年至2020年由著名指揮葉詠詩擔任音樂

《古典音樂速成》、《古典音樂知多少》和《我個名

總監，期間致力推動本地古典音樂發展，拉近音樂

叫麥兜兜．古典音樂小計劃》等節目，又經常在音

與普羅大眾的距離。作為樂團的桂冠音樂總監，她

樂廳以外的場地舉行室樂及跨界音樂會，大大拓展

將會在樂團委任新總監前，與首席客席指揮柏鵬一

古典音樂觀眾的層面。近期推出的網上室樂系列

起負責樂團藝術發展事宜。

》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.

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 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

Philharmonic Orchestra commissioned and

Sinfonietta, James Cuddeford has emerged as one

premiered his first major orchestral work. His

of Australia’s leading musicians. After commencing

compositions have also been performed, recorded

his musical studies at age seven, Cuddeford won a

and broadcast in Europe, North America and Asia

full scholarship at age 12 to study at the Yehudi

by groups such as the Nash Ensemble, Australian

Menuhin School in England. He continued his

String Quartet, Ensemble Offspring and Psappha

studies in performance at the Royal Northern

Ensemble. His music is represented by the

College of Music and composition at the University

Australian Music Centre.

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 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

Cuddeford has performed extensively around the

many major institutions around the world. He has

world as both soloist and chamber musician. He

recorded for ABC Classics, Tall Poppies, Melba

has frequently appeared at major international

Recordings and Toccata Classics and plays on a

festivals in many of the world’s most prestigious

violin made by Nicolò Gagliano in 1769.

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.

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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長笛 Flute

史德琳 Megan Sterling Principal Flute of the Hong Kong Philharmonic since 2002, Australian-born Megan Sterling has enjoyed working with some of the world's top conductors and soloists. She has appeared several times as a soloist with the orchestra, as well as in recitals, radio broadcasts, Canto-pop recordings and chamber music concerts in Hong Kong, China, Australia, Europe and the US. She has appeared live on national television and radio on three continents, and performed at the Parliament House for the Australian Prime Minister.

Sterling has played Guest Principal Flute with all the leading orchestras in Australia and New Zealand.

She is also a founding member of the Australian World Orchestra, which brings Australian musicians from elite orchestras around the world to play together under conductors such as Zubin Mehta, Riccardo Muti and Simon Rattle.

生於澳洲的史德琳自 2002 年起出任香港管弦樂團 首席長笛，她曾多次以獨奏家身份與樂團同台，並 於香港及鄰近地區，乃至歐美等地舉行獨奏會、參 與電台廣播、粵語流行曲錄音及室樂音樂會。她亦 曾亮相於全球三大洲的國家電視台及電台，更獲邀 於國會大廈為澳洲總理演出。 史德琳為澳洲及新西蘭的各大樂團擔任過客席首席 長笛，亦是澳洲世界樂團的創團成員，帶領多位來 自澳洲精英音樂家到世界各地演出，合作過的指揮 包括梅達、穆堤及歷圖。 史德琳獲獎無數，包括 2003 年匈牙利音樂節國際 長笛比賽冠軍及最佳演奏特別獎、澳洲全國長笛大 賽首獎及觀眾大獎，還有澳洲年度青年演奏家大 獎。她又曾榮獲澳洲坎培拉音樂學院及墨爾本大學 的協奏曲大獎，以及澳洲權威獎項女皇信託獎。 史德琳在希爾、布盧姆及戴維斯的指導下於澳洲修 習音樂，其後轉赴英國及德國進修，期間師事埃德 蒙-戴維斯、高斯及古魯格。 史德琳為香港管弦樂團擔任首席之餘亦熱衷教學， 除教授大師班外，亦為室樂導師及音樂比賽評判。 6

Sterling was awarded First Prize and Special Concerto Prize at the 2003 International Flute Competition in Budapest. In her home country, she was the winner of the First Prize and Audience Prize at the Australian National Flute Competition; Symphony Australia Performer's Award; 1st Prizes at the concerto competitions of both the Melbourne University and the Canberra School of Music; and the prestigious Queen's Trust Award.

Sterling completed most of her music studies in Australia with Vernon Hill, David Bloom and Prudence Davis. Further studies abroad include Paul Edmund-Davies and Michael Cox in the UK, and Hans Krug in Germany.

In addition to her full-time role with the Hong Kong Philharmonic, Sterling is also a sought-after teacher, with experience giving masterclasses, chamber music coaching and adjudication for competitions.

“A velvety cantabile… which never seems to stop ‘singing’.” © DARJA ŠTRAVS TISU

The Strad

小提琴 Violin

薛高維茨基 Dmitry Sitkovetsky

節目Programme

貝多芬 浦羅哥菲夫 孟德爾遜

D大調第一鋼琴及小提琴奏鳴曲，作品12之1 F小調第一小提琴及鋼琴奏鳴曲，作品80 降E大調八重奏，作品20 小提琴：薛高維茨基、格德霍特、金仁善、李海南 中提琴：陳子信、卞思琦 大提琴：張培節、貝樂安

Beethoven Sonata for Piano & Violin No 1 in D, Op 12 No 1 Prokofiev Sonata for Violin & Piano No 1 in F minor, Op 80 Mendelssohn Octet in E-flat, Op 20 Violin: Dmitry Sitkovetsky, James Cuddeford, Kim In-sun, Le Hoai-nam Viola: Elvis Chan, Christina Bean Cello: Chang Pei-chieh, Laurent Perrin

25.8.2021 (星期三 Wed) 8pm

西九文化區戲曲中心大劇院 Grand Theatre, Xiqu Centre West Kowloon Cultural District $400 $280 $160

鋼琴 Piano

李嘉齡 Colleen Lee 駐團藝術家 (HKS Artist Associate 2010-2011)

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

香港小交響樂團由香港特別行政區政府資助 Hong Kong Sinfonietta is financially supported by the Government of the Hong Kong Special Administrative Region

指揮/主持 Conductor/Presenter

林敬基 Ken Lam Music Director, Charleston Symphony Orchestra Music Director, Illinois Symphony Orchestra Resident Conductor, Brevard Music Center

節目介紹 色彩繽紛的音樂拼貼，帶出了巴赫膾炙人口的第二管弦組曲，並涵蓋了兩個世紀的音 樂，以及多種音樂風格。韋華第和巴赫是巴羅克時代的中堅份子 — 巴赫曾經改編韋華 第的管風琴和古鍵琴協奏曲；而18世紀末的莫扎特和海頓則代表了古典主義時期。我 們跳過由貝多芬開啟的19世紀浪漫主義時期，來到當代的作曲家帕特。 帕特現在以其令人迷醉和疏朗的音樂語言為人熟悉，他喜用弦樂和低沉、寧靜和宏亮 的和弦，中間經常插進悅耳的鐘聲，他將之稱為「鐘鳴作曲法」（tintinnabulation）， 但帕特早期的音樂卻有點不同。他的音樂風格在1960年代末開始突變，經歷了一段長 時間的思考，才從1976年開始發展出新的聲音世界。自此之後，帕特即成為當代最著 名的作曲家之一，他經常在宗教文字中找到靈感，其冥想般的作品似乎能使時間慢下 來。因此，他的作品能為這個越來越忙碌的世界提供一絲安慰。 但今晚音樂會中所聽到的，會是帕特的早期作品。他曾隨同胞、愛沙尼亞作曲家艾勒 （ Heino Eller） 學 習 ， 早 期 反 傳 統 的 序 列 主 義 作 品 包 括 他 的 兩 首 交 響 曲 和 《贊成與反對》（Pro et Contra）、《巴–赫意象》和《信經》（Credo），都寫於1958年 至 1968 年間（他當時是愛沙尼亞電台的音響工程師）。然而，即使在這些早期作品 中，他對過去音樂的領悟已表露無遺，這在近似巴羅克風格的短篇作品《巴–赫意象》 中尤為顯著。 今晚的節目，包括開場的作品在內，共有三首作品（韋華第、莫扎特和巴赫）都由神 采奕奕的長笛擔任獨奏，而在海頓的第六交響曲「晨」之中，長笛也扮演了重要的角 色。令人意外的也許是莫扎特的一首，因他似乎對長笛並無好感。 這可能源於 1977 年末至 1778 年初，莫扎特曾到曼海姆進行了為期五個月的遊歷， 他應一位荷蘭商人的委約撰寫一些長笛作品。關於這位荷蘭商人的身份，曾有不同的 說法：一是迪桑醫生（Dr Ferdinand Dejean），他是荷屬東印度公司的外科醫生； 二是迪莊（Willem van Britten De Jong） ，他也向迪特斯多夫（Dittersdorf）委約過一首 交響曲。無論委約人是誰，他都是一位業餘的長笛手，要求莫扎特創作三首長笛協奏 曲和兩套長笛四重奏。至於詳情，我們稍後再談。

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韋華第（1678–1741）

莫扎特（1756–1791）

D大調雙小提琴協奏曲， RV512（長笛及小提琴版本）

C大調長笛與樂隊行板， K315 (285e)

甚快板 廣板 快板 韋華第是一位非常多產的作曲家（保守估計約有750 首作品，包括400首協奏曲、94套歌劇等），但我 們有時會忘了其實在他在生時，有編號出版的作品 只有13套（雖然每個編號都有若干首協奏曲）。 他的音樂事業分為四期，第二期在威尼斯的皮耶塔 女孤兒院（Ospedale della Pietà）�工作，有不少 協奏曲就是為院內學音樂的女孩們創作的。從樂曲 的難度可以想像那些女孩子是多麼的有才華。即使 在他辭去孤兒院的職務，從事樂團經理的工作（即 他事業的第三期，約1720-1730）時，他每個月仍 根據約定的酬金為孤兒院提供兩首協奏曲。合約結 束時，據說韋華第已為該院創作了不少於140首作 品。在其約400首協奏曲中，有不少作品是為多過 一種樂器撰寫的，包括近 30 首雙小提琴協奏曲 （RV505至530，加上少數其他編號的作品）。 我們聽的是他編號 RV512 的三首雙小提琴協奏曲 中的D大調一首，但其中一個獨奏改編了給長笛演 奏（韋華第為長笛獨奏創作了 17 首協奏曲，另一 首為兩支長笛而作。在韋華第的時代，協奏曲中的 獨奏由其他樂器代替相信是頗普遍的做法）。作品 採用了典型的三樂章架構 — 他確立的古典協奏曲 模式會被沿用超過150年 — 兩個快樂章中間夾著 一個慢樂章。 第一樂章由翻騰的16分音建構起來，首先由小提琴 奏出，再由中提琴和大提琴接過。兩位獨奏最終把 同樣翻騰的線條交替演奏，節奏一點也沒有放鬆。 接下來的短篇廣板，與第一樂章的對比由兩位獨奏 柔柔地交織出來，襯托他們的是「行進的」的是低 音大提琴。3/8拍的終樂章快板，帶出了不同的輕快 節奏。弦樂合奏再次引出一眾主題，為獨奏的登場 作準備。他們有時分享主題，有時輪流演奏，在末 段到結尾的部份加上了快速的16分三連音。

莫扎特在好幾封信中提到他受人委約創作長笛協奏 曲和四重奏的事情。 1777年12月10日：「前幾天我和溫德林（Johann Baptist Wendling）如常午餐的時候，他說：『我 們那位印度人，其實是一位頗富裕的荷蘭人，他熱 愛科學，是我一位很要好的朋友。他確實是位特立 獨行的人。他願意付給你200荷蘭盾，請你為他撰 寫三首短篇、容易的長笛協奏曲和兩套四重奏。』」 1778 年 2 月 4 日：「現在我的想法是：我會留在這 �，從容地為迪桑完成他的音樂。�會為我帶來 200荷蘭盾；而且我可以想留多久就多久，不用為 食宿花錢⋯⋯」 1778 年 2 月 14 日：「迪桑先生明天就要前往巴黎 了。他只給了我 96 荷蘭盾，因為我只完成了兩首 協奏曲和三首四重奏；即使他付一半的費用，他也 還欠我4個荷蘭盾。但他會付我所有的酬金，因為 我和溫德林提及此事。我們同意會把剩下的作品寄 往巴黎。」 他在 1778 年 1 月 31 日寫給母親的信中，也以一首 粗俗而幽默的詩提到了委約一事： 「溫德林先生有理由生我的氣， 因為我沒有寫任何四重奏； 但當我回到萊茵河的橋上， 我會馬上踏上回家的路。 不講一句粗話，寫出四首四重奏， 於是他再沒理由叫我混蛋。」 [ 引 自《 莫 扎 特 的 信 和 莫 扎 特 的 一 生 》， R o b e r t Spaethling 選譯， Faber and Faber ， 2000 年， 頁112-130。] 信中提到的「印度人」迪桑，表明他認為迪桑就是 那位受聘於東印度公司的人。你可以理解迪桑因為 莫扎特沒有完成委約而感到不快，尤其是第二協奏

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此版本的樂隊編制 弦樂： 第一及第二小提琴、中提琴、大提琴、低音大提琴 獨奏長笛及小提琴

曲，實際上只是把莫扎特的雙簧管協奏曲轉了調， 改由長笛演奏。莫扎特最終是完成了四重四重奏， 後兩首寫於維也納。

那這「行板」是從何而來的呢？它或許是莫扎特為

有三把小提琴、一把大提琴和一把低音大提琴。

迪桑撰寫的（全新創作的）第一協奏曲的慢樂章的

後來不但增加了弦樂手，還新聘了一支長笛、兩支

另一版本，但樂章過於有表現力，把業餘的迪桑給

雙簧管、兩支巴松管和兩支圓號。

難住了。另一種說法是，它也許是最終沒有提供給 迪桑的第三協奏曲��一�成的樂章。

就在這樣的環境中，海頓寫下了第六、七、八 三首互有關連的交響曲。它們分別被稱為

這是一個迷人的樂章，比其他兩首長笛協奏曲的慢

「 晨 」（ ”Le Matin”）、「 午 」（ ”Le Midi”） 和

樂章都要短。開首的主題令人尤其難忘，由弦樂的

「 黃 昏 」（ ”Le Soir”）。 它 們 以 前 都 經 常 被 相 提

撥弦和連貫的雙簧管和圓號所支持。主題在其他方

並論。新繼位的艾斯特哈齊親王據知很喜歡韋華第

式的伴奏下重現了五次，最後一次是在長笛的華采

的《四季》，因此可能提議海頓撰寫四首關於一日

段之後。

之內不同時辰的弦樂四重奏，但海頓卻寫了三首 交響曲。

此樂曲的樂隊編制 弦樂： 第一及第二小提琴、中提琴、大提琴、低音大提琴 管樂： 雙簧管 (2)、圓號 (2) 獨奏長笛

「晨」的開頭有一段像太陽冉冉升起的上行音階， 其後長笛獨奏就如早上鳥兒的合唱。慢樂章不尋常 地，像第一樂章一樣採用了緩慢的引子，它似乎在 模仿早課，小提琴獨奏像在教導其他樂器怎樣背 誦。在小步舞曲，長笛再次以獨奏形式出現，中段 D小調的音樂變得較為低沉，樂隊的低音樂器如巴 松管、中提琴和大提琴在此都得到了發揮的機會， 音樂隨後返回小步舞曲。神采飛揚的終曲包括了一

海頓（1732–1809）

D大調第六交響曲， Hob I:6， 「晨」 慢板 － 快板 慢板 － 行板 － 慢板 小步舞曲與中段 終曲：快板

段像觸技曲（toccata）的插曲，讓人想起意大利 和巴羅克時代的風格。

此樂曲的樂隊編制 弦樂： 第一及第二小提琴、中提琴、大提琴、低音大提琴 管樂： 長笛 (1) 、雙簧管 (2)、巴松管 (1) 、圓號 (2)

1761年5月1日，海頓受艾斯特哈齊（Esterházies） 親王之聘，成為宮廷副樂長。此前他已為兩位親王 服務過，包括芬伯格（Fürnberg）和莫辛 （Morzin ，海頓為他寫了最早期的交響曲）。後來 莫辛破產，不到一年後，海頓便受聘於艾斯特哈 齊。這次應聘也有些危機，因為在次年的 3 月 18 日，安東．艾斯特哈齊忽然去世。幸好，繼承其位 的弟弟尼古拉斯更熱愛音樂，海頓的職位也得到了 保障，1766年他更升任為宮廷正樂長。 作曲以�，海頓的�作還包括管�樂隊以及宮廷� 所有與音樂有關的事務。薪酬登記冊顯示在海頓上 任的頭幾個月，便增聘了 11 位樂師。樂隊原來只 11

帕特（1935年生）

《巴–赫意象》（1964/1973） 觸技曲：準確的 薩拉班德舞曲：緩慢的 賦格練習曲：決斷的 帕特在 1960 年代撰寫的一些作品，顯然受到巴赫 的影響。這實際上也展示了他要重新估量自己音樂 風格的緩慢過程，後來他暫停了創作，到回歸的時 候則為我們帶來了「鐘鳴作曲法」。他創作於1963

簧管和古鍵琴則繼續採用巴赫原曲中對開頭八小節 的應答段落。這次， 20 世紀的元素以較為微妙、 寧靜的手法瓦解了和聲。樂章最後再以絢麗突出的 和聲及巴赫的音樂結束。 在終樂章賦格練習曲中，開頭果斷直率的弦樂和 弦，像在搜尋甚麼，那正是Ricercare的意思。它通 常都採用對位的形式。雙簧管、古鍵琴和鋼琴都不 見了，但弦樂卻顯得更為堅定，而帕特也以充滿希 望的純D大調來結束全曲。

年的第一交響曲「複調」，有兩個稱為「卡農」和 「前奏及賦格曲」的樂章，它們都帶有明顯的巴羅 克風格，即使和巴赫沒甚麼關連。更為明顯的是 1964年的短篇作品《巴–赫意象》，當中的「意象」 不但在名稱上與巴羅克有清晰的聯繫，而且樂章的 標題也相當巴羅克 — 觸技曲、薩拉班德舞曲和賦 格練習曲 — 以及以巴赫名字組成的主題，即 B 、 A 、 C 和降 B 音（德文 B 即等同降 B ，而 H 則代表 B），甚至還有引用巴赫作品的樂句。最後的例子 則有1968年的合唱曲《信經》。 《巴 – 赫意象》第一個快樂章有三個段落，每一個 都由 BACH 主題動機中的兩個音符展開，先是 B–A （ 即 降 B – A ）， 然 後 是 A – C ， 最 後 是 C – H （ 即 C–B）。最為突出的是粗獷、帶刺和具有推動力的 巴羅克式樂句，它們遍布整個弦樂部，隨著樂曲的 行進，音程越來越廣闊。這些程式及後加速了一 倍，上升到高潮，突然又消沉下去，讓帶刺的和弦 交替出現，這或許模仿了韋華第的《冬》。樂曲的 紋理繼續構築和分解，但推動力卻一直維持到結尾 都沒有鬆懈，最後低音弦樂漸漸消失，剩下一個長 的B小調和弦。 在第二樂章，帕特採用了巴赫第六鍵琴獨奏曲「英 國組曲」的薩拉班德舞曲。實際上，他不但加上了 一架鋼琴，還在弦樂的線條上加了古鍵琴和雙簧管 獨奏。開首雙簧管和古鍵琴由弦樂襯托，直接以八 小節演奏了巴赫的主題。但隨後 20 世紀的樂風卻 馬上以鋼琴和弦樂連串的半音和弦方式闖入，而雙

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此樂曲的樂隊編制 弦樂： 第一及第二小提琴、中提琴、大提琴、低音大提琴 雙簧管、古鍵琴、鋼琴

巴赫（1685–1750）

B小調第二管弦組曲， BWV1067 序曲 迴旋曲 薩拉班德舞曲 布雷舞曲 I 布雷舞曲 II 波蘭舞曲 小步舞曲 嬉戲曲 巴赫不但往南向意大利尋找靈感，也受到法國 音樂風格的影響，其鍵琴作品「法國組曲」便是 十分顯著的例子，另外還有四套管弦組曲 （BWV1066–1069）。他把這些作品的首樂章都稱 為「序曲」（Ouvertüren），對於每個樂章也沒有提 供速度標示，因為它們與呂利（Jean-Baptiste Lully） 的法國序曲風格甚為接近。一段緩慢、附點節奏

第二組曲以長笛、弦樂和固定低音為中心。在序 曲開首莊重的附點節奏中，長笛立刻以花哨的裝 飾音進入，而較快的第二段落，則加入了賦格形 式的獨奏弦樂線條，之後開首莊嚴的步調再次出 現。通常樂章以三部式組成，巴赫在此重複了所 有三個段落，使第一樂章形成了六個段落。 相較之下，其後重複的、柔和輕快而像嘉禾舞曲 般的迴旋曲，在更為舒緩和夢幻般的薩拉班德舞 曲之前，只是像一段簡短的插曲。在巴赫的時 代，它成為了緩慢的三拍子舞曲，而原本源自拉 丁美洲的舞曲則較為快速。更快的樂章接踵而 來，那是一對嘉禾舞曲般的布雷舞曲，採用了典 型的三部式，第一布雷舞曲在單段的第二布雷舞 曲之後重複。比薩拉班德舞曲更長的是波蘭舞 曲，要求樂手以跳音（staccato）演奏，包括較為 沉重的伴奏和長笛的旋律。長笛手在中段被容許 有較自由的發揮，伴奏的只有古鍵琴和固定低 音，最後再回到全體的弦樂。

的開篇通常接以快速、對位的第二段落，然後第

巴赫在此組曲只寫了一首小步舞曲，與一般做法

三段落至少會回到開頭的附點節奏。組曲（法文

不同。而這個單獨的例子則比我們想像中的要細

中意思是「接續的」）的特質透過序曲來發展，包

緻和莊嚴。組曲最後以著名的、神采飛揚的嬉戲

括了管弦樂的各個舞曲樂章。

曲結束，它具有風趣、稚氣的特色，長笛再次扮

當然，眾所週知，巴赫的鍵琴和弦樂奏鳴曲、古

演要角，旋律對大家來說肯定耳熟能詳。

組曲（partitas）和組曲都沿用了類似的模式。然 而，這些作品一般採用了四個舞曲：阿勒曼德 （ A l l e m a n d e ， 即 德 國 舞 曲 ）、 庫 朗 舞 曲 （Corrente）、薩拉班德舞曲和最後的吉格舞曲

此樂曲的樂隊編制 弦樂： 第一及第二小提琴、中提琴、大提琴、低音大提琴 古鍵琴 獨奏長笛

（Gigue）。而在巴赫所有的四部管弦組曲中，阿勒 曼德舞曲完全沒有出現，薩拉班德舞曲也只出現 了一次，那就是在今晚演奏的第二組曲。 我們無法確知巴赫組曲的撰寫時間，第一和第四組 曲似乎是在科滕（Köthen）撰寫的，而第四組曲 的開首肯定是採自巴赫 1725 年的聖誕清唱劇《願 我們開懷大笑》（Unser Mund Sei Voll Lachens， BWV110）。然而，第二和第三組曲就難以判斷 了，雖然在 1731 年出現過一部份第三組曲的管弦

英文節目介紹：Nick Breckenfield

樂。因此，有人認為它們應產生自他擔任萊比錫學

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。

院合唱團及樂團總監的時候（1729至1736年以及 1739 至 1741 年）。在此把他的音樂材料建構成組 曲，讓學生樂團演奏，實在理想不過。

中文翻譯：行之

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Programme Notes Our colourful musical collage, leading to Bach’s ever-popular Second Orchestral Suite, encompasses music from two of the last four centuries, and even more musical styles.

Vivaldi and Bach are stalwarts of the Baroque era – and remember that Bach transcribed Vivaldi’s concertos for organ and harpsichord – while Mozart and Haydn, from later in the 18th century, typify the classical era. We leap-frog over the Romantic era – already foreshadowed by Beethoven and encompassing the 19th century – to our contemporary composer, the Estonian Arvo Pärt.

Known now for his rapt and sparse musical language – typified by strings and low, quiet, resounding chords, punctuated often by chiming bells, a style he terms “tintinnabulation” – Pärt’s earlier music was somewhat different. His musical “Damascene conversion” happened in the late 1960s and necessitated a long period of contemplation before his new soundworld evolved, from 1976. Since then, Pärt has become one of the most famous of contemporary composers, often finding inspiration in religious texts and composing contemplative works that seem to slow down the very fabric of time. As such, his works provide solace in an ever-increasingly hectic world.

But the work by him we hear at the heart of this concert is from his earlier period of composition. Having studied with fellow Estonian Heino Eller, Pärt’s early iconoclast and serialist works, including his first two symphonies and works such as Pro et Contra, Collage on B-A-C-H and Credo were written in the decade from 1958 (while he was a sound engineer for Estonian Radio). However, even in these earlier works, an ear for music from the past is readily apparent, not least in the short Baroque-like Collage on B-A-C-H. With one of the solo lines in the concerto that opens our concert taken by the flute, it is the bright-mettled woodwind instrument that comes to the fore in three of tonight’s works (Vivaldi, Mozart and Bach) while having an important role in Haydn’s Sixth Symphony “Le Matin”. A surprise, perhaps, given that it is commonly understood that Mozart harboured some antipathy towards the flute perhaps.

That might have been because of his experience in trying to fulfil a commission for a Dutch trader while on a five-month sojourn in Mannheim in late 1777 and early 1778.

There are different traditions as to who this man might have been: Dr Ferdinand Dejean, a surgeon for the Dutch East India Company, or perhaps Willem van Britten De Jong, who also commissioned a symphony from Dittersdorf. Whichever of these, he was an amateur flautist who commissioned the young composer for three concertos and a couple of flute quartets. More of which, anon….

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Antonio Vivaldi (1678–1741)

Concerto in D for Two Violins, RV512 (Adapted for Flute & Violin) Allegro molto Largo Allegro Vivaldi was an amazingly prolific composer (at a conservative estimate he wrote some 750 works including 400 concertos, 94 operas etc), but – with only 13 opus numbers published during his lifetime (albeit each with a number of separate concertos) – we sometimes may forget that.

His career falls into four phases of which the second saw him work for the Ospedale della Pietà, a Venetian orphanage, where he composed concertos for the girls learning music. How exceptional they must have been, given the level of difficulty Vivaldi’s concertos still pose for modern instrumentalists. Even when he had left the direct employment of the orphanage to pursue a career as an impresario (the third phase of his career, c1720–1730), he still provided two concertos a month for his former workplace (for an agreed sum). When this contract ran out, Vivaldi is reported to have had supplied no fewer than 140 works. Out of his 400-or-so concertos, there are many concertos for more than one instrument, including nearly 30 for two violins (RV505 to 530, plus a few extras).

The first movement builds from the tumbling semiquavers, first heard in the violins and then taken by the violas and cellos. The two soloists eventually alternate the same tumbling trajectories with hardly a let up in pace. Contrast comes from the gentle interweaving of the two soloists in the ensuing short Largo, underpinned by a “walking” bass. The 3/8 time signature of the final Allegro offers a different lilt. Again, the string ensemble introduces the themes, preparing the ground for the soloists’ entry, sometimes sharing the themes, sometimes alternating them, adding semiquaver triplet runs in the last bars to end.

Instrumentation of this adaptation Strings: 1st & 2nd violins, violas, cellos, double basses Solo flute & violin

We hear one of the three double violin concertos he composed in D major, catalogued as RV512, though in an arrangement where one of the two solos is taken by the flute (Vivaldi composed 17 concertos for solo flute and one for two flutes; and one can only assume that such adoptions of one of the parts of a double concerto in any given work by another instrument was common in Vivaldi’s time).

Typically cast in three movements – Vivaldi set the form of the classical concerto that was adopted for over 150 years – a slow middle movement is flanked by two fast outer movements.

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Wolfgang Amadeus Mozart (1756–1791)

Andante for Flute & Orchestra in C, K315 (285e) We have a number of letters by Mozart about the commission for flute concertos and quartets: 10 December 1777: “The other day I had lunch with [Johann Baptist] Wendling, as usual, when he said: ‘our Indian, actually a Dutchman of independent means, who is a lover of sciences and a great friend of mine, is indeed a rare individual.

He is offering to pay you 200 gulden if you will compose for him three short, easy concertos and a pair of quartets for the flute.’”

4 February 1778: “Right now my thinking is like this: I will stay here and finish the Musique for De Jean (sic) without haste. It will bring me 200 gulden; besides I can stay here as long as I want to without having to pay for food and lodging…”

14 February 1778: “Herr de Jean (sic), who is leaving for Paris tomorrow, paid me only 96 gulden because I do not have more than two concertos and three quartets ready for him; even for giving me half the sum, he was still short 4 gulden, but he will have to pay me the whole amount because I talked to Wendling about it and we agreed that I will send the rest to Paris.”

To his mother he seems also to refer to the commission in a rather scatological rhyming letter, dated 31 January 1778: “ Herr Wendling has reason to be angry with me, For I have not written any of the quartetti; But when I get back to the bridge o’er the Rhine, I will travel homeward in one straight line, And write the four quartets without any sass, So he has no reason to call me an ass.”

[Quoted from Mozart’s Letters, Mozart’s Life (selected, edited & translated by Robert Spaethling, Faber and Faber, 2000, pp112-130)]

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The reference to Dejean being an “Indian” may be explained if he meant the Dejean who was employed by the East India Company. You can imagine Dejean being less than pleased in Mozart’s part completion of his commission, especially when the second concerto was, in fact, just a transcription in a different key of Mozart’s oboe concerto. Mozart did eventually write four quartets; the last two in Vienna.

So where does the Andante come in? It may well have been composed as an alternative slow movement for the first – completely original – flute concerto Mozart had composed for Dejean, perhaps because the expressiveness of the original movement might have foxed the amateur Dejean.

Alternatively, it might be the only extant movement that Mozart composed of the commissioned, but ultimately not supplied, third concerto.

It is a charming movement, shorter than either corresponding slow movement in the two flute concertos, with a particularly memorable opening theme, underpinned by pizzicato strings and legato oboes and horns in the original, which returns, accompanied in various disguises, for a further five times, the last after a flute cadenza.

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

Joseph Haydn (1732–1809)

Symphony No 6 in D, Hob I:6, “Le Matin” Adagio – Allegro Adagio – Andante – Adagio Menuet & Trio Finale: Allegro When, on 1 May 1761, Haydn joined the court of the Esterházies as Vice-Kapellmeister, he had already been associated with two other princes (Princes Fürnberg and, from 1757, Morzin, for whom he wrote his first symphonies).

Unfortunately, Morzin went bankrupt and Haydn’s move to the Esterházies must have looked equally dicey when, less than a year later on 18 March 1762, his patron Prince Anton Esterházy suddenly died. However, thanks to the even greater music-loving younger brother Nikolaus who succeeded Anton, Haydn’s position was secured, soon becoming Kapellmeister in 1766.

As such his responsibilities also included managing the orchestra and all the estate’s musical affairs.

The wage register shows that some 11 new instrumentalists were contracted in the early months of Haydn’s tenure. Thus, the orchestra increased from simply three violins, one cello and one bass to include not only more strings, but also a flute, two oboes, two bassoons and two horns.

It was in these circumstances that he composed a trio of symphonies, Nos 6, 7 and 8. They were subtitled “Le Matin” (“Morning”), “Le Midi” (“Noon”) and “Le Soir” (“Evening”) respectively and, in early references, were always mentioned together. It may have been that the new Prince – who we know liked Vivaldi’s Four Seasons – had suggested to Haydn he composed four string quartets about times of the day but, instead, Haydn wrote three symphonies.

The opening of “Le Matin” – with its gently rising scale – definitely sounds like a dawn, with the ensuing flute solo like the dawn chorus. It seems that the slow movement (unusually with a slow

introduction) emulates a school lesson, with the solo violin teaching the other instruments by rote.

The flute returns as a soloist in the Menuet while the music turns darker (and to D minor) in the Trio where the lower instruments – bassoon, viola and cello – of the orchestra shine, before a return to the Menuet. Finally, the spirited Finale includes a toccata-like episode, harking again back to Italy and Baroque style.

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

Arvo Pärt (born 1935)

Collage on B-A-C-H (1964/1973) Toccata: Preciso Sarabande: Lento Ricercare: Deciso A number of Arvo Pärt’s compositions from the 1960s betray the influence of Bach, and – indeed – can be seen to foreshadow the slow gestation of his need to re-evaluate his style of music, leading to his break from composition and return with his “tintinnabular” style. His First Symphony (“Polyphonic”), from 1963, has two movements called Canons and Preludes and Fugues which obviously have Baroque, if not Bachian connotations. More explicit still is the short work Collage on B-A-C-H that followed in 1964, where the “collage” is not only apparent in the name but also in more baroque movement titles – Toccata, Sarabande and Ricercare – as well as Pärt formulating themes from Bach’s name – the pitches B, A, C and B-flat (in German nomenclature B equals B-flat, while H represents B) and even in quotations from Bach works. Finally there is the choral Credo from 1968.

17

In the first, fast movement of Collage on B-A-C-H, there are three sections, each starting with two notes from the BACH motif, firstly BA, then AC and, finally, CH. Not that you need to know that as what will be most striking is the strident, stabbing and propulsive Baroque-like figuration, which spreads its string intervals wider and wider as it speeds along. The patterns double in speed, rising to a climax, leading to a sudden paring away for alternating stabbing chords, imitating Vivaldi’s Winter perhaps. The textures build and fragment, but the propulsion never slackens until the very end, as the lower strings fade away for a final long B minor chord.

For the second movement, Pärt adopts the Sarabande from Bach’s Sixth English Suite for solo keyboard. And, indeed, he adds not only a piano, but also a harpsichord and a solo oboe to the string texture. To open, the oboe and harpsichord – accompanied subtly by strings – play Bach straight for eight bars. But then the 20th century thunders in with chromatic cluster chords on piano and strings. Oboe and harpsichord continue with Bach’s original answering passage to the opening eight bars. This time, the 20th-century interruption is subtler, quiet in its harmonic disruption. Bach returns to round the movement off with a distinctly coloured final harmony.

The decisive brusqueness of the string chords that open the final Ricercare sound as if they are searching for something, which is exactly what ricercare means, usually cast in contrapuntal mode.

Gone are the oboe, harpsichord and piano, but the strings come to a form of resolution as Pärt ends with a hopeful chord of pure D major.

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Oboe, harpsicord, piano

18

Johann Sebastian Bach (1685–1750)

Orchestral Suite No 2 in B minor, BWV1067 Ouverture Rondeau Sarabande Bourrée I Bourrée II Polonaise Menuet Badinerie Bach not only looked south to Italy for inspiration.

His subtle assumption of the “French Suite” is seen not only in the keyboard works which appropriate that very name, but also in the four Orchestral Suites (BWV 1066–1069). He called these works Ouvertüren and did not need to proffer any tempo marking for each of their first movements, as they would have been so recognisably in the French Overture style of JeanBaptiste Lully. Here a slow, dotted-rhythm to open was followed by a faster, often contrapuntal, second section, then a third bringing back the dotted-rhythm at least of the opening section. The nature of the Suite (literally from the French for “following”) developed from the Ouverture, to include orchestral dance movements.

Of course, Bach is known for his solo keyboard and string sonatas, partitas and suites which follow a similar format. However, where in each of those cases there are four main dances that have common currency – Allemande, Corrente, Sarabande and Gigue, in all four of Bach’s extant Orchestral Suites there is no representation at all for the Allemande (German by its very title) and only one of the Sarabande – in tonight’s Second Suite.

The actual dating of Bach’s Suites is rather difficult to determine with any accuracy. It seems that the First and Fourth were likely to have been written while Bach was in Köthen, and certainly the openi ng of N o 4 was adapted for the

opening chorus of Bach’s Christmas cantata Unser Mund Sei Voll Lachens, BWV110 in 1725.

However, the exact dating of the Second and Third Suites is less determinable, although there is a set of orchestral parts for the Third Suite dated 1731. This may support the argument that they come from his periods as Music Director of Leipzig’s Collegium Musicum (1729-1736 and then 1739-1741). This would have been the ideal place to assemble his material to form suites for the student orchestra to perform.

and justly famous Badinerie, which means “playfulness” or “childishness”, again with a starring part for the flute, in a melody that you will almost certainly recognise.

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Harpsicord Solo flute

The Second Suite stars the flute, joining strings and continuo. In the stately dotted rhythm of the opening section of the Ouverture, the flute enters immediately with florid embellishments. At the opening of the faster second section, it is joined by solo string lines in the fugato elements, before the stately pace of the opening returns. Normally a tripartite structure, here Bach repeats all three parts again, making a six-section opening movement.

By comparison, the gently lilting repetitions of the following gavotte-like Rondeau offer just a brief interlude before the even more relaxed and dreamy Sarabande which, by Bach’s time, had become a slow triple-time dance, whereas its original Latin American dance had been somewhat faster. Faster movements follow: a pair of gavotte-like Bourrées, fashioned into a typically tripartite structure with the first Bourrée repeated after the single rendition of the second Bourrée. Longer even than the Sarabande is the Polonaise, with the instruction for staccato (ie “shortened”) notes for the rather heavy tread of the accompaniment as well as the deliberate melody for the flute. The flautist is allowed a little more elaboration in the middle, with just accompanying harpsichord and continuo, before a return to the full strings to end.

Unusually for the Menuet Bach keeps to just a single piece whereas – like the Bourrées just gone – he would often have composed a pair, and this single example is rather subtler and statelier than you might expect. The Suite ends with the spirited

© 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

19

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

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

巴松管 Bassoon ● 秦慶生（休假） 田口美奈子

CHIN Hing-sang (On Leave) Minako TAGUCHI

圓號 Horn ● 包文慶 東出真澄 岑慶璋 ★ 陳珈文

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

小號 Trumpet ● 黃山 文曦

HUANG Shan MAN Hay

長號 Trombone ● 羅澤基 陳學賢

Christopher RODGERS CHAN Hok-yin

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

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

James CUDDEFORD Concertmaster

Acting Assistant Concertmaster Principal Second Violin

TSAI Loo

(On Leave) Assistant Principal Second Violin

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

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

大號 Tuba ● 林榮燦

LAM Wing-tsan

定音鼓 Timpani ● 村本曉洋

Akihiro MURAMOTO

敲擊樂 Percussion ● 周展彤 小山理惠子

CHAU Chin-tung Rieko KOYAMA

豎琴 Harp ● 黃士倫

Ann HUANG

鍵琴 Keyboard ● 朱偉恆

Alan CHU

● 首席 Principal ▼ 助理首席 Assistant Principal ★ Orchestral Associate

Notes Guest Principal Oboe 客席雙簧管首席 – Marrie Rose KIM (金勞思) (with kind permission of the Hong Kong Philharmonic)

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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）

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施永青先生

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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

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鍾陳碧璋女士

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何汝祥醫生

Dr HO Yu-cheung

義務公司秘書

Honorary Company Secretary

劉文文女士

Ms LAU Man-man Lisa

陳智文先生

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徐行悅醫生

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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 行政統籌 Administrative Coordinator 柯玉嬌 Noel QUAH 行政助理 Office Administrator 楊瑞遠 YANG Jui-yuan

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

樂團事務及節目 Orchestra & Programme 樂團經理 Orchestra Manager 陳成美 Marylu CHAN 節目經理 Programme Manager 丘靄雪 YAU Oi-suet Icy 特別節目經理 Special Projects Manager 黃紫菱 Athena WONG 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 馮碧琪 Betty FUNG 羅希寧 Kening LAW

市場及業務拓展主任 Marketing & Development Officer 柯娉庭 Pantane OR

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

• • • • • • • • • • • • • • • • •

BELIEVING MUSIC CAN Ms Cynthia Chan Jonman, Monika & Joel Chan Family 陳昌奇先生 Mr Kelvin Chan Mr Chan King Fung Thomas Adam In Memory of Ms Mariette Mimi Chan Miss Chan Yin Fei Joyce 陳燕婷 陳騰龍先生 Mr Douglas Cheng 鄭慶弘先生 Mr Howard Cheng 鄭錦德先生 Mr Cheng Kam Tak Mr C Y Chow 鍾寶圈小姐 Miss Pollyanna Chung 鍾穎彤小姐 Miss Chung Wing Tung In Memory of Esther Ms Roselanie Ho

26

• • • • • • • • • • • • • • •

何汝祥醫生 Dr Ho Yu Cheung Ms Hung Ying Kwan 郭立成律師 Mr Chris Kok Ms Joyce Kwock Miss M Kwok 黎慧德女士 Ms Wai Tak Lai Mr Dennis Lam Ms Law Jessica Yun Pui Mr Sung Chak Kyle Lee Mr Sheung Lee Ms Mary Leung Ms Florence Leung 林燕女士 Ms Lemon Lim Ms Luk Yee On 大通會計事務所 Masterpoint Professional Ltd • 莫心柔、莫心維

• 吳志強先生 • 吳天天先生 Mr Ng Tin Tin Timothy • Mr John Ngan • Mr Victor Paraschiv • Poon Shing Chi & Liao E Wen • John & Anthea Strickland • Ms Elsie Tam • Mr Paul Tsang • 謝建宏先生 • Mr Penny Tse • Ms TT Tsui • Mr Wang Weiyao • Ms Carolina Yip • Ms Anka Yuen • 多位無名氏 Anonymous

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

Pearl Donors (HK$10,000 to HK$29,999)

• 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon

• Mr Iain Bruce

• 芝蘭基金會 Zhilan Foundation

• 趙俊良先生 Mr Chiu Chun Leong David

• 張德賢博士伉儷 Dr & Mrs Douglas Cheung • 林定國先生夫人 Mr and Mrs Lam Ting Kwok Paul

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

• Mrs Florence Ng

• CLP Holdings Limited

• 沈昊翔先生 Mr Shum Ho Cheung

• 多位無名氏 Anonymous

• 九龍倉集團有限公司 The Wharf (Holdings) Limited • 王煒東先生 Mr Wong Wai Tung

Ruby Donors (HK$30,000 to HK$49,999)

• 多位無名氏 Anonymous

• 孫永輝施熙德伉儷 Edith & Stephen Sun Opal Donors (HK$1,000 to HK$9,999) • BELIEVING MUSIC CAN

• Ms Fiorella Fong

• 魏玉華小姐 Miss Winnie Ngai

•

• 郭立成律師 Mr Chris Kok

• Mr Wong Kai Chun

• Mr Chan Kwan Ho

• 紀念劉葉珍女士

• Mr Marcus Woo

• Jonman, Monika & Joel Chan Family

• Mr Sheung Lee

• Ms Yeung Lai Fong Alice

• Miss Chan Yin Fei Joyce

• Ms Luk Yee On

• 多位無名氏 Anonymous

• 鄭慶弘先生 Mr Howard Cheng

• 吳天天先生 Mr Ng Tin Tin Timothy

• 兜仔先生 Mr Dullchai

• 吳榮奎先生 Mr Ng W F Nicholas

Premium Friends

感謝以下各機構對香港小交響樂團一直的支持!

Thank you to the following parties for their continued support!

• 陳鋈鋆先生 Mr Chan Yuk-kwan

• Association Culturelle France Hong Kong Ltd

• 周莉莉女士 Ms Lily Chow

• CASH音樂基金 CASH Music Fund

• 李韶博士伉儷 Dr Lee Shiu & Dr Jennie Lee

• 法國駐港澳總領事館 Consulat Général de France à Hong Kong et Macao

• 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon

• 香港歌德學院 Goethe-Institut Hongkong

• 冼為堅博士 Dr David Sin Wai-kin

• 康樂及文化事務署 Leisure and Cultural Services Department

Mrs Charlene Chan

• 唐柏泉醫生 Dr Tong Pak Chuen Patrick • 謝智剛教授 Prof C K Michael Tse • 多位無名氏 Anonymous

• 澳洲駐港總領事館 Australia Consulate-General Hong Kong

• 德國駐港總領事館 German Consulate General Hong Kong • 民政事務局 Home Affairs Bureau • 邁騰路通有限公司 Maestro GT Limited • 荷蘭駐香港及澳門總領事館 Netherlands Consulate General in Hong Kong and Macao • Mr Ozawa Kazuo • MOViE MOViE • 通利琴行 Tom Lee Music Co Ltd • Mr Jiři Votruba 27

“A velvety cantabile… which never seems to stop ‘singing’.”

The Strad

“His sound is robust and resonant, his technique awesome.”

BBC Music Magazine

21.8.2021 © © GREENSBORO

(星期六 Sat) 7:30pm

香港大會堂音樂廳 HK City Hall Concert Hall

小提琴 Violin

$450 $320 $180

© MARCO BORGGREVE

薛高維茨基 Dmitry Sitkovetsky

節目Programme

瓦斯克斯 柴可夫斯基 柴可夫斯基 Pēteris Vasks Tchaikovsky Tchaikovsky

《夜曲》 （2015） （亞洲首演） D大調小提琴協奏曲，作品35 E小調第五交響曲，作品64 Musica Serena (2015) (Asian première) Violin Concerto in D, Op 35 Symphony No 5 in E minor, Op 64

指揮 Conductor

賴斯健 Daniel Raiskin

門票：城市售票網 Tickets at URBTIX 信用卡購票 Credit Card Booking: 2111 5999 | www.URBTIX.hk 門票查詢 Ticketing Enquiries: 3761 6661 香港小交響樂團為香港大會堂場地伙伴 Hong Kong Sinfonietta is the Venue Partner of the Hong Kong City Hall

香港小交響樂團為香港大會堂場地伙伴 Hong Kong Sinfonietta is the Venue Partner of the Hong Kong City Hall