小提琴 Violin
艾白娜 Veronika Eberle
25.7.2015 (星期六 Sat) 8pm
香港大會堂音樂廳 Hong Kong City Hall Concert Hall 音樂總監／指揮 Music Director/Conductor
葉詠詩 Yip Wing-sie 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
蕭斯達高維契第一小提琴協奏曲 Veronika Eberle Plays Shostakovich Violin Concerto No 1 音樂總監/指揮 Music Director/Conductor
小提琴 Violin
葉詠詩 Yip Wing-sie
艾白娜 Veronika Eberle
節目
鄺展維
// 黑夜之前 / （世界首演）
蕭斯達高維契
A小調第一小提琴協奏曲 夜曲：中板 諧謔曲：快板 帕薩卡利亞舞曲：行板－華采段－ 滑稽曲：熱情的快板
－中場休息15分鐘－
西貝遼士
《藍敏凱寧的傳奇》，作品22 藍敏凱寧與薩里的少女們 圖奧奈拉的天鵝 藍敏凱寧在圖奧奈拉 藍敏凱寧的回歸
Programme
Charles Kwong
// beforedark . hk . cn / (world première)
Shostakovich
Violin Concerto No 1 in A minor Nocturne: Moderato Scherzo: Allegro Passacaglia: Andante – cadenza – Burlesque: Allegro con brio - 15-minute intermission -
Sibelius
Lemminkäinen – Four Legends, Op 22 Lemminkäinen and the Maidens of Saari The Swan of Tuonela Lemminkäinen in Tuonela Lemminkäinen’s Return
場地規則 House Rules 各位觀眾 Dear Patrons, 為了令大家對今次演出留下美好印象，我們希望各位切勿在場內攝影、錄音或錄影，亦請勿吸煙或飲食。在節目進行前， 請關掉手提電話、其他響鬧及發光的裝置。多謝各位合作。 In order to make this performance a pleasant experience for the artists and other members of the audience, please refrain from recording, filming, taking photographs, and also from smoking, eating or drinking in the auditorium. Please ensure that your mobile phones and any other sound and light emitting devices are switched off before the performance. Thank you for your kind co-operation.
香港小交響樂團 Hong Kong Sinfonietta 音樂總監 Music Director: 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。樂團與音 樂總監葉詠詩一直致力拉近古典音樂與普羅大眾間 的距離，銳意「培育文化新一代」，並以富創意的 節目及充滿熱忱的演奏見稱。 自1999年起，香港小交響樂團經常與國際知名音 樂家及藝團合作，包括亞殊堅納西、杜明高、杜 美、傅聰、譚盾、霍活特、巴伐洛堤、蘇嘉文、美 國芭蕾舞劇院、英國皇家芭蕾舞團、馬林斯基大劇 院芭蕾舞團、莫斯科大劇院芭蕾舞團、英國國家芭 蕾舞團、紐約市芭蕾舞團、斯圖加特芭蕾舞團及翩 娜．包殊烏珀塔爾舞蹈劇場等。樂團亦經常應邀與 本地藝術節及藝團合作，如香港藝術節、法國五 月、香港芭蕾舞團及香港歌劇院等。 樂團全年無休，每樂季演出逾100場次，自2009年 起是香港大會堂的場地伙伴。除了傳統的管弦樂章 外，樂團每年均委約作曲家為樂團譜新曲，亦銳意 與不同界別的藝術家製作嶄新的跨界節目，自 2006年起更舉辦「駐團藝術家」計劃，由音樂總 監親自邀請本地藝術家與樂團緊密合作及交流，培 育新一代藝術家之餘更為古典音樂創造新的可能 性。樂團灌錄過多套鐳射唱片，收錄了不少華人作 曲家的優秀作品；由DECCA發行的《就是古典音 樂》系列，2014年11月推出第三集，不及兩個月 便取得金唱片佳績。
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樂團深明培育下一代的重要性，針對不同年齡的觀 眾，舉辦多套別樹一格的普及音樂會。《我的音樂 日記》及由葉詠詩主持的《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》等節目，創辦至今深受歡迎，大大拓展古典 音樂觀眾的層面。另外，樂團的《樂聚》系列，包 括在音樂廳以外的場地舉行室樂及跨界音樂會，為 觀眾提供更多節目選擇。 除本地演出外，樂團常應邀作客海外，包括：美 國紐約林肯中心羅斯劇院、加拿大多個以出色音 效著稱的音樂廳；南美洲的巴西、阿根廷及烏拉 圭；在歐洲計有法國的聖里奇音樂節、漢斯夏季 音樂會及普羅旺斯拉羅克．昂迪榮國際鋼琴音樂 節、意大利的米凱朗傑利國際音樂節和維琴察音 樂節、立陶宛的兩個音樂節及波蘭華沙愛樂音樂 廳；北京第二屆中國交響樂之春（國家大劇院）、 中國上海國際藝術節（世博會「香港活動周」閉 幕節目）及上海之春國際音樂節等。樂團自2006 年起五度獲邀參加日本東京《 》音樂祭， 並於2015韓國統營國際音樂節作韓國首演。樂團 將於10月首度出訪瑞士。
Hong Kong Sinfonietta is one of Hong Kong’s flagship orchestras. With Yip Wing-sie as Music Director, the orchestra has brought music closer to the community, and has achieved significant recognition locally and internationally for its passionate performances and innovative programming. Since 1999, Hong Kong Sinfonietta has collaborated with an illustrious array of international musicians and groups, including Vladimir Ashkenazy, Plácido Domingo, Augustin Dumay, Fou Ts’ong, Christopher Hogwood, Luciano Pavarotti, Pinchas Zukerman, The Royal Ballet, Mariinsky Ballet, Bolshoi Ballet, English National Ballet, American Ballet Theatre, New York City Ballet, Stuttgart Ballet and Tanztheater Wuppertal Pina Bausch. The orchestra has also been a regular participant at all the major festivals in Hong Kong including the Hong Kong Arts Festival, Le French May, Hong Kong International Film Festival and festivals presented by the Hong Kong Government. It also partners regularly with Hong Kong Ballet and Opera Hong Kong in their staged productions. The orchestra performs year-round with over 100 performances a season and has been the Venue Partner of the Hong Kong City Hall since 2009. Apart from standard orchestral repertoire, Hong Kong Sinfonietta, as an avid believer of keeping music alive and contemporary, commissions and performs new works every year and ventures into crossover concerts both at the City Hall and at the residency at ArtisTree. 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. The third album has been awarded a Gold Record since its release in November last year.
On the educational front, Hong Kong Sinfonietta has pioneered specially-designed concerts for different age groups. New concepts on the Hong Kong concert stage, Good Music for Kids, Good Music for Babies, Know Your Classical Music, Short-cut to Classical Music and HKS McDull Music Project have provided a new realm in audience development. Since 2010, Hong Kong Sinfonietta’s chamber music concerts have continued to break down barriers between music and audience as we perform at unconventional spaces. 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 the prestigious Festival International de Piano La Roque d’Anthéron, Les Flâneries Musicales d’Été de Reims and SaintRiquier Festival in France, Festival Pianistico Internazionale Arturo Benedetti Michelangeli and Settimane Musicali al Teatro Olimpico in Italy, Warsaw Philharmonic Concert Hall in Poland and in Lithuania; in China at the Shanghai Spring International Music Festival and China Shanghai International Arts Festival (Expo 2010 Shanghai), in Beijing at the National Centre for the Performing Arts; in Japan in Nagano and at La Folle Journée in Tokyo and Niigata. In 2015, the orchestra has been invited to perform in Korea at the Tongyeong International Music Festival and will make its début in Switzerland in October.
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 : 電郵 Email: 傳真 Fax : 網址 Website:
(852) 2836 3336 enquiries@hksinfonietta.org (852) 2783 9819 www.HKSL.org
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音樂總監／指揮 Music Director/Conductor
© YVONNE CHAN
葉詠詩 Yip Wing-sie
亞洲樂壇備受尊崇的指揮家葉詠詩，於2002年起
繼2004年葉詠詩帶領香港小交響樂團代表中國參
出任香港小交響樂團音樂總監。
加「中國在法國」文化年的成功演出後，經常獲邀
葉詠詩在1985年贏得法國貝桑松第35屆國際青年 指揮大賽冠軍及「金豎琴」獎，並在1988年獲第 八屆東京國際指揮比賽獎項。她曾先後出任香港大 學的學院藝術家、新加坡國立大學楊秀桃音樂學院 王鼎昌傑出客座教授、廣州交響樂團的首席指揮和 音樂總監及香港管弦樂團的駐團指揮。 葉詠詩經常獲邀擔任世界各地樂團的客席指揮，曾 合作的包括中國中央樂團、中國國家交響樂團、上 海交響樂團、首爾愛樂樂團、大阪管弦樂團、新日 本愛樂交響樂團、札幌、讀賣、台灣、布里斯本、 墨爾本、昆士蘭等交響樂團及新西蘭的奧克蘭愛樂 樂團等。在歐洲，她曾與法國圖盧茲國家樂團、貝 桑松室樂團、波蘭華沙愛樂樂團、西班牙特納里夫 島交響樂團、捷克科希策省樂團合作演出。此外， 她亦曾率領廣州交響樂團於國際知名的維也納音樂 協會會堂（黃金大廳）演出及參與北京國際音樂 節。葉詠詩曾與多位國際知名的獨奏家合作，包括 杜美、傅聰、明茨、普爾曼、穆特及蘇嘉文等；近 年曾指揮的歌劇包括香港小交響樂團伴奏的《詩人 李白》及台灣愛樂的《畫魂》。 4
赴世界各地演出，當中包括美國、加拿大、波蘭、 巴西、阿根廷、烏拉圭，以及法國、意大利、日 本、韓國和立陶宛的音樂節。在中國，她曾帶領樂 團於中國交響樂之春（北京國家大劇院）、中國上 海國際藝術節（世博會「香港活動周」閉幕節目） 及上海之春國際音樂節演出，並將於2015年10月 率領樂團首度出訪瑞士。 生於廣州，香港長大的葉詠詩，憑香港皇家賽馬會 音樂基金獎學金遠赴倫敦皇家音樂學院攻讀；後於 美國印第安納大學取得小提琴及指揮碩士學位。 1986和1992年夏季，她分別獲得哥士域斯基獎學 金及小澤征爾獎學金前往鄧肯活音樂中心研習指 揮。指導過她的指揮大師包括狄瑪爾、伯恩斯坦、 小澤征爾、米亞及艾德敦。葉詠詩於1990年獲選 為香港十大傑出青年之一，2006年獲香港公開大 學頒授榮譽文學博士學位，2007年她獲法國文化 部頒發「藝術及文學騎士勳章」，2010年獲英國皇 家音樂學院頒授院士榮銜（FRCM），並於2013年 獲香港各界婦女聯合協進會頒發「香港六藝卓越女 性」獎，及由香港政府授勳銅紫荊星章，表揚她在 音樂界的傑出成就。
A highly respected and influential figure in Asia’s
As Music Director of Hong Kong Sinfonietta, Yip
orchestral music scene, Yip Wing-sie has been the
has taken the orchestra on tour in recent years to
Music Director of Hong Kong Sinfonietta since
Canada, the USA, Japan (La Folle Journée in Tokyo
2002. Positions she has previously held include the
and Niigata), Korea (Tongyeong International Music
University Artist of The University of Hong Kong,
Festival), France (Festival International de Piano La
the Ong Teng Cheong Distinguished Visiting
Roque d’Anthéron, Les Flâneries Musicales d’Été in
Professor at the Yong Siew Toh Conservatory of
Reims and Saint-Riquier Festival), Italy (Festival
Music, National University of Singapore, Principal
Pianistico Internazionale Arturo Benedetti
Conductor and later Music Director of Guangzhou
Michelangeli in Brescia and Bergamo and
Symphony Orchestra and Resident Conductor of
Settimane Musicali al Teatro Olimpico in Vicenza),
Hong Kong Philharmonic Orchestra.
Poland (National Philharmonic Hall in Warsaw),
Winner of the First Prize as well as “LYRE d’OR” in
Beijing (National Centre for the Performing Arts),
the 35th Concours International de Jeunes Chefs d’Orchestre de Besançon, France in 1985 and a prizewinner in the 8th Tokyo Inter national Conducting Competition in 1988, Yip is in great demand as a guest conductor in Asia. Orchestras
Shanghai (China Shanghai International Arts Festival/Expo 2010 Shanghai and Shanghai Spring International Music Festival), Lithuania and in the South America in Argentina, Brazil and Uruguay. Yip will lead the orchestra in its début in
she has conducted include the Central
Switzerland in October, 2015.
Philharmonic Orchestra of China, China National
Born in Guangzhou and brought up in Hong Kong,
Symphony Orchestra, Shanghai Symphony
Yip studied at the Royal College of Music in London
Orchestra, Seoul Philharmonic, Osaka Philharmonic,
before going on to the Indiana University at
New Japan Philharmonic, Tokyo Mozart Players, the
Bloomington, USA, where she obtained her
symphony orchestras of Sapporo, Yomiuri, Taiwan,
Master’s Degree in violin performance and
Tasmania, Melbourne and Queensland as well as
conducting. As the winner of the Koussevitsky
the Auckland Philharmonia of New Zealand. In
Scholarship and the Seiji Ozawa Fellowship Award,
Europe, Yip’s engagements have included concerts
Yip spent the summers of 1986 and 1992 attending
with the Orchestre National du Capitol de Toulouse
the conducting seminar and fellowship programmes
and the Chambre Orchestre de Besançon in France,
at the Tanglewood Music Center. Her mentors
Warsaw Philharmonic in Poland, Spain’s Tenerife
included great maestros such as Norman Del Mar,
Symphony Orchestra and the Czech State
Leonard Bernstein, Seiji Ozawa, Gustav Meier and
Orchestra of Kosˇice. She has also conducted at
David Atherton. In 1990, Yip was named one of
prestigious venues and festivals such as the Vienna
Hong Kong’s Ten Outstanding Young Persons. Other
Musikverein (Grossersaal), Beijing Music Festival,
awards she has received include an honorary
Fukuoka’s Asian Month Festival in Japan, Hong
doctorate by the Open University of Hong Kong,
Kong Arts Festival and Macao International Music
“Chevalier dans l’Ordre des Arts et des Lettres” by
Festival. Yip has collaborated with such renowned
the Ministry of Culture and Communication of
artists as Augustin Dumay, Fou Ts’ong, Shlomo
France, Fellow of the Royal College of Music
Mintz, Anne-Sophie Mutter, Itzhak Perlman and
(FRCM), “Hong Kong Women of Excellence in the
Pinchas Zukerman. Operas she has conducted
Six Arts Award” by the Hong Kong Federation of
include Guo Wen-jin’s Poet Li Bai and the world
Women and the Bronze Bauhinia Star (BBS) by the
première of La Peintre with Taiwan Philharmonic.
Hong Kong Government. 5
小提琴 Violin
艾白娜 Veronika Eberle 她曾合作的樂團包括柏林愛樂、倫敦交響樂團、伯 明翰市交響樂團、紐約愛樂、洛杉磯愛樂、蒙特利 爾交響樂團、蘇黎世音樂廳樂團、萊比錫布業大廳 樂團、荷蘭鹿特丹愛樂、阿姆斯特丹音樂廳樂團以 及蘇格蘭室樂團。 艾白娜常於世界各地舉行獨奏會，例如倫敦域摩 堂、紐約卡奈基音樂廳、阿姆斯特丹音樂廳、慕尼 黑赫拉克勒斯廳、巴黎市立劇院、蘇黎世音樂廳和 音樂節等。她亦熱愛演奏室樂，經常與沃斯勒、沃 格特、漢姆辰、海克、卡普森等人合作。艾白娜在 2015薩爾茨堡莫扎特週與內田光子合作三重奏演 出，另外她將於2016年五月作室樂巡演。 艾白娜1988年生於德國多瑙沃特，六歲開始學習 小提琴。她曾先後於理察．史特勞斯音樂學院和慕 尼黑音樂學院進修，期間，她亦跟隨柏鵬習琴一 年。艾白娜於2006薩爾茨堡復活節音樂節獲歷圖 © BERND NOELLE
引薦，與柏林愛樂同台演出，自此一舉成名。多年 來，她獲多個顯赫的機構支持，如博萊蒂－布托妮 信托基金會的2008年獎學金。2003年，艾白娜於 德國緬恩斯尼曼國際小提琴大賽中勝出，後來又贏 艾白娜才華出眾，對音樂的理解成熟透徹，深得不 少世界知名指揮大師和樂團的讚賞。
得石勒蘇益格－荷爾斯泰因和梅克倫堡－前波莫瑞 兩個音樂節的觀眾大獎。她曾是BBC第3台20112013年度新人和多蒙特音樂廳2010-2012年年度
艾白娜2014/2015樂季行程緊湊，除了與首爾愛樂
年青音樂家。
樂團、讀賣日本交響樂團、薩爾茨堡莫扎特交響樂 團和香港小交響樂團作首演外，又與慕尼黑室樂團
艾白娜演奏用的小提琴是斯特拉瓦爾名琴「德拉戈
和BBC愛樂等再度合作。此外，她跟塔莫斯提一同
奈蒂」(1700)，由日本音樂財團慷慨借出。
參與莫扎特大協奏曲計劃，用古樂器與茵瑟勒樂團 演奏。
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Veronika Eberle’s exceptional talent, the poise and
Veronika Eberle was born in 1988 in Donauwörth,
maturity of her musicianship have been recognized
Germany, where she started violin lessons at six. In
by some of the world’s finest orchestras, venues
between her studies at the Richard Strauss
and festivals, as well as by some of the world’s
Konservatorium and Hochschule in Munich, she
most eminent conductors.
studied privately with Christoph Poppen for a year.
Highlights among 2014/2015 concerto engagements
Sir Simon Rattle’s introduction of Eberle to the
include débuts with the Seoul Philharmonic, Yomiuri Nippon Symphony, Mozarteum Orchestra Salzburg and Hong Kong Sinfonietta, and return projects with Munich Chamber Orchestra and BBC Philharmonic. Eberle will also join Antoine Tamestit for a Mozart Concertante project on period instruments with Laurence Equilbey’s Insula Orchestra. Veronika Eberle has performed with Berlin Philharmonic and London Symphony Orchestra (Simon Rattle), City of Birmingham Symphony Orchestra (Ed Gardner), New York Philharmonic (Alan Gilbert), Los Angeles Philharmonic, Montreal Symphony (Kent Nagano), Tonhalle Orchester Zürich, Gewandhausorchester Leipzig, Rotterdam Philharmonic, Concertgebouw Orchestra and
2006 Salzburg Easter Festival in a performance with Berlin Philharmonic brought her to international attention. Over the years, Eberle has been supported by a number of prestigious organisations including Borletti-Buitoni Trust (Fellowship in 2008). She won the First Prize at the 2003 Yfrah Neaman International Competition in Mainz and Audience Awards at the SchleswigHolstein and Mecklenburg-Vorpommern Festivals. She was a BBC Radio 3 New Generation Artist 2011-2013 and was a Dortmund Konzerthaus “Junge Wilde” Artist 2010-2012. Veronika Eberle plays the “Dragonetti” Stradivarius (1700), on generous loan from the Nippon Music Foundation.
Scottish Chamber Orchestra (Robin Ticciati). Recital engagements have brought Veronika Eberle to Wigmore Hall (London), Carnegie Hall (New York), Concertgebouw (Amsterdam), Herkulesaal (Munich), Théâtre de la Ville (Paris), Tonhalle (Zürich) and the Lucerne Festival. Eberle is also a dedicated chamber musician, with regular partners including Shai Wosner, Lars Vogt, Martin Helmchen, Marie-Elisabeth Hecker, Renaud Capuçon, among many others. She appeared at the Mozartwoche Salzburg 2015 in a trio project with Mitsuko Uchida, and in May 2016 she will embark on a major chamber music tour. 7
作曲家 Composer
鄺展維 Charles Kwong Critically reviewed as “emotionally evoking” (Yazhou Zhoukan) and “rooted in the lyricism of Oriental Arts... bearing a tint of Debussy-esque eclecticism” (criticspo), Charles Kwong’s music has been performed by such professional orchestras and ensembles as the London Chamber Orchestra, Hong Kong Sinfonietta, Hong Kong City Chamber Orchestra, Hong Kong Kamerata, Hong Kong Saxophone Ensemble, Chimera Ensemble, Kreutzer String Quartet, Romer String Quartet and Contrast Trio, among others. Kwong's music was featured in such occasions as the finals of the London Chamber Orchestra’s “LCO New 2008”, the Royal 香港作曲家鄺展維的作品被評為「牽引聽者的情緒」 （《亞洲週刊》）及「扎根東方的抒情藝術，儼如德 布西作品的東西折衷色彩」（藝PO）。曾合作的中 外樂團及組合包括倫敦室樂團、香港小交響樂團、 香港城市室樂團、香港管樂雅集、香港薩克斯管樂 團、奇美拉樂團、克萊采弦樂四重奏、羅曼弦樂四 重奏、Contrast三重奏等。他的作品曾入選倫敦室
Spring Music Festival, Yogyakarta Contemporary Music Festival, World Saxophone Congress, Hong Kong Arts Festival and Freespace Fest. Kwong was awarded the Winner Prize in “New Generation 2009” held by the Hong Kong Composers Guild and RTHK Radio 4.
樂團「LCO New 2008」計劃，並曾於英國皇家音
Kwong completed an undergraduate degree at The
樂協會研討會、英國約克春季音樂節、世界薩克管
Chinese University of Hong Kong and a master’s
大會、印尼日惹現代音樂節、香港藝術節及西九自
degree at King’s College London, with multiple
由野等演出。他亦曾於香港作曲家聯會及香港電台
scholarships from the respective institutes and the
第四台舉辦之「音樂新一代2009」比賽中奪魁。
Composers and Authors Society Hong Kong. An
鄺展維分別於香港中文大學及倫敦大學國王學院完 成學士課程及音樂碩士課程，期間獲兩間院校及香 港作曲家及作詞家協會等頒授多個獎學金。其後獲 利銘澤百年紀念獎學金全費資助，於英國約克大學 繼續鑽研作曲，師從施馬庫，於2013年取得博士 學位，自此回港定居。
8
Musical Association Research Conference, York
RC Lee Scholar, he earned his doctorate in 2013 from The University of York under the supervision of Thomas Simaku (with full sponsorship from the Drs Richard Charles and Esther Yewpick Lee Charitable Foundation). He now lives in Hong Kong.
In collaboration with
© MICHAEL LATZ
“Rilling's Bach invariably overwhelms with its simplicity, its sincerity, its dramatic balance and musical logic.” Los Angeles Times
指揮 Conductor
© LENA KERN
© PETER B. KOSSOK
里霖 Helmuth Rilling
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節目介紹 今晚音樂會演奏的三首作品，來自三個世紀，但最早和最晚的一首相距不過120年。我們以逆 時序的方式演奏它們，而且逐步向西方靠攏。開首是香港作曲家鄺展維的世界首演作品 《// 黑夜之前 /》；香港小交響樂團曾在2014年的香港藝術節中首演他的《如川，不舍晝夜》 。 回到60年前的1955年，俄國作曲家蕭斯達高維契的第一小提琴協奏曲在當年首演。他一直沒有 公開這首早已完成的作品，直到史太林的獨裁統治終結後才公諸於世。作品深刻地形容了在專 制社會之下生存的困難。之後我們再回溯差不多60年，在1896年西貝遼士（今年是他150周年 的冥壽紀念）首次推出了他四個樂章的組曲。該組曲是根據芬蘭民族史詩中的英雄故事撰寫 的，此後他又作了不少修改。
鄺展維（1985年生）
// 黑夜之前 /
蕭斯達高維契（1906–1975） 世界首演
此作品於2015年由香港小交響樂團委約，費用由香港作 曲家及作詞家協會轄下的「CASH音樂基金」贊助
《//黑夜之前/》是暮色的音樂；更準確說，一個以 聲音�����光�影的過渡的聲�，當中不同色 彩互相摻雜，像透光的凝膠般變幻著，氣氛寧靜卻
A小調第一小提琴協奏曲， 作品77/99 夜曲：中板 諧謔曲：快板 帕薩卡利亞舞曲：行板—華采段— 滑稽曲：熱情的快板
不詳地預示著黑暗的來臨。攝影藝術中，這種天色
蕭斯達高維契在1947年7月21日開始創作第一小提
過渡的短暫瞬間有一個非常詩意的名字：「魔幻時
琴協奏曲，次年3月24日完成。作品題獻給小提琴
刻」。在暮色的光環下，的確有一種具魔力的色
家奧伊斯特拉赫（David Oistrakh），雖然蕭斯達高
度，將事物以我們平常看不到的方式揭示於我們眼
維契曾經在他面前以鋼琴彈奏過全曲，但作品卻一
前。《//黑夜之前/》將暮色的獨特質感和氛圍轉化
直���在作曲家的���，直到五年後史太林去
到音樂過程裡，是處於德布西的《牧神之午後》和
世才公諸於世。奧伊斯特拉赫的兒子伊戈，曾憶述
巴托克的《夜之聲》之間，一個扭曲中的聲音世
蕭斯達高維契造訪他家的情形。他除了對作品印象
界，是步步進逼的黑暗的前奏曲，當中漸漸褪去的
深刻外，還讚嘆作曲家彈奏諧謔曲時，竟可以一音
色彩和光線，憶述一些發生在黑夜之前、光怪陸離
不漏。不過，1948年也是作曲家受到蘇俄政府第
的奇異故事。
二次批判的同一年。 —由作曲家提供
此樂曲的樂隊編制 弦樂： 木管樂：
之後，在創作受到政治干預的數年間，蕭斯達高 維契一直從事兩套截然不同的創作路向。一方面
第一及第二小提琴、中提琴、大提琴、低音大提琴
高調地向公眾展示他那些空洞的愛國主義作品，
長笛 (2) 、雙簧管 (1)、英國管 (1) 、單簧管 (2)、
例如清唱劇《森林之歌》（Song of the Forests），
低音單簧管 (1)、巴松管 (2) 、低音巴松管 (1)
另一方面則秘密地撰寫他最深沉、精緻的第四和
銅管樂：
圓號 (2)、小號 (2) 、長號 (2)
敲擊樂：
鐘琴、大鼓、小軍鼓、桶子鼓、木魚、吊鈸、 樂鞭、鑼
豎琴、鋼片琴
第五弦樂四重奏。在重新整理協奏曲之前，他還 完成了第十交響曲；兩者都採用了他德文名字的 11
簡寫和姓氏的首三個字母作主題：D-S-C-H，即
華采段直接與活潑的終樂章相連，強力的主題引
D、降E（德文是Es）、C和B（德文是H音）音。
自「帕薩卡利亞舞曲」。木琴在開首為蕭斯達高維
協奏曲原本在1948年的作品編號是77，後來變成
契典型的音色添加獨特的效果。除了簡短的樂隊
99，真正的原因不明，可能是作品被擱置過久，
發展段之外，獨奏幾乎一直在奔跑，最後乘著盤
或者是第一版印刷時出現差錯。無論如何，作品面
旋的木管和富有節奏感的弦樂，一頭扎進定音鼓
世時，雖然內容與原來的相差無幾，但作品編號卻
咚咚的敲擊之中。
變成了99，而77則成為《三首管弦樂曲》的作品 編號。 作品在1955年10月29日由馬拉溫斯基（Yevgeny Mravinsky）指揮列寧格勒愛樂樂團首演，獨奏者
此樂曲的樂隊編制 弦樂：
第一及第二小提琴、中提琴、大提琴、低音大提琴
木管樂：
長笛 (3) 、短笛 (1) 、雙簧管 (3)、英國管 (1) 、 單簧管 (3)、降E調單簧管 (1)、巴松管 (3) 、
是奧伊斯特拉赫。根據他的回憶，十次的排練相當
低音巴松管 (1)
嚴謹，作曲家還即時作出微細的修改。西方的首演
銅管樂：
圓號 (4)、大號 (1)
則在同年於紐約舉行，由米特羅普洛斯（Dmitri
敲擊樂：
定音鼓、木琴、平鑼、搖鼓
Mitropoulos）指揮，奧伊斯特拉赫擔任獨奏，英
豎琴、鋼片琴 獨奏小提琴
國的首演則在1956年的冬天。協奏曲的樂隊編制 甚為龐大，有三組木管樂、圓號、大號、敲擊樂 （包括木琴及鋼片琴），還有豎琴和弦樂，但卻沒有 小號和長號。 開首的「夜曲」是四個樂章中最有反思和求索意味 的，夢幻的情調不乏內省。獨奏者幾乎和深沉的低 音弦樂一同出現，隨著樂音的起伏緩緩升降。除了 在高潮與平鑼的撞擊外，樂音基本上都是沉靜的， 感覺有點像狂想曲流轉的即興演奏，但實際上結構 卻相當統一。某些美妙的段落寧靜得令人出神，甚 至有一種詩化的感覺。 「諧謔曲」的旋轉木管主題與獨奏刺促的音符並 置，兩者的角色在弦樂進入之前互換發展。正如在 第十交響曲一樣，這意味著在開首沉思的樂章後能 量將要迸發出來，同時也採用了D-S-C-H的音樂記
《藍敏凱寧的傳奇》 ，作品22 藍敏凱寧與薩里的少女們： 甚中庸的快板—中庸的快板 圖奧奈拉的天鵝： 甚為綿延的行板 藍敏凱寧在圖奧奈拉： 寬廣的節奏—甚慢的—非常寬廣的 藍敏凱寧的回歸： 火熱的快板（越來越有活力的） —近乎急板的—急板
藍敏凱寧被喻為芬蘭的唐璜，是「芬蘭民族史詩」
號。像馬勒，蕭斯達高維契也時常使用似乎平庸的
《卡萊瓦拉》（Kalevala）�的眾�角色之一。這部
音樂意念來營造對比，中段就彷彿是一種滑稽化的
有50個詩章的著作，描述了北卡萊利亞的神話，
民間舞蹈，奇巧的獨奏在通透的管弦樂承托下不斷
於1833至1835年間出版，由一位當時正在東北部
產生變化。
的卡雅尼（Kajaani）工作，名叫倫洛特（Elias
大提琴、低音大提琴和圓號宣示了「帕薩卡利亞舞
Lönnrot）的醫生收集和整理。其後於1849年又有
曲」的主題（這種舞曲的主題在固定低音的襯托下
一個修訂本面世。
重複），然後木管以眾贊歌的風格帶出主題。獨奏 在下一輪主題出現時進入，在其後的重複段落中， 主題緊湊地發展，達到高潮。接著獨奏在撥弦和稀 疏的定音鼓伴奏下，帶出了綿長的華采段。
12
西貝遼士（1865–1957）
作為一部詩集，《卡萊瓦拉》的影響力不容小覷。 西貝遼士出生於芬蘭少數的瑞典語家庭中（但他卻 到第一所芬蘭語學校上學），當時芬蘭還在俄國沙 皇的直接統治之下，《卡萊瓦拉》因此被視為尋求
芬蘭獨立的象徵。1899年的「二月宣言」，讓俄國
進行了修改，在1897年11月1日才推出全套組曲。
對芬蘭的控制更為收緊，言論自由也進一步受到限
「圖奧奈拉的天鵝」原�是組曲�的第三首，但修
制，但也使芬蘭的民族主義情緒變得更為高漲（這 一年西貝遼士鼓舞人心的作品《芬蘭頌》也正好面 世）。在芬蘭人努力建構他們的民族身份的過程 中，《卡萊瓦拉》無疑扮演了重要的角色。而西貝 遼士對這部著作的熱愛，部份原因也源於這一民族 主義的思潮。
���卻變為第二首。 不過，「圖奧奈拉的天鵝」和「藍敏凱寧的回歸」 之後被再次修改（後者被刪去一大段），並在1900 年��出版。而組曲�的「藍敏凱寧與薩里的少女 們」和「藍敏凱寧在圖奧奈拉」則保持原狀達40年 之久，這可能是因為西貝遼士的導師兼指揮家卡亞
像合唱交響曲《庫勒沃》（Kullervo）一樣，《藍敏
努斯（Robert Kajanus）對修改曾有異議。最終在
凱寧的傳奇》的名��自《卡萊瓦拉》�的其中一
1939年，西貝遼士才對這兩首作了修改，那時他已
個角色。藍敏凱寧作為一位勇敢、英俊而性慾旺盛
很久沒有新作。但二次大戰的爆發卻使作品延至
的英雄，在《卡萊瓦拉》的第11章出現。西貝遼士
1954年才獲出版，三年後西貝遼士就逝世了。
的作品則以第29章為故事的起點，描述藍敏凱寧離 開皇宮，表面上是前往薩里島追求美麗的凱莉姬 （Kyllikki） 。一如組曲中的第一樂章「藍敏凱寧與薩 里的少女們」所述，他趁著島上的男人正在戰場上 廝殺，引誘了島上的所有婦女（只有凱莉姬似乎不 受誘惑，於是藍敏凱寧將她拐走，最終娶了她為妻 子），後來島上的男人回來把藍敏凱寧趕走。然 而，性慾極強的他，厭倦了凱莉姬之後，又轉而追 求波希奧拉（Pohjola）。女魔法師路希（Louhi，波 希奧拉的母親）向他開出一些條件，其中最苛刻的 任�是要到芬蘭的冥府圖奧奈拉，�殺那�的�天
作品甚富戲劇性，因此足以單獨拿來演奏（前面的 描述雖然證明故事很有趣，但在欣賞音樂時卻不是 絕對必要的） ，值得留意的是「圖奧奈拉的天鵝」中 有一段代表天鵝的著名的英國管獨奏。樂曲的初版 是A小調，�面有文�描述�：「冥府圖奧奈拉， 芬蘭神話中的地獄，被一條黑色而湍急的大河環 繞，圖奧奈拉的天鵝在河上優雅地游動和歌唱。」 作品餘下的部份主要都是降E大調（或C小調，即其 關係小調）的，那是貝多芬（例如《英雄》交響曲） 和李察．史特勞斯（《英雄的一生》）最喜歡使用的 英雄樂調，因此相當適合藍敏凱寧的個性。
鵝。但當藍敏凱寧正要下手的時候，在聖河邊遭到 冥府之王圖奧尼（Tuoni）的兒子伏擊，他的身體 被��，被�進河�，�好他法力高強的母親把他 的身體還原，使他得以重生。西貝遼士在原來的創
此樂曲的樂隊編制 弦樂：
第一及第二小提琴、中提琴、大提琴、低音大提琴
木管樂：
作計劃中，依循故事的脈絡，並加上一段「圖奧奈 拉的天鵝」，即直接從他棄掉的歌劇《造船》（靈感 也是由《卡萊瓦拉》而來）��來的前奏。組曲的 最後一個樂章「藍敏凱寧的回歸」，描述藍敏凱寧
長笛 (2) 、短笛 (2) 、雙簧管 (2)、英國管 (1)、 單簧管 (2)、低音單簧管 (1)、巴松管 (2)
銅管樂：
圓號 (4)、小號 (3)、長號 (3) 、大號 (1)
敲擊樂：
定音鼓、大鼓、小軍鼓、鈸、三角鐵、搖鼓、鐘琴
豎琴
在經歷多場戰事之後回到故鄉，重溫兒時的回憶。 西貝遼士在1896年4月13日於赫爾辛基指揮愛樂協 會樂團，首演了當時稱為《藍敏凱寧傳奇交響畫》 （Sinfniska Dikter till Motiv ur Lemminkäinen Mythen）的樂曲。雖然表演時他有點緊張（因此 樂團的樂手似乎不大高興），但作品卻相當受歡
除《//黑夜之前/》外，英文節目介紹：Nick Breckenfield 英國作家Nick Breckenfield專門撰寫節目介紹， 曾任whatsonwhen.com的古典音樂及歌劇版編輯13年， 現於支持青年音樂家的博萊蒂-布托妮信托基金會工作。
中文翻譯：行之
迎。然而，按其往常的習慣，西貝遼士還是對作品
13
Programme Notes Three works from three centuries, although between the earliest and latest there has been barely 120 years. We hear them in receding order (while also moving steadily westwards), opening with a world première, commissioned from Hong Kong composer Charles Kwong, whose As the Streams Never Cease was premiered by the Hong Kong Sinfonietta at the 2014 Hong Kong Arts Festival. Turn back the clock 60 years, to 1955, when Russian composer Dmitri Shostakovich heard the première of his First Violin Concerto, which he had kept from the public in the dark final days of Stalin’s tyrannical grip of Soviet Russia, the music eloquently describing the difficulties of surviving under such a regime. And then we turn back the clock very nearly another 60 years, to 1896, when Sibelius – this year marks the 150th anniversary of his birth – first presented his four-movement suite based on a hero of the Finnish national epic (although he revised it subsequently).
Charles Kwong (born 1985)
// beforedark . hk . cn / World première Commissioned in 2015 by Hong Kong Sinfonietta with sponsorship from CASH Music Fund
// beforedark . hk . cn / is music of the dusk; or to be more accurate, is a soundscape that “transcribes” the transition between brightness and darkness, where the mixture of colours is everchanging and luminously gelatinous, and the atmosphere tranquil yet ominously hinting the imminent darkness. In the art of photography, the transient moments of transition of the day is named poetically – “the magic hour”. Under the aura of dusk, there is indeed a certain magical hue that could reveal things in different ways that we do not ordinarily see. // beforedark . hk . cn / transfers the very texture, timbre, ambience, and mood of the dusk into a musical progress. It is a
14
distorting sound world between Debussy’s Prélude à l’Aprés-midi d'un Faune and Bartók's Klänge der Nacht; a prelude leading to a pressing darkness, in which the slowly fading colours and lights recount some bizarre tales that occurred before dark. -provided by the composer
Instrumentation of this piece Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flutes (2), oboe (1), English horn (1), clarinets (2), bass clarinet (1), bassoons (2), contrabassoon (1) Brass: horns (2), trumpets (2), trombones (2) Percussion: glockenspiel, bass drum, snare drum, tom-toms, woodblocks, suspended cymbals, whip, gong Harp, celesta
Dmitri Shostakovich (1906–1975)
Violin Concerto No 1 in A minor, Op 77/99 Nocturne: Moderato Scherzo: Allegro Passacaglia: Andante – cadenza – Burlesque: Allegro con brio
Shostakovich’s First Violin Concerto was started on 21 July 1947 and finished on 24 March the following year. Despite having visited the violinist David Oistrakh, to whom the work is dedicated, and playing it through together on the piano, it was one of the works Shostakovich consigned to his private drawer until Stalin’s death five years later. The soloist’s son, Igor, remembers Shostakovich’s visit and, as well as being impressed by the piece, was amazed that the composer had been able to play the Scherzo with not one note missing. But 1948 was the same fateful year that Shostakovich was condemned (for the second time) by the Soviet authorities. In the ensuing years, Shostakovich concentrated on two contrasting sets of works. On the one hand he composed publicly, a series of hollow patriotic compositions, such as the cantata Song of the Forests. On the other hand, he beavered away privately, working on two of the finest and most deeply felt of his string quartets, the Fourth and the Fifth. He also completed the Tenth Symphony which, like the Violin Concerto, utilises a typical Shostakovian characteristic: both quote the D-S-C-H motto theme whereby, in using German musical nomenclature, Shostakovich was able to musically portray his initial and first three letters of his surname: D, E-flat (in German “Es”), C and B (in German “H”). The original 1948 opus number for the concerto was 77. Whether it had been laid aside for so long, or simply due to a printing error in the first edition, that was not to be its published opus number. Suffice to say that, even though there was no major changes, after Stalin’s death, when
Shostakovich unveiled it, the concerto became Op 99 (while Op 77 was reclaimed for Three Pieces for Orchestra). David Oistrakh remembered that great care was taken over the première, in Leningrad on 29 October 1955, with Yevgeny Mravinksy conducting his Leningrad Philharmonic. There were 10 rehearsals with the composer on hand making small alterations. The western première, conducted by Dmitri Mitropoulos in New York (again with Oistrakh) took place the same year, and the British première was during the winter of 1956. The concerto is scored for a large orchestra: triple wind, horns, tuba, percussion including xylophone and celesta, harp and strings, but without trumpets and trombones. The opening Nocturne is the most reflective and searching of the four movements. Its mood is dreamy and introspective, with the soloist entering almost immediately over the deep, sombre opening on lower strings before slowly rising and falling with the ebb and flow of the music. Almost exclusively hushed, save for a climax with a tamtam’s crash, it has the feel of a flowing rhapsodic improvisation, but in fact is a cogently developed, with some beautiful moments of rapt tranquility and a poetic, atmospheric feel. The Scherzo juxtaposes a swirling wind theme with stabbing solo notes. The roles are reversed and developed before the strings enter. As in the Tenth Symphony, this signifies a burst of energy after the reflective opening movement, and similarly uses the D-S-C-H musical moniker. Like Mahler, Shostakovich would often use seemingly banal musical ideas in his music to add contrast, and the middle section here seems to caricature a folk dance, with wonderful solo invention over busy, but always transparent, orchestral writing. The cellos, basses and horns state the theme of the Passacaglia (a theme regularly repeated over a ground bass), then the wind introduce it in chorale-like character. The soloist enters at the next statement of the theme, which is finely and tautly
15
developed over the ensuing repeats until a climax is reached. Then, with the soloist over very sparse timpani and pizzicato accompaniment, there starts a long cadenza. This leads straight into the lively Finale, powerful and vital, which quotes the Passacaglia theme. The xylophone adds its distinctive voice to the typical Shostakovich timbre of the opening. The soloist hardly stops for breath – save for a brief orchestral development – before it rushes headlong to the final timpani beats over swirling wind figures and rhythmic string interjections.
Instrumentation of this piece Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flutes (3), piccolo (1), oboes (3), English horn (1), clarinets (3), E-flat clarinet (1), bassoons (3), contrabassoon (1) Brass: horns (4), tuba (1) Percussion: timpani, xylophone, tam-tam, tambourine Harp, celesta Solo violin
Jean Sibelius (1865–1957)
Lemminkäinen – Four Legends, Op 22 Lemminkäinen and the Maidens of Saari: Allegro molto moderato – Allegro moderato The Swan of Tuonela: Andante molto sostenuto Lemminkäinen in Tuonela: Il tempo largamente – Molto lento – Largo assai Lemminkäinen’s Return: Allegro con fuoco (poco a poco più energico) – Quasi presto – Presto
Lemminkäinen – described as a Finnish Don Juan – is one of the many characters contained within the “Finnish National Epic” – the Kalevala. This book of 50 “runos” describes the mythology of North Karelia as collated and arranged by a doctor, Elias Lönnrot, while he was working north-east of Kajaani between 1833 and 1835, when it was first published, with a revised version appearing in 1849. It is hard to underestimate the power of such a collection as the Kalevala. Sibelius was born into the Swedish-speaking minority that lived in what we now call Finland (although he went to the first Finnish-language grammar school), when the area was actually a Grand Duchy in the direct rule of the Russian Tsar. The Kalevala acted as a talisman for those who sought an independent Finland, feelings that would be exacerbated in 1899 when the “February Manifesto” imposed even heavier Russian control of the region and restricted freedom of speech (this was the year of Sibelius’ famous musical rallying cry, Finlandia). Thus the Kalevala was important in the creation of a national identity for the Finns and Sibelius’ early fascination with it is part-and-parcel wrapped up in this intellectual movement. Kullervo – the subject of the early choral symphony that bears his name – was a character from the Kalevala, as was Lemminkäinen. First introduced in the Kalevala’s eleventh runo, as a brave, handsome and over-sexed hero, Sibelius took as the starting point for his Lemminkäinen
16
runo 29 where Lemminkäinen leaves court to visit the Island of Saari, ostensibly to win the hand of beautiful Kyllikki. Along the way he seduces all the women of the island while their menfolk are engaged in battle (only Kyllikki seems wary of his charm, so he abducts her and she eventually becomes his wife). Eventually the men of Saari return and chase Lemminkäinen away. However, given his libido, he soon tires of Kyllikki and heads off to woo in Pohjola, where the sorceress Louhi (mother of the girl he has his eyes on) sets him a number of tasks, one of which is to shoot the Swan of Tuonela (the Land of the Dead). Lemminkäinen journeys to Tuonela and is about to shoot the Swan, when the son of Tuoni, the God of the Underworld, ambushes him on the banks of the sacred river. Lemminkäinen’s body is cut into pieces and unceremoniously thrown into the river but, thankfully, his mother is also an exponent of magic and is able to piece him back together and bring him back to life. Sibelius, in his original scheme, followed this with a depiction of (the lucky to be alive!) Swan of Tuonela itself, a direct borrowing from what was to have been the prelude to his discarded opera The Building of the Boat, also inspired by the Kalevala. The final part of Sibelius’ musical biography sees Lemminkäinen returning home after many wars, and finding memories still warm from his childhood. Sibelius conducted the first performance of what was then called Sinfniska Dikter till Motiv ur Lemminkäinen Mythen, with the Philharmonic Society Orchestra in Helsinki on 13 April 1896. Sibelius was nervous (which probably explains why the orchestra members seemed unhappy), but the work was very well received. However, as was his wont, Sibelius made revisions to the works before presenting the whole suite again on 1 November 1897. It was here that The Swan of Tuonela was moved to follow the opening movement, whereas originally it had been third. However, after that performance in 1897 the four legends became disconnected. The Swan of Tuonela and Lemminkäinen’s Return were revised again (the latter cutting a substantial part of its
musical argument) and published separately in 1900. However, perhaps mainly because of Robert Kajanus (conductor and Sibelius’ mentor) declaring some qualms about the other movements, Lemminkäinen and the Maidens of Saari and Lemminkäinen in Tuonela were left untouched for 40 years. Sibelius did revise them, long after he had stopped composing new works, in 1939, but the onset of the Second World War delayed their publication even further. They were eventually published in 1954, just three years before the composer’s death. While the music is dramatic enough to stand by itself (a cursory reading of the story outlined above proves interesting but is not strictly necessary to enjoy the work), it is worth noting Sibelius’ distinctive use of the English horn as the plaintive soloist in The Swan of Tuonela. The first edition of this A minor movement carried the following description: “Tuonela, the land of Death, the hell of Finnish mythology, is surrounded by a large river with black waters and rapid current, on which the Swan of Tuonela floats majestically, singing.” Much of the rest of the work is in E-flat (or its relative minor, C minor), the heroic key beloved of Beethoven (Eroica for example) and Richard Strauss (Ein Heldenleben), which certainly befits Lemminkäinen’s character.
Instrumentation of this piece Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flutes (2), piccolos (2), oboes (2), English horn (1), clarinets (2), bass clarinet (1), bassoons (2) Brass: horns (4),trumpets (3), trombones (3), tuba (1) Percusssion: timpani, bass drum, snare drum, cymbals, triangle, tambourine, glockenspiel Harp
© Nick Breckenfield, 2015 (except for // beforedark . hk . cn /) 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
17
《HiFi音響》雜誌音樂版編輯
劉志剛唱片推介 蕭斯達高維契
A小調第一小提琴協奏曲，作品99 蕭斯達高維契第 一小提琴協奏曲 「最佳演錄」的頭 幾位，被奧伊斯 特拉赫（David Oistrakh）佔去大 半！史上首個錄 音(1956）就是他 演奏的，由米特 羅普洛斯（Mitropoulos）指揮紐約愛樂。同年稍 後時間，馬拉溫斯基（Mravinsky）指揮列寧格勒 愛樂，又與奧伊斯特拉赫留下演出紀錄。1957 年，馬拉溫斯基指揮捷克愛樂，與奧伊斯特拉赫再 下一城（是布拉格音樂節實況）。1972年，作曲家 的兒子馬克辛（Maxim）領導英國New Philharmonia 樂團，與奧伊斯特拉赫為EMI做錄 音。「大衛王」（愛樂者對奧伊斯特拉赫的暱稱） 在幾次錄音的intensity都是驚人的。在早期版本你 會聽到一份「熱戀中」的新鮮熱忱，和宣道者的精 神。到了1972年，他對作品的認識更深刻，奏出
現代錄音中，首推由溫格羅夫（Maxim Vengerov）
來是另一番味道（這時已毋需「宣道」了，因為此
拉小提琴、羅斯卓波維契（Rostropovich）指揮的
曲已扎根國際repertoire） 。
版本。後者對作曲家的認識（二人過從甚密），可
選擇不單視乎搭子，還要看「難找」程度。馬克辛 指揮的那個錄音，由於小天使商標已被禁用，該次
上也靚到不得了。[Teldec 92256]
錄音暫時從市場絕跡。馬拉溫斯基的兩次相對不容
此外，特茲拉夫（Christian Tetzlaff）與指揮家斯
易買得到。米特羅普洛斯指揮的一次不單「鮮烈」
托嘉德（John Storga˚rds）的2013年錄音也甚有實
還有巨大歷史意義，目前仍可以買得到，不應錯
力。[Ondine ODE 1239-2]
過。[Sony 63327]
18
能是成功要素。再說，溫格羅夫那支Strad在錄音
西貝遼士
《藍敏凱寧的傳奇》，作品22 西貝遼士早在1893年寫好了「圖奧奈拉的天鵝」，
「藍敏凱寧與薩里的少女們」前後也有顯著的差
其他三個樂章譜於1895-1896年。1897年他將四
異，雖然長度基本不變。除了配器方面的變化，作
個樂章都修訂一遍。三年後，「圖奧奈拉的天鵝」
曲家更重要的修改，在於處理主題的方式。第一次
與「藍敏凱寧的回歸」又給修訂一次。作曲家最後
聽原版，有強大的「錯位」感覺：熟悉的材料，新
努力，發生在1939年：「藍敏凱寧與薩里的少女
鮮的效果。
們」及「藍敏凱寧在圖奧奈拉」作最後修訂。 芬蘭指揮家范斯克 除了演奏這個終極 版，也帶來四個世 界首次錄音：原版 「藍敏凱寧與薩里 的少女們」及「藍 敏凱寧的回歸」； 原版「藍敏凱寧在 圖奧奈拉」的一個
當然，范斯克這個錄音值得聽，原因不單是這些 「版本」趣味。 有人喜歡戴維斯（Colin Davis）的面面俱圓，亦有 人說奧曼第（Eugene Ormandy）的錄音是經典 （儘管在我而言，是太天真爛漫了些）；《藍敏凱 寧的傳奇》這首足以跟最好的西貝遼士交響曲平起 平坐的作品，能容納許多不同的詮釋觀點。范斯克 比奧曼第含蓄和深思熟慮許多，表演者強調了作品 的深暗色調與精神層面。
小片段（1分半鐘）；及1897年的「藍敏凱寧的
在音樂會上獨立演出「圖奧奈拉的天鵝」，通常追
回歸」的第二個結束部（不足兩分鐘長）。我們可
求唯美。但它本來不是。它蘊含徵兆，有潛在的惡
以藉聆聽、比較，了解創作過程。總體而言，終
意；在滾動的大鼓和豎琴低弦下，潛伏一股令人不
極版本是最好的；不過，早期版本也有很多有趣
安的邪惡。范斯克的演譯是最動人之一，他節奏很
的音樂，完全不理會他們就有些可惜。
慢，措辭玲瓏；英國管放得比平常遠些，色調柔和
最顯著的分別是在「藍敏凱寧的回歸」。1896年版 幾乎是終極版的雙倍長度。首版的不少音樂材料， 作曲家在1900年完全刪除。首版不是很簡潔，但 它「慶祝性」的質重感，是終極版所沒有的。終極 版近結尾的銅管鼓號曲，在1896年版是悄悄移前
圓融，像水妖向人招手一樣。「藍敏凱寧在圖奧奈 拉」的����慢，范斯克������上一個樂 章的邪惡氛圍，黝暗的低音提琴像黑色湖水。整個 弦樂組逐漸加速，萬斯卡又不斷柔順地變速，非常 有效果。錄音達示範級水準。 [BIS CD-1015]
了。首版的結尾幾乎是陷入沉思中，不是終極版的 爆炸式高潮。
19
香港小交響樂團 Hong Kong Sinfonietta 音樂總監 Music Director: 葉詠詩 YIP Wing-sie 首席客席指揮 Principal Guest Conductor: 柏鵬 Christoph POPPEN 小提琴 Violin 格德霍特 樂團首席
James CUDDEFORD Concertmaster
CHEUNG Man-yui Kitty
張文蕊 副樂團首席
Associate Concertmaster
LE Hoai-nam
李海南 第二小提琴首席
Second Violin Principal
TSAI Loo
蔡路 第二小提琴助理首席
Second Violin Assistant Principal
長笛 Flute 上杉晃代
Akiyo UESUGI
雙簧管 Oboe ● 金勞思 福原真美
Marrie Rose KIM Mami FUKUHARA
單簧管 Clarinet ● 方曉佳 陳秋媛
FONG Hiu-kai Johnny CHEN Chiu-yuan
巴松管 Bassoon ● 秦慶生 田口美奈子
CHIN Hing-sang Minako TAGUCHI
圓號 Horn ● 包文慶 東出真澄 岑慶璋 關山明
PAW Man-hing Hermann Masumi HIGASHIDE SHUM Hing-cheung Benny KWAN
小號 Trumpet ● 黃山 丹尼路
HUANG Shan Danilo DELFIN
長號 Trombone ● 羅澤基 陳學賢
Christopher RODGERS CHAN Hok-yin
蔡柏沂 馮佳 ���子 賈舒晨 顧洛臻 呂灝然 羅蔚敏 彭曉筠 佐 木智佳子 楊宇思 葉紹羲 ★ 陳劭楠 ★ 周止善 ★ 許榮臻
CAI Pak-yi FENG Jia Eiko HOSAKA JIA Shu-chen John KRUER Ambrose LUI LUO Wei-min PANG Hiu-wan Chikako SASAKI YANG Yu-si YIP Siu-hay CHAN Shaw-nan Sharon Kiann CHOW Mark HUI
中提琴 Viola ● 陳子信 ▼ 劉琛彥 陳敏聰 錢江 金普玹 顏星安
CHAN Tsz-shun Elvis LAU Sum-yin Ringo CHAN CHIN Kong KIM Bo-hyun NGAN Sing-on
低音長號 Bass Trombone KONG Tze-man Jason 江子文
大提琴 Cello ● 張培節（休假） ▼ 貝樂安 何國芝 朴詩媛 吳迎盈 葉俊禧
CHANG Pei-chieh (on leave) Laurent PERRIN HO Kwok-chee Karey PARK Si-won WU Yin-yin YIP Chun-hei Eric
低音大提琴 Double Bass Masami NAGAI ● 永井雅美 Santiago COSTA MARTÍNEZ ▼ 高斯達 CHENG Hiu-man Phoebe ★ 鄭曉文
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 ★ Orchestral Associate
Notes 1. 2.
3.
20
Guest Principal Cello – LIM Hee-young (林希映), Guest Principal Flute – Sami JUNNONEN (于諾寧). Freelance Musicians: Michael CAMPBELL (簡博文), CHAN Ping-chi (陳秉智), CHAN Ting-yuen Timothy (陳定遠), CHENG Chi-yuen (鄭智元), CHENG Yan-ho (鄭恩浩), CHOI Tsz-wing (蔡芷穎), LEE Shing-chun David (李鋮浚), LI Xiao-hui (李曉慧), Mandy LO (勞善雯), MAN Hay (文曦), Izumi NIKAIDO (二階堂泉), TONG Wing-ka Penny (湯穎嘉), WONG Q-jing Juanita ( ). APA students (with kind permission of the Hong Kong Academy for Performing Arts): CHUA Vince Eliezer N. (蔡君賢), LAI Tin-wai (黎天惠), YEUNG Kin-man Sunny (楊健文).
榮譽監察委員
Honorary Governors
金董建平女士
Mrs Alice KING
施永青先生
Mr SHIH Wing-ching
楊雪姬女士
Ms Serena YANG
監察委員會
Board of Governors
陳鋈鋆先生（主席）
Mr Y K CHAN (Chairman)
潘燊昌博士（司庫）
Dr Patrick S C POON (Treasurer)
音樂總監
Music Director
陳育明先生
Mr Patrick CHAN
葉詠詩
YIP Wing-sie
鍾思源醫生
Dr CHUNG See-yuen
翟紹唐先生
Mr JAT Sew-tong
林煥樟博士
Dr Steven LAM
劉文文女士
Ms LAU Man-man Lisa
謝智剛教授
Prof C K Michael TSE
駐團藝術家 HKS Artist Associates
陳智文先生
Mr Stephen TAN
石家豪
Wilson SHIEH
(2015-2016)
楊偉添先生
Mr Patrick YEUNG
���
CHU Pak-him
(2014-2015)
麥淑賢
MAK Su-yin
(2014-2015)
義務公司秘書
Honorary Company Secretary
羅詠媞
Wendy LAW
(2013-2014)
卓佳登捷時有限公司
Tricor Tengis Limited
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)
首席客席指揮 Principal Guest Conductor 柏鵬
Christoph POPPEN
義務法律顧問
Honorary Legal Consultant
霍金路偉律師行
Hogan Lovells
義務骨科專科醫生
Honorary Orthopaedic Surgeon
楊嘉輝
Samson YOUNG (2008-2009)
傅偉俊醫生
Dr Dan HOOLEY
伍卓賢
NG Cheuk-yin
(2006-2008)
樂團行政 Administration 行政總裁 Chief Executive Officer:
楊惠
總經理 General Manager:
李浩儀 LEE Ho-yee
Margaret YANG 樂團事務及節目Orchestra & Programme
行政秘書 Executive Assistant to CEO: 何淑娟 Rose HO
樂團經理 Orchestra Manager:
會計經理 Accounting Manager:
李靄玲 Judith LEE
節目經理 Special Projects Manager: 李莉
辦公室助理 Office Assistant:
楊瑞遠 YANG Jui-yuan
譜務主任 Library Officer:
陳藹晴 Ivy CHAN
陳成美 Marylu CHAN Lily LEE
節目主任 Project Officer:
黃紫菱 Athena WONG
市場推廣及發展 Marketing & Development
節目主任 Programme Officer:
丘靄雪 YAU Oi-suet Icy
公關及市場推廣經理 PR & Marketing Manager:
樂團事務主任 Orchestra Officer:
陳靄婷 Tobie CHAN
舞台經理 Stage Manager:
楊植生 Bobby YEUNG
莫皓明 Amanda MOK
業務拓展經理 Development Manager: 陳曉茵 Cynthia CHAN 助理市場推廣經理 Assistant Marketing Manager:
何珮鈴 Pauline HO
市場推廣主任 Marketing Officer:
梁凱文 Carmen LEUNG
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This is Hong Kong Sinfonietta.
This is ALSO Hong Kong Sinfonietta. 我們相信古典音樂適合所有人。 香港小交響樂團一直致力拉近古典音樂與普羅大眾 間的距離。除了常規音樂會，樂團亦積極以富創意 及別樹一格的手法把古典音樂帶給觀眾。因為我們 深信，以熱誠奏出的音樂能觸動和激勵人心。 有賴您的支持，我們的音樂才可接觸更多的市民。 請捐款支持 樂團或學生票資助計劃！ 年度捐款 HK$100 或以上？ 謝謝！我們會為您準備收據作申請扣稅之用。 年度捐款 HK$1,000 或以上？
謝謝！我們會為您準備收據作申請扣稅之用， 並在樂團一年內舉辦的主要音樂會的場刊中， 鳴謝 HK$1,000 或以上的捐款。 查詢 Enquiries : fundraising@hksinfonietta.org or (852) 2836-3336.
WE BELIEVE THAT CLASSICAL MUSIC IS FOR EVERYONE. Apart from standard orchestral repertoire, we go an extra mile to design special concerts tailor-made for different music lovers because we believe good music delivered with passion can touch, move and inspire our society. Hong Kong Sinfonietta relies on public support. Please donate to our General Fund or Student Ticket Scheme! Planning to donate over HK$100? Thank you! We will prepare an official receipt for you for tax deduction. Planning to donate over HK$1,000? Thank you! We will prepare an official receipt for you for tax deduction AND your name will be acknowledged for one year in house programmes of major ticketed Hong Kong Sinfonietta concerts.
謝謝！Thank You Partners! 2015/2016 樂季贊助機構 Sponsors of the 2015/2016 Season 主要贊助機構 Major Sponsors
Serena Yang 酒店伙伴 Partner Hotel
商業機構贊助計劃 Corporate Members 白金會員 Platinum Members
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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 Patron (>HK$500,000)
施永青基金有限公司 Shih Wing Ching Foundation Ltd SuperSTAR Patrons (HK$100,000 to HK$499,999)
STARplus Donors (HK$30,000 to HK$99,999)
亞洲保險有限公司 Asia Insurance Co Ltd
陳嘉何醫生夫人 Dr & Mrs Chan Ka Ho
陳鋈鋆先生 Mr Chan Yuk-kwan
Mr Patrick Chan
羅鷹瑞醫生夫人 Dr & Mrs Lo Ying Sui Archie
Dedicated Violinist Fund
潘燊昌博士及夫人 Dr & Mrs Patrick S. C. Poon
梁烈安先生及夫人 Mr & Mrs Leung Lit On
唐柏泉醫生 Dr Patrick Tong
Mr Eric Tsang 多位無名氏 Anonymous
STAR Donors (HK$10,000 to HK$29,999) 北山堂基金 莫扎特迷 Mozart’s Fan Bei Shan Tang Foundation 彭嘉碧女士 Prof T M Chan Ms Rotina Pang 周愛琳醫生 Dr Irene Chau Ruth & Sidney Dr Polly Cheung 冼為堅先生 Mr David Sin Wai-kin 張�昌博士 Dr Thomas H C Cheung Mrs Lisa Siu Dr Vivian Cheung Mr and Mrs Robert C. Tang 張黎慧文 Patrick & Selena Tsang Vivian W M Cheung Ms Veronica Wai 鍾思源醫生 曹延洲醫生 Dr Chung See Yuen Dr Tsao Yen-chow Mr Eugene Fung Dr & Mrs 關卓然先生 Arthur Van Langenberg Mr William Kwan Cheuk Yin 多位無名氏 Anonymous Mr Allan Leung
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Donors (HK$1,000 to HK$9,999) BELIEVING MUSIC CAN 加拿大琴行 Canada Piano Co Dr Eugene K Chan Jonman, Monika & Joel Chan Family Mr Chan Si Nang 陳燕婷 Mrs Elizabeth Chao Ms Laura Chen 張綺華小姐 Ms Helen Cheung 張玉堂先生 Kenyon & Leonard Chow Mr Lewvis Choy Ms Amanda Chui 閃電仔仔 Flash 馮新健先生 Mr John Sun-kin Fung 馮元志 Louis Fung 何靖邦先生 Mr Ho Ching Pong Ms Rose Ho Dan and Sheryl Hooley Mrs Elsie Hui 高靜芝 Sophia Kao Ms Betsy Lai Mr Jackson Lam
Ms Lisa Lau Ms Anna Lo Mr Ambrose Lui 馬宗傑先生 Mr Tony Ma Hayden Majajas & Andy Chen Philippe de Marcillac 大通會計事務所 Masterpoint Professional Ltd Mr Anthony Nappi 吳志強先生 Ms Jane Ng Poon Shing Chi and Liao E Wen Dr John Sanderson Ms Amy Tam Ms Eunice Tong 曾健鵬先生夫人 Mr & Mrs Paul Tsang Wig the Pig Mr Wong Ho Ming Augustine Mr Peterson Wong 葉紹羲先生 Mr Yip Siu-hay 徐閔女士 Ms Helen Zee 多位無名氏 Anonymous
學生票資助計劃 Student Ticket Scheme Donors Diamond Donors (>HK$100,000)
Ms Cecilia Fok 潘燊昌博士及夫人 Dr & Mrs Patrick S.C. Poon 施永青基金有限公司 Shih Wing Ching Foundation Ltd 芝蘭基金會 Zhilan Foundation Jade Donors (HK$50,000 to HK$99,999)
CLP Holdings Limited 中原電器行有限公司 無名氏 Anonymous Ruby Donors (HK$30,000 to HK$49,999)
陳求德醫生 Dr Chan Kow Tak 鍾思源醫生 Dr Chung See Yuen Pearl Donors (HK$10,000 to HK$29,999)
Opal Donors (HK$1,000 to HK$9,999)
亞洲保險有限公司 Asia Insurance Co Ltd Mr Patrick Chan 周愛琳醫生 Dr Irene Chau 張德賢博士伉儷 Dr & Mrs Douglas Cheung 郭立成律師 林柏年醫生夫人 Dr & Mrs Samuel Lam Mr and Mrs Lam Ting Kwok Paul Nathaniel Foundation Limited 彭嘉碧女士 Ms Rotina Pang
BELIEVING MUSIC CAN Mr Iain Bruce Dr Eugene K Chan Jonman, Monika & Joel Chan Family Miss Julia Chan Mr Chan Kwan Ho Ms Anastasia Chao Mr P L Choy Prof David Clarke Mr Paul Jackson Luca, Caterina, Maurien, Joseph Jacobelli Stephanie & Amelie Jat Tasha Lalvani 紀念劉葉珍女士 李樹榮博士 Dr Ernest Lee 廖炳輝醫生 Dr Liu Bing Fai 陸文靜小姐 Ms Anna Luk
孫永輝及施熙德 Edith and Stephen Sun 偉華基金 Wai Wah Foundation 王永平教授 Ms Christine Yip
Prof Mak Su-yin 莫嫣小姐 Miss Jennifer Mok 吳思博伉儷 Mr & Mrs Nigel & Winny Ng 吳榮奎先生 Mr Ng Wing Fui Nicholas 魏玉華小姐 Ms Winnie Ngai 蘇國輝先生 Mr Mark Tong 曾健鵬先生夫人 Mr & Mrs Paul Tsang 詹德隆先生 Mr T L Tsim Dr Wong Hin Yeuk 黃乃禧先生 Mr Wong Nai Hay 王煒東先生 Mr Marcus Woo Ms Alice Yeung 徐閔女士 Ms Helen Zee 多位無名氏 Anonymous
多位無名氏 Anonymous
Premium Friends 張�昌博士 Dr Thomas H C Cheung 林煥樟博士 Dr Steven Woon-cheong Lam 李韶博士 及 李梅以菁博士 Dr Lee Shiu & Dr Jennie Mui Lee 羅榮生 Vincent W S Lo 冼為堅先生 Mr David Sin Wai-kin Mr T L Tsim 萬美宜 Christine Van 多位無名氏 Anonymous
感謝以下各機構對香港小交響樂團一直的支持! Thank you to the following parties for their continued support! CASH音樂基金 CASH Music Fund 法國駐港澳總領事館 Consulat Général de France à Hong Kong et Macao 民政事務局 Home Affairs Bureau
康樂及文化事務署 Leisure and Cultural Services Department 香港電台 Radio Television Hong Kong 太古地產 Swire Properties 通利琴行 Tom Lee Music Co Ltd
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捐款表格 Donation Form 請將回條寄回香港灣仔譚臣道98號運盛大廈3摟，或傳真至2783 9819。 Please return this form to 3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong or fax to 2783 9819.
我樂意支持香港小交響樂團培育文化新一代，現捐助 I would like to support the Hong Kong Sinfonietta with __________________ 以支持樂團的 for its □日常經費 General Fund □學生票資助計劃 Student Ticket Scheme
HK$
捐款人資料 DONOR INFORMATION 中文姓名
□ 每月定期捐款 monthly donation □ 一次性捐款 one-off donation
先生／小姐／女士／博士／教授 Mr/Miss/Mrs/Ms/Dr/Prof
Surname
First Name
電話 Tel
電郵 E-mail
地址 Address 刊登於場刊之鳴謝姓名 Name to be acknowledged in house programme (如捐款超過港幣1,000元 if donation is more than HK$1,000) （中文）先生／小姐／女士／博士／教授 (Eng) Mr/Miss/Mrs/Ms/Dr/Prof
□無名氏 Anonymous
閣下提供的個人資料，香港小交響樂團有限公司將絕對保密，只用作郵寄回條及其他通訊之用。 Your personal data will be treated as strictly confidential and will be used for issuing official receipts and other communication purposes.
捐款方式 DONATION METHOD 支票 Cheque 本人附上劃線支票作一次性捐款予 「香港小交響樂團有限公司」。 I enclose a cheque of the above stated amount as my one-off donation to the “Hong Kong Sinfonietta Limited”.
信用卡 Credit Card
□匯財卡 Visa □萬事達卡 Mastercard 美國運通卡 American Express □ 此卡只適用於一次性捐款 This card is for one-off donation only.
如選擇每月定期信用卡捐款 For monthly credit card donation: 本人授權香港小交響樂團有限公司由本人之信用卡賬戶內每月定期扣除上述之帳 款，直至本人另行通知為止。本人同意此授權書於本人之信用卡有效期後及獲續發 新卡時繼續生效，並無需另寫授權書。（如需要取消或更改本授權書，請於取消或 更改生效日期十個工作天前通知香港小交響樂團有限公司。） I hereby authorize the bank to debit my credit card account to make a monthly donation of the above stated amount to the Hong Kong Sinfonietta Limited until further notice. I agree the validity of this agreement will continue before or after the expiry date of my credit card account. Cancellation or variation of this authorization shall be given to the Hong Kong Sinfonietta Limited ten working days prior to the date on which such cancellation or variation is to take effect.
信用卡號碼 Card Number 有效日期 Expiry Date 發卡銀行 Issuing Bank 信用卡持有人姓名 Cardholder’s Name on Card 信用卡持有人簽署 Cardholder’s Signature
日期 Date
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銀行自動轉賬 Autopay Direct Debit (只適用於每月捐款 Monthly Donation Only) 收款之一方（受益人）Name of Party to be Credited (The Beneficiary)
香港小交響樂團有限公司 Hong Kong Sinfonietta Limited 銀行號碼 Bank No.
分行號碼 Branch No.
賬戶編號 Account No.
004
168
165066 001
本人（等）在結單/存摺上所記錄的名稱 My/Our Name(s) as recorded on Statement/Passbook
本人（等）的銀行及分行的名稱 My/Our Bank Name and Branch
(in block letters)
銀行號碼 Bank No.
分行號碼 Branch No.
本人（等）的戶口號碼 My/Our Account No.
本人（等）在結單／存摺上所記錄的地址 My/Our Address as recorded on Statement/Passbook 若與上方地址相同，不需要填寫 if different from above
本人（等）銀行戶口的簽署 My/Our Bank Account Signature(s)
日期 Date 此欄不用填寫 For Official Use Only
本機購專用 For Hong Kong Sinfonietta Use Only (Donor’s Ref. #)
銀行專用 For Bank Use Only (Signature(s) verified) • 現授權本人 （等）的上述銀行，（根據收款人或其往來銀行及/或代理行不時給予本人 （等） 銀行的指示）自本人（等）的戶口內轉賬予上述收款人。惟每次轉賬金額不得超過以上 指定的限額。 • 本人（等）同意本人（等）的銀行毋須證實該等轉賬通知或沖銷通知是否已交予本 人（等）。 • 如因該等轉賬而令本人（等）的戶口出現透支（或令現時的透支增加），本人（等）願共 同及個別承擔全部責任。 • 本人（等）明白本人（等）須在指定的轉賬日期（即根據本人（等）的銀行從收款人或其往 來銀行及/或代理行不時收到的指示）前一個營業日（分行辦公時間內），在戶口內備有 足夠款項以便支付該等授權轉賬。本人（等）並同意如本人（等）的戶口並無足夠款項支 付該等授權轉賬，本人（等）的銀行有絕對酌情權不予轉賬，且本人（等）的銀行可收取 慣常的收費，並可隨時取消該等授權轉賬且毋須通知本人（等）。為避免疑問，本人 （等）的銀行可隨時自行決定取消該等授權轉賬且毋須通知本人（等）。 • 本直接付款授權書將繼續生效直至另行通知為止或直至上列到期日為止（以兩者中最 早的日期為準）。本人（等）同意如本人（等）已設立的直接付款授權的戶口連續三十個 月內未有根據本授權而做出過賬的記錄，本人（等）的銀行保留權利取消本直接付款安 排而毋須另行通知本人（等），即使本授權書並未到期或未有註明授權到期日。 • 本人（等）同意，本人（等）取消或更改本授權書的任何通知，須於取消/更改生效日最少 兩個工作天之前交予本人（等）的銀行。
• I/We hereby authorize my/our above named Bank to effect transfers from my/our account to that of the above named beneficiary in accordance with such instructions as my/our Bank may receive from the beneficiary and/or its banker and/or its banker’s correspondent from time to time provided always that the amount of any one such transfer shall not exceed the limit indicated above. • I /We agree that my/our Bank shall not be obliged to ascertain whether or not notice of any such transfer or reversal notice has been given to me/us. • I/We jointly and severally accept full responsibility for any overdraft (or increase in existing overdraft) on my/our account which may arise as a result of any such transfer(s). • I/We understand that I/we must maintain sufficient funds in the account one business day (before the close of branch banking hours) before the transfer date (as specified in the instructions received by my/our Bank from the beneficiary and/or its banker and/or its banker’s correspondent from time to time) for the transfer authorized herein. I/We agree that should there be insufficient funds in my/our account to meet any transfer authorized herein, my/our Bank will be entitlted, at its absolute discretion, not to effect such a transfer in which event the Bank may levy its usual charges and may cancel this authorization at any time without notification to me/us. For the avoidance of doubt, the Bank may cancel this authorization at its sole discretion at any time without prior notice. • This direct debit authorization shall have effect until further notice or until the expiry date written above (whichever shall first occur). I/We agree that if no transaction is performed on my/our account under such authorization for a continuous period of 30 months, my/our Bank reserves the right to cancel the direct debit arrangement without prior notice to me/us, even though the authorization has not expired or there is no expiry date for the authorization. • I/We agree that any notice of cancellation or variation of this authorization which I/we may give to my/our Bank shall be given at least two working days prior to the date on which such cancellation/variation is to take effect.
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