Artists
艺术家
Lu Siqing violin
吕思清 小提琴
Angela Li piano
Angela Li 钢琴
Program
演出曲目
Beethoven Violin Sonata No.5 Spring
贝多芬 小提琴奏鸣曲 《春天》
Svendsen Romance
斯凡森 浪漫曲
Lei Zhenbang Why Are the Flowers So Red
雷振邦《花儿为什么这样红》
INTERVAL
中场休息
Debussy Violin Sonata
德彪西 小提琴奏鸣曲
Kreisler Praeludium and Allegro
克莱斯勒 前奏与快板
Sha Hankun Pastoral
沙汉昆 《牧歌》
de Sarasate Zigeunerwveisen (Gypsy Airs)
沙拉萨蒂 《流浪者之歌》(吉普赛之歌)
Easts meets West Program Partners Consulate General of the People’s Republic of China in Melbourne
LRR Family Trust
Mr Chu Wanghua and Dr Shirley Chu
Associate Professor Douglas Gin and Susan Gin
Running time: Approximately 2 hours including a 20-minute interval. 演出时间：2小时(包括20分钟中场休息） In consideration of your fellow patrons, thank you for silencing and dimming the light on your phone.
Lu Siqing
Angela Li
Lu Siqing is the Melbourne Symphony Orchestra’s 2019 Soloist in Residence. Born in Qingdao, China, Lu Siqing was invited by Yehudi Menuhin to study at his school in London aged 11. In 1984 he returned to China and five years later went to Juilliard to study with Dorothy DeLay. In 1987 he was the first Asian to win First Prize at Italy’s Paganini International Violin Competition.
Accomplished Chinese-Australian pianist Angela Li hails from an artistic family from Shanghai whose mother was a prominent Vocal Professor at the Shanghai Conservatorium of Music. Studying piano since the age of four under the guidance of the Professor Wu Le Yi, Prof. Lin Er Yao and Prof. Zhou Me Yu, she has a Bachelor of Music degree and taught at the Shanghai Conservatorium of Music.
Lu Siqing has performed at some of the world’s most famous concert halls in more than 40 countries and has released more than 20 CDs. His latest recording with the MSO was released by ABC Classics in March 2018.
Angela Li migrated to Melbourne in 1990 and undertook postgraduate study at the Victoria College of the Arts, Melbourne University under the eminent Australian pianist Stephen McIntyre AM. She obtained a postgraduate diploma in Advanced Performance Arts (piano) and chamber music in 1992.
violin
piano
Lu Siqing has performed with leading orchestras such as the Philharmonia and San Francisco Symphony, and collaborated with conductors such as Maazel, Gergiev, Ashkenazy, van Zweden, Slatkin and Yu Long. In 2012, he formed the China Trio with cellist Li-Wei Qin and pianist Yingdi Sun. He plays the “Miss Crespi” 1699 Stradivari violin, generously loaned to him by Chinese-Australian arts philanthropist Mr David Li AM.
Angela Li has appeared in many recitals and chamber concerts, as well as a piano accompanist in China and Australia, performing with a refined touch and exquisite tone. Lu Siqing has praised Angela as “a charming, delightful pianist, who plays with poetic grace and delicacy. As a piano accompanist, she is a consummate and intuitively collaborative artist.”
吕思清 小提琴家
ANGELA LI 钢琴家
吕思清是墨尔本交响乐团2019年的客座小提琴独奏家。吕思 清出生于中国青岛，11岁被小提琴大师耶胡迪·梅纽因选中， 应邀进入大师在伦敦创办的音乐学校学习。1984年，他回到 了中国，五年后前往茱莉亚音乐学院深造，师从小提琴教育家 德罗希·迪蕾。1987年，他一举夺得意大利帕格尼尼国际小 提琴大赛金奖，成为获此殊荣的东方第一人。
澳大利亚华裔钢琴家，Angela Li 来自上海的音乐世家，母亲 是上海音乐学院著名的声乐教授。她四岁开始学琴，曾师从钢 琴大师吴乐㦤教授、林尔耀教授及周美瑜教授。她在获得了音 乐学士学位后任教于上海音乐学院。 Angela Li 于1990年移民墨尔本并进入维多利亚艺术学院暨墨 尔本大学继续深造研究生课程，师从澳大利亚卓越的钢琴演奏 家斯蒂文·麦肯太尔(Stephen McIntyre AM)，主修髙级钢琴 演奏艺术及室内乐。1992年她完成学业取得研究生文凭。
吕思清曾在全球各大音乐厅登台演出，足迹遍布40多个国家， 迄今为止已发行20多张CD。他最新录制的专辑与墨尔本交响 乐团合作，于2018年3月由ABC Classics发行。
Angela Li 曾在中囯及澳大利亚参与了众多的独奏及室内音乐 会——她的演奏触键轻盈灵巧，音色精致细腻。小提琴大师吕 思清称赞她是“一个充满魅力和令人愉悦的钢琴家”。她的演 奏充满诗意和优雅。作为钢琴伴奏家，她是一个具有高度领悟 合作意识的艺术家。
吕思清曾与全球诸多知名交响乐团同台演出，与他合作过 的知名指挥家包括Maazel、Gergiev、Ashkenazy、van Zweden、Slatkin和余隆。2012年，他与大提琴家秦立巍、 钢琴家孙颖迪组成了“美杰三重奏”(China Trio)。吕思清将 使用世界名琴“克莉斯比小姐(Miss Crespi)”，这把小提琴由 制琴名匠斯特拉迪瓦里于1699年制作，由爵级员佐勋章获得 者、澳籍华人李大伟先生慷慨出借。
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About the Music
演出曲目
LUDWIG VAN BEETHOVEN
贝多芬
(1770–1827)
(1770–1827)
Violin Sonata in F, Op.24 Spring
F大调小提琴春天奏鸣曲（作品24号）
Allegro
快板
Adagio molto espressivo
富有情感的慢板
Scherzo: Allegro molto
谐谑曲：极快的快板
Allegro ma non troppo
从容的快板
The fifth of Beethoven’s sonatas for piano and violin was published in 1801, the same year as its predecessor, Op.23 in A minor. Whereas that work was troubled, agitated and difficult, the F major sonata is sunny and fresh.
贝多芬的第五号钢琴小提琴奏鸣曲发表于1801年，与该作品 之前的A小调奏鸣曲（作品23号）发表于同一年。A小调奏鸣 曲阴郁不安，暗淡低回，而F大调奏鸣曲则明快清新，犹如绚 丽灿烂的春光。
The Spring Sonata is the first of its genre in Beethoven’s output to have four movements. Breadth and flowing lyricism immediately strike the attention in the opening movement’s first subject. The character of the movement is thus set from the outset, though there is some agitation and drama later. The basic contrast is between the essentially melodic first idea and a more broken-up, dramatically exchanged second subject. The main theme returns in the coda where its first bar is developed, setting its seal even more firmly on the movement.
《春天奏鸣曲》是贝多芬创作的第一部包含四个乐章的作品。 开场乐章的第一个主题抒情流畅，乐句舒展而广阔，在开场时 就能艳惊四座。因此，这个乐章的特点是从一开始就确定的欢 快的基调（尽管后面也有一些紧张和戏剧性的元素参与其中） 。旋律优美的小提琴声和时断时续的钢琴声形成了鲜明对比， 激昂地转入第二个主题。之后，主题曲返回至尾声，第一小节 缓缓奏响，为乐章划上了一个果断而坚决的句号。 接下来的乐章节奏舒缓，舒展广阔的乐句以及亲切温暖的氛围 再次成为一大特征，感情渐渐变得凝重起来。两种乐器珠联璧 合，达到各自的巅峰状态，奏出丰沛浓烈的感情——小提琴自 成一派，引出了第一个主旋律《如歌》(采用吟唱风格)，钢琴 反复变奏，不断推高感情的烈度。
The slow movement is again distinguished by breadth of phrase and warm feeling, while the mood is more serious. Exposition is closely shared by the instruments, each doing what it can best – the violin detaching itself to present the first theme cantabile (in a singing style), the piano heightening the intensity by varying it with repeated notes.
谐谑曲采用切分交流方式(小提琴比钢琴慢一拍)，为复三部曲 式风格，曲调轻快急促，形成了突然的对比。乐曲通过对比， 使最后一个乐章逐渐回归第一个乐章抒情流畅的风格，给听众 以美的享受。第四乐章在形式上属于回旋曲，由于它极其微 妙，副曲进行变奏处理，富于变化，因而产生出不断酝酿、变 化多端的效果，几乎如行云流水。进入回旋曲的第二段时，音 乐转为D小调，鲜明的对比骤然出现。副曲返回，可听到隐隐 约约的钢琴声，最后的尾声充分体现了精湛的艺术技巧，引出 一个极具张力的结尾。
The Scherzo abruptly contrasts a syncopated exchange (the violin follows the piano a beat behind) with a Trio in rapidly running notes. This prepares the listener by way of contrast for a return in the last movement to the lyricism and flow of the first. Formally this is a rondo, and because of the subtlety with which the refrain is altered and variously shaped, the effect is of almost uninterrupted development and variation. The contrast comes when, in the second couplet of the rondo, the music shifts into D minor. When the refrain returns, some remote keys are explored before the coda uses a little virtuosity to provide an effective conclusion.
根据David Garrett笔录撰写
Adapted from a note © David Garrett
JOHAN SVENDSEN
约翰·斯文森
(1840–1911)
(1840–1911)
Romance, Op.26
浪漫曲（作品26号）
A contemporary and friend of Grieg, Norwegian composer and violinist Johan Svendsen studied composition at the Liepzig Conservatory under Carl Reinecke. He completed the Romance for violin and orchestra in just two days in 1881, and it went on to become his most famous work. The composer also arranged the work for violin and piano – one of nearly 70 editions of the work published in his lifetime.
约翰·斯文森是一位来自挪威的作曲家兼小提琴家，他和“挪 威音乐之父”葛利格为同时代生人，亦是葛利格的好友。斯文 森早年在莱比锡音乐学院师从德国作曲家卡尔·赖内克，专心 学习作曲。1881年，他只用两天时间就写完了为小提琴和交 响乐团而创作的《浪漫曲》，这首乐曲成为了他最著名的经典 之作。此外，这位作曲家还将《浪漫曲》编排为小提琴和钢琴 合奏的版本。斯文森一生中发表了《浪漫曲》的近70个版本， 小提琴、钢琴的合奏版本就是其中之一。
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LEI ZHENBANG
雷振邦
(1916–1997)
(1916–1997)
Why Are the Flowers So Red
《花儿为什么这样红》
Renowned Chinese film music composer Lei Zhenbang often drew on folk music material and adapted folk songs of ethnic minorities for his scores. The love song Why Are the Flowers So Red is based on an ancient Tajik song, and was written for the 1963 spy thriller Visitors on the Icy Mountain (Bingshan shang de laike).
雷振邦是中国著名的电影音乐作曲家，他常常从民歌中汲取养 料，在创作的音乐中运用少数民族的民歌元素。情歌《花儿为 什么这样红》基于一首古老的新疆塔吉克族民歌，由雷振邦专 为1963年的一部间谍惊悚片《冰山上的来客》而创作。
CLAUDE DEBUSSY
德彪西
(1862–1918)
(1862–1918)
Sonata in G minor for violin and piano
G小调小提琴钢琴奏鸣曲
Allegro vivo
活跃的快板
Intermède (Fantasque et léger)
间奏曲(富于幻想而轻松愉快)
Finale (Très animé)
终曲(生气勃勃) 从最初的Durand版本扉页来看，这部作品本来应该有六部奏 鸣曲，但德彪西实际上只写了三部。其中的第三部是小提琴和 钢琴奏鸣曲，它是德彪西1918年去世之前创作的最后一部作 品。前面的两部奏鸣曲一首为大提琴钢琴奏鸣曲，另一首为长 笛、中提琴和竖琴的奏鸣曲，均创作于1915年。但第三部奏 鸣曲直到1917年才写完。“出版商向我催稿，要不是为了应 付他们，我才懒得写”德彪西在信里这样对好友写道。1917 年5月5日，这部作品在巴黎首演，演奏钢琴的是德彪西本人。
The title page of the original Durand edition of this work refers to six sonatas, but only three were written. The third of these, the Sonata for violin and piano, was the last work Debussy wrote before his death in 1918. The first two sonatas, for cello and piano, and for flute, viola and harp, date from 1915, but the third was not completed until 1917, ‘…only to get rid of the thing, spurred on as I was by my dear publisher…’, as Debussy wrote to a friend. It was first performed in Paris on 5 May 1917, with Debussy himself at the piano.
第一乐章并未沿袭莫扎特的风格，相反，它与17、18世纪的 单主题法国奏鸣曲一脉相承。第二乐章是《间奏曲》，德彪西 给演奏者的指导是“富于幻想而轻松愉快”。气氛与节奏的突 然转折、怪诞诡异的华彩乐段、拨奏与泛音等超凡技巧的运 用，所有的这一切，都在召示着丑角悲喜交加的世界。《终 曲》是一首生气勃勃的回旋曲，它的主题是“呈现最诡异的扭 曲世界，最终给听众留下一种自虐自毁的印象，就像蛇咬自己 的尾巴一样。”(德彪西1917年5月在给好友Robert Godet的 信中这样写道)。
The first movement conforms to the form of the monothematic French sonata of the 17th and 18th centuries, rather than to that of Mozart. Debussy’s instructions to the performer for the second movement, Intermède or Interlude, are ‘fantastic and light’: the abrupt changes of mood and tempo, the whimsical cadenzas, the dazzling use of pizzicato and harmonics all suggest the tragi-comic world of the harlequin. The Finale is a lively rondo, the theme of which ‘…is subjected to the most curious deformations and ultimately leaves the impression of an idea turning back upon itself, like a snake biting its own tail’ (Debussy in a letter to his friend Robert Godet, May 1917).
根据 Deborah Crisp笔录撰写
Adapted from a note © Deborah Crisp
FRITZ KREISLER
弗里茨·克莱斯勒
(1875–1962)
(1875–1962)
Praeludium and Allegro
前奏与快板
Fritz Kreisler is regarded as one of the greatest violinists of all time, winning the “Premier Grand Prix de Rome” at the age of 12. He also composed a number of works for violin, often imitating the style of earlier composers, to whom he then falsely attributed these works. The Praeludium and Allegro from 1910 is one such example, having originally been ascribed to Gaetano Pugnani, with Kreisler admitting to writing this work in 1935.
弗里茨·克莱斯勒被认为是有史以来最伟大的小提琴家之 一，12岁时曾一举摘得“罗马大奖”。克莱斯勒还创作了大量 的小提琴作品，他常常模仿早期作曲家的创作风格，之后他的 作品还被误认为是早期作曲家的先作。他在1910年创作的《 前奏与快板》就是一个典型的例子，《前奏与快板》最初被认 为是普尼亚尼的作品，直到1935年弗里茨·克莱斯勒才承认 是自己的作品。
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SHA HANKUN
沙汉昆
(born 1926)
(生于1926年)
Pastoral
《牧歌》
Pastoral is based on a folk-song melody from the eastern part of Inner Mongolia. Composed in 1953 while Sha Hankun was a student of the Shanghai Conservatory, this piece has become one of the most treasured solo violin works in China. The simple melody is meant to reflect the sky, grasslands and herds of sheep depicted in the original Mongolian folk tune.
《牧歌》改编自内蒙古东部的一首长调民歌。这部作品创作于1953 年，当时沙汉昆还是上海音乐学院的一名学生，后来《牧歌》成为了 中国最珍贵的小提琴独奏作品之一。这部作品旋律简单，让人不禁想 起蒙古民间小调中经常描绘的“ 天苍苍，野茫茫，风吹草低见牛羊” 的意境。
PABLO DE SARASATE
帕布罗·德·萨拉萨蒂
(1844–1908)
(1844–1908)
Zigeunerweisen (Gypsy Airs)
《流浪者之歌》(吉普赛之歌)
First made popular by its virtuoso violinist-composer, and then through multiple performances and recordings by Jascha Heifetz, Zigeunerweisen has become a calling card for violinists. There must be a certain thrill and terror for the performer on first seeing the score of the work and realising that the virtuosity lies, not so much in the incredible speed at which parts of the piece are played, but in the multitude of themes decked out by ‘arabesques, flying arpeggios, left-hand pizzicatos, harmonics and every sort of virtuoso effect’ that one must achieve on the way. The list of techniques needed to get through Zigeunerweisen does not stop there – add to it double and triple stopping, parts marked for the player to ‘make it up’, glissandi, freedom of rubato, and quick changes between plucking the strings and drawing the bow across them.
《流浪者之歌》最初由神乎其技的小提琴家兼作曲家萨拉萨蒂演奏一 举成名，后经过亚莎·海菲兹的多次表演和录音，这首曲子成为了小 提琴家的代表曲目。表演者第一次看到琴谱肯定会倒吸一口凉气，因 为他们知道演绎这部作品需要太多的精湛技艺、不仅在演奏一些乐段 时需要惊人的拉琴速度，而且这部作品的主题曲众多，集“阿拉伯花 风格曲、轻灵的琶音、左手拨奏、泛音和所有类型的技巧元素”于一 身，需要在演奏时一气呵成。演绎《流浪者之歌》所需的技艺远不止 于此，演奏者还需要加入双按弦和三按弦，某些乐段可“ 自主发挥”、 运用滑音、自由发挥弹性速度、在拨弦和拉奏之间迅速切换。
Adapted from a note © Jillian Harding
根据 Jillian Harding笔录撰写
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