Jean-Claude Pennetier Piano Recital / Trio Pennetier Pasquier Pidoux

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香港藝術節今年踏入第4 6屆,再度為來自世 界各地的觀眾獻上精彩紛呈的藝術盛宴,讓 香港這個文化大都會更添生色。 今年藝術節預備了各式各樣的表演節目, 古典及當代藝術元素俱全,凸顯本港豐富 多元的文化特色。短短一個月內將有約1 3 0 場音樂、舞蹈、戲劇、歌劇等表演舉行, 讓一眾藝術愛好者目不暇給。 一如以往,本屆藝術節除了請來本地和海 外藝術家演繹引人入勝的代表作品,亦悉 心安排各項外展活動。為培養青少年對藝 術的興趣,「香港藝術節青少年之友」計 劃讓本地學生有機會欣賞藝術節節目和參 與全方位藝術活動。此外,藝術節又透過 工作坊、後台參觀和大師班等「加料節 目」,讓觀眾一睹藝術節重點節目的幕後 創作過程,大開眼界。 政府致力推動本地文化藝術發展,亦樂見贊 助商和捐款者鼎力支持,攜手把香港藝術 節打造成為享譽國際的藝壇盛事。我衷心感 謝藝術節團隊多年來盡心盡力,為我們帶來 這項高質素的文化活動,令本港藝壇百花齊 放,蓬勃發展。 謹祝第4 6屆香港藝術節圓滿成功,各位表演 嘉賓和觀眾朋友共享一段精彩難忘的藝術旅 程。

林鄭月娥 香港特別行政區行政長官

Now in its 46th year, the Hong Kong Arts Festival continues to contribute to the cultural life of Hong Kong, delighting audiences from near and far. This year, the Festival puts on a wide variety of performances that showcase a mix of classic and contemporary genres, spotlighting Hong Kong’s rich and diverse cultural landscape. Featuring some 130 performances in a packed month of music, dance, theatre, opera and more, the Festival has much to offer to arts lovers of all kinds. Alongside dazzling performances by an array of local and international artists, the Festival continues to place great emphasis on its outreach activities. To develop youngsters’ appreciation of the arts, the Young Friends of the Hong Kong Arts Festival offers local students the opportunity to enjoy the Festival’s performances and participate in multi-arts activities. Similarly, the PLUS programme gives audiences an inspirational glimpse into the creative process behind the core Festival performances through a combination of workshops, backstage tours and masterclasses. The Government is committed to promoting the development of arts and culture in the city, and we are blessed to have the support of devoted sponsors and donors who join us in making the Hong Kong Arts Festival an international success. I am also thankful to the Festival team for their years of hard work to deliver a top-class cultural event and their invaluable contribution to the city’s thriving arts scene. I wish the 46th Hong Kong Arts Festival a resounding success and all the participants, performers and audiences alike, an enjoyable and memorable experience.

Mrs Carrie Lam Chief Executive, Hong Kong Special Administrative Region


歡迎閣下蒞臨欣賞第4 6屆香港藝術節,與 我們一起分享、感受這一場精彩的表演藝 術節目。 我們要感謝香港特別行政區政府透過康樂 及文化事務署的年度恆常撥款,使香港藝 術節能每年成功舉辦。我們同時亦非常感 謝香港賽馬會慈善信託基金多年以來積極 而持續的鼓勵和贊助,以及其他眾多的商 業機構、企業、慈善團體以至社會各界人 仕,他們的慷慨捐助,讓我們能夠呈獻世 界一流藝術家的演出,為本地人才提供一 展才華的機會,委約及製作新作品,培養 年青一代的觀眾。 更重要的,是要感謝到來欣賞節目的各位 觀眾。沒有廣大觀眾的熱情參與,就不會 有香港藝術節。期望您喜歡這場演出。

查懋成 香港藝術節主席

I am very pleased to welcome you to this performance at the 46th Hong Kong Arts Festival. Thank you for being here with us and sharing in our celebration of the performing arts. I would like to thank the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention which is crucial to the Festival’s continuing success. I am also most grateful to The Hong Kong Jockey Club Charities Trust for their continued support and encouragement over many years, enabling us to enrich the cultural calendar of the city. Thanks are also due to the many corporate sponsors, charitable foundations as well as individual donors whose generous support enables us to feature many of the world’s best artists, promote local talent, produce new works, and nurture young audiences in Hong Kong. Most importantly, my warm thanks to you for joining us tonight. Without the passion, participation and engagement of our audiences there would be no Hong Kong Arts Festival. I very much hope you will enjoy the performance.

Victor Cha Chairman, Hong Kong Arts Festival


衷心感謝閣下蒞臨欣賞第4 6屆香港藝術節 的演出。 今屆藝術節的主題是「真.我角度」,我 們從此角度出發,欣賞藝術家透過他們的 技藝、創意和心思所創作和呈現的多重現 實。今年的節目當中,無論是對應某種人 生經驗、藝術動機或敘事手法,都往往帶 着對「真」的各種個人省思。整體而言, 我期望今屆藝術節可以啟發大家思考,甚 至懷疑我們所理解的「真實」。 希望您能開放自我,投入到舞台上呈現的 世界,與藝術家共同經驗各種現實。也誠 邀您參加「加料節目」的各項活動,豐富 您的藝術節體驗。 感謝您參與香港藝術節,支持我們的使 命,為香港打造一個既屬於香港,也代表 香港的世界級藝術節。

何嘉坤 香港藝術節行政總監

It is a pleasure and privilege to welcome you to this performance at the 46th HKAF. This year, we take the notion of "what’s real to me" to celebrate the realities created through the artistry, creativity and thoughtfulness of our participating artists. Many works are informed by highly personal views, whether responding to some aspect of human experience as a matter of artistic motivation, or as a narrative device. Taken as a whole, I hope this Festival will provoke us to think about – and perhaps to question – our own understanding of what’s real. I hope that you will allow yourself to be immersed in the realities presented on stage at this and many other performances at the 46th HKAF, and enjoy the resulting co-created experience. I would also recommend the many PLUS performances and events that have been designed to enrich your Festival experience. Together with the entire team, I would like to thank you for your participation and support which sustains us in the mission to present a world class Arts Festival in, of and for Hong Kong.

Tisa Ho Executive Director, Hong Kong Arts Festival


香港藝術節 扎根香港的國際藝壇盛事 香港藝術節於 1973 年正式揭幕,是國際藝壇中重要的 文化盛事,於每年 2、3 月期間呈獻眾多優秀本地及國 際藝術家的演出,以及舉辦多元化的「加料」和教育 活動,致力豐富香港的文化生活。 香港藝術節是一所非牟利機構,2018 年第 46 屆藝術節 的年度預算約港幣一億二千五百萬,當中香港特區政 府的基本撥款約佔總收入的 14%,另外約 32% 需來自 票房收入,約 3 6 % 則需依賴來自各大企業、熱心人士 和慈善基金會的贊助和捐款。預計餘下的大約 18% 則 來自其他收入,包括政府針對捐款和贊助收入而提供 的配對資助。 香港藝術節每年呈獻眾多國際演藝名家精采多元的演 出,例如 *: •歌劇:巴伐利亞國立歌劇院、莫斯科大劇院、聖彼 得堡馬林斯基劇院 •中國戲曲:中國國家京劇院、河北梆子劇院、上海 張軍崑曲藝術中心、江蘇省蘇州崑劇院、浙江小百 花越劇團 •古典音樂:塞西莉亞.芭托莉、列卡杜.沙爾、古 斯塔沃.杜達美、菲力普.格拉斯、馬友友、安娜. 涅翠柯、詹安德列亞.諾斯達、甘拿迪.羅傑斯特 汶斯基、克里斯蒂安.泰利曼、倫敦交響樂團、皇 家阿姆斯特丹音樂廳樂團、柏林廣播電台合唱團、 萊比錫聖多馬合唱團、維也納愛樂樂團 •爵士樂及世界音樂:波比.麥非年、尤蘇.恩多爾、 艾斯佩蘭薩.斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼 •舞蹈:米高.巴里殊尼哥夫、蕭菲.紀蓮、艾甘.漢、 約翰.紐邁亞、美國芭蕾舞劇院、雲門舞集、漢堡 芭蕾舞團、紐約市芭蕾舞團、巴黎歌劇院芭蕾舞團、 翩娜.包殊烏珀塔爾舞蹈劇場

2018 年藝術節預計收入來源 (約港幣一億二千五百萬) Estimated Income Sources for the 2018 HKAF (Approximately HK$125 Million)

Sponsorship & Donations 贊助及捐款

•戲劇:彼得.布祿克、羅伯特.威爾遜、柏林劇團、 中國國家話劇院、皇家莎士比亞劇團 •大型特別節目:《藝裳奇幻世界》、星躍馬術奇藝坊 •戶外節目:《聲光園》、《幻光動感池》、《聲光頌》 香港藝術節積極與本地演藝人才合作,並致力為新晉 藝術家提供展示才華的平台。藝術節至今委約及製作 逾 200 套本地全新創作,包括戲劇、室內歌劇、音樂 和舞蹈作品,近年開始同步出版新作劇本,不少製作 更已在香港及海外多度重演。近年的藝術節新製作包 括《香港家族》三部曲、《世紀.香港》音樂會、《論 語》、《炫舞場》、《大同》、《金蘭姊妹》、《爆蛹》、 《野豬》、《聖荷西謀殺案》等。 香港藝術節多年來與知名海外藝術家及團體聯合製作 不少優秀作品,當中包括由香港藝術節、香港歌德學 院及翩娜.包殊烏珀塔爾舞蹈劇場聯合製作的《抹窗 人》、由倫敦老域劇院、布魯克林音樂學院與尼爾街 製作公司製作、香港藝術節為聯合委約機構之一的「橫 貫計劃」之《暴風雨》及《李察三世》、由香港藝術 節及上海國際藝術節聯合委約的《青蛇》、三藩市歌 劇院與香港藝術節聯合製作的《紅樓夢》等。 香港藝術節大力投資下一代的藝術教育。「青少年之 友」成立 26 年來,已為逾 730,000 位本地中學生及大 專生提供藝術體驗活動。藝術節近年亦開展多項針對 大、中、小學生的藝術教育活動,包括由國際及本地 藝術家主持的示範講座及工作坊、學生展演、演前講 座、公開彩排、以及欣賞藝術節演出。同時,通過「學 生票捐助計劃」,藝術節每年提供約 10,000 張半價學 生票。 香港藝術節每年主辦一系列多元化並深入社區的「加 料節目」,例如電影放映、示範講座、大師班、工作坊、 座談會、後台參觀、展覽、藝人談、文化導賞團等, 鼓勵觀眾與藝術家互動接觸。

18%

36% Box Office 票房收入

32%

14%

Other Income (Including Possible Matching Grant for Sponsorship and Donation Income) 其他收入 (包括按捐款和贊助收入 可望獲得的配對資助 ) Government Baseline Funding 政府的基本撥款 (Updated August 2017 2017 年 8 月更新)


Hong Kong Arts Festival A Major International Arts Festival In, Of and For Hong Kong

• Theatre: Peter Brook, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company

HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year.

• Large-scale special events: World of WearableArt, Zingaro

HKAF is a non-profit organisation. Secured government baseline funding for the Festival in 2018 represents roughly 14% of its HK$125 million budget. Around 32% of the Festival’s income needs to come from the box office, and another 36% from sponsorship and donations made by corporations, individuals, and charitable foundations. It is anticipated that the remaining 18% will come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations. HKAF has presented top international artists and ensembles across multiple genres, such as*: • Western opera: Bavarian State Opera, The Bolshoi Theatre, The Mariinsky Theatre • Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe • Classical music: Cecilia Bartoli, Riccardo Chailly, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Anna Netrebko, Gianandrea Noseda, Gennady Rozhdestvensky, Christian Thielemann, London Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra • Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini • Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, John Neumeier, American Ballet Theatre, Cloud Gate Dance Theatre, Hamburg Ballet, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch

• Outdoor events: Power Plant, Super Pool, Chorus HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 200 local productions across genres including theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include A Floating Family, Hong Kong Odyssey, Chinese Lesson, Danz Up, Datong – The Chinese Utopia, The Amahs, Blast, Wild Boar and Murder in San Jose, to name a few. HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch, Richard III and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with HKAF as a co-commissioning institution, Green Snake cocommissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced with San Francisco Opera. HKAF invests heavily in arts education for young people. Over the past 26 years, our “Young Friends” scheme has reached over 730,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year. HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided cultural tours.

* 有關香港藝術節的過往節目,可參考以下網頁 Details of past HKAF programmes can be found at www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2017.html 誠邀贊助或捐助第 46 屆香港藝術節;詳情請與藝術節發展部聯絡。 To find out more about sponsorship opportunities and donation details of the 46th Hong Kong Arts Festival, please contact the HKAF Development Department. 電郵 Email: dev@hkaf.org

直綫 Direct Lines: (852) 2828 4910/11/12

網頁 Website: www.hk.artsfestival.org/en/support-us





Presents

Jean-Claude Pennetier Piano Recital 潘尼迪爾鋼琴獨奏會 3 月 Mar

2

演出長約 2 小時,包括一節中場休息 Running time: approximately 2 hours including one interval 節目資料 See p10 for programme details

Pennetier Pasquier Pidoux Trio Recital 潘尼迪爾、巴斯基耶、皮杜 鋼琴三重奏音樂會 3 月 Mar

5

演出長約 1 小時 55 分鐘,包括一節中場休息 Running time: approximately 1 hour and 55 minutes including one interval 節目資料 See p25 for programme details

香港大會堂音樂廳 Concert Hall, Hong Kong City Hall

香港藝術節感謝香港君悅酒店提供酒店住宿支持 Hong Kong Arts Festival wishes to thank Grand Hyatt Hong Kong for providing accommodation support for this programme 封面照片 Cover Photograph: © Guy Vivien

敬請關掉所有響鬧及發光裝置。 Please switch off all sound-making and light-emitting devices. 網上追蹤香港藝術節 Follow the HKArtsFestival on

請勿擅自攝影、錄音或錄影。 Unauthorised photography or recording of any kind is strictly prohibited.

HKartsfestival

本場刊採用環保紙張印刷。This programme is printed on environmentally friendly paper.

www.hk.artsfestival.org


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2.3.2018 潘尼迪爾鋼琴獨奏會 Jean-Claude Pennetier Piano Recital 佛瑞 蕭邦 奧哈納

Gabriel Fauré (1845-1924) Frédéric Chopin (1810-1849) Maurice Ohana (1913-1992)

前奏曲

Preludes

將三位作曲家的多首前奏曲交替演奏

Selected preludes to be performed intertwined with each other 佛瑞

降 D 大調第一前奏曲,作品 103

Fauré

Prelude No 1 in D-flat major, Op 103

蕭邦

降 D 大調第十五前奏曲,作品 28

Chopin

Prelude No 15 in D-flat major, Op 28

佛瑞

升 C 小調第二前奏曲,作品 103

Fauré

Prelude No 2 in C-sharp minor, Op 103

蕭邦

升 C 小調第十前奏曲,作品 28

Chopin

Prelude No 10 in C-sharp minor, Op 28

佛瑞 A 大調第七前奏曲,作品 103

Fauré

Prelude No 7 in A major, Op 103

蕭邦

升 F 小調第八前奏曲,作品 28

Chopin

Prelude No 8 in F-sharp minor, Op 28

蕭邦

升 F 大調第十三前奏曲,作品 28

Chopin

Prelude No 13 in F-sharp major, Op 28

蕭邦

降 E 小調第十四前奏曲,作品 28

Chopin

Prelude No 14 in E-flat minor, Op 28

佛瑞

降 E 小調第六前奏曲,作品 103

Fauré

Prelude No 6 in E-flat minor, Op 103

蕭邦 C 小調第二十前奏曲,作品 28

Chopin

Prelude No 20 in C minor, Op 28

佛瑞 C 小調第八前奏曲,作品 103

Fauré

Prelude No 8 in C minor, Op 103

蕭邦 C 大調第一前奏曲,作品 28

Chopin

Prelude No 1 in C major, Op 28

蕭邦 A 小調第二前奏曲,作品 28

Chopin

Prelude No 2 in A minor, Op 28

佛瑞 F 大調第四前奏曲,作品 103

Fauré

Prelude No 4 in F major, Op 103

佛瑞 D 小調第五前奏曲,作品 103

Fauré

Prelude No 5 in D minor, Op 103

蕭邦

Chopin

Prelude No 21 in B-flat major, Op 28

佛瑞 G 小調第三前奏曲,作品 103

Fauré

Prelude No 3 in G minor, Op 103

奧哈納

Ohana

Prelude No 23

Fauré

Prelude No 9 in E minor, Op 103

降 B 大調第二十一前奏曲,作品 28

第二十三前奏曲

佛瑞 E 小調第九前奏曲,作品 103

— 中場休息 Interval —


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佛瑞

Gabriel Fauré (1845-1924)

G 大調第二船歌,作品 41

Barcarolle No 2 in G major, Op 41

降 E 大調第四夜曲,作品 36

Nocturne No 4 in E-flat major, Op 36

降 E 小調第一夜曲,作品 33

Nocturne No 1 in E-flat minor, Op 33

德布西

Claude Debussy (1862-1918)

《貝加馬斯克組曲》,L75

Suite Bergamasque, L75

前奏曲

Prélude

小步舞曲

Menuet

月光

Clair de lune

巴瑟比舞曲

Passepied

是晚演出曲目及次序或有更改

Pieces and their order of performance are subject to change

藝術節加料節目

潘尼迪爾雙鋼琴大師班 Jean-Claude Pennetier Piano Duo Masterclass

3.3 ( 六 Sat ) 4-6pm

由知名的法國鋼琴家潘尼迪爾指導,本地優秀鋼 琴家黃蔚然、黃蔚園姐妹將會演繹德布西的《牧 神的午後前奏曲》。

Led by renowned French pianist Jean-Claude Pennetier, talented local pianists Wong Wai-yin and Wong Wai-yuen will perform Debussy’s Prélude à l'après-midi d'un faune in this piano duo masterclass.

香港演藝學院演奏廳 免費入埸,需預先登記 英語主講

Recital Hall, HKAPA Free admission. Registration required. In English

更多加料節目詳情及網上報名 More Festival PLUS and online registration: www.hk.artsfestivalplus.org



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樂曲介紹 Programme notes 蕭邦的前奏曲

Chopin’s preludes

蕭邦於 1838-1839 年間的冬天完成二十四首前奏

Chopin completed his 24 Preludes in the winter of 1838-39 during an ill-conceived visit to Majorca with the French writer George Sand and her two children. The accommodation they found was not fit for the winter climate, and Chopin’s health suffered as a result; the visit to the island eventually had to be abandoned so that Chopin could recuperate in Marseilles. Nevertheless, he had managed to produce these splendid preludes. On 22nd January he wrote to his piano-maker Camille Pleyel, “I am sending you my Preludes. I finished them on your little piano which arrived in the best possible conditions in spite of the sea, the bad weather and the Palma customs.”

曲,當時他與法國作家喬治.桑和她的兩名子女 一起前往馬略卡,但旅程計劃得不周詳,所選的 住宿地點不適合冬天居住,教蕭邦病倒,不得不 把行程擱置,讓作曲家在馬賽養好身體。然而, 蕭邦還是完成了這些精采的前奏曲。他於 1 月 2 2 日寫信給其鋼琴匠卡密爾.普雷耶說:「我 把前奏曲交給你。你的小鋼琴抵得住大海和惡劣 天氣,通過了帕爾馬的海關,狀態不能再好,我 就是以它創作這些曲子。」 很明顯,蕭邦參考了巴赫前奏曲的做法,為每一 個大調和小調寫一首前奏曲,但他沒有像巴赫一 樣,沿着半音階由 C 音起向上排列各曲,而是以 每一個大調及其關係小調作為一對,循着五度連 環的次序把它們排列起來。

Clearly the preludes of Bach were in Chopin’s mind as, like Bach, he produced a prelude in each of the major and minor keys but arranged them by a different system to that of Bach, who had simply started on C and moved up the scale by chromatic steps. Chopin followed each major key with its relative minor, going through the cycle of fifths.

佛瑞的前奏曲

Fauré’s preludes

雖然佛瑞可能打算像巴赫和蕭邦一樣,為每一個

Although it is possible that Fauré intended to follow Bach and Chopin in producing a series of preludes in each major and minor key, he only completed nine pieces. He was also at work on his lyric drama Pénélope at the time, and this interrupted the composer’s progress with the preludes. As with Chopin, Fauré’s compositions show the composer at the top of his form in a highly varied set of pieces that make great use of his distinctive piano style, as well as his wonderful ability to appear to modulate widely while actually remaining in the same key. The preludes were published at around the same time as those of Debussy.

大調和小調寫一首前奏曲,但他只完成了九首。 佛瑞當時還在寫詩劇《佩涅羅珀》,因此影響了 前奏曲的進度。這套前奏曲和蕭邦的一樣,從中 可見作曲家正處於巔峰狀態:佛瑞的前奏曲每首 都千變萬化,充滿他獨特的鋼琴風格,一些地方 聽起來好像轉調,但事實卻又萬變不離其宗,留 在原調,為聽眾帶來驚喜。佛瑞前奏曲與德布西 前奏曲的出版時間相若。


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互相交替的前奏曲 選取蕭邦和佛瑞的前奏曲互相交替,是十分有趣

兩首 C 小調前奏曲差距頗大:蕭邦的像一首聖

的概念,這種編排比平日獨立演奏更能凸顯它們

歌,氣逾霄漢,佛瑞的是一首重複音練習曲,效

的特性。佛瑞的降 D 大調前奏曲開始時織體重

果頑皮。接着是蕭邦的第一及第二前奏曲:前

複着降 A 音,音高湊巧與之後蕭邦前奏曲的基調

者輕鬆、後者暗淡。到了佛瑞優雅的 F 大調前奏

相同。不過,佛瑞的這部前奏曲變化多端,中段

曲,音樂的淘氣拍子交替,氣氛緩和起來。D 小

經常轉調;而蕭邦的則大致上固定在降 A 音上,

調前奏曲帶着不安的感覺,作品大量使用二對三

只是偶然稍為偏離一會。首尾如歌的旋律與中段

節奏,來到頗長的沉思結束樂段,節奏才變得簡

的小調及 E 大調高潮產生對比,末段如歌的部分

單。無獨有偶,之後的蕭邦降 B 大調前奏曲也是

較開端的短,讓此曲在所謂的「雨滴」中完結。

沉思性質的,延綿的旋律配上特別精細的左手伴

兩部升 C 小調前奏曲充滿力量地來了又去:佛瑞 的以 5/ 4 拍寫成,雙手分擔十六分音符三連音,

奏,為之後佛瑞 G 小調前奏曲所表達的短敘事 曲作好了鋪排。

間中有一些斷奏和弦支撐,急速得令人害怕,

奧哈納在西班牙地區長大,於 1973 年入籍法國。

而蕭邦的則在頗穩重的終止式之間嬉戲。佛瑞 A

他的前奏曲受德布西、史達拉汶斯基和巴托克影

大調前奏曲的戲劇性和有點錯綜複雜的音型與蕭

響,時而奏出和弦樂句,時而奏出顫音。這部作

邦升 F 小調前奏曲不謀而合,後者的右手部分奏

品來自作曲家 1 9 7 6 年的二十四部前奏曲。這場

出用精細音型裝飾的不安主題,迎向高潮,最後

前奏曲曲目以佛瑞的最後一首前奏曲作結,大致

以極輕聲結束。蕭邦第十三前奏曲是一個美麗的

分成三部分的樂曲使用了很多半音,感情豐富,

夢境;而接着的下一首幾乎未開始就完結了,其

最後平靜地以大調完結。

嚴厲的感覺與佛瑞降 E 小調前奏曲很接近──高 低音聲部構成卡農,中間則是自由聲部,音樂散 發着一種冷漠的感覺。

佛瑞 Gabriel Fauré


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Intertwined preludes Intertwining these selected preludes of Chopin and Fauré is a highly interesting idea, for it brings out the character of each piece in even higher relief than when they appear as usual, by themselves. Fauré’s D-flat major prelude interestingly starts with a texture that contains a repeated A-flat at the same pitch that is to underpin the Chopin prelude to follow. Fauré’s music however is far from static, and also contains a constantly modulating middle section. Chopin’s prelude anchors itself on the A-flat, but allows for the current to move off it from time to time. The song of the outer sections is contrasted by a shift to the minor and a climax in E major in the middle. A greatly shortened song returns and the so-called “raindrops” have the last word. Both C-sharp minor preludes whizz about with great energy. Fauré’s has triplet semiquavers shared between both hands, supported intermittently by staccato chords in a terrific race to the finish in 5/4, while Chopin’s piece frolics about between quite staid cadences. The sense of drama and the somewhat intricate figurations of Fauré’s A major prelude has its counterpart in Chopin’s F-sharp

minor one, in which a nervous theme decorated with much filigree in the right hand works towards a huge climax, before ending pianissimo. The 13th prelude of Chopin’s is a beautiful dream, while the following one is over almost before it begins. The severity of this is mirrored by Fauré’s E-flat minor piece, which is a canon between the top and bottom parts, with a free part in the middle. There’s a kind of detached emotion about this music. The two C minor pieces are quite different, with a bold, almost hymn-like piece from Chopin followed by a repeated note exercise from Fauré which is rather impish in effect. The carefree and then sombre first two preludes of Chopin come next and then the mood is lightened by Fauré’s elegant prelude in F major, with its playful cross-rhythms. The D minor piece is rather edgy, making much use of two against three, and ends with a long, reflective coda in which rhythms become simple. Chopin’s reflective B-flat major prelude comes well after this, with its long-breathed melody over an unusually intricate left hand accompaniment, and it paves the way for the short Ballade that Fauré’s G minor prelude presents. The prelude by Maurice Ohana, a composer of Spanish origin who took French citizenship in 1973, is from a world influenced by Debussy, Stravinsky and Bartok, and it alternates chordal phrases with tremolos. It comes from his own set of 24 preludes of 1976. This selection ends with Fauré’s last prelude, a highly chromatic and expressive piece, mainly in three parts, eventually ending peacefully in the major.

蕭邦 Frédéric Chopin


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佛瑞 G 大調第二船歌,作品 41 降 E 大調第四夜曲,作品 36 降 E 小調第一夜曲,作品 33 佛瑞的十三首夜曲和十三首船歌,橫跨他的創作

第四夜曲題獻給梅西 ‧ 亞爾崗多伯爵夫人,開

生涯。第一夜曲的創作時間未能確定,只知大概

始時太陽好像還在照耀,但隨着鐘聲響起,音樂

於 1875 年寫成,最後的一首寫於 1921 年;船歌

即進入小調;段落升至燦爛的高峰,之後以隱約

方面,第一首寫於 1881 年,最後一首則在 1921

的鐘聲和修飾的伴奏,回到開首的主題;在尾奏

年寫成;這些作品展示了佛瑞風格的演變:從早

中,溫軟的和弦在副題的伴奏音型上作結。

期作品的魅力,到中期有力並富探索性的音樂, 及至後期當他聽力開始衰退,音樂隨而變得神秘 嶙峋。佛瑞的兒子說,他的父親只想以「第⋯號 鋼琴曲」作標題,但出版商卻很想為作品命名。

第一夜曲題獻給鋼琴家瑪格烈特 ‧ 鮑妮,作品 別開生面的伴奏,盡顯了佛瑞在鋼琴曲織體上的 出眾天資。第一部分呈現重複的八分音和弦旋 律,第二部分開始時,左手奏出奇特的降 E 小調

第二船歌寫於 1885 年,佛瑞同年的作品還有大

節奏樣式,然後是漂亮的 C 大調旋律,左手跨

提琴和鋼琴作品《蝴蝶》和第三船歌,之前的一

過右手彈奏,一段發展後,開首的旋律重現,由

年他差不多寫好一首管弦樂,但最終卻沒有完

十六分音伴隨,重複的音符營造歡快的效果,尾

成。這首 6 / 8 拍子的樂曲,先由第二和第五個八

奏再次帶出副題的節奏,最後由降 E 小調作的沉

分音的強音和弦展開,然後進入較傳統的節拍格

鬱的終止式。

式;第二段由複三拍開始,使小船輕輕搖晃;第 三段降 B 大調,和聲變化廣闊,卻從不離降 B 這 個中心。輝煌的樂段滔滔地回到第一旋律,經過 濃縮版的第二旋律,到達泛著漣漪的尾奏。

佛瑞說過,為鋼琴譜曲是一個挑戰,而他不懈地 在鋼琴的聲音和技巧上創新嘗試,正正展現了他 怎樣堂皇地戰勝這個挑戰。

佛瑞將第四夜曲題獻給梅西.亞爾崗多伯爵夫人 Fauré's Nocturne No 4 was dedicated to the Comtesse de Mercy-Argenteau


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Gabriel Fauré Barcarolle No 2 in G major, Op 41 Nocturne No 4 in E-flat major, Op 36 Nocturne No 1 in E-flat minor, Op 33 Covering the whole span of Fauré’s composing career stand the 13 Nocturnes and 13 Barcarolles. The first Nocturne cannot be precisely dated, but is probably from around 1875, and the last in 1921, while the first Barcarolle came from 1881 and the last from 1921. They show Fauré’s progress from the bewitching charm of the early works, through the more powerful and questing music of the middle period to the rather enigmatic, spare music of his late period, when he was having trouble with his hearing. According to his son, Fauré would have preferred to call these pieces simply “Piano Piece Number …”, but his publishers were keen to give them names.

In the Nocturne No 1, dedicated to the pianist Marguerite Baugnies, Fauré shows his extraordinary gift for piano texture in the inventiveness of his accompaniments. The first part presents a melody above repeated quaver chords, and the second part begins with a striking rhythmic pattern in the left hand, still in E-flat minor. This is succeeded by a beautifully scored melody in C major, in which the left hand plays above the right. After some development the opening melody returns, accompanied by semiquavers, with repeated notes giving a delightful effect. The coda brings back the rhythm of the second theme before ending with sombre cadences in E-flat minor.

The Barcarolle No 2 is from 1885, in which year the composer also wrote Papillon for cello and piano and his Barcarolle No 3; having composed most of a symphony in the previous year, he subsequently destroyed it. This piece, in 6/8, begins with accented chords on the second and fifth quavers of the bar, before settling down into more conventional rhythmic patterns. The second section begins in 9/8 with much gentle swaying and rocking of the boat. The third section is in B-flat major; its harmonies range widely but never quite lose sight of the B-flat centre. A splendidly flowing passage leads back to the first melody and through a much shortened version of the second to a gently rippling coda.

Fauré said that he found writing for the piano a challenge, and he clearly rose to this magnificently in his search for new sounds and new ways of making the instrument sing.

The Nocturne No 4, dedicated to the Comtesse de Mercy-Argenteau, starts off as though the sun were still shining, but soon a bell tolls as the music moves to the minor. This section rises to a splendid climax before returning to the opening theme, with added hints at the bell notes and a decorated accompaniment. The coda ends with soft chords over the second theme’s accompaniment figure.


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焦點藝術家:尚 - 克勞德.潘尼迪爾與佛瑞 尚 - 克勞德 ‧ 潘尼迪爾在訪問中談到自己怎樣 為佛瑞音樂的魅力所傾倒,以及如何讓更多人認 識這位時被低估的作曲家 。

你怎樣看待佛瑞於歷史中的地位? 只看作品標題(船歌、夜曲、即興曲),佛瑞的 作品跟隨了蕭邦的傳統。不過,它們有另一個

我與佛瑞的關係由來已久, 因為我這代的音樂

面向與舒曼拉上關係。佛瑞的獨到之處,在於他

家的老師們與創作《巴望舞曲》的佛瑞是相識

出自說不上令人興奮的法國傳統,但卻從這土壤

的。例如呂塞特.迪卡芙和我的和聲學老師亨

中漸漸建立自己的個性。1 8 9 0 年代期間,他的

利.查倫,都以近乎狂熱份子的程度崇拜他。我

創作方向有所轉向,作品變得更有張力、運用更

在八歲時曾彈奏過佛瑞的一首小曲,叫《即興

多半音階、質地簡樸、甚至近乎抽象的。佛瑞的

曲》,不過這首作品並沒有令我對佛瑞一見鍾

地位是處於歷史之外的。他在自己獨特的路上走

情。在巴黎音樂學院上皮爾.巴斯基耶的室樂課

得非常遠,同時對身邊所發生的事情不太敏感。

時,我才開始欣賞佛瑞的作品。我和巴斯基耶夫

1 9 世紀和 2 0 世紀之間的音樂值得互相比較:有

婦練習佛瑞的四重奏、三重奏和 A 大調小提琴

些作曲家留在 1 9 世紀,其他就展望未來。我們

奏鳴曲的時候才開竅懂得欣賞佛瑞。到了十一歲

可以找到各式各樣的作品,也許與當代的情況相

時,我為阿圖爾.康涅格彈奏第四號船歌。聽過

近。不過,佛瑞之後卻不見有多少追隨者。他完

我彈奏的人通常會說:「多麼像一個詩人!他的

全是「去歷史的」,而他確實因此吃虧。

音樂飽含美麗的色調」之類的話。但阿圖爾的評 語卻是:「這個孩子甚有節奏感。」這段記憶非 常深刻,因為這種觀察並不常見。 特別之處是這段評語出自一位出色而且非常熟悉 佛瑞的作曲家口中。1 9 6 0 年,我勝出了佛瑞鋼 琴比賽。這個比賽只辦過一段短時間,它只有三 位歷屆優勝者:我之前是桑松.弗朗索瓦,之後 則是尚 - 菲利普.柯拉德。我那一屆比賽的評審 包括達律斯.米約、皮爾.巴爾比澤和弗拉基米 爾.楊凱列維奇。米約問我是否有作曲,於是我 在他面前彈奏了一首自己的曲子。他說:「你真 是一位出色的鋼琴家。」一錘定音!

你認為佛瑞為何會遭人忽視? 歷史上來說,佛瑞不是一個重要人物。他為自己 打開了大門,卻無法開展未來的世代,因此以 音樂語言的角度看來,他的「重要性相對不大」 (此處我必須加上引號)。有些人因為這些緣故 而忽視了他 。今天,情況對他比較有利。一方 面,他作為「沙龍」作曲家的名聲使某些表演者 對他敬而遠之;另一方面,他的樂曲仍是相當詳 細,技巧高超並且非常精細,以致大眾除卻《安 魂曲》和《夢醒之後》以外無法立刻了解。我近 年遇到越來越多年青音樂家有興趣彈奏佛瑞的作 品,這令我感到欣喜。不過,他的作品佔不到上 風,因為它們對不少人來說稍嫌簡單的同時,對 其他人來說又略嫌艱澀。 訪問者:阿蘭 ‧ 柯薩爾


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Artist and Composer Focus: Jean-Claude Pennetier and Gabriel Fauré In this interview Jean-Claude Pennetier talks about how he fell for the charm of Fauré's music, and how the works of a sometimes underrated composer might be better known. Jean-Claude Pennetier (JP): My relationship with Fauré goes way back, because I belong to the generation of musicians whose teachers knew the composer of La Pavane personally. For example, Lucette Descaves and my harmony teacher Henri Challan, were so devoted to him, almost like a cult. When I was eight, I played this little piece entitled Improvisation, but I didn’t love it immediately. I began to appreciate Fauré's work at the [Paris] Conservatoire when attending Pierre Pasquier's chamber music class. With him and his wife, I worked on Fauré's quartets, his Trio, and the Violin Sonata in A major: that's when it clicked for me. Then, when I was 11 years old, I played Barcarolle No 4 for Arthur Honegger. Those who listened to me often said, "What a poet! His music shows pretty colours”, and so on. But his comment was "This child has a sense of rhythm.” It’s a remarkable memory as it wasn’t a common observation. This was especially so since it came from a great composer, who moreover knew Fauré well. In 1960, I won the Fauré Competition (Concours Fauré), which had only a brief existence. There were only three competition winners: before me, Samson François, and then Jean-Philippe Collard. Darius Milhaud, Pierre Barbizet and Vladimir Jankélévitch were part of the jury when I participated in the competition. Milhaud asked me if I composed and I played one of my works to him. He said, "You are a wonderful pianist". The verdict was in! What do you think about Fauré’s place in history? JP: Judging only from the titles (barcarolles, nocturnes, impromptus), his compositions follow the tradition of Chopin. There is, however, one

aspect to his work which also binds him to Schumann. What is original with him is that he came from the French tradition, not the most exciting tradition, but from this ground he gradually affirmed his own personality. During the 1890s he began to turn to something tense, chromatic, austere, and almost abstract. Fauré’s place in history is as an outsider. He went very far in his own way while remaining quite insensitive to what was going on around him. At the turn of the 19th century it was a time of real juxtaposition: some composers remained rooted in the 19th century while others looked towards the future. We can find everything there, perhaps it is the same in this day and age. However, I don’t think there were many who followed in Fauré’s footsteps. He was completely "ahistorical" and indeed he suffered from it. What do you think contributed to this neglect of Fauré? JP: Historically, he is not a prominent figure. He opened his own doors, but did not open up a new future, which, from the point of view of musical language, gives him – I use quotation marks here – a "lesser importance". Some might look past him for this reason. Today is a more propitious time for him. On the one hand, his reputation as a "salon" composer puts some performers off. On the other hand, his writing remains fairly detailed, skillful, and very delicate, so as not to be immediately understood by the general public, except for his Requiem or Après un rêve. I have met more and more young musicians who are interested in playing his music, which makes me happy. But it always suffers for being a little too easy for some and too difficult for others. Interviewed by Alain Cochard



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德布西 《貝加馬斯克組曲》,L75 《貝加馬斯克組曲》寫於 1890 年,並於 1905 年修訂及出版。由於德布西開始嫌棄自己的早 期鋼琴作品,後者所涉的修訂明顯不少。這套 組曲的靈感來自魏爾倫的詩歌《月光》,詩中 幻想死去已久的舞者在月光下演奏魯特琴,在 幻彩的裝扮下仍可見他們鬱鬱不歡。德布西欲 改良其鋼琴作品的創作概念,而組曲中不少地 方都反映出這些改變。每個樂章都有回到從前 的感覺,但同時又使用前衛的和音與聲響。 前奏曲以華麗的花式帶勁道地展開,接着的 十六分音符有點像觸技曲。然後音樂變得比較 沉思,之後拾回動力,以開始時的氣量完結。 這個時期的法國鋼琴音樂,例如拉威爾的作 品,很多都紀念諸如路易.庫普蘭、丹格勒貝 爾、拉摩和法蘭索瓦.庫普蘭等法國十七及 十八世紀的偉大古鍵琴家。小步舞曲也是這類 作品,音樂以相當頑皮的旋律展開,中段帶點 神秘和戲劇性。 〈月光〉是組曲四首樂曲中最著名的,常有獨 立演出。此曲某程度上最接近德布西後期的作 品,如《為鋼琴的》和《映像》。音樂描述月 色下的舞蹈;德布西喜歡賞畫,常從泰納等藝 術家的作品擷取創作靈感,他在這首鋼琴曲裏 描繪出動人的色彩。巴瑟比舞曲是一種舊舞 曲,左手幾乎全是穩定的斷奏八分音符,襯托 迷人的旋律,帶點復古的味道。此組曲是德布 西第一部比較大型的鋼琴作品,預示了作曲家 日後發掘鋼琴聲景可能性的方向。 樂曲介紹:紀大衛

Claude Debussy Suite Bergamasque, L75 Written in 1890, this work was revised and published in 1905. The revision was apparently quite extensive, as Debussy had come to dislike his earlier works for the piano. The suite takes its inspiration from the Verlaine poem Clair de lune, in which long dead dancers are imagined in the moonlight playing the lute, almost sad in their fantastic disguises. Debussy was to refine his ideas about writing for the piano, but the seeds of this refinement are to be heard in the Suite Bergamasque in many ways. In each movement there is a harking back to old times, coupled with a forward-looking use of harmonies and sonorities. The Prélude opens boldly with a splendid flourish and there’s a hint of a toccata about the following semiquavers. The music becomes more reflective, but then gathers momentum to finish as boldly as it began. Much of the piano music written around this time in France – such as the work of Ravel, for example – looks back to the great days of the French clavecinistes, or harpsichordists, of the 17th and 18th centuries, such as Louis Couperin, d’Anglebert, Rameau and François Couperin. This is the case with the Menuet, which sets out with a rather impish melody but contains a somewhat mysterious and dramatic middle section. Clair de lune is the most well-known of the four pieces that make up the suite, and is often played on its own. In a way, it approaches most closely the kind of music which was to come in later Debussy works such as Pour le piano and Images. This is the dance in the moonlight, and Debussy, who loved paintings and drew much inspiration from artists such as Turner, elicits lovely colours from the piano in its course. The final Passepied, an old dance, proceeds over almost constant staccato quavers in the left hand. Over this, charming melodies sing along, with a hint of the archaic about them. This suite was the first larger work for the piano which Debussy composed, and it points the way for his further explorations of the possibilities of the soundscape of the piano. Programme notes by David Gwilt


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© Jean-Baptiste Millot


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尚 - 克勞德.潘尼迪爾

Jean-Claude Pennetier

鋼琴

Piano

尚 - 克勞德.潘尼迪爾是國際樂壇上享負盛名的

An outstanding soloist as well as a fine chamber musician, Jean-Claude Pennetier is considered one of the most brilliant pianists on the international musical scene. While he has enjoyed a rich and varied musical career (including contemporary music, composition, conducting, the fortepiano, teaching and intensive practice of chamber music), Jean-Claude Pennetier finds his most privileged field of expression in his activities as a piano soloist.

鋼琴家,無論獨奏和室樂演奏均有出色成就。潘 尼迪爾的音樂事業可謂多姿多采(當代音樂、作 曲、指揮、古鋼琴、教學、大量室樂演出),尤 以鋼琴獨奏家的身份最為矚目。 潘尼迪爾年少時曾在多個國際比賽中獲獎,包括 加比奧.佛瑞鋼琴比賽冠軍、瑪格麗特.隆鋼琴 比賽亞軍、日內瓦鋼琴比賽傑出演奏家獎。他的 演奏事業非常精采,曾於法國和海外與國際級樂 團合作,如巴黎管弦樂團、德累斯頓國家管弦樂 團、里爾國家管弦樂團和東京 NHK 交響樂團等。 潘尼迪爾曾灌錄貝多芬、舒伯特、舒曼、布拉姆 斯和德布西的作品(Lyri nx 唱片),好評如潮; 與潘尼迪爾.巴斯基耶.皮杜三重奏灌錄拉威爾 的室樂(Saphir Productions 唱片),又與單簧管 演奏家米歇爾.波爾塔和伊薩依弦樂四重奏成員 製作兩張莫扎特作品的專輯。他最近與聲樂組合 愛沙尼亞之聲推出舒伯特和李斯特作品的唱片, 又與法國廣播愛樂樂團錄製莫扎特第二十一及第 二十四鋼琴協奏曲。 潘尼迪爾是著名的佛瑞權威。2 0 0 9 年,他推出 了佛瑞全集第一輯,專輯榮獲法國金音叉唱片 獎,已推出的全集首三輯亦取得包括《留聲機》 雜誌在內的國際傳媒一致讚賞。全集的第四及最 後一輯唱片將於 2018 年春季推出。

He distinguished himself in several international competitions – First prize in the Gabriel Fauré Competition, Second prize in the Marguerite Long Competition, Most Distinguished Canditate at the Geneva Competition – before embarking on a singular career in which he has appeared both in France and abroad with internationally renowned orchestras such as the Orchestre de Paris, the Dresden Staatskapelle, Orchestre National de Lille and the NHK Orchestra of Tokyo. His recordings of Beethoven, Schubert, Schumann, Brahms and Debussy (for Lyrinx) have received the highest distinctions from the music press. Among his recordings is the chamber music of Ravel with Trio Pennetier Pasquier Pidoux (Saphir Productions) and two Mozart CDs with the clarinettist Michel Portal and members of the Ysaÿe Quartet. Other recent releases are devoted to Schubert and Liszt with the vocal ensemble Vox Clamantis and Mozart Piano concertos Nos 21 and 24 with the Orchestre Philharmonique de Radio France. 2009 saw the appearance of the first volume in Pennetier’s complete recording of the piano works of Fauré; this first volume received a Diapason d'Or and Pennetier is one of the composer’s most eminent interpreters. The first three volumes of these recordings have been unanimously acclaimed by the international press including Gramophone. The fourth and last volume will be released in Spring 2018.



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5.3.2018 潘尼迪爾、巴斯基耶、皮杜鋼琴三重奏音樂會 Pennetier Pasquier Pidoux Trio Recital 海頓

Joseph Haydn (1732-1809)

C 大調鋼琴三重奏,Hob XV:27

Piano Trio in C major, Hob XV:27

快板

Allegro

行板

Andante

終曲:急板

Finale: Presto

佛瑞

Gabriel Fauré (1845-1924)

D 小調鋼琴三重奏,作品 120

Piano Trio in D minor, Op 120

不太快的快板

Allegro, ma non troppo

小行板

Andantino

活潑的快板

Allegro vivo — 中場休息 Interval —

貝多芬

Ludwig van Beethoven (1770-1827)

降 B 大調第七鋼琴三重奏, 作品 97,「大公爵」

Piano Trio No 7 in B-flat major, Op 97, “Archduke”

中庸的快板

Allegro moderato

諧謔曲:快板

Scherzo: Allegro

如歌的行板

Andante cantabile

中庸的快板

Allegro moderato

是晚演出曲目及次序或有更改

Pieces and their order of performance are subject to change





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鋼琴三重奏 – 潘尼迪爾.巴斯基耶.皮杜 Trio Pennetier Pasquier Pidoux 雷吉斯.巴斯基耶 Régis Pasquier 小提琴 violin 羅倫.皮杜 Roland Pidoux 大提琴 cello 尚 - 克勞德.潘尼迪爾 Jean-Claude Pennetier 鋼琴 piano

三位傑出的法國獨奏家,年少時結識於巴黎音樂 學院,因着對室樂的熱愛成為好友。三人首次一 起巡迴演出時,雷吉斯.巴斯基耶只有十三歲。 後來三人皆以頂級榮譽畢業(現在更在母校任 教),發展各自出色的獨奏事業。 三位大師即使各自在事業高峰,仍致力投入三重 奏,在合奏中既表現個人特色,又體現合作精 神。他們 1998 年 1 月首次到美國大型巡迴演出, 獲當地樂評人和主持推崇,自此經常獲邀重訪華 盛頓和洛杉磯等大城市獻藝。三人於 2 0 0 0 年 6 月到首次到拉丁美洲巡迴演出亦大獲成功,之後 多次重遊舊地。 三重奏的唱片包括 Lyrinx 品牌發行的柴可夫斯基 和蕭斯達高維契作品、樂滿地發行的舒伯特和布 拉姆斯三重奏及蕭頌的室樂,均以三人於歐洲為 人熟悉的「音樂家」組合名義推出。

These three great French soloists have been connected by their love of chamber music since they were students together at the Paris Conservatoire. In fact, they embarked on their first tour together when Régis Pasquier was just 13 years old. Each graduated with top honours from the Conservatoire (where they are all now professors) and established major solo careers. At the peak of their individual careers, they have made an increased commitment to their trio, where they have the opportunity to express simultaneously their musical individuality and their total musical rapport. The Trio’s first major tour of the United States in January 1998 won superlatives from critics and presenters across the country, and it has since been re-engaged in major cities from Washington to Los Angeles. A very successful debut tour of Latin America in June 2000 was followed by several return visits. The Trio’s recordings include Tchaikovsky and Shostakovich on the Lyrinx label, the trios of Schubert and Brahms, and the chamber music of Chausson on the Harmonia Mundi label, all of which were released under the name “Les Musiciens”, by which name the three musicians are known all over Europe.

個人簡介請詳閱 Individual biographies can be found on p39 雷吉斯.巴斯基耶 Régis Pasquier p41 羅倫.皮杜 Roland Pidoux p23 尚 - 克勞德.潘尼迪爾 Jean-Claude Pennetier


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樂曲介紹 Programme notes 海頓 C 大調鋼琴三重奏,Hob XV:27 海頓是位產量極高的作曲家。他年紀輕輕便展開

C 大調鋼琴三重奏於 1 7 9 7 年出版,音樂的開端

音樂生涯,在家裏唱歌,由爸爸以豎琴伴奏,後

先聲奪人,有點像同是獻給甄森的同期作品 C 大

來加入維也納史蒂芬大教堂合唱團,直至長大變

調鋼琴奏鳴曲(Hob XVI:50):不同的是,在鋼

聲為止。曾經有一段時間,他要靠教學來幫補生

琴奏鳴曲中,開端以下行的元素組成,而在三重

計,之後在維也納受聘於莫爾辛伯爵,大概六年

奏中,對應的材料卻是上行的。獻給甄森的作品

後,於 1761 年成為埃斯特哈希宮的副宮廷樂長,

經常都被視為「難度極高、活潑生動」,而 C 大

並於 1766 年成為宮廷樂長。在 1790 年前,海頓

調鋼琴三重奏的首尾樂章,簡直是每個小節都生

一直在埃斯特哈希宮,創作歌劇、交響曲、協奏

動活潑。第一樂章由始至終都極具娛樂性。慢樂

曲、聖樂和室樂等各種類型的音樂。

章以教人意外的 A 大調寫成,中段的小調部分帶

1790 年,尼古拉斯親王逝世,他的兒子安東解 散了藝術編制,海頓遷往維也納,但不久又收到 邀請前往倫敦。海頓把自己來到倫敦的事,形容

有不少惡作劇。急板滿載典型的海頓式幽默,把 開始時三個音的動機發揮得淋漓盡致。作品是作 曲家最精巧的創作之一。

為轟動,指報章連續三日報導有關消息,又說所 有人都希望一睹其風采。他獲歌劇經理約翰.所 羅門委約,創作多部作品,當中包括交響曲,又 教授學生演奏古鋼琴。海頓在倫敦的日子,實在 是大豐收。 海頓在倫敦寫了幾部鋼琴三重奏獻給泰瑞莎.甄 森,包括這部 C 大調鋼琴三重奏;甄森是一位 出色的鍵盤演奏家,海頓的第五十及五十二奏 鳴曲也是獻給她的。作品首尾樂章的織體安排精 密,需要精湛的技術,可見受甄森的演奏風格影 響。海頓為小提琴、大提琴和鍵盤樂器一共寫了 二十七部完整作品,早期的鍵盤樂器是古鍵琴, 後期的是古鋼琴。這些作品常被視為是有伴奏的 奏鳴曲,由鍵盤樂器擔當主角,大提琴往往只是 重複鍵盤的低音部分,小提琴則作伴奏,偶爾負 責奏旋律,加點裝飾。可是,弦樂部分(尤其是 大提琴)絕對不是多餘的,因為即使是重複鋼琴 部分,音樂的音色都因弦樂的加入而改變,具節 奏感的樂章也變得更清晰有力。

海頓 Joseph Haydn


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Joseph Haydn Piano Trio in C major, Hob XV:27 An immensely productive composer, Haydn’s musical life began at home, with him singing to his father’s accompaniment on the harp. He later became a choirboy in the Stephansdom in Vienna, remaining there until his voice broke. For a time he had to eke out a difficult living by teaching, then after around six years in the employ of Count Morzin in Vienna he was appointed to the Esterházy Court as Vice-Kapellmeister in 1761, becoming Kapellmeister in 1766. He remained with the Esterházy Court until 1790, composing in every genre – opera, symphony, concerto, sacred music and chamber music. After 1790, in which year Prince Nikolaus Esterházy died and his son Anton dissolved the artistic establishment, Haydn moved to Vienna, but was soon to receive an invitation to visit London. Haydn described his arrival as a sensation, and of having made rounds of the newspapers for three successive days, saying that everyone wanted to know him. He was commissioned by the impresario Johann Salomon to write various works, including symphonies, and he also gave fortepiano lessons. This time spent in London was highly productive. While there he composed several piano trios, including this one in C major, dedicated to Therese Jansen, a virtuoso on the keyboard and for whom he also composed his sonatas numbers 50 and 52. The influence of her style of playing may be seen in the more elaborate textures and the degree of bravura in the outer movements. In all Haydn wrote 27 mature works for violin, cello and keyboard, the earlier ones for harpsichord, and the later ones for fortepiano. They were thought of as accompanied sonatas, that is that the keyboard was the main protagonist, with the cello mostly doubling the bass part, and the violin often providing accompaniment, but at times taking over the melody and adding decoration. Nevertheless, it is by no means the

case that the string parts (and especially the cello) are unnecessary, since even when merely doubling what the piano is playing they add to the tone colour of the music and give definition to the rhythmic movement. The Trio in C major was published in 1797, and begins with a striking gesture, somewhat similar to that of the C major piano sonata (Hob XVI:50), written at about the same time as the trio, and also dedicated to Therese Jansen. In the piano sonata the gesture moves downwards, while in the trio, upwards. The works dedicated to Therese Jansen have been described as “difficult and extroverted”, and certainly the first and last movements of the C major trio are extrovert in practically every bar. The first movement is highly entertaining from start to finish; the slow movement, interestingly in A major, contains shenanigans in the minor in the middle, and the Presto is filled to the brim with Haydn’s typical humour, showing what can be achieved with the three-note motif with which it begins. It is one of Haydn’s most masterly creations.



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佛瑞 D 小調鋼琴三重奏,作品 120 佛瑞的父親在 1849 年當上法國一所鄉郊學校的

新開始寫室樂,寫下了一部小提琴奏鳴曲、兩部

校長,年幼的佛瑞經常在學校旁的小教堂奏小風

大提琴奏鳴曲、一部鋼琴五重奏和遺作弦樂四重

琴。後來父親聽取了他人的意見,把兒子送到巴

奏。

黎,於新成立、專門訓練管風琴師和詩班指揮的 尼德梅耶學校就讀,於是佛瑞就在那裏寄宿了 十一年,主要學習教堂音樂和管風琴,1 8 6 1 年 聖桑接管該校的鋼琴教學工作,向學生介紹各式 各樣的音樂,還講解作曲的藝術,讓年少的佛瑞 接觸到舒曼、李斯特和華格納的音樂,大開眼 界。

D 小調鋼琴三重奏寫於 1922 和 1923 年,是作曲 家臨終前第二部作品,屬晚期比較簡單的風格, 但筆觸依然散發着其獨特的動人之處。第一樂章 好像流水一樣不斷向前,鋼琴部分幾乎全都是穩 定的八分音符,只是負責帶出了第二主題,其他 抒情部分都由弦樂負責;聽起來好像穿越蜿蜒的 山脈一樣。慢樂章開始時像一部慢板進行曲,弦

畢業後,佛瑞於 1866 年在勒恩的聖梭維爾教堂

樂和鋼琴奏出延綿的旋律,佛瑞典型的和聲變化

擔任管風琴師,之後回到巴黎,於克里尼昂古聖

讓音樂充滿迷人的色彩。終曲節奏強烈,由弦樂

母院當管風琴師,但數個月後便離職入伍參戰,

先奏起強勁的動機,完結時有勝利的感覺。

於普法戰爭中拯救被圍攻的巴黎。1871 年退伍, 於巴黎聖素爾皮斯教堂當助理管風琴師。佛瑞出 席聖桑的沙龍時,認識了丹第、拉羅、杜巴克和 夏布里耶,與他們成立了國民音樂協會。又曾經 在巴黎瑪德蓮教堂出任聖桑的助手,後來更成為 那裏的詩班指揮;在那段期間,他只有在暑假才 能作曲。 佛瑞之後成為了國家音樂學院的督導,但由於經 常要出差,他並不特別喜歡此職位。1 8 9 6 年, 他出任瑪德蓮教堂的首席管風琴師,又在音樂學 院教學,學生有拉威爾、弗洛朗.舒密特、凱什 蘭、歐貝爾、羅傑 - 杜卡斯、安奈斯可和娜蒂亞. 布南傑等。1905 年,他出任音樂學院院長。佛 瑞晚年患上耳疾,音域高的音聽起來會低三度, 音域低的音則會變高三度。然而,他繼續作曲。 佛瑞的小型作品比較為人熟悉,例如一些歌曲和 鋼琴作品,但其較大型的室樂作品如 A 大調小提 琴奏鳴曲(作品 13)和 C 小調鋼琴四重奏(作 品 1 5)等其實也是上乘之作。1 9 1 6 年,佛瑞重 佛瑞 Gabriel Fauré



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Gabriel Fauré Piano Trio in D minor, Op 120 In 1849 the young Fauré’s father was appointed director of a school in provincial France, and the composer recollected spending much time playing the harmonium in the chapel attached to the school. His father was persuaded to enrol him in the then newly founded Ecole Niedermeyer in Paris, set up to train future organists and choirmasters. Fauré spent 11 years as a boarder at the school, mostly studying church music and the organ, but in 1861 Saint-Saëns took over the teaching of the piano there, and was soon introducing pupils to a much wider range of music, and also to the art of composition. This greatly widened Fauré’s horizons as he came to grips with the music of Schumann, Liszt and Wagner. After graduation Fauré took up the position of organist at St Sauveur in Rennes in 1866, but returned to Paris to become organist at NotreDame de Clignancourt for only a few months. He enlisted in the army during the Franco-Prussian war, taking part in the lifting of the siege of Paris. On his discharge in 1871 he became assistant organist at St Sulpice in Paris. Attending the salon of SaintSaëns he made friends with d’Indy, Lalo, Duparc and Chabrier, and with them founded the Société Nationale de Musique. He also deputised for SaintSaëns at the Madeleine in Paris for a time before becoming choirmaster there; during this period his composition was confined mainly to the summer holidays. After a period spent as Inspector of National Conservatories, which he disliked – there was too much travelling – he became chief organist at the Madeleine in 1896, and a teacher at the Conservatoire, where amongst his pupils were Ravel, Florent Schmitt, Koechelin, Aubert, Roger-Ducasse, Enescu and Nadia Boulanger. In 1905 he was appointed Director of the Conservatoire. In later life he began to suffer from a hearing affliction as a

result of which notes in the higher register sounded a third too low, and those in the lowest register, too high. Nevertheless he continued composing. He is best known for his smaller works – songs and many beautiful piano pieces – but his larger chamber music works contain some of his very best music, including the Violin Sonata in A major, Op 13 and the Piano Quartet in C minor, Op 15. In 1916 he returned to the field of chamber music, producing a sonata for violin, two cello sonatas, a piano quintet and his final work, a string quartet. The Piano Trio in D minor is Fauré’s penultimate work, written in 1922 and 1923, and is in the late, pared-down style, although continuing to exhibit all the traits that make his music so expressive. The first movement flows along like a stream with almost constant quaver movement in the piano part, and with lyrical lines from the strings, although the piano introduces the second theme. The effect is of traversing the great sweep of a mountain range. The slow movement starts somewhat like a slow march and brings longbreathed melodies from strings and piano, Fauré’s characteristic shifting harmonies infusing the music with intriguing colours. The last movement is rhythmically vigorous, beginning with a powerful motif from the strings, and works towards a triumphant finish.


36

貝多芬 降 B 大調第七鋼琴三重奏,作品 97,「大公爵」 「大公爵」鋼琴三重奏是貝多芬獻給魯道夫大公

大調,彷彿對那不著邊際的賦格曲感到不耐煩一

爵的作品之一。魯道夫是奧地利國王弗蘭茨最年

樣。兩種元素交替出現後,諧謔曲再次響起。慢

幼的弟弟,十六歲那年成為貝多芬的鋼琴學生,

樂章以 D 大調寫成,是作曲家最動人的慢板作品

後來還跟作曲家學作曲,師徒兩人的感情很深

之一。鋼琴再次以鏗鏘的和弦奏出主題的第一部

厚,惺惺相惜。魯道夫後來成為了貝多芬重要的

分,弦樂加入時重複主題,美不勝收。主題的第

的贊助人,1809 年,他與洛布科維茨親王及金

二部分以同樣的手法交代。接着五部變奏曲的音

斯基親王一起簽下契約,保證只要貝多芬留在維

符節奏雖然越來越短,卻沒有打擾音樂平靜的效

也納,每年就能得到生活津貼。

果。最後一首變奏曲是一段尾聲,結束時以屬和

在法國第二次佔領維也納期間,魯道夫離開了維 也納,貝多芬為他寫了《告別》鋼琴奏鳴曲(作

弦引領回到降 B 大調,讓音樂走到終曲中庸的快 板。

品 81a),當中三個樂章都有標題:「告別」、「不

終曲的主題跟諧謔曲的一樣,似乎源自民歌,伴

在」、「重逢」。第五鋼琴協奏曲同樣獻給這位

奏主要是低音加和弦的模式,效果極具娛樂性。

摯友兼贊助人。根據作品 9 7 的手稿,這部三重

完結前轉到極興奮的 6/8 拍急板,以 A 大調展開。

奏則完成於 1811 年 3 月;當時作曲家同時在寫

這部傑出的作品幾乎每個小節都散發着陽光氣

第七交響曲、作品 95 弦樂四重奏和《雅典的廢

息,只是間中有雲;是貝多芬最愉快的作品之一。

墟》及《史蒂芬王》的戲劇配樂。

樂曲介紹:紀大衛

貝多芬在開首幾個小節,已經透露出這首三重奏 熱情洋溢,鋼琴悠然自得地以極鏗鏘的聲音奏出 第一主題,但整體效果仍然是舒閒的。開首這兩 句樂句已經幾乎鋪排了整個樂章的一切──除了 第二主題。樂曲從容不迫地走到第二主題時,音 樂轉到 G 大調,效果接近一首快活的舞曲,與 第一主題的抒情效果形成對比。和聲予人溫暖的 感覺,美麗的旋律經常重複,令人難忘。發展部 的材料來自第一主題,首先以第一句的材料加以 發揮,然後又發展第二句的元素,最後以減弱的 姿態出現。 諧謔曲頑皮的主題可能源自民歌,樂曲富有幽默 感,之後的發展亦非常有趣。三重奏轉到小調, 以灰暗的賦格曲展開,完全不像一部諧謔曲, 但漸強音不久就帶出歡欣的舞曲,音樂轉到降 D

魯道夫大公爵 Archduke Rudolph of Austria


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Ludwig van Beethoven Piano Trio No 7 in B-flat major, Op 97, “Archduke” The “Archduke” piano trio was one of several works which Beethoven dedicated to the Archduke Rudolph, the Austrian Emperor Franz’s youngest brother. The Archduke had become a piano pupil of Beethoven at the age of 16, and later also studied composition with the master. There arose a firm bond between the two, each respecting the other for his particular qualities. Rudolph became a notable supporter, and in 1809 signed a document together with Prince Lobkowitz and Prince Kinsky that guaranteed Beethoven an annuity for as long as he lived in Vienna. Rudolph left Vienna for the duration of its second occupation by the French and Beethoven composed the Lebewohl piano sonata (Op 81a) for him, with its three movements titled, “Farewell”, “Absence” and “The Return”. The fifth piano concerto was also dedicated to this important friend and patron. The autograph copy of the Op 97 trio gives March 1811 as the date of completion. About the same time he also worked on the Seventh Symphony, the Op 95 string quartet, and incidental music to The Ruins of Athens and King Stephen. From the first bars of the trio it is clear that this is going to be an expansive work, taking its time to unfold as the piano announces the first theme with maximum sonority, but still quietly. The first two phrases of this underpin everything in the movement except for the second subject. This is approached in leisurely fashion, and appears in G major – a sort of happy dance in contrast to the lyricism of the first subject. There is great warmth in the harmonies and much dwelling on beautiful melodic moves, often repeated. The development muses on the first subject, beginning with the first phrase, and continuing with the second, which eventually appears in diminution.

The impish subject of the Scherzo might have its roots in folksong, and much fun is had with it and also in subsequent developments. The trio starts out as a sombre fugue in the minor – very unlike a scherzo – but quite soon a crescendo leads to a kind of triumphant dance in D-flat major, as if impatient with the fugal meanderings. These two elements alternate before the Scherzo returns. In D major, the slow movement is one of Beethoven’s most beautiful. Again, the piano part is given the most sonorous chording possible in announcing the first part of the theme, and beauty of sound is to the fore when the strings enter for the repeat. The second part of the theme is treated likewise. There follow five variations, with the speed of the notes increasing, and yet the sense of calm composure undisturbed. The final variation is also a coda, at the end of which one chord of the dominant leads back to B-flat major for the final Allegro moderato. As in the scherzo, this subject, over its mainly boom-chuck accompaniment, seems to stem from folksong, and all find it highly entertaining. Beethoven brings the work to a magnificently exciting finish with a Presto in 6/8, beginning in A major. The sun shines in practically every bar of this exceptional work, and when it doesn’t, we know that it is only a passing cloud. This is one of Beethoven’s most joyous creations. Programme notes by David Gwilt


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© Guy Vivien


39

雷吉斯.巴斯基耶

Régis Pasquier

小提琴

Violin

1 958 年,年僅 12 歲的雷吉斯.巴斯基耶在

In 1958 at only 12 years of age, Régis Pasquier was awarded the First Prize for violin and chamber music at the Paris Conservatoire. Two years later in 1960, he went to the United States to give a recital in New York. This was a decisive year, for Pasquier was to meet Isaac Stern, David Oistrakh, Pierre Fournier, Nadia Boulanger and Zino Francescatti. On hearing him play, Francescatti was particularly impressed by Pasquier’s talent and a few years later requested his collaboration on a recording of Johann Sebastian Bach’s Concerto for two violins. From that moment, Régis Pasquier entered the very exclusive circle of great violinists of world fame.

巴黎音樂學院獲得小提琴和室樂首獎。兩年 後,即 1960 年,他前往美國紐約舉行獨奏會, 是他音樂生涯的轉捩點:他結識了埃昔.史 頓、大衛.歐伊斯特拉夫、皮埃.富尼埃、 布嵐傑和齊諾.弗蘭塞斯卡蒂;弗蘭塞斯卡 蒂聽過巴斯基耶演奏後,尤其對其才華留下 深刻印象,數年後邀請他合作灌錄巴赫的雙 小提琴協奏曲,令巴斯基耶躋身世界級著名 小提琴家的行列。 巴斯基耶除了與日本、歐洲、加拿大、南美 的頂尖樂團演出,還與由指揮大師喬治.塞 爾帶領的美國克里夫蘭愛樂樂團合作。巴斯 基耶也是著名的室樂家,多次獲獎,當中包 括喬治.埃內斯庫獎、查爾.克羅斯獎和法 國唱片學院獎。1985 年,他榮獲法國藝術及 文學騎士勳章,並於巴黎音樂學院出任小提 琴和室樂教授。 巴斯基耶曾灌錄多張協奏曲和室樂唱片,值 得一提的有與路殊合作的普羅科菲耶夫小提 琴與鋼琴奏鳴曲、與波爾多阿基坦國家管弦 樂團及指揮艾倫.隆巴爾合作的普羅科菲耶 夫小提琴協奏曲、帕格尼尼二十四首無伴奏 隨想曲,和與布達佩斯廣播樂團及指揮埃里 希.伯格爾合作的伯格和巴托克小提琴協奏 曲。他灌錄的貝多芬小提琴與鋼琴奏鳴曲獲 得法國音樂之光大獎;他又曾經與皮卡第樂 團灌錄庫爾特.魏爾的小提琴協奏曲和伯恩 斯坦的小夜曲,以及與波羅的海室樂團灌錄 貝多芬和柴可夫斯基的小提琴協奏曲,兩張 合作專輯皆由 Caliope 發行。 巴斯基耶使用的是朱塞佩.瓜奈里於 1734 年 所製的克里蒙納名琴。

Pasquier has performed with the greatest orchestras in Japan, Europe, Canada, South America and particularly in the United States with the Cleveland Philharmonic Orchestra, conducted by the eminent Georges Szell. Pasquier is also a noted chamber musician; among the many accolades he has received are the Georges Enesco Prize, the Charles Cros Prize and the French Record Academy Prize. In 1985, he was appointed Chevalier des Arts et des Lettres and Professor of Violin and Chamber Music at the Paris Conservatoire. Régis Pasquier has made numerous concerto and chamber music recordings, notably the Prokofiev sonatas for violin and piano with Pascal Roge, the Prokofiev violin concertos with the Orchestre National de Bordeaux-Aquitaine and conductor Alain Lombard, as well as Paganini’s 24 Caprices, and the Berg and Bartók violin concertos with the Budapest Radio Orchestra and conductor Eric Bergel. His recording of the Beethoven sonatas for violin and piano won the Victoires de la musique. He has also recorded the Kurt Weill Violin Concerto and Bernstein Serenade with the Orchestre de Picardie, and Beethoven and Tchaikovsky violin concertos with the Baltic Chamber Orchestra on the Caliope label. He plays a magnificent violin by Joseph Guarnerius “Del Gesu”, Cremona 1734.


40

© Laure Vasconi


41

羅倫.皮杜

Roland Pidoux

大提琴

Cello

羅倫.皮杜畢業於巴黎音樂學院,於 1965 及

Roland Pidoux studied at the Paris Conservatoire and received diplomas in both 1965 and 1969.

1969 年取得文憑。 受尚.于博和約瑟.卡爾維兩位教授影響, 皮杜除了成為一位大提琴演奏家外,還培養 了對室樂的濃厚興趣。19 9 8 年,他與尚 - 皮 埃.華萊茲成立了法國合奏團,後來改名為 巴黎管弦樂團。有七年時間,皮杜曾是新四 重奏的成員;後來與雷吉斯.巴斯基耶和布 魯諾.巴斯基耶成立巴斯基耶三重奏。 1 969 年, 皮 杜 受 聘 巴 黎 歌 劇 院 樂 團, 並 於 1 978 至 1987 年擔任法國國家管弦樂團首席 大提琴。期間,熱衷室樂的皮杜有機會與多 位著名音樂家合作,如皮埃.富尼埃、米斯 迪拉夫.羅斯卓波維奇、埃昔.史頓和尚 皮耶.朗帕爾等。他又與摯友鋼琴家尚 - 克 勞德.潘尼迪爾和拍擋小提琴家雷吉斯.巴 斯基耶組成三重奏,在法國與海外均大受歡 迎,又經常到美國演出。 皮杜跟隨老師安德烈.那瓦拉的腳步,現時 使用的大提琴,正是那瓦拉自己的加利亞諾 大提琴;自 1988 年起,皮杜同樣在巴黎音樂 學院教學。皮杜是貝萊埃大提琴音樂節的藝 術總監和節目總監,也是大提琴八重奏組合 法國大提琴的創團成員。 皮杜灌錄過許多室樂唱片,其中有與潘尼迪 爾合作,並獲法國「驚豔古典」大獎的貝多 芬大提琴與鋼琴奏鳴曲全集。

Under the influence of his professors Jean Hubeau and Joseph Calvet, Pidoux developed a passion for chamber music in addition to his career as a concert cellist. In 1998, he founded the Ensemble Instrumental de France, later renamed Ensemble Orchestral de Paris, with JeanPierre Wallez. He played with the Quatuor Via Nova for seven years and then formed the Trio Pasquier with Régis and Bruno Pasquier. In 1969, he was hired by the Orchestre de l’Opéra de Paris, and from 1978 to 1987, he was principal cellist at the Orchestre National de France. Thanks to Pidoux’s love for chamber music, during this period he had the opportunity to perform with exceptional musicians such as Pierre Fournier, Mstislav Rostropovitch, Isaac Stern and Jean-Pierre Rampal among others. He also returned to his long-time friend and pianist JeanClaude Pennetier to play in a trio with another of his favorite stage partners, violinist Régis Pasquier. The trio are popular in France and abroad, especially in the USA, where they are regularly invited to perform. Pidoux has followed in the footsteps of his mentor André Navarra and now owns the Gagliano cello that previously belonged to Navarra; he has also taught at the Paris Conservatoire since 1988. He is the artistic director and programme director of the Rencontre de Violoncelle de Bélaye and a founding member of the cello octet Les Violoncelles Français. Pidoux has made numerous chamber music recordings, for example Beethoven’s complete sonatas for cello and piano with Jean-Claude Pennetier, which was awarded with a Choc de Classica.


香港藝術節衷心感謝下列機構及人士的慷慨支持: The Hong Kong Arts Festival would like to thank the following for their generous support:

贊助舍計劃會員 Patron’s Club Members 鉑金會員 Platinum Member

嘉里控股有限公司 Kerry Holdings Limited

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怡和集團 The Jardine Matheson Group

純銀會員 Silver Members

鷹君集團有限公司 Great Eagle Holdings Limited 太古集團慈善信託基金 The Swire Group Charitable Trust

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上海商業銀行 Shanghai Commercial Bank Limited Vontobel Wealth Management (Hong Kong) Limited

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•Pro Helvetia •Spanish Ministry of Culture

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青銅捐款者 BronzE DonorS HK$2,500 - HK$4,999 •無名氏 (2) Anonymous (2) •Atkinson Lambert Limited •Mr Cheung Shu Tong Edmund •Bethan and Tim Clark •Dr David Fang •銀河娛樂集團 Galaxy Entertainment Group •Mr & Mrs Jaeger •Ms Khoo Li Lian •Heidi Lee •Miss Ruby Lee •Ms Lim Geck Chin Mavis •Stephen Long •Mr Gary Ma •Mr Christopher Wong & Dr Ivo Chen


學生票捐助計劃 Student Ticket Scheme 鉑金捐款者 PlATinuM DonorS HK$120,000 或以上 AnD ABoVE •無名氏 Anonymous •Burger Collection •馬振玉慈善基金會有限公司 CYMA Charity Fund Ltd •恒生銀行 Hang Seng Bank •芝蘭基金會 Zhilan Foundation 鑽石捐款者 DiAMonD DonorS HK$60,000 - HK$119,999 •Vina Cheng •梁家傑先生夫人 Mr & Mrs Leong Kah-Kit Alan •Mrs Purviz R Shroff and the late Mr Rusy M Shroff, BBS, MBE •Mr & Mrs Stephen Suen •田家炳基金會 Tin Ka Ping Foundation 黃金捐款者 GolD DonorS HK$10,000 - HK$59,999 •無名氏 (4) Anonymous (4) •St. Paul's College Alumni Choir •陳求德醫生 Dr Chan Kow Tak •招國利先生 Mr Chiu Kwok Lee •Dr Chung See Yuen •Consigliere Limited •Mr & Mrs Kenneth H C Fung •馮兆林先生 JP 及夫人 Mr & Mrs Fung Shiu Lam JP •Richard & Ruth Herbst •胡興正醫生慈善基金有限公司 Dr Wayne Hu Charitable Foundation Ltd •Mr & Mrs Stefan & Caroline Kracht •林聖竤 Chris Lin •Mr & Mrs Roger Lui •MAXSMART INV. LTD •Mrs Carol Murray •Mr Stephen Tan •Peter & Nancy Thompson •Mr William To •Tsang Wing Fun •曹延洲醫生 Dr Tsao Yen Chow •Ms Wong Yuen Mee Elsa •黃逸思先生夫人 Mr & Mrs YS Wong 純銀捐款者 SilVEr DonorS HK$5,000 - HK$9,999 •無名氏 (5) Anonymous (5) •Mr Iain Bruce •Winnie Chiu Wing Ngar •Chou's Foundation •Mr & Mrs Norman Chui •Mr & Mrs A R Hamilton •Ms Winnie W Y Ho •King Yuen-Fung Diana •Mr & Mrs Ko Ying •Yvonne Cheng & Kelvin Koo

•羅偉騫先生夫人 Mr Andy Law & Ms Wendy Chan •Lee Lai-Kuen Shelley •Craig Lindsay Family •Lok Yu Kim Ching Memorial Fund •C H Mak •Dr Mak Lai Wo •Karen & Vernon Moore •Ms Poon Yee Ling Eligina •孫永輝施熙德伉儷 Edith Shih & Stephen Sun •Alan and Penny Smith •Anna Stephenson & Alan Leigh •John and Anthea Strickland •Leland & Helen Sun •Dr Henry N C Wong •Mr Wong Yick Kam •Dr Adrian Wu •Mrs Wu Tseng Helen 青銅捐款者 BronzE DonorS HK$2,500 - HK$4,999 •無名氏 (9) Anonymous (9) •Ms Michaela Au •Ms Rebecca Austin •區燊耀先生 Mr Au Son Yiu •Biz Office Limited •Carthy Limited •Diana Tong Chan •Dr Chan Wan Tung •Cynthia Cheng & Aaron Chan •Cheung Kit Fung •Dr Chow Sze Fu Joseph •Cindy Chan Psychological Services •Community Partner Foundation Limited •Easy Living Limited •giliproduction •Susan Hayden •Betty Hung •Isla School of Dance •Dr Alfred Lau •Susan Lim & Neil Roberts •Ms Jackaline McPhie •Mr & Mrs Kenneth Quinn •陶國豪 Frederico Rato •Ms Janice Ritchie •Mr Siddique Salleh •So Ching •So Kin Man •Ms Yim Chui Chu •余德銘先生 Mr Desmond Yu •皮皮

新作捐助計劃 new Works Scheme 鉑金捐款者 PlATinuM DonorS HK$120,000 或以上 AnD ABoVE •Mrs Mona Leong •Permanent Success Limited 鑽石捐款者 DiAMonD Donor HK$60,000 - HK$119,999 •Winfull Group Holdings Limited 黃金捐款者 GolD DonorS HK$10,000 - HK$59,999 •無名氏 (2) Anonymous (2) •Mrs K L Chan •劉仰澤先生 Mr Lau Yeung Chak •林聖竤 Chris Lin •Mrs Diana & Mr Jay Parmanand •孫天珍小姐 Ms Sun Tien Chen

純銀捐款者 SilVEr DonorS HK$5,000 - HK$9,999 •無名氏 (2) Anonymous (2) •Lexandra Chan •Ms Winnie W Y Ho •Lok Yu Kim Ching Memorial Fund •Ms Poon Yee Ling Eligina •孫永輝施熙德伉儷 Edith Shih & Stephen Sun 青銅捐款者 BronzE DonorS HK$2,500 - HK$4,999 •Ms Michaela Au •Ms Chiu Shui Man Tabitha •Contempo Charity Foundation Limited •黃逸思先生夫人 Mr & Mrs YS Wong



支持及協助 Support and Co-operation •Academy of Jazz •Acorn Design •Adsmart Hong Kong Limited •Alfie Leung Design •Alliance Française •AMC Pacific Place •巴塞爾藝術展 Art Basel •樺利廣告有限公司 Avanny Advertising Co Ltd •龍堡國際 B P International •BRICK LANE •英國文化協會 British Council •Broadway Cinema •百老匯院線 Broadway Circuit •Broadway The One •明愛白英奇賓館 Caritas Bianchi Lodge •牛棚藝術村 Cattle Depot Artist Village •CCDC 舞蹈中心 CCDC Dance Centre •周俊輝先生 Mr Chow Chun Fai •周生生集團國際有限公司 Chow Sang Sang Jewellery Co. Ltd •毛妹芭蕾舞學校 Christine Liao School of Ballet •中信國際電訊 ( 信息技術 ) 有限公司 CITIC Telecom International CPC Limited •城市當代舞蹈團 City Contemporary Dance Company •城巿花園酒店 City Garden Hotel •購票通 ( 香港 ) 有限公司 Cityline (Hong Kong) Limited •比利時駐港澳總領事館 Consulate General of Belgium in Hong Kong and Macau •澳洲駐港總領事館 Australian Consulate-General Hong Kong •加拿大駐香港總領事館 Consulate General of Canada in Hong Kong and Macao •愛沙尼亞共和國駐香港名譽領事館 Honorary Consulate of the Republic of Estonia in Hong Kong •法國駐港澳總領事館 Consulate General of France in Hong Kong and Macau •以色列駐港澳總領事館 Consulate General of Israel in Hong Kong & Macau •大韓民國駐香港總領事館 Consulate General of the Republic of Korea in Hong Kong •葡萄牙駐香港領事館 Consulate of Portugal in Hong Kong •波蘭駐香港總領事館 Consulate General of the Republic of Poland in Hong Kong •俄羅斯駐香港總領事館 Consulate General of the Russian Federation in Hong Kong SAR, PRC •南非駐港澳總領事館 Consulte General of the Republic of South Africa, Hong Kong SAR and Macao SAR •西班牙駐港澳總領事館 Consulate General of Spain in Hong Kong and Macao •瑞士駐香港總領事館 Consulate General of Switzerland in Hong Kong •美國駐港澳總領事館 U.S. Consulate General in Hong Kong & Macau •澳門特別行政區政府文化局 Cultural Affairs Bureau of the Macao S.A.R. Government •德勤企業管理咨詢(香港)有限公司 Deloitte Consulting (Hong Kong) Limited •dreamoffish Limited •風采中學 Elegantia College •埃克森美孚香港有限公司 ExxonMobil Hong Kong Limited •粉嶺禮賢會中學 Fanling Rhenish Church Secondary School •藝穗會 Fringe Club •鳳溪廖萬石堂中學 Fung Kai Liu Man Shek Tong Secondary School

•港威酒店 Gateway Hotel •六國酒店 Gloucester Luk Kwok Hong Kong •香港歌德學院 Goethe-Institut Hong Kong •香港君悅酒店 Grand Hyatt Hong Kong •青苗琴行 Greenery Music •港島海逸君綽酒店 Harbour Grand Hong Kong •快達票香港有限公司 HK Ticketing •香港藝術行政人員協會 Hong Kong Arts Administrators Association •香港藝術中心 Hong Kong Arts Centre •香港浸會大學 Hong Kong Baptist University 電影學院 Academy of Film 音樂系 Department of Music 拉闊文化 Cultural Literacy Programme •香港大會堂 Hong Kong City Hall •香港文化中心 Hong Kong Cultural Centre •香港知專設計學院 Hong Kong Design Institute •香港經濟貿易辦事處 Hong Kong Economic and Trade Office •香港黃金海岸酒店 Hong Kong Gold Coast Hotel •香港管弦樂團 Hong Kong Philharmonic Orchestra •香港唱片 Hong Kong Records •香港旅遊發展局 Hong Kong Tourism Board •宜必思香港中上環 ibis Hong Kong Central and Sheung Wan •工銀亞洲 ICBC (Asia) •海景嘉福洲際酒店 InterContinental Grand Stanford Hong Kong •香港洲際酒店 InterContinental Hong Kong •Intox Design & Communication Co. Ltd. •The Italian Cultural Institute in Hong Kong •港島太平洋酒店 Island Pacific Hotel Hong Kong •鍾詠賢芭蕾舞學校 Ivy Chung School of Ballet •王仁曼芭蕾舞學校 Jean M. Wong School of Ballet •JellyBin Limited •Ms Anastassia Katafygiotis •高山劇場 Ko Shan Theatre •九龍木球會 Kowloon Cricket Club •Kubrick •葵青劇院 Kwai Tsing Theatre •光華新聞文化中心 Kwang Hwa Information & Culture Centre •Lanson Place Hotel, Hong Kong •梁震宇先生 Mr Mark Leung •李鏡輝先生 Mr Alpha Li •李慧中博士 Dr Li Wai Chung •立方國際青年公寓 M3 International Youth Apartment •MANA! •馬哥孛羅香港酒店 Marco Polo Hongkong Hotel •Maxibit HK/China •Wavemaker Hong Kong Limited •酩悅軒尼詩帝亞吉歐洋酒香港有限公司 Moët-Hennessy Diageo Hong Kong Limited •MOViEMOViE •北區大會堂 North District Town Hall •One Minden Tapas Kitchen •PALACE ifc •柏斯琴行 Parsons Music Limited •卓滙達有限公司 Patsville Company Ltd •Pause Rewind n FastForward •電訊盈科 PCCW •Pixellent •犇華企業服務有限公司 Primasia Corporate Services Limited •香港太子酒店 Prince Hotel, Hong Kong •Red Square Gallery •麗豪酒店 Regal Riverside Hotel •RFI Asia Limited •帝都酒店 Royal Park Hotel

•香港帝景酒店 Royal View Hotel •Russian Club in Hong Kong •沙田大會堂 Sha Tin Town Hall •信興廚藝中心 Shun Hing Cooking Centre •上環文娛中心 Sheung Wan Civic Centre •岑智頤先生 Mr Henry Shum •信興電器貿易有限公司 Shun Hing Electronic Trading Co., Ltd. •先鋒廣告製作有限公司 Sin Fung Advertising Production Co., Ltd. •Southgate Design •事必達推廣有限公司 Speedy Promotion Limited •Steam Studio •辰衝圖書有限公司 Swindon Book Co. Ltd. •台灣蘇富比國際房地產 Taiwan Sotheby's International Realty •藝林文具印刷有限公司 The Artland Co Ltd •香港中文大學 The Chinese University of Hong Kong 音樂系 Department of Music 和聲書院 Lee Woo Sing College •香港城市大學 The City University of Hong Kong 英文系 Department of English •香港教育大學 The Education University of Hong Kong 文化與創意藝術學系 Department of Cultural and Creative Arts •香港演藝學院 The Hong Kong Academy for Performing Arts 中國戲曲學院 School of Chinese Opera 戲劇學院 School of Drama 音樂學院 School of Music •香港理工大學 The Hong Kong Polytechnic University •香港科技大學 The Hong Kong University of Science and Technology 人文學部 Division of Humanities 藝術中心 Center for the Arts 學生住宿及舍堂生活事務處 Student Housing and Residential Life Office •中環石板街酒店 The Pottinger Hong Kong •皇家太平洋酒店 The Royal Pacific Hotel and Towers •香港大學 The University of Hong Kong 音樂系 Department of Music 通識教育部 General Education Unit 香港大學美術博物館 University Museum and Art Gallery Cultural Management Office 圖書館 Library 香港大學博物館學會 The University of Hong Kong Museum Society 國際事務處 International Affairs Office •譚縉謙先生 Mr Tam Chun-him •通利琴行 Tom Lee Music Company Ltd •中環荷李活道彩鴻酒店 Travelodge Central, Hollywood Road •Trickstation •三角關係 Trinity Theatre •荃灣大會堂 Tsuen Wan Town Hall •UA CINEHUB •城市售票網 URBTIX •香港華美粵海酒店 The Wharney Guang Dong Hotel Hong Kong •進富印刷公司 Wealthy Step Printing Co. •wine etc •香港基督教青年會(港青) YMCA of Hong Kong •青年廣場 Youth Square •赤豚事務所 Zhu Graphizs


贊助人

林鄭月娥女士

PATRON

永遠名譽會長 執行委員會 主席 副主席 義務司庫 委員

邵逸夫爵士

HONORARY LIFE PRESIDENT EXECUTIVE COMMITTEE Chairman Vice Chairman Honorary Treasurer Members

節目委員會 主席 委員

財務委員會 主席 委員 發展委員會 主席 副主席 委員

顧問

名譽法律顧問 核數師

查懋成先生 盧景文教授 李錦榮先生 鄭維新先生 鄭惠貞女士 劉鎮漢先生 梁靳羽珊女士 梁卓偉教授 姚潔莉女士 楊 光先生 盧景文教授 白諾信先生 紀大衛教授 羅志力先生 毛俊輝先生 李 義法官 約瑟.施力先生 + 譚榮邦先生 姚 珏女士 李錦榮先生 鄭惠貞女士 梁國輝先生 梁靳羽珊女士 雍景欣女士 鄭阮培恩女士 邱詠筠女士 龐建貽先生 孫林宣雅女士 姚祖輝先生 楊海燕女士 夏佳理先生 鮑 磊先生 李業廣先生 梁紹榮夫人 李國寶博士 孖士打律師行 羅兵咸永道 會計師事務所

香港藝術節基金會 主席 霍 璽先生 管理人 陳達文先生 梁紹榮夫人 陳祖澤博士

地址 : 香港灣仔港灣道 2 號 12 樓 1205 室 電話 : 2824 3555 傳真 : 2824 3798, 2824 3722 節目查詢熱線 : 2824 2430 出版:香港藝術節協會有限公司 承印:香港嘉昱有限公司 本刊內容,未經許可,不得轉載。

PROGRAMME COMMITTEE Chairman Members

FINANCE COMMITTEE Chairman Members

HONORARY SOLICITOR AUDITOR

Mr Victor Cha Prof. Lo King-man, MBE, JP, SBS Mr William Li Mr Edward Cheng, SBS JP Ms Margaret Cheng Mr Anthony Lau Mrs Yu-san Leong Prof. Gabriel Leung, GBS JP Ms Miriam Yao Mr Sunny Yeung Prof. Lo King-man, MBE, JP, SBS Mr Giorgio Biancorosso Prof. David Gwilt, MBE Mr Peter C L Lo Mr Fredric Mao, BBS The Hon Mr Justice Ribeiro Mr Joseph Seelig + Mr Wing-pong Tam, SBS JP Ms Jue Yao, JP Mr William Li Ms Margaret Cheng Mr Nelson Leong

DEVELOPMENT COMMITTEE Chairman Vice Chairman Members

ADVISORS

The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS Sir Run Run Shaw, CBE (1907-2014)

Mrs Yu-san Leong Ms Jane Yong Mrs Betty Yuen Cheng Ms Winnie Chiu Mr Paulo Kin-yee Pong Mrs Helen Lin Sun Mr Andrew Yao Ms Hoi-yin Yeung The Hon Ronald Arculli, GBM CVO GBS OBE JP Mr Martin Barrow, GBS CBE JP Mr Charles Y K Lee, GBM GBS JP Mrs Mona Leong, SBS BBS MBE JP Dr The Hon David K P Li, GBM GBS JP Mayer Brown JSM PricewaterhouseCoopers

HONG KONG ARTS FESTIVAL TRUST Chairman Mr Angus H Forsyth Trustees Mr Darwin Chen, SBS ISO Mrs Mona Leong, SBS BBS MBE JP Dr John C C Chan, GBS JP

電子郵箱 : afgen@hkaf.org

Address: Room 1205, 12th Floor, 2 Harbour Road,Wanchai, Hong Kong Tel: 2824 3555 Fax: 2824 3798, 2824 3722 Email: afgen@hkaf.org Programme Enquiry Hotline: 2824 2430 Published by: Hong Kong Arts Festival Society Limited Printed by Cheer Shine Enterprise Co., Ltd Reproduction in whole or in part without written permission is strictly prohibited.


+

職員 行政總監 節目 節目總監 副節目總監 節目經理

榮譽節目顧問 Honorary Programme Advisor * 合約職員 Contract Staff

STAFF 何嘉坤

Executive Director

節目經理(行政) 助理節目經理 節目統籌 節目行政主任 物流及接待經理

梁掌瑋 蘇國雲 葉健鈴 陳韻妍 蘇雪凌 林淦鈞 * 黃傲軒 * 曹愷怡 * 金學忠 *

•技術 製作經理 視聽統籌

Programme Programme Director Associate Programme Director Programme Managers

Tisa Ho

Programme Manager (Administration) Assistant Programme Managers Programme Coordinators Programme Administration Officer Logistics Manager

Grace Lang So Kwok-wan Linda Yip Susanna Yu* Vanessa Chan Shirley So Lam Kam-kwan* Jacqueline Li* Joseph Wong* Patricia Lee* Sabrina Cho* Elvis King*

徐子宜 * 許肇麟 *

• Technical Production Manager Audiovisual Coordinator

Tsui Tsz-yee* Boolu Hui*

•出版 高級編輯 編輯 助理編輯

黃迪明 * 林尚諾 * 鍾佩妝 *

• Publications Senior Editor Editor Assistant Editors

Timothy Wong* Sherlock Lam* Eunice Chung*

•外展 高級外展經理 助理外展經理 外展統籌 外展主任 藝術行政見習員 外展助理

李冠輝 張鼎丞 * 林嘉敏 * 譚曉峯 * 李萬祺 * 李玨熙 *

• Outreach Senior Outreach Manager Assistant Outreach Managers Outreach Coordinator Outreach Officer Arts Administrator Trainee Outreach Assistant

Kenneth Lee Bell Cheung* Carman Lam* Mitch Tam* Kelvin Li* Michael Lee*

市場推廣 市場總監 副市場總監 市場經理 副市場經理 助理市場經理 數碼營銷專員 市場主任 市場經理(票務) 票務主任 客戶服務主任

鄭尚榮 胡銘堯 周 怡 楊 璞* 吳嘉沛 * 陳閏霖 * 莫文軒 * 梁彩雲 李 彤* 鄭佩欣 *

MARKETING Marketing Director Associate Marketing Director Marketing Managers Deputy Marketing Manager Assistant Marketing Manager Digital Marketing Specialist Marketing Officer Marketing Manager (Ticketing) Ticketing Officer Customer Service Officers

Katy Cheng Dennis Wu Alexia Chow Michelle Yeung* Tiffany Ng* Ben Chan* Tony Mok* Eppie Leung Lee Tung* Bonnie Cheng*

DEVELOPMENT Development Director Development Manager Deputy Development Manager Assistant Development Managers Arts Administrator Trainee Development Officer

Flora Yu Chingmi Chow* Anna Cheung* Lorna Tam Esther Mok* Mandie Choy*

余瑞婷 * 李詠芝 * 李芷銦 *

林惠賢 *

鄧冠恒 *

張嘉麟 *

李俊偉 *

發展 發展總監 發展經理 副發展經理 助理發展經理 藝術行政見習員 發展主任

余潔儀 周美清 * 張慧芝 * 譚樂瑤 莫穎哲 * 蔡杏村 *

會計 會計部主管 助理會計經理 會計主任

鄺敬婷 林英光 * 蘇永恆 *

ACCOUNTS Head of Accounts Department Assistant Accounting Manager Accounting Officer

Teresa Kwong Sunny Lam* Peter So*

人力資源及行政 人力資源及行政經理 人力資源及行政主任 行政秘書 接待員/初級秘書 助理

馮紹昌 簡凱彤 * 謝凱婷 李美娟 黃國愛

HR & ADMINISTRATION HR & Administration Manager HR & Administration Officer Executive Secretary Receptionist/Junior Secretary General Assistant

Calvin Fung Vivian Kan* Heidi Tse Virginia Li Bonia Wong

蘇寶蓮 *

Grace Lam*

Joe Tang*

Louis Cheung*

Michael Lie Ken Jie*

Conny Souw*

技術統籌 * Technical Coordinators* 歐慧瑜 Rachel Au、陳焯華 Billy Chan、陳寶愉 Bobo Chan、陳佩儀 Claudia Chan、陳詠杰 Chan Wing-kit、 陳家彤 Doris Chen、鄺嘉欣 Karen Kwong、黎智勇 Martin Lai、林環 Nancy Lam、 羅瑞麟 Lo Shui-lun、 曾家慧 Joanne Tsang、黃靜文 Ivy Wong 藝術家統籌 * Artist Coordinators*

鄭瑋菁 Virginia Cheng、馮顯峰 Fung Hin-fung、張素真 Susan Hayden、何嘉露 Carrol Ho、彭慧雯 Jan Pang、 黃婉媚 Becky Wong、游慧姿 Janet Yau


節目時間表 Programme Calendar 歌劇 戲 /曲 OPERA / CHINESE OPERA

中國國家京劇院 主演:于魁智、李勝素 -《鳳還巢》 -《牛皋下書 ‧ 挑滑車》、《打漁殺家》 -《帝女花》 -《紅鬃烈馬》

China National Peking Opera Company Featuring: Yu Kuizhi, Li Shengsu - The Phoenix Returns to Its Nest - Breaking the Siege/Lifting the Chariots and The Fisherman's Revenge - Princess Changping - Rekindling a Life-Long Romance

賽馬會本地菁英創作系列: 粵劇《百花亭贈劍》毛俊輝導演作品 改編及導演:毛俊輝

Jockey Club Local Creative Talents Series: Cantonese Opera - Pavilion of a Hundred Flowers Adaptation and Director: Fredric Mao

粵劇《霸王別姬》 藝術總監:尤聲普

Cantonese Opera - Farewell My Concubine Artistic Director: Yau Sing-po

CHCH

27/2 28/2

7:30pm 7:30pm

CCGT

2/3 3/3

7:30pm 7:30pm

APAL

2-4/3

8pm

CHCH

9-11/3

7:30pm

CCGT

15, 17/3

7:30pm

Maxim Rysanov and Hong Kong Sinfonietta Music Director and Conductor: Yip Wing-sie

CHCH

25/2

8pm

巴.羅克樂團《聲音之旅》 藝術領導及小提琴獨奏:德米特里.辛柯夫斯基

B’Rock Orchestra - Sounding Stories Artistic leader and Solo Violin: Dmitry Sinkovsky

CHCH

1/3

8pm

潘尼迪爾鋼琴獨奏會

Jean-Claude Pennetier Piano Recital

CHCH

2/3

8pm

香港中樂團《劉邦.項羽.兵馬俑》 指揮:閻惠昌

Hong Kong Chinese Orchestra Liu Bang, Xiang Yu and the Terra Cotta Warriors Conductor: Yan Huichang

CCCH

3/3

8pm

愛沙尼亞之聲 指揮:約翰 - 艾克.杜爾夫

Vox Clamantis Conductor: Jaan-Eik Tulve

CHCH

3/3

8pm

愛沙尼亞之聲與潘尼迪爾

Vox Clamantis and Jean-Claude Pennetier

CHCH

4/3

4pm

鋼琴三重奏 - 潘尼迪爾.巴斯基耶.皮杜 鋼琴:潘尼迪爾 小提琴:巴斯基耶 大提琴:皮杜

Trio Pennetier Pasquier Pidoux Piano: Jean-Claude Pennetier Violin: Regis Pasquier Cello: Roland Pidoux

CHCH

5/3

8pm

俄羅斯史維特蘭諾夫國家交響樂團 指揮:克利斯蒂安.約菲

State Academic Symphony Orchestra of Russia "Evgeny Svetlanov" Conductor: Kristjan Järvi

CCCH

8-10/3

8pm

威爾斯國家歌劇院.親子音樂會

O is for OPERA! Family Concert by Welsh National Opera

CCCH

16/3

8pm

CHCH

16/3

8pm

Beyond Impressionism - Piano Concert and Film Screening 《跨越意象》鋼琴音樂會及電影放映 CHCH 鋼琴:張郁苓、黃蔚然、黃蔚園、娉婷鋼琴二重奏 Piano: Evelyn Chang, Wong Wai-yin, Wong Wai-yuen, Duo Ping & Ting

17/3

6pm

威爾斯國家歌劇院 - 德布西《佩利亞斯與梅麗桑德》 Welsh National Opera - Debussy’s Pelléas et Mélisande Conductor: Lothar Koenigs 指揮:洛德.古尼斯

音樂

MUSIC

《最愛中提琴》:賴沙諾夫與香港小交響樂團 音樂總監及指揮:葉詠詩

西班牙之風古樂團 《重拾失落在美洲的西班牙瑰寶》 指揮及古鍵琴:愛德華度.盧比斯.班素

Al Ayre Español - Spanish Treasures in the Americas Conductor and Harpsichord: Eduardo López Banzo

爵士樂 世 / 界音樂 Jazz / WorlD MUSIC

丹麥國家交響樂團 指揮:法比奧.雷西

Danish National Symphony Orchestra Conductor: Fabio Luisi

CCCH

20/3

8pm

瑞士韋爾比亞音樂節室樂團 指揮:加博爾.塔卡奇 - 納吉 鋼琴:張緯晴 大提琴:戈蒂埃.卡普森

Verbier Festival Chamber Orchestra Conductor: Gábor Takács-Nagy Piano: Rachel Cheung Cello: Gautier Capuçon

CHCH

23/3

8pm

愛沙尼亞國家交響樂團及 愛沙尼亞國家男聲合唱團 指揮:萊夫.薩格士譚

Estonian National Symphony Orchestra and Estonian National Male Choir Conductor: Leif Segerstam

CCCH CHCH

24/3 25/3

8pm 5pm

傑思.博迪

Chris Botti

CCCH

23-24/2

8pm

爵士新潮 - 霍圖納與辛波絲卡《詩樂對話》 - Vila Navio 三重奏 - 霍圖納爵士四重奏

Nouveau Jazz Weekend - Fortuna Plays Szymborska - Vila Navio - Maciej Fortuna Special Quartet

HKAC-ST 3-4/3 3/3 4/3

3pm 9pm 8pm

世界音樂週末營 - 安娜.瑪麗亞.悠珮克及 Kroke 三重奏 - Songhee 韓國清唱研究所 - 白雲

World Music Weekend - Anna Maria Jopek and Kroke - Songhee Pansori LAB - Namgar

APAA

17-18/3 18/3 18/3

8pm 3pm 5pm

瑟西兒.麥克羅恩.莎芳與艾倫.迪爾三重奏

Cécile McLorin Salvant and the Aaron Diehl Trio

CCCH

21-22/3

8pm

CCGT CCCH CCST

香港文化中心大劇院 Grand Theatre, HK Cultural Centre 香港文化中心音樂廳 Concert Hall, HK Cultural Centre 香港文化中心劇場 Studio Theatre, HK Cultural Centre

CHCH CHTH APAL

香港大會堂音樂廳 Concert Hall, HK City Hall 香港大會堂劇院 Theatre, HK City Hall 香港演藝學院歌劇院 Lyric Theatre, HKAPA


Ballett Zürich - Anna Karenina Choreographer: Christian Spuck

CCGT

23-24/2 24-25/2

7:30pm 2:30pm

亞太舞蹈平台(第十屆)

Asia Pacific Dance Platform X

- 松根充和《舞得入境》

- Michikazu Matsune: Dance, if you want to enter my country! FC-FU

- 馬丁.赫辛《身身相印》 - 奧菲爾.約迪拉維治《萬有引力》及 尼克.鮑華《蚊型城市間》

- Martin Hansen: if it’s all in my veins - Ofir Yudilevitch: Gravitas and Nick Power: Between Tiny Cities

23/2 24/2 13-14/3 16/3 17/3

8pm 3pm 8pm 8pm 3pm

香港賽馬會當代舞蹈平台

The Hong Kong Jockey Club Contemporary Dance Series

-《舞.聲》 編舞:陳穎業、梁儉豐、盤彥燊 聲音藝術家:彼得.萊納

- The Battle Zone | Vortex Choreographers: Yip Chan, Kenny Leung, Wayson Poon Sound Artist: Peter Lenaerts

24/2 25/2

8:15pm 3pm

-《兩地書》 編舞:李超、白濰銘、潘振濠、謝欣、 楊暢、楊浩、姚潔琪、張翼翔

CCST - Dance Exchange Choreographers: Li Chao, Ming Pak, Poon Chun-ho, Xie Xin, Yang Chang, Yang Hao, Judy Yiu, Zhang Yixiang

3/3 4/3

8:15pm 3pm

-《舞鬥》 編舞:程偉彬、柯志輝、廖月敏、呂沅蔚、 馬師雅、黃翠絲、張喜龍

- Dance Off Choreographers: Rex Cheng, Felix Ke, Sudhee Liao, Evains Lui, Alice Ma, Tracy Wong, Solong Zhang

KTT-BBT

22-25/3 24-25/3

8pm 3pm

薩卡洛娃及列賓《足尖情弦》 舞者:斯文蘭娜.薩卡洛娃 小提琴 : 瓦汀.列賓

Svetlana Zakharova and Vadim Repin Pas de deux for Toes and Fingers Dancer: Svetlana Zakharova Violin: Vadim Repin

CCGT

27-28/2

7:30pm

PPS 舞團《反斗校園》 藝術總監及編舞:皮埃 - 保羅.薩瓦

PPS Danse - Playing Hooky Artistic Director and Choreographer: Pierre-Paul Savoie

SWCC-TH 3-4/3 4/3

KTT-BBT KTT-BBT

CCST

8pm 3pm

TheaTre

戲劇

佛蘭明高大師加凡

Israel Galván - FLA.CO.MEN

CCGT

5-6/3

7:30pm

勅使川原三郎 | 渡烏舞團《崔斯坦與伊索德》

Saburo Teshigawara | KARAS - Tristan and Isolde

CHTH

8-11/3

8pm

美國芭蕾舞劇院《芭蕾小忌廉》 編舞:阿列克塞.羅曼斯基 藝術總監:凱文.麥肯齊

American Ballet Theatre - Whipped Cream Choreographer: Alexei Ratmansky Artistic Director: Kevin McKenzie

CCGT

22-25/3 25/3

7:30pm 2:30pm

南非開普敦港口劇團《非洲少年流浪記》 改編自莊尼.斯坦貝格小說 導演:馬克.當福 - 梅

Isango Ensemble - A Man of Good Hope Based on the book by Jonny Steinberg Director: Mark Dornford-May

APAL

23-24/2 24-25/2

7:30pm 2:30pm

APA-DT

24/2 25/2

7pm 2:30pm

The Great Learning Playwright and Director: Tang Chi-kin

CHTH

24-25, 28/2, 8pm 1-3/3 3pm 25/2, 4/3

National Theatre of Great Britain The Curious Incident of the Dog in the Night-Time Original: Mark Haddon Adaptation: Simon Stephens Director: Marianne Elliott

APAL

8-11, 13-18/3 10-11, 17-18/3

7:30pm

Les 7 Doigts de la Main and Theatre Republique Bosch Dreams Idea and Concept: Samuel Tétreault, Martin Tulinius, Ange Potier

CCGT

9-10/3 11/3

7:30pm 2:30pm

Claude Régy - Dream and Derangement Director: Claude Régy

CCST

9-10/3 10-11/3

8:15pm 4:30pm

奧克拉荷馬自然劇團及 EnKnap 舞團 《美國獨立宣言之幸福大作戰》 編劇及導演:柏維爾.利斯卡、嘉莉.古柏

Nature Theater of Oklahoma & EnKnapGroup Pursuit of Happiness Playwright and Director: Pavol Liska, Kelly Copper

CHTH

14-16/3

8pm

《中庸之幸福學堂》 編劇及導演:鄧智堅

Doctrine of Happiness Playwright and Director: Tang Chi-kin

CCST

16-17, 22-24/3 18, 24-25/3

8:15pm

倫敦巡迴劇團及愛丁堡皇家蘭心劇院 《祈願女之歌》 編劇:埃斯庫羅斯 新版本:大衛.葛利格 導演:拉文.格雷

Actors Touring Company and Royal Lyceum Theatre Edinburgh - The Suppliant Women Original: Aeschylus Adaptation: David Greig Director: Ramin Gray

CHTH

22-24/3 24-25/3

8pm 3pm

俄羅斯國家劇院《俄羅斯平民風景》 (舒克辛小品) Theatre of Nations (Russia) - Shukshin's Stories Director: Alvis Hermanis 導演:艾維斯.赫曼尼斯 《大學之烈火青春》 編劇及導演:鄧智堅 英國國家劇院《深夜小狗神秘習題》 原著:馬克.海登 改編:西門.史提芬斯 導演:瑪麗安.艾莉特 七指雜技團及哥本哈根共和國劇團 《博希的奇幻旅程》 概念:薩穆爾.特塞雷、馬 丁.迪尼路斯、安殊.博田 克勞德.雷吉《夢與狂妄》 導演:克勞德.雷吉

APAA APADT HKAC

香港演藝學院香港賽馬會演藝劇院 The Hong Kong Jockey Club Amphitheatre, HKAPA 香港演藝學院戲劇院 Drama Theatre, HKAPA 香港藝術中心壽臣劇院 Shouson Theatre, Hong Kong Arts Centre

2:30pm

3pm

FC-FU 藝穗會樓上劇場 Fringe Upstairs, Fringe Club SWCC-T 上環文娛中心劇院 Theatre, Sheung Wan Civic Centre KTT-BBT 葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre

資料截至 Information as of: Oct 2017

DaNCe

舞蹈

蘇黎世芭蕾舞團《安娜.卡列妮娜》 編舞:克里斯蒂安.施普克


MORE THAN GREAT PERFORMANCES!

演 出 以 外,更 多 精 采!

FAMILY FUN DAY 家庭同樂日

EDUCATION PROJECT 教育項目

BACKSTAGE TOUR 後台參觀

PRE-PERFORMANCE TALK 演前講座 WORKSHOP 工作坊

ARTIST SALON 藝術家沙龍

POST-PERFORMANCE MEET-THE-ARTIST 演後藝人談 MASTERCLASS 大師班

And many more...

及更多精采活動……

hk.artsfestivalplus.org


藝術節加料節目 Festival 節目詳情及網上報名 For more details and online registration: www.hk.artsfestivalplus.org 特 備 節 目 SpecialS 舞 蹈 DaNce 音 樂

17/3/2018 23/2-25/3/18 24-25/3/2018

聲.色愛沙尼亞 Sound and Colour from Estonia 香港藝術節傑出文化領袖講座系列(五)威爾斯國家歌劇院藝術總監大衛·普尼 HKAF Distinguished Cultural Leader Series (V) In Conversation with David Pountney, Artistic Director of Welsh National Opera 歌劇探秘同樂日 Opera Adventure Day 《十二面體 - 精粹 132》- 馬克 ‧ 雷登作品 Dodecahedron - Quintessence 132 by Mark Ryden 美國芭蕾舞劇院全接觸 ABT Recipe

24, 25/2/2018 24/2/2018 5/3/2018 5/3/2018 24, 25/3/2018 24, 25/3/2018 24/3/2018 24/3/2018 25/3/2018 24,25/3/2018 25/3/2018

後台參觀 - 走進托爾斯泰的芭蕾世界 Backstage Tour: Tolstoy’s Ballet World 《安娜.卡列尼娜》演前講座 Pre-Performance Talk: Anna Karenina PPS 舞團《反斗校園》駐節藝術家計劃展演 Artist-in-Residence Project: PPS Danse Showcase 佛蘭明高魅力俱樂部 Flamenco Club Off-stage 美國芭蕾舞劇院彩排參觀 Observing ABT Company Class 《芭蕾小忌廉》兒童工作坊 ABT Kids - Whipped Cream Children Workshop 美國芭蕾舞劇院大師班(中級程度)ABT Masterclass (Intermediate level) 樂韻芭蕾藝術教育音樂會 From Music to Ballet Education Concert 美國芭蕾舞劇院大師班(高級程度)ABT Masterclass (Advance level) 後台參觀:雷登的超現實甜美國度 Backstage Tour: A Pop Surrealist's Delirium 《芭蕾小忌廉》演前講座 Pre-Performance Talk: Whipped Cream

2,5/3/2018 15/3/2018

MUSic

2/2/2018 2, 5/3/2018 3/3/2018 5/3/2018 7/3/2018 8/3/2018 9/3/2018 10/3/2018 18/3/2018 19/3/2018 19/3/2018 20/3/2018 21/3/2018 24/3/2018

歌 劇 / 戲 曲 OpeRa 戲 劇 THeaTRe 電 影

4/2/2018 26/2/2018 15-17/3/2018 15, 17/3/2018 16, 17/3/2018 16, 17/3/2018 17/3/2018 17/3/2018 17/3/2018 25/2/2018 10, 11/3/2018 10/3/2018 11/3/2018

FilM

24/1, 10/3/2018 27/1, 3/2/2018 8/2/2018 10/3/2018 22-25/3/2018

加料講座及演出:拉赫曼尼諾夫的樂與畫 PLUS Artist Talk & Performance: Rachmaninov: Music and Art 李希特及帕特:愛沙尼亞之聲展覽音樂會 Richter Meets Pärt: Vox Clamantis - Concert at an Exhibition 潘尼迪爾雙鋼琴大師班 Jean-Claude Pennetier Piano Duo Masterclass 葛利果聖歌合唱工作坊 Gregorian Chant Workshop 香港演藝學院音樂學院座談會系列:國際指揮家之路 HKAPA School of Music Assembly Series: A Conductor's Journey 演前講座:與俄羅斯樂團巡演經驗談 Pre-Performance Talk: Touring with Russian Orchestras 演前講座:俄羅斯史維特蘭諾夫國家交響樂團 Pre-Performance Talk : State Academic Symphony Orchestra of Russia "Evgeny Svetlanov" 演前講座:拉赫曼尼諾夫之鋼琴音樂 Pre-Performance Talk: Rachmaninov's Piano Music 演前講座:韓國清唱與蒙古民謠 Pre-Performance Talk: Pansori & Mongolian Songs 李飈敲擊樂大師班 Percussion Masterclass with Li Biao 聲樂大師班及藝術家沙龍:法比奧.雷西 Vocal Masterclass and Artist Salon: Fabio Luisi 演前講座:作曲家尼爾森與丹麥 Pre-Performance Talk: Carl Nielsen and the Danes (DNSO) 演前講座:爵士女伶 Pre-Performance Talk: Matriarchs of Jazz 演前講座:與米克.烏列奧同唱 Pre-Performance Talk: Let's sing along with Mikk Üleoja 賽馬會本地菁英創作系列:《百花亭贈劍》公開彩排 Jockey Club Local Creative Talent Series: Pavilion of a Hundred Flowers Open Rehearsal 藝術家沙龍 : 京劇與梅派 Artist Salon: Peking Opera and the School of Mui 魔法蝴蝶虛擬實境 Magic Butterfly VR Experience 《佩利亞斯與梅麗桑德》演前講座 Pre-Performance Talk: Pelléas et Mélisande 《卡門》歌劇兒童入門工作坊 Whistle Stop Tour of Carmen Opera Workshop 兒童敲擊樂 Percussion Workshops for Kids 道具及戲服展覽 Props and Costumes Display 歌劇探秘加料演出 LIVE@Opera Adventure 後台參觀:德布西的迷霧秘境 Backstage Tour: Enter the World of Allemonde 舞蹈工作坊:玩轉南非舞蹈大熱身 Dance Workshop: Dance in the Isizhosa Tradition 後台參觀:《博希的奇幻旅程》Backstage Tour: The Fantastic World of Hieronymus Bosch 雜技樂園 Circus Funtasia 藝術家沙龍及紀錄片放映 : 法國戲劇大師雷吉的心路歷程 Artist Salon and Documentary Screening: The Art & Vision of Claude Régy 《葛哈.李希特 – 作畫》Gerhard Richter – Painting 《Bosch:地獄圖繪》Hieronymus Bosch: Touched by the Devil 《卡雅利沙的卡門》Isango Ensemble U-Carmen eKhayelitsha 《博希的奇幻世界》The Curious World of Hieronymus Bosch 《美國芭蕾舞劇院歷史回顧》電影放映 Documentary screening: American Ballet Theatre: A History