Denis Matsuev with the State Academic Symphony Orchestra of Russia “Evgeny Svetlanov”

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

State Academic Symphony Orchestra of Russia “Evgeny Svetlanov” Kristjan Järvi conductor Denis Matsuev piano

俄羅斯史維特蘭諾夫國家交響樂團 指揮：克利斯蒂安．約菲 鋼琴：丹尼斯．馬祖耶夫 3 月 Mar

8 3 月 Mar

9 3 月 Mar

10

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 p23 for programme details 演出長約 2 小時 20 分鐘，包括一節中場休息 Running time: approximately 2 hours and 20 minutes including one interval 節目資料 p31 for programme details 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 p43 for programme details

香港文化中心音樂廳 Concert Hall, Hong Kong Cultural Centre

封面照片 Cover photographs: © Franck Ferville, Eugene Evtukhov, Aleksander von Bush and Vladislav Mukhin

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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俄羅斯史維特蘭諾夫國家交響樂團

© Aleksander von Bush and Vladislav Mukhin

俄羅斯國家交響樂團是俄羅斯歷史最悠久的交

德里娜．彭達燦斯卡及蓮．帕彼；鋼琴家范．克

響樂團之一，於 1936 年 10 月 5 日在莫斯科音樂

萊本、艾米．傑里斯、斯維亞托斯拉夫．里克特、

學院大廳首次登場。樂團至今曾由多位傑出音

波利斯．伯里索夫斯基、丹尼斯．馬祖耶夫、格

樂家領導樂團，他們包括亞歷山大．高克、拿

里高利．索高洛夫、內田光子和魯杜夫．布斯班

坦．拉克連、康斯坦丁．伊凡洛夫及葉夫根尼．

達；小提琴家李安納．高更、曼奴軒、大衛．歐

史維特蘭諾夫。他們的名稱則於 1 9 7 2 年獲冠上

伊斯特拉夫、瓦汀．列賓、吉登．卡里米、弗迪

「Academic」（學院的）的榮譽稱號；2005 年正

米亞．史畢華可夫、雲基洛夫、列奧尼達斯．卡

式在樂團名稱加上史維特蘭諾夫的名字。

華高斯、帕翠西亞．高帕千斯卡雅、茱莉亞．費

2011 年 10 月，弗拉迪米爾．尤洛夫斯基獲委任 為樂團藝術總監。2016/ 17 年樂季起，瓦西里． 佩特連科擔任樂團的首席客席指揮。

雪和尼古拉．齊奈德；中提琴家尤里．巴舒密特、 大提琴家米斯迪拉夫．羅斯卓波維奇、娜塔莉 亞．古特曼及亞歷山大．卡雅茲夫。樂團特別注 重與年青音樂家緊密合作，例如指揮史坦尼斯拉

樂團曾與多位稱譽國際的音樂家合作，包括赫

夫．高燦洛夫斯基、安德利斯．普加及馬利斯．

曼．阿本杜洛夫、歐內斯特．安索瑪特、阿弗斯．

史達拉汶斯基；鋼琴家魯卡斯．德伯古、楊．利

楊遜斯、奧托．克倫白勒、基里爾．康德拉辛、

錫奇及亞歷山大．羅開曼洛夫斯基；小提琴家亞

羅連．馬捷爾、伊戈爾．馬克維奇、葉夫根尼．

里安那．巴耶化、艾倫．畢千和瓦列里．索高洛

穆拉汶斯基、查理斯．蒙奇、米斯迪拉夫．羅斯

夫，以及大提琴家亞歷山大．拉姆等。

卓波維奇、伊戈．史達拉汶斯基、維萊里．格杰 夫、米卡米爾．尤洛夫斯基、亞歷山大．拉沙里 夫、庫特．馬素爾、格納迪．羅日杰斯特文斯基、 李安納．斯拉特金和尤里．特米爾卡洛夫。樂團 也曾與不少傑出獨奏音樂家同台演出，如歌唱家 艾蓮娜．阿基普娃、愛蓮娜．奧巴曹娃、嘉蓮娜． 維殊妮夫絲凱雅、迪文齊．霍洛斯托夫斯基、蒙 謝拉特．卡波、普拉西多．多明高、尤納斯．高 夫文和華特杜魯．邁亞、安娜．涅翠柯、亞歷山

樂團曾在不少享負盛名的場地演出，包括紐約卡 內基音樂廳、維也納金色大廳、巴黎普蕾亞音 樂廳等，並經常舉辦海外巡演。樂團亦時常參與 著名的音樂節和比賽，包括奧地利格拉費內格音 樂節、德國基辛格夏季音樂節、俄羅斯米斯迪拉 夫．羅斯卓波維奇音樂節及第十五屆國際柴可夫 斯基大賽等。樂團每季均舉行多部作品的世界及 俄羅斯首演，並策劃名為「管弦樂團故事」的年 度教育音樂會系列。

13

State Academic Symphony Orchestra of Russia "Evgeny Svetlanov"

In 2011 Vladimir Jurowski was appointed as the Artistic Director of the State Orchestra. Since the start of the 2016/2017 season Vasily Petrenko has been the Principal Guest Conductor of the Orchestra.

Van Cliburn, Emil Gilels, Sviatoslav Richter, Boris Berezovsky, Denis Matsuev, Grigory Sokolov, Mitsuko Uchida and Rudolf Buchbinder; violinists Leonid Kogan, Yehudi Menuhin, David Oistrakh, Vadim Repin, Gidon Kremer, Vladimir Spivakov, Maxim Vengerov, Leonidas Kavakos, Patricia Kopachinskaja, Julia Fischer and Nikolaj Znaider; violist Yury Bashmet; cellists Mstislav Rostropovich, Nataliya Gutman and Aleksander Knyazev. A lot of attention is also devoted to collaboration with young musicians such as conductors Stanislav Kochanovsky, Andris Poga and Marius Stravinsky; pianists Lucas Debargue, Jan Lisiecki and Aleksander Romanovsky; violinists Alyona Bayeva, Aylen Pritchin and Valery Sokolov; as well as cellist Aleksander Ramm, to name but a few.

The orchestra has performed with many worldrenowned musicians, such as conductors Hermann Abendroth, Ernest Ansermet, Arv ds Jansons, Otto Klemperer, Lorin Maazel, Igor Markevitch, Evgeny Mravinsky, Charles Munch, Mstislav Rostropovich, Igor Stravinsky, Charles Dutoit, Valery Gergiev, Mikhamil Jurowski, Aleksander Lazarev, Kurt Masur, Gennady Rozhdestvensky, Leonard Slatkin and Yury Temirkanov; soloists include singers Irina Arkhipova, Elena Obraztsova, Galina Vishnevskaya, Dmitry Hvorostovsky, Montserrat Caballe, Placido Domingo, Jonas Kaufmann, Waltraud Meier, Anna Netrebko, Alexandrina Pendatchanska and Rene Pape; pianists

The orc hestra has performed at the most prestigious venues, such as Carnegie Hall (New York), Musikverein (Vienna), Salle Pleyel (Paris), and regularly tours abroad. The Orchestra has frequently participated in well-known festivals and competitions, including the Grafenegg Festival (Austria), Kissinger Sommer (Germany), the VIII Mstislav Rostropovich Festival (Russia) and the XV International Tchaikovsky Competition. The orchestra presents numerous world and Russian premieres each season and carries out a unique annual educational concert cycle called “Stories with the Orchestra”.

The debut performance of the State Orchestra, one of the oldest symphonic ensembles in Russia, took place on 5 October 1936 at the Great Hall of the Moscow Conservatory. During the years since, the Orchestra has been led by outstanding musicians such as Aleksander Gauk, Natan Rakhlin, Konstantin Ivanov, and Evgeny Svetlanov. In 1972 the Orchestra was granted the honorary title of “Academic” and in 2005 was officially named after Svetlanov.

藝術節加料節目

演前講座 Pre-performance talks 香港文化中心平台工作室 晚上 7:15 - 7:45

Podium Workshop, Hong Kong Cultural Centre 7:15-7:45pm

3 月 8 日（四） 與俄羅斯樂團巡演經驗談（英語主講） 講者：哈洛．克拉臣（IMG Artists 高級副總裁）

8.3 (Thu) Touring with Russian Orchestras (in English) Speaker: Harold Clarkson, Senior Vice President, IMG Artists

3 月 9 日（五） 克利斯蒂安．約菲談《天鵝湖》—戲劇交響曲的 編曲（英語主講）

9.3 (Fri) Kristjan Järvi on his arrangement of Tchaikovsky's Swan Lake (in English)

3 月 10 日（六） 拉赫曼尼諾夫之鋼琴音樂（廣東話主講） 講者：賴建群

10.3 (Sat) Rachmaninov's Piano Music (in Cantonese) Speaker: Calvin Lai

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

14

克利斯蒂安．約菲

指揮

© Peter Adamik

克利斯蒂安．約菲是「古典音樂界中最能巧妙

員會的人物。約菲提倡「健康愛沙尼亞」，旨在

地、有創意地編排曲目的大師之一」。（《路透

推廣身心健康的重要性和兩者間的聯繫。

社》）

約菲曾灌錄超過 6 0 張專輯，包括荷里活製作原

約菲的音樂取向和風格以獨特見稱，他極具創

聲帶《雲圖》、《沙地阿拉發》、《超感 8 人組》、

意，在策劃和指揮節目時善於融合不同音樂類

索尼古典及山度士唱片推出的獲獎專輯、及同名

型；他的音樂會獲讚譽為「啟發人生的經歷」

系列《約菲聲音計劃》。2 0 1 4 年推出的約菲系

（《蘇格蘭前鋒報》）。他是唯一一位同時帶領

列以約菲各個合奏團的項目為焦點，突顯約菲以

歐洲歷史最悠久的電台交響樂團和最年輕的專業

嶄新角度及跨越傳統音樂界限的手法，演繹古典

樂團的指揮：他是中德萊比錫電台交響樂團的音

音樂的獨到方針。最新的專輯有與波羅的海愛樂

樂總監和波羅的海愛樂樂團的創辦人兼音樂總

樂團合作的《華格納：指環 - 管弦樂之旅》、與

監，也在紐約創辦混合古典、嘻哈和爵士樂的

中德萊比錫電台交響樂團及合唱團合作的《史提

「絕對合奏團」並擔任指揮。三個樂團均把約菲

夫．萊克：二重奏》，還有由中德萊比錫電台交

新穎的意念付諸實踐。

響樂團及約菲絕對合奏團演繹管弦樂版本的《菲

約菲本質上是一位企業家，也是一位充滿熱誠的

力普．格拉斯：亞馬遜水域》。

監製，他有自己的製作公司「陽光製作」，製作

約菲一直與當今極具創意的人物合作，包括電影

集音樂、視覺藝術、燈光設計、科技及創新概念

導演湯姆．提克威爾和沃卓斯基姐妹，作曲家和

於一身的節目，為觀眾送上獨特的旅程。

藝術家帕特、史提夫．萊克、譚盾、豪希卡、哈

2016 年，約菲成為愛沙尼亞奧運委員會委員， 是史上首位以非運動員或非政府官員身份加入委

菲．尤素福、安諾舒卡．香卡，和約菲在洛杉磯 愛樂樂團任助理指揮時認識的埃薩 - 佩卡．薩洛 寧。

15

Kristjan Järvi Kristjan Järvi has “earned a reputation as one of the canniest, and most innovative, programmers on the classical scene.” [Reuters] Curating and conducting his original, genrefusing projects with an individual approach and style, Järvi’s concerts have been proclaimed a “life-enhancing experience.” [Herald Scotland].

He realises his pioneering ideas with his three ensembles: as Music Director of the MDR Leipzig Radio Symphony Orchestra, as Founder-Conductor of his New York-based classical-hip-hop-jazz group Absolute Ensemble, and as Founder and Music Director of the Baltic Sea Philharmonic, making him the only conductor to lead both the oldest radio orchestra and youngest professional orchestra in Europe.

An entrepreneur by nature and a passionate producer, Kristjan Järvi runs his own production company “Sunbeam Productions”, creating events that offer new experiences combining music, visual art, light design and technology with innovative concepts, taking the audience on a unique journey.

In 2016, Järvi became an official member of the Estonian Olympic committee. This was the first time this position had not been filled by a sportsperson or government official. Järvi’s initiative “Sound Estonia” aims to promote the importance of and connection between a healthy body and mind.

Conductor As a recording artist, Järvi has more than 60 albums to his credit, from Hollywood soundtracks such as Cloud Atlas, Hologram for the King, Sense 8 and award-winning albums on Sony Classical and Chandos, to his eponymous series: the Kristjan Järvi Sound Project. Launched in 2014, the series features projects across all of Järvi’s ensembles and is characterised by his unmistakable approach of taking a fresh look at the old, with concepts and presentations that transcend the borders of classical music. The latest releases are Wagner: The Ring. An orchestral adventure with Baltic Sea Philharmonic, Steve Reich: Duet with MDR Leipzig Radio Symphony Orchestra and Choir and also Philip Glass: Aguas da Amazonia, an arrangement for orchestra featuring MDR Leipzig Radio Symphony Orchestra as well as Järvi’s Absolute Ensemble.

Järvi continues to work with some of today’s brightest creative minds, from film directors Tom Tykwer and the Wachowskis, to composers and artists such as Arvo Pärt, Steve Reich, Tan Dun, Hauschka, Dhafer Youssef, Anoushka Shankar and Esa-Pekka Salonen, with whom he started his career as Assistant Conductor at the Los Angeles Philharmonic.

藝術節加料節目

克利斯蒂安．約菲交響樂大師班 Kristjan Järvi Orchestral Coaching Masterclass

10.3 ( 六 Sat ) 下午 4:00-5:30pm

指揮家約菲將在大師班上指導拔萃男書院管弦樂 團，彩排德伏扎克第九交響曲「新世界」第四樂 章。

Järvi will coach the young musicians of the Hong Kong Diocesan Boys' School Orchestra in a rehearsal of the fourth movement from Dvo ák's “New World” Symphony No 9.

拔萃男書院葉傑全音樂廳

Yip Kit Chuen Concert Hall, Diocesan Boys' School

免費入場，需預先登記

Free admission. Registration required.

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

16

丹尼斯．馬祖耶夫

鋼琴

© Eugene Evtukhov

馬祖耶夫於 1998 年在第 11 屆柴可夫斯基鋼琴大

伯利亞伊爾庫茨策劃貝加爾之星音樂節（並於

賽勝出後，即躋身成為俄羅斯鋼琴傳統學派的演

2009 年獲得伊爾庫茨榮譽市民獎）。自 2005 年

奏能手，成為同輩中最出色的鋼琴家之一。

起，他擔任漸強音樂節藝術總監。

馬祖耶夫常與世界頂級樂團合作，包括紐約愛樂

馬祖耶夫由馬林斯基唱片公司發行的專輯包括由

樂團、柏林愛樂樂團、倫敦交響樂團、荷蘭皇家

維萊里．格杰夫指揮、與馬林斯基管弦樂團於

音樂廳管弦樂團、萊比錫布業大廳樂團、韋爾比

有名的馬林斯基音樂廳演出的拉赫曼尼諾夫第三

亞音樂節樂團和布達佩斯節日樂團，又與俄羅斯

鋼琴協奏曲、蕭斯達高維契第一及第二鋼琴協奏

的傳奇樂團多次合作，如聖彼得堡愛樂樂團和馬

曲和謝德林第五鋼琴協奏曲，這些專輯均大獲好

林斯基管弦樂團。他經常在國際聞名的音樂節演

評。2 0 1 3 年 4 月，馬祖耶夫與紐約愛樂樂團及

出，如瑞士的韋爾比亞音樂節和琉森音樂節、英

指揮艾倫．吉伯圖合作，於 RC A 紅印鑒系列推

國廣播公司逍遙音樂會和愛丁堡音樂節等。

出拉赫曼尼諾夫第二鋼琴協奏曲和歌舒詠《藍色

馬祖耶夫常與當今優秀指揮合作，包括維萊里．

狂想曲》的專輯。

格杰夫、尤里．特米爾卡洛夫、馬利斯．揚遜士、

馬祖耶夫多年來與拉赫曼尼諾夫基金會合作。該

蘇賓．梅達、庫特．馬素爾、安東尼奧．帕帕諾、

基金會由拉赫曼尼諾夫的孫兒阿歷山大創立，

艾倫．吉伯圖、李安納．斯拉特金和鄭明勳等。

而馬祖耶夫獲選批准使用拉赫曼尼諾夫在琉森別

馬祖耶夫曾於多個地方舉行獨奏會，包括波士 頓、華盛頓、紐約卡內基音樂廳、倫敦皇家節日

墅的鋼琴演出及灌錄拉赫曼尼諾夫不為人知的作 品。後來，馬祖耶夫更成為基金會的藝術總監。

音樂廳、馬德里國家音樂廳、阿姆斯特丹音樂廳

馬祖耶夫是赫赫有名的蕭斯達高維契音樂獎和俄

和莫斯科音樂學院大廳。

羅斯聯邦文學及藝術國家獎的得主。2 0 1 6 年 1 2

馬祖耶夫多年來曾帶領多個音樂節和教育項目， 是 個 矚 目 的 公 眾 人 物。 自 2 0 0 4 年 起， 他 在 西

月，他獲頒國家榮譽勳章。2 0 1 7 年，他憑貝加 爾之星音樂節獲俄羅斯聯邦國家政府獎。

17

Denis Matsuev Since his triumph in 1998 at the 11th International Tchaikovsky Competition, Denis Matsuev has become a virtuoso in the grandest Russian pianistic tradition and has quickly established himself as one of the most prominent pianists of his generation.

Matsuev performs with the world's best known orchestras, including the New York Philharmonic, Berlin Philharmonic Orchestra, London Symphony Orchestra, Royal Concertgebouw Orchestra, Leipzig Gewandhaus Orchestra, Verbier and Budapest Festival Orchestras. He is continually re-engaged with legendary Russian orchestras such as the St. Petersburg Philharmonic and the Mariinsky Orchestra, and is a frequent guest of world famous music festivals, including the Verbier and Lucerne Music Festivals in Switzerland, the BBC Proms and Edinburg Festival in the UK, as well as numerous others.

M a t s u ev re g u l a r ly a p p e a rs w i t h t h e m o s t distinguished conductors of today, including Valery Gergiev, Yuri Temirkanov, Mariss Jansons, Zubin Mehta, Kurt Masur, Antonio Pappano, Alan Gilbert, Leonard Slatkin, Myung-Whun Chung and many others.

Matsuev has given recitals in Boston, Washington and New York’s Carnegie Hall, in London’s Royal Festival Hall, Madrid’s Auditorio Nacional de Musica, Amsterdam’s Concertgebouw and the Great Hall of Moscow Conservatory.

For many years Denis Matsuev has led numerous musical festivals and educational projects which have added to his role as a prominent public figure.

Since 2004 he has organised the Stars on Baikal Festival in Irkutsk, Siberia (in 2009 he was awarded the title of Honorary Citizen of Irkutsk), and since 2005 he has been the artistic director of the Crescendo music festival.

Piano Matsuev’s releases on the Mariinsky Label include Rachmaninov’s Piano Concerto No 3, Shostakovich Concertos Nos 1 and 2 and Shchedrin ’s Concerto No 5 with Valery Gergiev and the Mariinsky Orchestra in the famed Mariinsky Concert Hall, receiving numerous positive reviews. In April 2013 Matsuev released a recording of Rachmaninov’s Piano Concerto No 2 and Gershwin’s Rhapsody in Blue on RCA Red Seal, accompanied by the New York Philharmonic under the baton of its music director Alan Gilbert.

For many years Denis Matsuev has collaborated with the Sergei Rac hmaninov Foundation, established by Alexander Rachmaninov, the grandson of the composer. Matsuev was chosen by the Foundation to perform and record Rachmaninov’s unknown pieces on the composer's own piano at the Rachmaninov’s house in Lucerne.

Later, he became the artistic director of the Foundation.

Denis Matsuev is a laureate of the prestigious “Shostakovich’s Prize” in Music as well as the State Prize of the Russian Federation for Literature and Arts. In December 2016 Denis Matsuev was awarded with the State Order of Honour and in 2017 received the Prize of the Government of the Russian Federation for his Stars on the Baikal Festival.

19

馬祖耶夫與俄羅斯史維特蘭諾夫國家交響樂團 一展拉赫曼尼諾夫作品風采 俄羅斯史維特蘭諾夫國家交響樂團成立於 1 9 3 6

鋼琴是表現拉赫曼尼諾夫藝術成就的必要元素。

年，經歷不少二十世紀的動蕩和自身的改變，這

即使拉赫曼尼諾夫沒有寫成半首樂曲，一樣會憑

些變遷包括樂團的名稱――樂團為向出任樂團音

鋼琴家的成就於上世紀名垂青史。著名鋼琴家同

樂總監達三十五年、塑造樂團的名指揮史維特蘭

儕亞瑟．魯賓斯坦稱，拉赫曼尼諾夫擁有「彈奏

諾夫致敬，冠上了他的名字；樂團現任藝術總監

發自內心、有如黃金般、栩栩如生且無可比擬的

是弗拉迪米爾．尤洛夫斯基。

音色的竅門」。

樂團雖然來自莫斯科，但他們透過廣泛巡迴演

於是，拉赫曼尼諾夫的首部出版作品是他在莫斯

出，在國際樂壇上享負盛名，幾十年來灌錄了無

科音樂學院就讀時開始寫的升 F 小調第一鋼琴協

數唱片，對廣大樂迷來說，他們代表着俄羅斯音

奏曲，就顯得順理成章。創作第二鋼琴協奏曲的

樂。

過程，則具治療作用，讓作曲家走出第一交響曲

樂團與客席指揮克利斯蒂安．約菲將為 2 0 1 8 年 香港藝術節的聽眾帶來三個節目，獻上俄羅斯大 師拉赫曼尼諾夫、史達拉汶斯基和柴可夫斯基的

首演失敗的陰霾。拉赫曼尼諾夫於 1 9 0 9 年在美 國巡迴演出時，構思和譜寫了著名的第三鋼琴協 奏曲，用以展示自己的鋼琴演奏風格。

作品：史達拉汶斯基的《火鳥》和柴可夫斯基的

以上作品，還有拉赫曼尼諾夫最後的第四鋼琴協

《天鵝湖》兩首芭蕾組曲（後者由指揮克利斯蒂

奏曲，以及實際上等同協奏曲的《帕格尼尼主題

安．約菲改編）本身已是極精采的作品，但藝術

狂想曲》（兩首皆是作曲家後來離開俄羅斯後的

節的節目中，它們將連同拉赫曼尼諾夫的鋼琴鉅

作品），將會由現時備受讚賞的拉赫曼尼諾夫專

著一同演出，樂團更邀得傑出鋼琴家馬祖耶夫演

家馬祖耶夫，以正統俄羅斯風格演出。

奏拉赫曼尼諾夫鋼琴協奏曲全集。

單單是拉赫曼尼諾夫的第三鋼琴協奏曲，馬祖耶

拉赫曼尼諾夫（1873- 1943）雖然在二十世紀俄

夫已經演出過超過三百次。他是拉赫曼尼諾夫基

羅斯作曲家之列中廣受近代觀眾歡迎，但這位身

金會藝術總監，拉赫曼尼諾夫的孫兒曾經邀請他

型高挑、外表嚴肅，被同胞作曲家史達拉汶斯基

用作曲家在瑞士琉森別墅的史坦威鋼琴來錄音。

形容為「六呎半高的臌氣袋」的音樂巨匠，曾經

雖然拉赫曼尼諾夫已於七十五年前逝世，但是觀

有一段長時間缺乏自信，罹患抑鬱症。他的第一

眾欣賞馬祖耶夫與俄羅斯史維特蘭諾夫國家交響

交響曲在 1897 年首演時，反應慘淡，在音樂史

樂團及指揮克利斯蒂安．約菲演出作曲家的作品

上人盡皆知。這並不是作曲家的錯，問題主要歸

時，彷彿會看到兩位俄羅斯鋼琴大師穿越時空，

咎於當時醉酒的指揮，可是年輕的拉赫曼尼諾夫

坐在一起交流他們對鋼琴的看法，討論俄羅斯音

因此大受打擊，幾乎要放棄作曲。

樂的獨特之處一樣。 文：湯馬士．梅

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Russian Masters: State Academic Symphony Orchestra of Russia “Evgeny Svetlanov” and Denis Matsuev showcase the legacy of Rachmaninov The ensemble now known as the State Academic Symphony Orchestra of Russia "Evgeny Svetlanov” weathered some of the most tumultuous events of the 20th century and has seen many changes – including of its name – since it was founded in 1936. Evgeny Svetlanov, the legendary conductor, is now inscribed into that name in homage to his formative role as Music Director for some 35 years; Vladimir Jurowski currently serves as Artistic Director.

Though based in Moscow, the Orchestra developed its international reputation through extensive

touring and, for listeners around the world, has also been a well-known voice of Russian music thanks to its immense discography, built up over the decades.

Guest conductor Kristjan Järvi and the orchestra bring three programmes to HKAF 2018, each comprising giants of the Russian repertoire: Rac hmaninov, Stravinsky and Tc haikovsky.

Stravinsky’s Firebird and Tchaikovsky’s Swan Lake ballet suites (the latter a special arrangement by conductor Kristjan Järvi) would be highlights enough on their own, but at HKAF they appear

21

alongside a focus on Rachmaninov’s keyboard masterpieces, with the extraordinary pianist Denis Matsuev as the soloist in a full piano concerto cycle.

In more recent years, Sergei Rachmaninov (18731943) has come to be cherished as one of the best-loved treasures among 20th century Russian composers. Yet the tall, lanky, severe-looking artist – “a six-and-a-half-foot scowl,” as his fellow Russian Igor Stravinsky described him – struggled through long periods of self-doubt and depression. The world premiere of his First Symphony in 1897 ranks among the great fiascos of music history – not the composer’s fault, but mostly the result of a drunken conductor – and the young Rachmaninov was so traumatised, he nearly abandoned composition.

The piano was an essential component of Rachmaninov’s artistic identity. Even if he had never published a single composition, he would still be discussed in music history because of his achievements as one of the legendary pianists of the last century. According to fellow piano lion

Arthur Rubinstein, Rachmaninov possessed “the secret of the golden, living tone which comes from the heart and which is inimitable.”

So it’s fitting that his very first published work was the Piano Concerto No 1 in F-sharp minor, which dates from his years as a student at the Moscow Conservatory. The experience of writing the Piano Concerto No 2 actually had a therapeutic effect that enabled the composer to work his way out of the depression caused by the disastrous premiere of his first First Symphony. Like these works, Rachmaninov conceived and wrote the famous Piano Concerto No 3 to showcase his own keyboard style when he was touring America in 1909.

All of these works, along with Rachmaninov’s fourth and last concerto, as well as the concertoin-all-but-name, Rhapsody on a Theme of Paganini (both products of the composer’s long period of exile later in life) are performed in authentic Russian style by one of today’s most acclaimed Rachmaninov interpreters: Denis Matsuev.

Matsuev has performed the composer’s third piano concerto alone more than 300 times and serves as artistic director of the Sergei Rachmaninov Foundation; he was even asked by Rachmaninov’s grandson to record on the very Steinway owned by the composer at his villa in Lucerne, Switzerland.

Such is this link between great Russian pianism of the past and present, that one almost imagines watching Matsuev and Rachmaninov conversing together, discussing their ideas of the piano, of what makes Russian music so unique. Yet even though the composer died 75 years ago, that just might be the impression to take away when audiences hear Matsuev perform with the State Academic Symphony Orchestra of Russia "Evgeny Svetlanov” and conductor Kristjan Järvi.

By Thomas May

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8.3.2018 「植根」Roots 拉赫曼尼諾夫

Sergei Rachmaninov (1873-1943)

升 F 小調第一鋼琴協奏曲，作品 1 (1917 版本 )

Piano Concerto No 1 in F-sharp minor, Op 1 (1917 version)

活板—中板

Vivace – Moderato

行板

Andante

活潑的快板

Allegro vivace

C 小調第二鋼琴協奏曲，作品 18

Piano Concerto No 2 in C minor, Op 18

中板

Moderato

持續的慢板

Adagio sostenuto

諧謔的快板

Allegro scherzando

鋼琴：丹尼斯．馬祖耶夫

Denis Matsuev piano — 中場休息 Interval —

史達拉汶斯基 《火鳥》（1945 年組曲）

Igor Stravinsky (1882-1971) The Firebird (1945 Suite)

引子─火鳥之舞─火鳥之變奏

Introduction – The Firebird and its dance – The Firebird's variation

默劇 I

Pantomime I

雙人舞：火鳥與伊凡王子

Pas de deux: Firebird and Ivan Tsarevich

默劇 II

Pantomime II

諧謔曲：公主之舞

Scherzo: Dance of the Princesses

默劇 III

Pantomime III

公主之迴旋舞

The Princesses' Khorovod (Rondo, round dance)

魔怪卡崔地獄之舞

Infernal dance of King Kashchei

搖籃曲

Berceuse (Lullaby)

尾聲

Finale

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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樂曲介紹 Programme notes 拉赫曼尼諾夫 升 F 小調第一鋼琴協奏曲，作品 1 (1917 版本 ) 音樂錄音科技的起飛，造就了鋼琴家的黃金時

拉赫曼尼諾夫喜歡演奏新版的第一鋼琴協奏曲，

期，拉赫曼尼諾夫除了是著名的作曲家，也是這

亦有將之錄成唱片，但他在世時樂曲一直沒有

個時代的巨星級演奏家。1 8 9 1 年，他以十八歲

受重視，他為此耿耿於懷，曾說：「我已經重寫

之齡創作了他四首有編號的鋼琴協奏曲的第一

了第一協奏曲，新版真的很好，所有青春鮮澀仍

首，是為正式的作品 1。但拉赫曼尼諾夫對作品

在，卻也開展得很流暢；可惜沒有人在意，在美

的初版有所保留，在 1 9 1 7 年作了大幅改動，當

國，當我說我會彈奏第一協奏曲，人們不會抗

年正是他祖國發生俄羅斯革命之年。

議，但他們的表情告訴我，他們寧願我奏第二或

因此，新版的第一鋼琴協奏曲可說是混合了作曲

第三協奏曲。」

家兩個截然不同創作時期的風格；樂曲一開始， 我們可以清晰聽到著名的葛利格 A 小調鋼琴協 奏曲的影子，當中的鋼琴和弦戲劇性地下行，承 傳自舒曼的鋼琴協奏曲；拉赫曼尼諾夫在音樂學 院所學的，正是這種模仿特定模式的典型技巧。 樂曲的另一靈感泉源是他的偶像柴可夫斯基，柴 氏在聽過他早期作品獨幕歌劇《阿列科》後，曾 親自鼓勵他。套用傳記作家諾利斯的話，作品表 現出「一份青年人的活潑和率性，卻瞬即被後期 作品沉鬱的感傷和空虛所蓋過」。然而，第一主 題裏的強烈情感，完全是拉赫曼尼諾夫的風格， 大型的華彩段完整地重現第一樂章的所有主題， 包括引子中的號曲和「葛利格和弦」。 拉赫曼尼諾夫以夜曲一樣的沉思氣氛主導短小緩 慢的中樂章，由溫柔的圓號獨奏和安份的器樂分 句開始，然後是獨奏內省的獨白。終樂章經大幅 改動，一開始即引人注目。這段音樂仍然留有 「青年人的活潑」。 到了樂章的中段，調性轉移，拍子減慢，引入感 性的插句，樂評家彼葛特把這樂段比喻為「一個 美麗嬌小的人像，立在珠光寶氣的背景前」。第 一協奏曲以令人振奮的快速尾奏結束。 拉赫曼尼諾夫 Sergei Rachmaninov

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Sergei Rachmaninov Piano Concerto No 1 in F-sharp minor, Op 1 (1917 version) Besides his standing as a composer, Sergei Rachmaninov has a reputation as one of the superstar performers of the “golden age” of pianists at the dawn of the recorded music era.

He composed this first of his four numbered piano concertos in 1891, aged only 18, and it was published as his official Opus 1. But Rachmaninov had reservations about its initial version and so revised it drastically in 1917 – just as the Bolshevik Revolution was raging in his native land.

Thus the revised version of the Piano Concerto No 1 is in a sense a hybrid of very different periods in the composer’s career. From the start, we can hear a very clear influence from the famous Piano Concerto in A minor of Edvard Grieg, whose concerto in turn is heavily indebted to Schumann’s P i a n o Co n c e r t o t h ro u g h t h e i n s t ru m e n t ’s dramatically descending cascade of chords. The Grieg factor points to a typical method at the conservatory where Rachmaninov studied: students were instructed to imitate particular models.

Another inspiration is the music of Tchaikovsky, one of Rachmaninov’s idols. Tchaikovsky in fact personally encouraged Rachmaninov after hearing his early one-act opera Aleko. The biographer Geoffrey Norris observes that the writing here shows “a youthful vivacity and impetuosity which were soon to be replaced by the more sombre melancholy and wistfulness of the later works.” The main theme, though, seems instantly recognisable as Rachmaninov, with its striking emotional force.

A large cadenza, fully written out, looks back over all of the first movement’s themes, including the introductory fanfare and “Grieg chords”.

Rachmaninov’s nocturne-like brooding comes to the fore in the brief and slow middle movement, opening with a tender horn solo and subdued

o rc h e s t ra l p h ra s i n g s t h a t gi ve way t o a n introspective monologue from the soloist. The heavily revised finale begins with another call to attention. This music still partakes of “youthful vivacity”.

A shift of key and slowing of tempo usher in a passionate episode in the middle of the movement.

The commentator Patrick Piggott compares this slow episode to “a beautiful miniature portrait in a glittering, jeweled setting”. The First Concerto ends with a thrilling, high-speed coda.

Rachmaninov took pleasure in performing the revised First Piano Concerto (which he also recorded), but he remained disappointed that it never really caught on during his lifetime. “I have rewritten my First Concerto; it is really very good now”, he once said. “All the youthful freshness is there, and yet it plays itself so much more easily.

And nobody pays any attention. When I tell them in America that I will play the First Concerto, they do not protest, but I can see by their faces that they prefer the Second or the Third”.

26

拉赫曼尼諾夫 C 小調第二鋼琴協奏曲，作品 18 1990 年代中期的電影《閃亮的風采》，講述澳

終樂章以短短的前奏開始，帶出獨奏的小華彩

洲鋼琴家大衛﹒賀夫戈特的真實故事，把拉赫曼

段，然後主題出場；形成對比的副題，由中提琴

尼諾夫的鋼琴音樂帶到普羅大眾的面前。電影

先奏，沉澱了協奏曲哀傷的情感。拉赫曼尼諾夫

中，第三鋼琴協奏曲更以其超高難度扮演了把主

把他崇拜的柴可夫斯基風格浪漫主義情感，帶到

角逼瘋的角色。但其實現實剛好與電影橋段相

二十世紀；隨後一連串的插段，包括一個簡短的

反，拉赫曼尼諾夫透過創作鋼琴協奏曲擺脫抑

賦格風格樂句，還有沉鬱的副題，轉化成整個管

鬱：在 1900 和 1901 年間，他憑寫作第二協奏曲，

弦樂團和鋼琴的宏大想像。樂曲以令人目眩的大

走出了一段長時間的低谷，即為實例。1897 年，

調尾奏終結，「長短短長」的樣式，就像拉赫曼

他的第一交響曲首演災難性收場，使他陷入抑

尼諾夫的標誌式的音樂樣式，他喜歡以這個樣式

鬱，更令他一蹶不振，重擊了往後的音樂創作。

作有力的終結句。

之後數年，雖然拉赫曼尼諾夫仍然活躍於音樂 界，指揮和獨奏鋼琴，但他的創作靈感枯竭，要 經過催眠師的治療，才得以恢復過來，而第二鋼 琴協奏曲標誌着他的「回歸」，讓他茅塞頓開 之餘更重拾自信。他後來這樣回顧此經歷：「新 的音樂意念開始躍動，豐富得連協奏曲也寫不 完。」作品甫面世即大受歡迎，開展了作曲家一 段豐盛的創作時期，而第二鋼琴協奏曲亦旋即走 紅，成為熱門演奏曲目。 首樂章呈現的一些模式，包括在獨奏部分的前奏 曲手法，會重覆出現在後面兩個樂章；開始的鋼 琴和弦令人想起鐘聲，是拉赫曼尼諾夫的標誌聲 音；有趣的是，鋼琴獨奏從來沒有把第一主題完 整奏出，卻在副題上大加發揮。 在慢板的開首，管弦樂由首樂章憂鬱的 C 小調 轉移到 E 大調；木管樂奏出樂曲其中一段最受人 喜愛的旋律，鋼琴首先低調地伴奏，然後奏出旋 律；中段營造的強烈對比，以柴可夫斯基的同類 手法為模範，有如快速的諧謔曲，這裏截然不同 的氣氛，更突顯了整體抒情架構；短暫的鋼琴獨 奏過渡後，回到懷舊的主旋律。

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Sergei Rachmaninov Piano Concerto No 2 in C minor, Op 18 In the mid-1990s, the film Shine (based on the true-life story of Australian pianist David Helfgott) brought Rachmaninov’s piano music to the attention of a wider public. The Piano Concerto No 3 even emerges in the film as a character in its own right – a terrifying challenge that triggers Helfgott’s nervous breakdown. Ironically, though, it was through the medium of the piano concerto – and specifically the composition of the Piano Concerto No 2 (between 1900 and 1901) – that Rachmaninov himself worked his way out of a long episode of depression. The depression had been triggered by the disastrous premiere of his First Symphony in 1897; that setback had had a traumatic effect on his ability to continue composing.

A dry spell lingered for the next several years, even though Rachmaninov was able to stay musically active with conducting engagements and as a performing piano soloist. Visits to a hypnotherapist helped him rebound. The Piano Concerto No 2 represents his personal “comeback”, the work that cured his creative block and restored his confidence. “New musical ideas began to stir within me”, Rachmaninov later recalled, “far more than I needed for my concerto”. The work met with great success from the start. A fertile period of new pieces followed, and the Piano Concerto No 2 was quickly established as a repertory favourite.

The first movement introduces some patterns that recur later in the other two movements, including the use of a brief preludial gesture that appears here in the form of a solo for the piano. The opening chords from the keyboard evoke the sound of tolling bells – a signature of Rachmaninov’s music. Curiously, the piano soloist never plays the complete first theme by itself but does glory in the second theme.

The orchestra effects a harmonic shift at the opening of the Adagio by steering the key from the first movement’s melancholy C minor to E major. The woodwinds unfold one of the most cherished melodies in the repertory, while the piano accompanies subtly before introducing its version of the melody. Tchaikovsky is the model for the idea of including a contrasting middle section – a kind of fast scherzo – whose very different mood only enhances the lyrical framework around it. A brief solo for the piano serves as transition back to the nostalgic main melody.

Rachmaninov starts the final movement with a short prelude, leading to a mini-cadenza for the soloist before the main theme is presented. The contrasting second theme, initially played by the violas, encapsulates the concerto’s elegiac lyricism.

Here, we experience Rachmaninov bringing the Romantic emotionalism of his beloved Tchaikovsky into the 20th century. There follows a series of episodes, including a brief, fugue-like passage and a transformation of the moody second theme into a grand vision for the entire orchestra and piano.

The concerto ends with a dazzling coda in the major key and, in a kind of musical signature, a “long-short-short-long” pattern. Rachmaninov was fond of using this pattern as a final, emphatically conclusive statement.

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史達拉汶斯基 《火鳥》（1945 年組曲） 史達拉汶斯基比拉赫曼尼諾夫年輕九歲，1 9 1 0

場面沉靜下來後，一首催眠曲令卡崔入眠，懶洋

年憑這首芭蕾舞曲在巴黎一夜成名；在二十多歲

洋的調子先由巴松管奏出，王子跟從指示去擊

時，他還是寂寂無名，卻被邀創作這首《火鳥》，

碎藏着卡崔靈魂的巨蛋，卡崔的魔力消失，圓號

由當時在巴黎火紅的俄羅斯芭蕾舞團演出，團員

獨奏出樂曲最著名的民歌調子（在之前的迴旋舞

都是流亡的俄羅斯藝術家，這實在是一場賭博，

已經出現過），宣告着陽光來臨的喜悅。王子和

但成績卻遠超作曲家自己和眾人所望。

被選中的公主相聚，還有其他逃出魔怪之掌的人

芭蕾舞劇《火鳥》 是一個童話故事，集合了不 同的俄羅斯傳說元素。善惡對決以歹角不死魔怪 卡崔的魔域為場景，最終美麗而罕有的火鳥現身

質，在渲染高漲的氣氛和榮耀凱旋的音樂裏，一 起慶賀愛情的力量和新一天的來臨。 樂曲介紹：湯馬士．梅

幫助人類英雄伊凡王子，把魔怪消滅。 1911 年，史達拉汶斯基整理出一個精簡的演奏 用組曲版本，及後在 1919 年和 1945 年也作了同 樣的嘗試；最後的版本是三個當中最詳細的，包 含原作中兩個場景的十支舞曲，但和另外兩個組 曲版一樣，都簡化了舞曲原著中的華麗器樂編 排。 《火鳥》的音樂語言遊走於兩個極端之間：一面 是代表超自然境界、奇特的複雜音階（包括非西 方音樂音階），另一面是代表凡間的純樸民歌風 格；組曲以詭異的氣氛開始，低音弦樂描畫了卡 崔的魔法花園；伊凡王子在這裏偶遇火鳥，後者 以絢麗色彩和眩目的震音呈現，與在舞台上由利 昂．貝斯克為火鳥設計的艷麗戲服成為絕配。 之後的五支舞曲都不在 1 9 1 9 年版組曲之列：王 子擒獲火鳥，將之馴服，火鳥承諾只要王子有求 定當來助；然後十三位被卡崔咒語所困的公主， 高貴地以諧謔曲起舞出場；王子回來看她們，並 與紅線所繫的一位一見鍾情。 溫柔的木管奏出平靜的田園氣息，王子看着公主 們跳出傳統的迴旋舞；魔怪把不速之客變為石 頭，火鳥為了保護王子，對魔怪和他的嘍囉下 咒，在史達拉汶斯基狂怒的節奏拉動下，他們不 能自控，隨狂野的地獄舞曲舞動到筋疲力盡。

利昂．貝斯克為俄羅斯芭蕾舞團設計的《火鳥》 服裝草圖 An original Ballets Russes costume design sketch for The Firebird by Léon Bakst

29

Igor Stravinsky The Firebird (1945 Suite) Born nine years after Rachmaninov, Stravinsky experienced his own breakthrough with the overnight success of this ballet score in Paris in 1910. He had been asked to write The Firebird when he was still an unknown in his late 20s; the project was for an émigré company of Russian theatre artists and musicians that became all the rage in Paris: the Ballets Russes. It was a gamble, and it paid off far beyond anyone’s expectations (including those of the composer himself).

The complete ballet The Firebird recounts a fairytale narrative which is a modern concoction based on actual Russian sources. The good-versus-evil plot is set in the magical domain of the villainous ogre Kashchei the Immortal, whose downfall occurs when the beautiful and rare Firebird comes to the aid of the human protagonist, Prince Ivan.

Stravinsky prepared an abbreviated concert suite in 1911. This was the first of three such suites – the other two followed in 1919 and 1945. The last of these is the most comprehensive of the three.

It includes ten numbers from the original ballet in two tableaux, but, like the other suites, simplifies some of the lavish orchestration Stravinsky used for the original score.

The musical language of The Firebird shifts between exotic, complex scales to depict the supernatural dimension (including a non-Western scale) and the sing-song simplicity of folk song, which pertains to the mortal realm. The suite opens with a spooky conjuring, low in the strings, of Kashchei’s magical garden. There, Prince Ivan chances upon the Firebird, which is depicted with opulent colours and radiant trills, neatly matched in the original ballet by the gorgeous costumes Léon Bakst designed for this creature.

The next five numbers – not found in the morefamiliar 1919 suite – accompany the Prince’s capture and taming of the Firebird, who pledges to aid him whenever he should call, as well as the entrance and graceful dancing (in a scherzo) of 13 princesses who are held captive by Kashchei’s spells.

The Prince returns to watch them and at once falls in love with the one destined to be his bride.

To calmly pastoral music of gentle woodwinds, Prince Ivan observes the princesses performing their ritual Khorovod, or round dance. Kashchei turns interlopers into stone, so in order to protect Ivan the Firebird casts a spell of her own over the ogre and his monstrous aides. Whipped into motion by Stravinsky’s frenetic rhythms, they are compelled to dance themselves to exhaustion in a savage “Infernal Dance”.

After this subsides, a serene lullaby (“Berceuse”) lulls the hypnotised Kashchei to sleep, its lazy tune first played by the bassoon. Ivan is instructed to destroy a giant egg containing the ogre’s soul, and Kashchei’s power vanishes. A solo horn, intoning the score’s most-famous folk tune (anticipated in the Khorovod), announces the joyful arrival of sunlight.

Together with Ivan and his betrothed, the rescued captives celebrate love and the new day with music that swells and rings out in glorious triumph.

Programme notes by Thomas May

© Andreia Vieira

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31

9.3.2018 「重生」Resurrection 拉赫曼尼諾夫

Sergei Rachmaninov (1873-1943)

D 小調第三鋼琴協奏曲，作品 30

Piano Concerto No 3 in D minor, Op 30

不太快的快板

Allegro ma non tanto

間奏曲：慢板

Intermezzo: Adagio

終曲：二二拍子

Finale: Alla breve

鋼琴：丹尼斯．馬祖耶夫

Denis Matsuev piano — 中場休息 Interval —

柴可夫斯基 （由克利斯蒂安．約菲重新編曲）

Piotr Ilyich Tchaikovsky (1840-1893), new version arr. Kristjan Järvi

《天鵝湖》—戲劇交響曲

Swan Lake, A Dramatic Symphony

是晚演出曲目及次序或有更改

Pieces and their order of performance are subject to change

35

樂曲介紹 Programme notes 拉赫曼尼諾夫 D 小調第三鋼琴協奏曲，作品 30 拉赫曼尼諾夫的 D 小調第三鋼琴協奏曲面世僅

章的開首，宏大的華彩段婉約地結束，又再次帶

過百年，已成為最受追捧、最令人讚嘆的演奏曲

出初段的素材；第二樂章由管弦樂開始，雙簧管

目之一。聽眾欣賞的，除了它平易近人的音樂語

先帶領主旋律，讓鋼琴獨奏難得地稍休；終曲是

言和要求表演者具有精湛演奏技巧，還有對旋律

表現高超琴技和創意的傑作，鋼琴再無喘息的機

的重視和豐滿浪漫的和弦。電影作曲家以此風格

會。

為荷李活配樂的基礎，在電影時代將它介紹給從 未踏足音樂廳的觀眾。這首協奏曲本身亦在數齣 電影裏出現，最著名的要數 1 9 9 6 年《閃亮的風 采》中的高潮一幕—令半虛構的主角鋼琴家在 演奏後不支暈倒的，就是這首「如大山壓頂」的 作品。 拉赫曼尼諾夫自己沒有崩潰，他在 1 9 0 9 年於俄 羅斯伊凡諾夫卡的家族度假屋寫成第三鋼琴協奏

拉赫曼尼諾夫為自己的大手度身訂造這首樂曲， 令這首樂曲初時沒有太多演繹者，直到他的年輕 同胞霍洛維茲將其加入演奏曲目，情況才有所改 變。霍洛維茲的現場演奏和 1 9 3 0 年與寇茲指揮 的倫敦交響樂團合奏的錄音，奠定了這首協奏曲 作為頂尖鋼琴家和樂團指定曲目的地位。 樂曲介紹：拜恩．湯臣

曲，以準備他首次在北美洲的演出；同年 1 1 月 28 日，他在紐約 62 街的新劇院首演協奏曲，由 丹路殊指揮紐約交響樂協會樂團伴奏；聽眾對其 演奏造詣反應熱烈，但樂評人對他作為作曲家的 評價卻有所保留。《紐約時報》的樂評認為第三 樂章令人難忘，可是整首協奏曲「東拉西扯」， 或者由其他鋼琴家演奏會更好。幾星期後，他在 卡內基音樂廳夥拍由馬勒指揮的紐約愛樂樂團再 奏此曲，評論家開始對協奏曲漸生興趣。 這一次，《紐約時報》形容樂曲「較為完熟，結 構更有致，比拉赫曼尼諾夫其他同類作品都出 眾。第一樂章的首個主題很是動人，帶着濃烈的 俄羅斯氣息，終曲連串緊張節拍和高貴的尾奏， 發人深省。」樂曲簡單的開始其實殊不簡單，兩 個小節的引子帶領鋼琴進場，以重八度奏出主 題，不久，鋼琴將它發揮，再擴闊音距，先由 管弦樂輔助，然後是鋼琴獨奏，直到速度減慢， 新的主題躊躇地、慢慢地出現，最後成為鋼琴獨 奏的哀怨。出其不意地，發展部一開始便回歸樂

拉赫曼尼諾夫於「伊凡諾夫卡」莊園 Rachmaninov at Ivanovka

37

Sergei Rachmaninov Piano Concerto No 3 in D minor, Op 30 Now just over a century old, Rachmaninov’s Piano Concerto No 3 in D minor ranks among the most popular and daunting works in the repertoire. The public appreciates both the virtuosity it demands of the performer and the accessibility of the musical language, with its emphasis on melody and its rich, romantic harmonies. Film composers made this style the basis of the “Hollywood sound” and for a generation brought it to audiences that never ventured into a concert hall. The Concerto itself found its way into several films, most famously as the climactic moment of the 1996 feature film Shine, in which the semi-fictional main character collapses at the conclusion of a performance of this “mountain” of a work.

Rachmaninov himself suffered no such breakdown.

He composed his third Piano Concerto in 1909 at Ivanovka, his family’s country home, in preparation for his first concert tour of North America. He gave the first performance on 28 November at New York City’s New Theater on 62nd Street, performing with the New York Symphony Society conducted

by Walter Damrosch. The audience received Rachmaninov the pianist with enthusiasm; critics were less sure of Rachmaninov the composer. In its review, the New York Times reported that the third movement had “made a deep impression”, while on the whole the concerto was “rambling” and might have been played better by another pianist. When he performed it a few weeks later at Carnegie Hall with the New York Philharmonic under Gustav Mahler, critics began to warm to the Concerto.

On this occasion, the New York Times described the Concerto as “more mature, more finished, more interesting in its structure, and more effective than Rachmaninov’s other compositions in this form. The first theme of the first movement, very Russian in its spirit, is extremely beautiful, and the finale is inspiring, with its succession of nervous rhythms and its noble coda.” The Concerto opens with deceptive simplicity. Two bars of introduction lead to the entrance of the piano playing the main

theme in octaves. The piano soon spins this out in distant reaches, first with the orchestra, and then on its own, before the tempo slows and a new theme appears. More tentative, this theme reveals itself slowly, finally in a plaintive form by the piano alone. The development section opens, surprisingly, with a return to the opening of the movement.

The massive cadenza closes softly and brings us once again to the opening material. The orchestral opening of the middle movement, with the oboe first taking the main melody, provides the soloist with a rare break. The finale, a tour-de-force of virtuosity and invention, offers the soloist no such respite.

Having composed it for his own large hands, Rachmaninov found few interpreters for the Concerto No 3 until his young compatriot Vladimir Horowitz added it to his repertoire. His concert performances and 1930 recording with conductor Albert Coates and the London Symphony Orchestra marked the beginning of the Concerto’s entrance into the standard repertoire of great pianists and orchestras.

Programme note by Brian Thompson

39

柴可夫斯基（由克利斯蒂安 ‧ 約菲重新編曲） 《天鵝湖》—戲劇交響曲 十九世紀時，芭蕾舞曲就像今天的電影配樂一 樣被忽視，大作曲家們都把它當次等音樂看待， 並沒想過這樂種其實豐富多變；柴可夫斯基亦未 免俗，在投入創作《天鵝湖》之前，他不知道當 時已經有相當出色的芭蕾舞曲和作品背後的專門 作曲家，如意大利的普爾尼和捷克的明庫斯，還 有兩位法國作曲家：亞當和德利伯。前者的《吉 賽爾》享負盛名；而當柴可夫斯基接觸到德利伯 的《夢偶情緣》和《西爾維亞》後，即成為其忠 實擁躉；1875 年夏季，俄羅斯皇家劇場經理畢 基切夫以高薪委約柴可夫斯基創作《天鵝湖》， 後者明言是以《夢偶情緣》為模範。作為首位創 作芭蕾舞曲的交響樂作曲家，柴可夫斯基當了先 鋒，讓後來者如拉威爾和史達拉汶斯基等，在這 個音樂類型裏豎立新風。 《天鵝湖》在芸芸芭蕾舞曲中極受歡迎，1 9 8 4 年著名舞蹈家紐瑞耶夫替巴黎歌劇院編舞，用精 神分析的角度去理解這首作品；在節目簡介中， 紐瑞耶夫稱：「我認為《天鵝湖》是主角齊格菲 王子一個長長的白日夢（…）他從小沉醉的浪漫 故事，喚醒了他對天長地久的嚮往，使他拒絕向 現實的權力屈服、拒絕母親和老師安排的婚姻 （…）他為了逃出已為他安排好的命運，幻想出 湖泊作為他渴望的『他處』。理想的愛情和它代 表的壓抑一起在他的腦海裏滋長；白天鵝是遙不 可及的女子，而黑天鵝就是她的反面鏡像（…） 當夢醒時，王子也就失了心瘋。」 我這首《天鵝湖》的創作意念始於 2014 年 9 月， 其時我指揮萊比錫電台交響樂團演出全套柴可夫 斯基的《雪娘》（由索尼唱片發行錄音專輯）； 《雪娘》促成之後橫跨整年在萊比錫以波羅的海 為主題的一系列藝術節，包括《北極光》、《冰 雪》、《嬉春》和《白夜》；我延續了《雪娘》 裏重生和更新的主題背景，在 2 0 1 5 年夏季以代 表北歐理想和純潔的「天鵝」為主題，策劃葛詩

達音樂節樂團的歐洲巡迴演出。 是次演出組曲的編排，完整地保留了《天鵝湖》 這個愛情故事；聽眾不單會聽到受歡迎的芭舞蕾 曲段落，更可透過沒有舞蹈的戲劇交響樂，欣賞 管弦樂把故事娓娓道來，是獨特的體驗；事實上， 我加入了一些經常在芭蕾表演中被刪掉的樂段， 例如小提琴炫技部分。組曲旨在凝聚這套偉大作 品的精髓，帶領聽眾走一趟戲劇性的旅程，沿途 的感受、氣氛和言外之意起伏有致，並藉着白天 鵝奧迪特和情人在永恆的愛中重生，蕩氣迴腸的 結局，歌頌生命和愛戰勝一切的力量。 克利斯蒂安．約菲

41

Piotr Ilyich Tchaikovsky, new version arr. Kristjan Järvi Swan Lake, A Dramatic Symphony In the 19th century ballet music was as little regarded as film music is today: it was considered an inferior genre, an evaluation bolstered by composers of “great music“, who had no idea of the genre’s richness and diversity. Tchaikovsky was no exception to this; before throwing himself into the adventure of Swan Lake, he was unaware of the outstanding work contributed by specialists such as the Italian Cesare Pugni, the Czech Léon Minkus and above all the Frenchmen Adolphe Adam (composer of the famous ballet Giselle) and Léo Delibes. Of the latter Tchaikovsky became an unconditional admirer after discovering his ballets Coppélia and Sylvia. In fact he declared that Coppélia served as a model when in the summer of 1875 he started work on the very lucrative commission from the Intendant of the Imperial Russian Theatre in Moscow, Petrovich Begichev. By being the first composer of symphonies to write ballet music Tchaikovsky was a pioneer, and cleared the way for a genre in which composers such as Maurice Ravel and Igor Stravinsky would distinguish themselves.

As an introduction to this ballet, one of the most popular of its kind, here are the words of the famous Rudolf Nureyev, who in 1984 created a piece of choreography for the Opéra de Paris which anchored the work as a psychoanalytic vision: “To me Swan Lake is one long daydream of Prince Siegfried […] Reared on romantic reading, which has awakened his longing for infinity, the prince rejects the reality of the power and the marriage forced on him by his tutor and his mother […] To escape the destiny that has been prepared for him, he brings the vision of the lake into his life, the “elsewhere” for which he yearns. An idealised love is born in his mind, together with the prohibition that it represents. The white swan is the untouchable woman, and the black swan its reverse mirror image [...] When the dream fades away, the sanity of the prince is lost.”

The creation of my Swan Lake came about from an idea that started with the performance and recording of Tchaikovsky’s complete Snow Maiden in September 2014 with my MDR Leipzig Radio Symphony Orchestra (available on Sony Classical).

The Snow Maiden was the catalyst for the creation of a whole year of Baltic Sea-themed festivals that I curated in Leipzig entitled Northern Lights, ICE, Spring Fever and Midnight Sun. Within this context of rejuvenation and renewal, which is the theme of Snow Maiden, I continued in the summer of 2015, by taking the symbol of idealism and purity of the Nordic countries, the swan, as a theme for the Gstaad Festival Orchestra tour through Europe.

This performance of the concert suite maintains the sequence of the love story that is Swan Lake in its entirety. It is a unique opportunity for the concert listener to not only hear certain popular numbers from the ballet, but also enjoy the complete musical narrative itself unfold in a dramatic symphonic context that works without the choreography. In fact, I have included selections that are often cut even in ballet performances, like many of the virtuoso violin parts. This suite aims to show the genius of this epic work by engaging the listener in a dramatic journey of feelings, atmospheres, nuances, and the celebration of life and love that conquers all in the end with the resurrection of the white swan Odette and her lover in the glory of eternal love.

Kristjan Järvi

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10.3.2018 「再現」Rediscovery Sergei Rachmaninov (1873-1943)

拉赫曼尼諾夫 G 小調第四鋼琴協奏曲，作品 40 （1941 年版本）

Piano Concerto No 4 in G minor, Op 40 (1941 version)

活潑的快板

Allegro vivace

廣板

Largo

活潑的快板

Allegro vivace

拉赫曼尼諾夫

Sergei Rachmaninov

《帕格尼尼主題狂想曲》，作品 43 鋼琴：丹尼斯．馬祖耶夫

Rhapsody on a Theme of Paganini, Op 43 Denis Matsuev piano

— 中場休息 Interval —

拉赫曼尼諾夫 《交響舞曲》，作品 45

Sergei Rachmaninov Symphonic Dances, Op 45

不甚快板

Non Allegro

流暢的行板︰圓舞曲速度

Andante con moto. Tempo di Valse

極緩板 ─ 活潑的快板

Lento assai – Allegro vivace

是晚演出曲目及次序或有更改

Pieces and their order of performance are subject to change

44

樂曲介紹 Programme notes 拉赫曼尼諾夫 G 小調第四鋼琴協奏曲，作品 40 (1941 年版 ) 即使拉赫曼尼諾夫從未發表任何創作，他仍會以

緩板發展自一個很簡單的下行終止句（re - m i -

一代傳奇鋼琴家的身份在音樂史上留名。這位身

do），憑這些疏落的材料，拉赫曼尼諾夫營造出

高六呎六的清瘦俄羅斯人，在鋼琴前顯得巍然，

凝重的氣氛；在力量澎拜的終樂章，他刻意安排

難怪當他創作不遂心時往往利用鋼琴帶他走出低

了豐富的獨奏炫技，如煙花綻放，一些插段也突

谷。

顯了作曲家抒情的天賦；對首樂章的呼應，含蓄

其中一次的創作枯竭期，因俄羅斯革命動盪而 起，拉赫曼尼諾夫家族的產業被共產黨充公，他

地增強了整首樂曲的一致感，但終樂章仍不失獨 特的個性。

在 1 917 年年底攜家人出走，坐雪車越過芬蘭邊 境的故事，仍為人樂道，他自此過着流亡生涯， 二十多年後離世時仍未歸國。 G 小調第四鋼琴協奏曲是拉赫曼尼諾夫最後一首 有編號的鋼琴協奏曲，創作於 1 9 2 4 到 1 9 2 6 年 間，標誌了他從離國後的沉寂時期中蘇醒。協奏 曲最初反應不理想，他把作品大幅刪減後，才 在 1928 年發表，到 1941 年再加修改後，成為最 終版，即這次演出的版本。第四鋼琴協奏曲展現 了拉赫曼尼諾夫在音樂創作的新方向，開啟了他 後期作品的特色，包括今晚節目中的另外兩首作 品。拉赫曼尼諾夫開始利用簡短的動機樂思，令 音樂語言變得輕盈，傳記作家夏里遜形容為「新 的精簡形格」。作品的另一特色，是管弦樂的主 動性，拉赫曼尼諾夫曾戲言道：「此非鋼琴協奏 曲，而是鋼琴和管弦樂協奏曲。」 首樂章開始是簡短生動的管弦樂段，鋼琴獨奏立 即加入，「雙手同奏」的織體一般都在作品的高 潮出現，所以夏里遜指出，拉赫曼尼諾夫一改以 往手法，值得一提。樂思難以捉摸地發展，就如 作曲家所言，鋼琴和樂團的分工比一般的協奏曲 更平均。

拉赫曼尼諾夫 Sergei Rachmaninov

45

Sergei Rachmaninov Piano Concerto No 4 in G minor, Op 40 (1941 version) Even if he had never published a single composition, Sergei Rachmaninov would still be discussed in music history thanks to his achievements as one of the most legendary pianists of all time. The tall, thin Russian (standing at six feet six inches) made for an imposing figure at the keyboard. So it is not surprising that Rachmaninov used the keyboard to work his way out of creative crises as a composer.

For example, a major dry spell resulted from the upheaval of the Russian Revolution. Rachmaninov’s family estate was seized by the Bolsheviks, and in late 1917 he and his family fled his native country (famously crossing the Finnish border on an open sled). The composer would live in permanent exile until his death two and a half decades later.

The Piano Concerto No 4 in G minor is the last of Rachmaninov’s numbered concertos for the instrument. Composed between 1924 and 1926, it also marks his reawakening from creative hibernation since the experience of being uprooted from Russia. Because of negative reactions, Rachmaninov made substantial cuts before he published the Concerto No 4 in 1928; he went on to make even more cuts in 1941. That version (which we hear in this performance) has become the standard one. The Fourth Concerto shows a newer approach to composition that would also characterise the small number of works Rachmaninov completed in his last decades, including the two other compositions in this programme. Rachmaninov had begun paring down his language into what the biographer Max Harrison describes as a “new ‘lean’ manner”, using briefer motivic ideas. Another characteristic of the concerto is the extent to which the orchestra is part of the action. Rachmaninov half-joked that “it is not a piano concerto but a concerto for piano and orchestra.”

The first movement begins with a brief, vivid orchestral passage; the soloist immediately joins in. Harrison points out that the “double-handed keyboard” texture at the very start marks a notable change in Rachmaninov’s method, since previously such writing “had served for climaxes.” Ideas are developed rather enigmatically and, as the composer observed, the division of labour between piano and orchestra tends to be more evenly distributed than might be expected in a concerto.

The Largo develops a very simple idea based on a falling cadence (re-mi-do). From his sparse material Rachmaninov evokes a moody, atmospheric soundscape. Into the energetic finale he packs more obviously virtuoso-motivated fireworks for the soloist, with episodes that showcase the composer’s lyrical gift as well. References to music from the first movement unify the Fourth Concerto in subtle ways, but the finale has a distinct flavour of its own.

47

拉赫曼尼諾夫 《帕格尼尼主題狂想曲》，作品 43 第四鋼琴協奏曲是拉赫曼尼諾夫最後一首正式的

愛情間奏在慢樂章中展現，先有夢幻的華彩段為

鋼琴協奏曲，但《帕格尼尼主題狂想曲》可被視

引子，漸轉到遠系調；第十八變奏是樂曲最著名

為他的非正式第五鋼琴協奏曲；創作樂曲時，他

的部分，從主題動機的倒影開始編排而成，充滿

為了在流亡中養家，在巡迴演奏中忙得透不過氣

幸福的浪漫主義。

來，亦因此他在 1917 年後創作產量大跌；纏擾 他的，還有揮不去的鄉愁，他一直努力重構往日 在俄羅斯莊園的舒適和靈感；在 1 9 3 0 年代初， 他和家人在瑞士找到一處理想的度假之地，成為 了一家人的避暑別墅，直到二戰爆發。

關於帕格尼尼的魔鬼交易，在寫作《狂想曲》時， 拉赫曼尼諾夫有否參考過已無從稽考。這個聯想 可能因為他引用了著名的末日經旋律為對應主 題，末日經來自安魂彌撒，自中世紀起已帶有末 日審判的寓意，拉赫曼尼諾夫鍾情這個旋律，更

第四協奏曲面世後，反應令人失望，幸好，別墅

用在多個作品上；末日經在第七變奏中首現，陰

的舒適環境重燃了他的創作動力，讓他在接續的

森的想像混合着帕格尼尼主題的諧謔式變化。在

夏季完成兩個大型作品：包括以兩個月寫成的

樂曲高潮，死亡旋律以凱旋之勢再現，但在《狂

《帕格尼尼主題狂想曲》和第三交響曲。當中，

想曲》裏，拉赫曼尼諾夫獨特的創新精神戰勝了

《狂想曲》一開始已討人喜愛，A 小調 的主題，

這個死亡的標號。

來自帕格尼尼 1820 年的 24 首小提琴獨奏隨想曲 最後一首，曾被多位作曲家採用，包括舒曼、李 斯特、布拉姆斯等，直至今時亦然。 即使在別人耳熟能詳的旋律框架裏，拉赫曼尼諾 夫仍能表現他的原創性；《狂想曲》由 2 4 首變 奏組成，整體而言，作品展現了不同的變奏原 理；作品結構大致上跟從鋼琴協奏曲標準：由快 樂章領頭，然後是緩慢的中樂章，最後是戲劇性 的璀璨結局。 樂曲的開始，先由帕格尼尼的樂器──小提琴奏 出一段變奏，之後主題才正式出現。 在寫作《狂 想曲》數年後，編舞家米高．福金獲得拉赫曼尼 諾夫的同意，在其作品《帕格尼尼》中使用這首 樂曲，在舞劇的一幕，鋼琴獨奏家和音樂主題代 表了帕格尼尼，他把靈魂賣給魔鬼，「為的是追 求藝術的完美，更是為了一位女子」。

49

Sergei Rachmaninov Rhapsody on a Theme of Paganini, Op 43 The Piano Concerto No 4 is officially the final piano concerto composed by Sergei Rachmaninov, but Rhapsody on a Theme of Paganini might be regarded as his unofficial Piano Concerto No 5. At this time, the composer was following a brutally exhausting schedule of touring to fund his family and his lifestyle in exile, one explanation for the sharp decline in compositional activity post-1917.

Another factor was the Russian’s condition of permanent homesickness; Rachmaninov sought to replicate the comfort and inspiration that had earlier surrounded him at his beloved Russian estate. In the early 1930s, an idyllic retreat in Switzerland was designed for his family, a refuge where the Rachmaninovs spent summers until the outbreak of World War Two. After the disappointing reception to his Piano Concerto No 4, the comforting atmosphere at this villa rekindled a desire to compose, resulting in two large-scale works in successive summers during the 1930s: the Rhapsody (composed in less than two months) and the Third Symphony. Of these, only the Rhapsody was immediately taken to heart by the public. The theme in A minor comes from the last of Niccolò Paganini’s 24 Caprices for Solo Violin (published in 1820). It had been (and continues to be) used by numerous composers, including Schumann, Liszt, and Brahms.

Rachmaninov proves that he, too, had something original to say, even within the framework of a well-known tune by another artist. His Rhapsody consists of 24 variations; the work as a whole additionally suggests a variation on the principle of variation. The Rhapsody is structured in general along the lines of a standard piano concerto: a fast movement to start, then a slow middle movement, and a dramatically climactic finale.

The piece starts with a variation (on violins – Paganini’s instrument) before the theme is officially stated. A few years after he had composed the Rhapsody, Rachmaninov agreed to allow the choreographer Michel Fokine to use it in his Paganini, a ballet interpretation of this music. The scenario involves Paganini (who is represented by the theme and the piano soloist) as an artist who sells his soul to the devil “for perfection in his art and also for a woman”.

A love interlude occurs in the “slow movement”, introduced by a dreamy cadenza and veering into distant keys. The Rhapsody’s most-famous moment, Variation No 18, is music of blissful Romanticism (an upside-down rearrangement of a phrase of the theme).

It doesn’t really matter whether Rachmaninov had this Paganini-bargain-with-the-devil storyline in mind when he composed the Rhapsody. The idea may have been triggered by the fact that he had used a famous melody as a counter-theme: the Dies irae (“Day of Wrath”) sequence from the Requiem Mass, which since the Middle Ages was associated with the Last Judgement and final reckoning.

Rachmaninov was fond of this melody, for he used it in several works. The Dies irae is first heard in Variation 7, where its dire associations mingle with scherzo-like mutations of the Paganini theme. The tune comes back in with full victory at the climax.

But in the Rhapsody, Rachmaninov’s own creative spirit triumphs over this macabre symbol of death.

50

拉赫曼尼諾夫 《交響舞曲》，作品 45 《交響舞曲》是拉赫曼尼諾夫的遺作，以狂想風

第二樂章像圓舞曲般開展，獨奏細緻，終樂章是

格懷緬他早年在俄羅斯的日子。早在 1 9 1 4 年，

三首中最長的，並在快和慢拍子徘徊，主題來自

他已經留意到著名的俄羅斯芭蕾舞團編舞家福

俄羅斯聖詠，在《狂想曲》中出現的末日經也佔

金，尤其是福金曾與史達拉汶斯基合作，他更希

一席位；在接近尾聲時，拉赫曼尼諾夫加入自己

望能與福金探討芭蕾舞曲的合作機會；但直到前

的合唱聖詠作品《徹夜禱》中帶有盼望的旋律；

述的《帕格尼尼》舞劇，才達成首次合作。

聖樂主題為樂曲的結尾帶來一分慰藉。

由於《帕格尼尼》的成功，拉赫曼尼諾夫開始構

樂曲介紹：湯馬士．梅

想新的芭蕾舞曲，擬以《幻想舞曲》為題，隱喻 的主題大致以一天之中的三個時段為樂章：正 午、破曉和午夜；鋼琴樂譜在 1 9 4 0 年寫成，但 計劃的芭蕾舞劇卻無法面世，因為福金在 1 9 4 2 年 8 月於紐約逝世，不到一年，在 1943 年 3 月， 拉赫曼尼諾夫的生命也到了盡頭。 拉赫曼尼諾夫略嫌原本的「早、午、晚」三樂章 設計有點造作而放棄了，在出版的樂譜只保留 了傳統的速度標記，成為現在的《交響舞曲》。 1940 年夏季歐洲發生的鉅變，可能使拉赫曼尼 諾夫回想他因早年動盪改變的人生。《交響舞 曲》交織了不少舊作的片段，某程度上，樂曲回 顧了他的事業生涯。 拉赫曼尼諾夫是否想用原來的三個時段來比喻他 一生的階段？同時著墨人生經歷中的黑暗面，蓋 過耀眼而充滿希望的青蔥？但是《交響舞曲》又 不時滲透出樂觀的正能量，形成樂曲整體意緒的 變化不定，推翻了當時認為他只懂沉溺在過去、 是千篇一律而保守的浪漫主義者的批評。 簡短的引子樂段很快拾起動力，由積極的三音韻 律樂思推動，薩克斯管吹出民謠風格旋律，與開 首的素材產生的張力，製造了第一樂章的戲劇 性，這是拉赫曼尼諾夫作品中唯一一次由薩克斯 管登場。作曲家喜愛的鐘鳴聲在色彩豐富的尾奏 中出現。

51

Sergei Rachmaninov Symphonic Dances, Op 45 Symphonic Dances is the final score Rachmaninov completed; it looks back in fantasy on his Russian days before years spent abroad in exile.

As early as 1914, Rachmaninov had expressed interest in meeting Michel Fokine, the celebrated choreographer of the Ballets Russes who had worked with Stravinsky, to discuss finding a suitable subject for a ballet. Nothing happened until the Paganini ballet mentioned in the previous note, which Fokine produced while his company was on tour.

Could Rachmaninov have been thinking of the original time-of-day titles as a way to suggest the stages of his personal life, with an emphasis on the darker aspects of “experience” over the brighteyed, hopeful innocence of youth? Yet Symphonic Dances is suffused with an energetic optimism in moments, and the result is an ambiguous mood overall – one that belies charges by Rachmaninov’s contemporaries of a predictable, “reactionary” Romantic conservatism merely wallowing in nostalgia.

Encouraged by Paganini’s success, Rachmaninov contemplated a new ballet with the title Fantastic Dances, suggesting a loose allegorical programme by naming each of its three movements after times of the day (“Noon”, “Twilight” and “Midnight”).

The piano score was completed in 1940, but the proposed ballet collaboration never came about. Fokine died in August 1942 in New York City, and less than a year later, in March 1943, Rachmaninov’s life also came to an end.

A brief introductory passage soon takes on momentum, driven by a restless three-note rhythmic idea. Much of the first movement’s drama is generated from the contrast between this opening material and the folk song-like melody that is given to the saxophone (Rachmaninov’s only use of this instrument in his all his work). The composer’s fondness for bell-like sounds assets itself in the colourful coda.

The composer abandoned his original time-ofday titles as distracting, and he permitted only the conventional tempo indications to stand in the published score of the work we know as Symphonic Dances. Events in Europe during the summer of 1940 may have prompted Rachmaninov to reflect on the directions his life had been forced to take since an earlier violent upheaval. On one level, Symphonic Dances can be approached as a retrospective survey of Rachmaninov’s career up to that point. Into the score he weaves quotations from several of his previous works.

The second movement unfolds as a waltz, which features detailed solo writing. The final movement is the longest of the three and switches between slow and fast tempos. The main theme comes from Russian sacred chant; the Dies irae tune that found its way into Rhapsody is also part of the picture.

Towards the end, Rachmaninov brings in a more hopeful melody from his choral All-Night Vigil. This sacred music theme closes Symphonic Dances with a note of consolation.

Programme notes by Thomas May

52

State Academic Symphony Orchestra of Russia “Evgeny Svetlanov�

Vladimir Jurowski, Artistic Director FIRST VIOLINS

VIOLAS

Sergey Girshenko, Concertmaster, People's Artist of Russia

Vasily Kukharenko, Vice-principal

Natalia Kovalevskaya, Principal, Honored Artist of Russia

Larisa Lavrishcheva

Aleksey Gulyanitskiy, Honored Artist of the Republic of Crimea

Aleksander Vinogradov

Svetlana Kozlova, Honored Artist of Russia

Marianna Pulkis

Alina Gabrus

Dmitry Radzetskiy

Semen Elizarov

Evgeny Shcherbino

Aleksandra Maryan

Apet Asyan

Svetlana Gviniashvili

Olga Belyaeva

Natalia Solntseva

Ruslan Batalov

Petr Bobrovskiy

Anton Khlynov

Aleksander Gritsevich

Nikolai Zakharin

Aleksander Malomozhnov Narine Nanayan

CELLOS

Alena Pshanichnaya

Paul Suss, Principal

Daria Dvernik

Evgeniya Petrova Oleg Stepanov

SECOND VIOLINS

Aleksei Listochkin

Olga Savushkina, Vice-principal

Yulia Kabakova

Oksana Lesnikova

Ilya Kononov

Denis Novikov

Alsu Iksanova

Evgeny Ikov

Maxim Tarnorutskiy

Sergey Sivolgin Mark Dvoskin

DOUBLE BASSES

Maria Korotkova Evgeny Prokopiev

Mikhail Kekshoev, Principal, Honored Artist of Russia

Sergey Byvaltsev

Daniil Shumkov

Pavel Fadeev

Rustem Shagimardanov, Honored Artist of Russia

Andrey Oganesov Artem Litvinov Pavel Gorbenko Ruslan Gaynulin Anna Ianovskaia

Ilya Panichkin Ilya Komachkov Ilya Mosalev Gennady Permyakov Vladimir Gnevushev

53

FLUTES

TRUMPETS

Evgeny Iakovlev, Principal

Aleksander Lebedev, Principal

Evgeniya Yushina

Georgy Pleskach

Georgy Sychev

Andrey Makeev

Lev Povitskiy

Igor Prikhodko

OBOES

TROMBONES

Aleksei Konopliannikov

Arkady Starkov, Principal

Dmitry Kolupaev

Konstantin Kupriyanov

Mikhail Chakrygin

Mikhail Osipov, Honored Artist of the Republic of Ingushetia

Aleksey Sorokin

Aleksey Minaev

CLARINETS

TUBA

Mikhail Beznosov, Principal

Firgat Musin

Yuri Babiy, Honored Artist of Russia Sergey Bolshakov

HARP

Nikolay Inkizhinov

Nina Kupriyanova

BASSOONS

PIANO

Mikhail Urman, Principal, Honored Artist of Russia

Vera Almazova

Aleksander Pulenkov Taras Sambir

PERCUSSION

Gennady Matveenko

Aleksander Bagirov, Principal, Honored Artist of Russia Nikolay Ermakov

HORNS

Mikhail Putkov

Valery Zhavoronkov, Principal

Vladimir Terekhov

Sergey Gorbunov

Dmitry Shalimov

Andrey Smal

Aleksander Vasilyev

Vladimir Slabchuk Sergey Vaskovich Aleksey Sakovich

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•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