香港藝術節 HONG KONG ARTS FESTIVAL
扎根香港的國際藝壇盛事 聯繫中國與世界
An International Arts Festival in Hong Kong Connecting China and the World
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，2022/ 23 財政年度預計收
入（包括第 51 屆香港藝術節及 2023 年「無限亮」）約港 幣一億五千萬，當中香港特區政府的年度撥款佔總收入約 18%，另外約 24%需來自票房收入，約 43%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 下的約 15%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、萊比錫歌劇院、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、趙成 珍、古斯塔沃 • 杜達美、菲力普 • 格拉斯、馬友友、 丹尼斯 • 馬祖耶夫、安娜 • 涅翠柯、詹安德列亞 • 諾 斯達、小澤征爾、湯瑪士．夸斯托夫、甘拿迪 • 羅傑 斯特汶斯基、譚盾、湯沐海、克里斯蒂安 泰利曼、倫 敦交響樂團、NHK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
• 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、美國芭蕾舞劇院、雲門舞集、漢堡芭蕾舞團—約 翰．紐邁亞、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
• 戲劇：彼得 • 布祿克、羅伯特．利柏殊、蜷川幸雄、羅 柏特 • 威爾遜、柏林劇團、中國國家話劇院、皇家莎士 比亞劇團
• 大型特備節目：《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，並致力為新進藝術 家提供展示才華的平台。藝術節至今委約及製作逾 250 套 本地全新創作，包括粵劇、戲劇、室內歌劇、音樂和舞蹈 作品，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《鼠疫》、《陪着你走》、《百花亭贈劍》、《香 港家族》三部曲、《世紀
The 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.
The HKAF is a non-profit organisation. The total estimated income for FY2022/23 (including the 51st Hong Kong Arts Festival and 2023 “No Limits”) is approximately HK$150 million. Current Government annual funding accounts for around 18% of the Festival's total income. Around 24% of the Festival’s income needs to come from the box office, and around 43% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 15% is expected to come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations. The HKAF has presented top international artists and ensembles across multiple genres, such as*:
• Western opera: Bavarian State Opera, Oper Leipzig, 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, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, London Symphony Orchestra, NHK 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, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet – John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch
• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company
• Large-scale special events: World of Wearable Art, Zingaro
• Outdoor events: Power Plant, Super Pool, Chorus
The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include The Plague, Always by Your Side, Pavilion of a Hundred Flowers, A Floating Family – A Trilogy, Hong Kong Odyssey, Danz Up, Datong – The Chinese Utopia, The Amahs and Murder in San Jose, to name a few.
The 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
納愛樂樂團
香港》、《炫舞場》、《大同》、 《金蘭姊妹》、《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 30 年來，已為逾 810, 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。
香港藝術節亦銳意將共融藝術理念拓展到社區每一角落。 由藝術節與香港賽馬會慈善信託基金聯合呈獻的「無限
2019 年正式開展，透過一系列的演出及多元的 教育及社區外展節目，「無限亮」致力創造共融空間，讓不 同能力人士均可以一同欣賞、參與、擁抱藝術。
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 co-commissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced with San Francisco Opera.
The HKAF invests heavily in arts education for young people. Over the past 30 years, our “Young Friends” scheme has reached over 810,000 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.
The 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.
The HKAF actively promotes inclusiveness and understanding via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019. Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together.
The HKAF officially launched the Hong Kong Arts Festival Foundation in 2022 to provide greater financial security and longterm sustainability for the Festival. Donations to the Foundation will help the Festival to present large-scale projects which its annual budget cannot cater for. (2023
香港藝術節為創造更穩健的財政環境以及確保藝術節的長期 可持續性，於 2022 年成立香港藝術節基金會，旨在讓藝術 節得以在未來進行年度預算以外的大型特別項目。
*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 https://w2.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2021.html
誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。
To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.
香港藝術節協會 2022 ／ 23 年度預計收入來源（約港幣一億五千萬）
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
Estimated Income Sources for Hong Kong Arts Festival Society in FY 2022/ 23 (Approximately HK$150 Million)
亮」計劃於
年 1 月更新
Jan
Updated
2023)
香港藝術節
HONG KONG ARTS FESTIVAL
感謝 would like to thank
贊助 for sponsoring
The 18 Mar Festival Finale Performance of Bamberg Symphony
三月十八日之 藝術節閉幕演出 班貝格交響樂團
班貝格交響樂團
BAMBERG SYMPHONY
18-19.03.2023
18.03.2023 8pm
香港文化中心音樂廳
Concert Hall, Hong Kong Cultural Centre
演出長約 2 小時 10 分鐘，包括一節中場休息
19.03.2023 5pm
Approximately two hours and 10 minutes including one interval 香港文化中心音樂廳
Concert Hall, Hong Kong Cultural Centre
演出長約 1 小時 50 分鐘，包括一節中場休息
Approximately one hour and 50 minutes including one interval
* 遲到觀眾須於第一首交響曲奏畢後方可進場
Latecomers will be admitted after the performance of the first symphony
敬請關掉所有響鬧及發光裝置
Please switch off all sound-making and light-emitting devices
本場刊採用環保紙張印刷
This programme is printed on environmentally friendly paper
請勿擅自攝影、錄音或錄影 Unauthorised photography or recording of any kind is strictly prohibited
如不欲保留本場刊，請於完場後放入場地的回收箱
If you don't wish to keep this booklet, please return it at the admission point
所有作品內容均由主辦單位/創作團隊獨立製作，並不代表贊助機構之立場或意見。 The content of all works is independently produced by the organiser/creative team, and does not reflect the views or opinions of the Sponsor.
專訪 Interview 18 03 曲目 Programme 18 03 樂曲介紹 Programme Notes 19 03 曲目 Programme 19.03 樂曲介紹 Programme Notes 指揮 Conductor 雅各．胡薩 Jakub Hrůša 班貝格交響樂團 Bamberg Symphony 10 17 18 27 28 34 37
封面照片 Cover Photograph © Andreas Herzau
© Andreas Herzau
Tradition and Renewal from the Heart of Europe
經過多年翹首以盼，享負盛名的班貝格交響樂團，在指揮雅各・胡薩的帶領下，終於在 2023 年踏上香港 藝術節的舞台獻藝。2022 年，香港觀眾僅能滿足於四場線上演奏會。樂團與指揮之間合作無間，甚至獲 不少國際級大獎認可，包括國際古典音樂獎以及巴伐利亞國家音樂大獎。事實上，當指揮胡薩被問如何 形容與樂團之間的關係時，他僅以一詞回應：「完美。」是次來港，班貝格交響樂團將再與雅各・胡薩以 音樂與情感上的深度默契，聯手演奏兩場音樂會，呈獻布拉姆斯、利蓋蒂以及德伏扎克的音樂。
After years of anticipation, the legendary Bamberg Symphony under the direction of Chief Conductor Jakub Hrůša is finally performing live on stage at the Hong Kong Arts Festival in 2023. In 2022, audiences in Hong Kong had to be content with four online performances. This partnership between conductor and orchestra has resulted in a number of high-profile awards and commendations, including the ICMA Awards and the Bavarian State Prize for Music. In fact, when I asked Maestro Hrůša to describe his relationship with the orchestra, he responded with a single word: “perfect”. The Bamberg Symphony and Hrůša will showcase their deep musical and emotional connection at the HKAF in two concerts dedicated to the music of Johannes Brahms, György Ligeti and Antonín Dvořák.
音樂之都
班貝格交響樂團的傳奇故事， 可追溯至十八世紀時的布拉格。
1787 年，當地城邦劇院首次上
演莫扎特的歌劇《唐璜》，由 該樂團的前身德國愛樂樂團演 奏，並由年輕的馬勒指揮——
此組合其後演變成於 1885 至
1886 年樂季間在布拉格誕生的 德國愛樂樂團。二戰餘波中， 該樂團的樂手流離失所，他們 聯同旅居當地的音樂人在班貝 格聚集起來，並創立了班貝格 交響樂團。這推動了該城市迅 速綻放異彩，成為整個地區的 音樂之都，而樂團則成為德國 其中一個最多異地演出的交響 樂團。至今，此樂團已在超過 六十個國家、五百個城市，演 出過近七千五百場音樂會。
將音樂帶給世界
班貝格這城市不止被列入聯合 國世界遺產，更以擁有全世界 最高的音樂會訂戶人口比例為 傲。不過，踏上巡演旅程， 天生就是樂團不可或缺的一部 分，而據胡薩所言，「他們的任 務就是向全世界展示出頂尖的 德國交響樂文化」。當然，行程 策劃是共同決定的，當指揮胡 薩揀選他有意指揮的曲目，「演 奏者及訂戶則對渴望聽見的曲 目，有絕對的發言權」。雖然疫 情曾令樂團繁忙的行程暫時休 止，然而令胡薩驕傲的是，「班 貝格是其中一個最早恢復巡迴 演奏的交響樂團，儘管多數在 國內舉行。」更令人驚異的則 是，在以年計的疫情期間，「樂 團從未有一刻停止運作」。在嚴
密的防疫措施下，樂團完成了 十二個錄音計劃，並且投放資 源設立線上平台，與世界各地 的觀眾連結。胡薩說：「現時終 於感到世界回復正常。」即使 因生態危機、烏克蘭戰爭而憂 慮，他仍說「非常期待不久後 在西班牙及亞洲的演出」。
布拉姆斯的傳統
最近被任命為英國皇家歌劇院 音樂總監的雅各・胡薩，其實 曾兩次到訪香港，他把與港樂 的合作及「觀眾的熱情」娓娓 道來。2023 年，胡薩將會把
中歐心臟地帶的音樂傳統，帶 來香港藝術節，傳播悠揚樂 韻。布拉姆斯(1833-1897)寫 下的交響樂，奠下了交響曲的 基石，其樂章華麗、宏大、 極具表現力，於維持浪漫派前
中歐交響樂華麗突襲
專訪 Interview 10
人傳統的同時，仍深深銘刻對 古典樂派遺產的尊敬。與此同 時，布拉姆斯展現作為完美主 義者不願妥協的一面，相對訴 諸花巧而情緒化的修辭，他選 擇對細節的無窮執着，展示出 專注而濃烈的表現力。他的第 三交響曲，也許是他最個人化 的交響樂曲——猶如一首音樂 自畫像，洋溢衝突與和解、暴 烈與溫柔、荒涼與真摯交織的 情感。即使他的第四交響曲在 世界各地廣為人熟悉，成為音 樂會最常被演奏的曲目，無可 否認，仍是十九世紀最深沉而 黑暗的樂曲之一。與其說布拉 姆斯是一個奉行保守的交響樂 家，不如說是傳統的變革者， 為德奧音樂譜出悲觀但至為偉 大的總結。
原始靈感
同樣在中歐音樂傳統中起舞， 德伏扎克(1841-1904)與布拉 姆斯建立了長久而深厚的友 誼。在公眾眼中，這段友情令 德伏扎克與布拉姆斯一樣，被 歸為激進愛國主義者，連帶他 的音樂起源也被理解成百年來 扭曲、令人窒息而主導性的文 化記號。事實上，就多方面而 言，德伏扎克的確是一個愛國 分子，甚至在事業晚期一錘定
音下了結論：他一直，亦永遠 會是來自波希米亞的鄉村作曲 家。自此，他的美學概念與音 樂語言也隨之變化，更大膽， 更刻意，更具描述性，亦更具 主題性，全是源自捷克及海外 民族音樂的影響。德伏扎克 第八交響曲具慶典氛圍，華麗 地以愛國頌歌點綴；而他在美
國國家音樂學院短暫擔任院長 期間誕生的不少曲目之中，首 當其衝的是第九交響曲《新世 界》，當中所受黑人靈歌、混血 音樂、印第安舞蹈的影響仍有 待解讀。無可辯駁的是，德伏 扎克向美國作曲家下了戰帖， 端看後者如何尋到獨具一格的 民族樂聲。
期待不可預期
巴爾幹和撒哈拉以南非洲的 民族樂，一向是利蓋蒂( 19232006)的靈感來源，激發他的 好奇心。以複合節奏奏出的 歌聲和鼓聲蘊含豐富的韻律變 化，加上多層和聲諧協共存， 打開了全新虛構民族樂的想像 新世界，拓闊了不熟悉可能 性。在作曲過程中，利蓋蒂以 常人難以察覺的節奏、密度、 音色和質地變化，構成他音樂 的形態和推動力，把一道道韻 律，交織成多聲部的微複調樂 韻。至於他 1962 年所著的給 一百台拍子機的《交響詩》，
是其最後一首事件譜，即使被 數次錄製，卻鮮少被表演。而 《遠方》——曾先後獲史丹利・ 寇比力克的經典《閃靈》、馬 田・史高西斯 2010 年執導的 《不赦島》採用為電影配樂—— 如潮汐漲退般的廣袤樂聲徐徐 展開，以交響樂音描繪了揮之 不去的夢中風景。即使表面 前衛，作品卻植根中歐音樂傳 統，而作曲家本身亦將萬花筒 般多變的音色，與布魯克納 第八交響曲壯麗恢宏的展開相 提並論。
雅各・胡薩與班貝格交響樂團 堅決地把中歐音樂傳統的豐盛 與智慧帶來香港，對指揮而 言，這是「一次教育使命， 展現古典樂超越時間的不朽 榮光」。
撰文：斐德龍博士 原文刊登於香港藝術節 2023 年之《閱藝》
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© Andreas Herzau
A hub for music
The storied history of the legendary Bamberg Symphony reaches back into the 18th century and to the city of Prague. In 1787, the ancestral orchestra at the Estates Theatre in Prague performed the world premiere of Mozart’s Don Giovanni, and the youthful Gustav Mahler conducted the ensemble that would later become the German Philharmonic in Prague during the 1885/1886 season. In the aftermath of World War II, displaced musicians from that orchestra joined with fellow expatriate colleagues in the city of Bamberg and established the Bamberg Symphony. The city quickly flowered into a musical hub for the entire region, and the Symphony has become one of Germany’s mosttravelled orchestras. In fact, this exceptional ensemble has performed almost 7,500 concerts in more than 500 cities and 60 countries worldwide.
Bringing music to the world
The city of Bamberg is a UNESCO World Heritage site, and it boasts the highest rate of concert subscribers per person anywhere in the world. However, traveling is an integral part of the orchestra’s DNA and, according to Hrůša, “their mission is to present the best of German orchestral culture to the whole world”. Essentially, journeys are planned together and, while Maestro Hrůša selects the works he would like to conduct, “players and subscribers have a definite
voice in what they would like to hear”. The pandemic put a temporary halt on his busy traveling schedule, but Hrůša is proud that “Bamberg was one of the first orchestras to go on tour again, albeit on a more local level”. Most remarkable, however, is the fact that during the years of the pandemic the “orchestra never stopped working”. With preventative measures in place, the orchestra finished 12 recording projects and established a dedicated digital platform to connect with audiences around the world. To Hrůša, “it now feels like normality has finally returned” and, although ecological concerns and the war in the Ukraine are a source of continued worry, he is “looking very much forward to upcoming tours of Spain and Asia”.
The Brahms tradition
Hrůša, who has recently been appointed Music Director of The Royal Opera House in London, has been to Hong Kong twice before. He fondly remembers his collaboration with the Hong Kong Philharmonic and “the enthusiasm of the audience”. For the 2023 Hong Kong Arts Festival, Hrůša brings music from the heart of the central European musical tradition. The symphonies of Johannes Brahms (1833-97) are cornerstones of symphonic literature. Lushly scored, grand in scope and deeply expressive, they retain a deeply engrained reverence for classical heritage while maintaining the
Romantic tradition of his great predecessors. Brahms reveals himself as an uncompromising perfectionist, with the ferocity and concentration of expression not based on heightened emotional rhetoric, but on a relentless focus on musical detail. His third symphony is probably his most personal symphonic essay, a musical selfportrait filled with conflicts and warm resolutions, turbulence and gentle sentiments, desolation and geniality. Although his fourth symphony has easily become a reliable and familiar staple on concert programmes around the world, it contains some of the darkest and most profound music of the 19th century. We find Brahms as a renovator of tradition rather than as a reactionary symphonist, simultaneously presenting a pessimistic yet crowning conclusion to an extended Austro-German tradition.
Native inspirations
Working within this central European tradition, Dvořák (18411904) enjoyed a long personal friendship with Brahms. That relationship has conditioned a popular narrative that describes Dvořák as a militant nationalist with his music originating from a century-long pattern of a distorted, stifled and dominated culture. Dvořák was indeed a nationalist in many respects and towards the end of his career he came to the conclusion that he always was, and always would be, a simple country composer
專訪
Interview
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from Bohemia. As a result, his aesthetic conception and musical language changed; it became more outspoken, more deliberate, more descriptive and more topical, with much of his inspiration now taken from folkmusic influences experienced in Czech communities at home and abroad. Dvořák’s celebratory Symphony No. 8 has been lavishly embellished with nationalist laurels, while his brief tenure in the United States spawned a number of works, most notably his Symphony No. 9 “From the New World”. While the respective influences of spirituals, Creole tunes, Native American dances and literary/musical devices are still open to interpretation, Dvořák unmistakably issued a clear challenge to American composers to find a distinctive national musical voice.
Expect the unexpected
Folk music of the Balkans and sub-Saharan Africa provided Ligeti (1923-2006) with a constant source of curiosity and inspiration. The rhythmic richness of polyrhythmic singing and drumming, and the coexistence of several sound layers, opened up unfamiliar possibilities, and created a new and exciting imaginary folk music universe. Deriving the shape and momentum of his music from barely perceptible changes in timbre, dynamics, density and texture, Ligeti developed a process of interweaving different strands of sound into a complex polyphonic fabric. His Poème symphonique for 100 metronomes of 1962 was the last of his event-scores, and although it has been recorded several times, it is rarely performed. And used as part of the soundtrack to Stanley Kubrick’s film The Shining and Martin Scorsese’s
Shutter Island, Lontano (“in the distance”) depicts a haunting orchestral dreamscape that unfolds in vast sonic waves. Despite its avant-garde surface, the work is closely connected to the central European musical tradition, as the composer compared the gradually shifting kaleidoscope of colour to the majestic unfolding of Bruckner’s Eighth Symphony.
At the 2023 HKAF, Hrůša and the Bamberg Symphony will be unapologetically bringing the richness and wisdom of a continuous central European musical tradition to Hong Kong. And for Maestro Hrůša, it is also “an educational mission to showcase and carry forward the eternal and timeless qualities of classical music”.
Originally published in the HKAF’s 2023 FestMag
Text: Dr. Georg Predota
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© Andreas Herzau
班貝格交響樂團
Bamberg Symphony 18.
德伏扎克 E 小調第九交響曲，作品 95， 「新世界」
I. 慢板—極快板
II. 廣板
III. 諧謔曲：甚活潑的—稍微持續的
IV. 終曲：火熱的快板
利蓋蒂 給一百台拍子機的《交響詩》
布拉姆斯 E 小調第四交響曲，作品 98
I. 不太快的快板
II. 中庸的行板
III. 諧謔的快板
IV. 有力而激情的快板
DVOŘÁK (1841-1904)
Symphony No. 9 in E minor, Op. 95, “From the New World”
I. Adagio–Allegro molto
II. Largo
III. Scherzo: Molto vivace–Poco sostenuto
IV. Finale: Allegro con fuoco
中場休息 Interval
LIGETI (1923-2006) Poème symphonique for 100 metronomes
BRAHMS (1833-1897)
Symphony No. 4 in E minor, Op. 98
I. Allegro non troppo
II. Andante moderato
III. Allegro giocoso
IV. Allegro energico e passionato
03. 2023
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樂曲介紹 Programme Notes
德伏扎克
Antonín Dvořák (1841-1904)
德伏扎克：E 小調第九交響曲， 作品 95，「新世界」（ 1893 ）
1893 年夏天，德伏扎克在愛荷 華州斯皮爾維爾的一個捷克移 民社區度假時，創作了三部作 品，包括他的第九交響曲「新 世界」，以及「美國」弦樂四 重奏和五重奏。它們都在他最 受歡迎作品之列，而 E 小調第 九交響曲將永遠與他在美國國 家音樂學院的短暫任期（ 18921895 ）緊扣。
雖然靈歌、克里奧爾曲調、美 國原住民舞蹈和文學／音樂手 法（包括亨利．沃茲沃思．朗 費羅的史詩《海瓦塔之歌》） 各自的影響眾說紛紜，但德伏 扎克毫不含糊地向美國作曲家 們提出了明確挑戰——找出美國 音樂的獨有聲音。
德伏扎克解釋說，他的「新世 界」交響曲實際上並無用到美 國本土的旋律。「我單單創作 了能呈現美洲原住民音樂特色 的原創旋律，以這些旋律為主 題，並以現代節奏、對位法和
管弦樂色彩豐富作品。」第一 樂章的「快板」以沉思的小提 琴為背景徐徐導入，隨即被強 而有力的號角聲打斷。木管樂 器旋即再次跌入沉思，卻被整 個樂團的強烈爆發擾亂。圓號 接着吹奏出在本交響曲中四個 樂章都有使用的主旋律，再由 單簧管、巴松管和弦樂快速和 應。短暫的過渡之後，長笛和 雙簧管雙雙引入有如輕快民謠 的小調旋律。這個主旋律隨着 舞蹈延伸，逐漸轉向大調，以 長笛吹出一段相對沉鬱的旋律 延續。隨後，一場吵鬧動蕩展 開，為後來縮短的重述鋪墊。
一段銅管合奏，在定音鼓錘錘 有力的敲擊下，成為「廣板」 樂章的引子。此樂章盡是田園 靜謐色彩，由英國號優雅地吟 唱德伏扎克最受歡迎的旋律之 一。弦樂和英國號先吹出該曲 輕柔的變奏，木管樂器再吹出 兩段較為活潑的變奏。主旋律 再次有力響起，短暫地打破寧 靜，再由英國號低吟，喚回平 靜的感覺。「諧謔曲」的節奏活 力和音樂特點多處向貝多芬的 第九交響曲借鏡，但由主旋律 啟發的「三聲中部」，則愉快地 引用了德伏扎克的故鄉捷克的 斯拉夫舞蹈。
類似進行曲的開場小號段子由 圓號和小號奏出，為結尾的 「快板」拉下帷幕，再由單簧管 帶出懷舊的音樂對比，最後以 長笛和小提琴為這個段落畫上 句號。在隨後的發展部分，德 伏扎克重新使用並結合了前幾 個樂章的音樂，以浩瀚宏大的 尾聲有力地重申主題。
Antonín Dvořák: Symphony No. 9 in E minor, Op. 95, “From the New World” (1893)
The summer of 1893, when Dvořák spent his holiday with a Czech immigrant community in Spillville, Iowa, saw the composition of three works, his Symphony No. 9, entitled “From the New World”, and the “American” String Quartet and Quintet, respectively. They are among his most popular compositions and the Symphony No. 9 in E minor will forever remain linked with his brief tenure (1892-1895) in the National Conservatory of Music of America.
While the respective influences of spirituals, Creole tunes, Native American dances and literary/musical devices, including Henry Wadsworth Longfellow’s epic poem The Song of Hiawatha, are still open to interpretation, Dvořák unmistakably issued a clear challenge to American composers to find a distinctive American musical voice.
Dvořák explained that his Symphony “From the New World” did not actually use Native American melodies. “I have simply written original themes embodying the peculiarities of the Native American music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint and orchestral colour.” The slow introduction to the first movement “Allegro”
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features a pensive violin background that is soon interrupted by an energetic horn call. Woodwinds quickly re-establish the meditative character only to be rudely disrupted by a fortissimo outburst from the full orchestra. Eventually, the horns introduce a motto theme—used in all four movements of the symphony— quickly answered by clarinets, bassoons and the strings. After a brief transition, flutes and oboes introduce a lilting folk-like melody in the minor mode. This dancing extension of the motto theme gradually turns toward the major key, and the flutes hauntingly sound one more somber melody. Subsequently, a tumultuous development prepares for a truncated recapitulation.
A brass chorale, punctuated by forceful timpani strokes, serves as the introduction to the “Largo” movement. This movement, full of pastoral serenity, features one of Dvořák’s most beloved melodies, gracefully intoned by the English horn. The strings and the English horn sound gentle variations of the tune, with the woodwinds initiating two livelier variations. The forceful sounding of the motto theme briefly interrupts this musical serenity, before the English horn quickly reestablishes a sense of calm. The rhythmic vitality and musical character of the “Scherzo” is deeply indebted to Beethoven’s Ninth Symphony, whereas the
“Trio”—initiated by the motto theme—joyfully references the Slavonic dances of Dvořák’s Czech homeland. A march-like fanfare played by horns and trumpets opens the concluding “Allegro”.
Clarinets present the nostalgic musical contrast, with flutes and violin rounding off this section. For his development, Dvořák reuses and combines music from previous movements, and the grandiose coda forcefully restates the motto theme.
體對於藝術和藝術在社會中的 作用有激進的想法，並在擴大 「藝術」層面上扮演着重要的 角色。 利蓋蒂和激浪派咬弦之 處，是對當代音樂趨勢的獨有 批評。正如利蓋蒂所寫 ：「如 今最困擾我的首先是意識形態 （包括所有意識形態，因為它 們對其他意識形態採取教唆和 不容忍的態度），而《交響詩》 的矛頭就是直指它們。」
利蓋蒂
利蓋蒂
《交響詩》（ 1962 ）
1962 年給一百台拍子機創作的 《交響詩》源自捷爾吉．利蓋蒂 （ 1923- 2006 ）短暫參與的激 浪派運動。這是由一羣跨學科 藝術家、作曲家、設計師和詩 人組成的鬆散社區 ； 成員試驗 表演藝術，着重藝術的創作過 程多於成品。整體而言，該團
《交響詩》作為利蓋蒂最後一部 作品，曾被錄製多次，但甚少 在現場演出，原因在於它的場 景設計相當複雜，依賴周詳的 人手準備，並需要約十名「表 演者」同時開動舞台上一百台 拍子機。這些拍子機的發條被 上到最緊，調較至不同速度， 並按指揮家決定開初兩至六分 鐘空白時間的實際長度。當指 揮家發號施令，拍子機便會盡 可能同時啟動，表演者也會隨 即離開舞台。最初的聲浪被喻 為「一羣小馬」，只有在拍子 機一台接一台地停頓後，才能 較容易地辨出個別的聲音。這 個催眠和週期性的過程，從幾 乎無法感知的節奏變化中塑形 和儲力，通常在只剩一台拍子 機的滴答聲中結束。復歸平靜 之時，表演者便會回到舞台。 一場典型演出為時約十五分 鐘，但正如演出的其他方面， 確切的演出長度還是按當時情 況而定。
1963 年首演時，拍子機的最後 滴答聲「伴隨着噓聲、尖叫聲 和威脅聲」。利蓋蒂覺得自己 得到平反，因為他不想用任何
György Ligeti (1923-2006)
： 給一百台拍子機的
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文字，只想用音樂來評論。正 如他所寫的 ：「《交響詩》遭小 資產階級和看似激進的人拒諸 門外並非偶然⋯⋯激進主義和 小資產階級的態度相距不遠 ； 兩者都戴着狹隘者的眼罩。」
利蓋蒂這個譯成給一百台拍子 機的《交響詩》的挑釁標題， 當代觀眾肯定感到一頭霧水， 不能解讀其諷刺性。也許廿一 世紀的笑點在於若要演奏這部 作品，便先要找到一百件過時 樂器 ： 發條式拍子機。
György Ligeti: Poème symphonique for 100 metronomes (1962)
The 1962 Poème symphonique for 100 mechanical metronomes originated during György Ligeti’s (1923-2006) brief involvement with the Fluxus movement.
A loose community of interdisciplinary artists, composers, designers, and poets, its members experimented with performance art, in which the artistic process of creating was more important than the finished product. Collectively, the group had radical ideas about art and the role of art in society, and played an important role in the broadening of what is considered “art”. The point of convergence between Ligeti and Fluxus was a distinct criticism of trends in contemporary music. As Ligeti wrote: “What really bothers me nowadays are above all ideologies (all ideologies, in that they are suborn and intolerant towards other), and Poème symphonique is directed above
all against them.”
The last of Ligeti’s eventscores, Poème symphonique has been recorded several times, but is rarely performed. The reasons are found in a rather complicated scenographic staging that relies on detailed preparation by hand. In addition, it takes around 10 “performers” to simultaneously activate the 100 metronomes. The devices are staged on a performance platform and wound to their maximum extent. All are set to different speeds and, at the discretion of the conductor, there is an initial period of silence lasting from two to six minutes. Once the conductor gives the cue, the metronomes are started as simultaneously as possible, and the performers leave the stage. The initial sound wash has been likened to “a herd of small horses” and only after the metronomes wind down one after another are individual sounds more easily distinguishable. This hypnotic and periodic process derives its shape and momentum from barely perceptible rhythmic changes, and the piece usually ends with just one metronome ticking alone. Once silence has been restored, the performers return to the stage. A typical performance will run for about 15 minutes, but as with most other aspects of the performance, the exact duration is left to chance.
First premiered in 1963, the final tick-tock of the metronome was “followed by booing,
screaming, and threats”. Ligeti felt vindicated, as he was looking to express criticism without any text, with music alone. As he wrote: “It is no accident that Poème symphonique was rejected as much by the petitbourgeois as by the seeming radicals… Radicalism and petit-bourgeois attitudes are not so far from one another; both wear the blinkers of the narrow-minded.” Contemporary audiences certainly failed to grasp the satirical aspects of the piece, beginning with Ligeti’s provocative title that translates as “poetic symphony for 100 metronomes”. Perhaps the joke in the 21st century resides in the fact that any performance these days has to find 100 pieces of a period instrument: the clockwork metronome.
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布拉姆斯 Johannes
Brahms (1833-1897)
布拉姆斯：
E 小調第四交響曲，
作品 98（ 1885 ） 約翰內斯．布拉姆斯在 1884 年向他的出版商西姆羅克宣布
了他最後一首交響樂曲，並 提筆留了以下的話 ：「在奧地 利，一切都在走下坡，你不能 寄望音樂能發展得更好。不僅
是對音樂，還是對整片美麗的 國土和美麗非凡的人民，這真 的是一大遺憾和恥辱。我仍然 認為災難快將來臨。」儘管布 拉姆斯的第四交響曲已輕易成 為世界各地音樂會中耳熟能詳 的主打曲目，但也囊括了十九 世紀中一些最為黑暗和深刻 的樂章。
1885 年，當布拉姆斯首次在一 群摯友前演奏整首交響曲時， 其毫不妥協的複雜思想和細 節，更不用說整個交響曲體裁 中最黯淡的結束，帶來了一陣 驚愕。布拉姆斯的狂熱支持者 愛德華．漢斯利克寫道 ：「我
覺得我剛被兩個聰明絕頂的人 打敗了。」布拉姆斯的摯友兼 首位傳記作家馬克斯．卡爾 貝克，甚至建議他不要以當前 的形式向公眾發布作品。他建 議將終曲作為獨立作品保存下 來，並換掉慢樂章和諧謔曲。
布拉姆斯雖然擔憂但仍堅持己 見，在 1885 年 10 月 25 日與邁寧 根宮廷管弦樂團演出作品，獲 聽眾熱烈歡迎，讓該作品以本 來面貌留存於世。
布拉姆斯去世後不久，指揮家 費利克斯．溫加頓提出了以下 見解 ：「我從此首作品感受到 一種無可奈何的悲愴，不論屬 於個人、還是民族的偉大創造 物，都在命運的無情驅使下走 向衰亡。終曲可説是一場毀滅 的狂歡派對，與貝多芬最後的 交響曲結尾的歡愉迸發，形成 强烈對比。」第四交響曲被視 作布拉姆斯遺留下來的葬歌， 「為和平的世界、為比其他文 化都更尊重和理解音樂的德奧 中產階級、為他所認識的甜美 的維也納、為他自己失去的愛 而編寫。」這部作品將布拉姆 斯定義為「傳統的革新者」， 而不是「反動的交響樂家」， 同時也為遼闊的德奧音樂傳 統作出了悲觀而又登峰造極 的定論。
第一樂章「不太快的快板」， 直接以一連串降三度和升三度 的旋律開場，涵蓋自然音階的 所有音符。這個毫不退讓的系 統勾勒出交響曲的主要調性區 域，不僅覆蓋第一樂章，也是 整部交響樂的生成基因。布拉
姆斯顛覆了第一和第二主題的 慣性，第一主題流暢抒情，第 二主題由大提琴和圓號演繹， 聽來穩健扎實。岡特．舒勒認 為，這主題發展創造了「一個 以複雜節奏及複調特性的多層 次結構，使之成為最為複雜和 主題句最為迂迴的部分」。重 奏主題後，開篇主題的雄偉卡 農為尾段揭下序幕，其強度和 力量逐漸推向頂峰，為該樂章 畫上了撼動人心的句號。
布拉姆斯在第二樂章「中庸的 行板」中，先以兩枝圓號的有 力演奏作為引子，再由所有弦 樂細緻地撥弦演奏一小段，襯 托出木管樂吹奏的旋律。與 其他地方一樣，布拉姆斯在這 裏採用了中世紀的弗里吉亞調 式，為樂章整體添上古老的色 彩。「諧謔的快板」被描述為布 拉姆斯交響曲大全中最為活潑 外向的樂章。該樂章聽起來像 是交響樂曲的勝利結束，所爆 發出的活力和生命力遠超他其 他交響樂作品。短笛和三角鈴 烘托出高昂情緒和原始能量， 但由於布拉姆斯用調式和聲來 暗示小調，乍看的張力緩衝畢 竟還是隱藏着一絲不祥預感。 終章「有力而激情的快板」無 疑是布拉姆斯寫過最有力的樂 章。布拉姆斯在改編自巴赫 清唱劇《主啊，我渴望你》的 帕薩卡利亞主題的三十個變奏 中，創造了音樂結構的一大奇 蹟。布拉姆斯透過巴羅克時期 的模範，向這個音樂史上快將 黔然落幕的時代致敬。
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Johannes Brahms: Symphony No. 4 in E minor, Op. 98 (1885)
Johannes Brahms announced his final essay in symphonic form to his publisher Simrock in 1884 with the following words: “In Austria, where everything tumbles downhill, you can’t expect music to fare better. Really it’s a pity and a crying shame, not only for music but also for the whole beautiful land and the beautiful marvelous people. I still think catastrophe is coming.”
Although Brahms’ fourth symphony has easily become a reliable and familiar staple on concert programmes around the world, it contains some of the darkest and most profound music of the 19th century.
When Brahms first played through the symphony for a group of close friends in 1885, the uncompromising intellectual complexity and refinement, not to mention the bleakest ending in the entire symphonic genre, caused some initial consternation. Eduard Hanslick, one of Brahms’s most enthusiastic supporters, wrote: “I feel I’ve just been beaten up by two terribly intelligent people.” Max Kalbeck, a close friend and first biographer of Brahms, even suggested that the composer should not release the piece to the public in its current form. He recommended keeping the finale as a standalone piece, and replacing both the slow movement and the scherzo. Brahms anxiously persisted and the enthusiastic reception of the work on 25 October 1885 with the Meiningen Court Orchestra assured that the work survived in its intended form.
Shortly after Brahms’ death, the conductor Felix Weingarten
offered the following insight: “I cannot get away from the impression of an inexorable fate implacably driving some great creation, whether of an individual or a whole race, towards its downfall. The finale is a veritable orgy of destruction, a terrible counterpart of the paroxysm of joy at the end of Beethoven’s last symphony.” The fourth symphony stands as a funeral song for Brahms’ heritage, “for a world at peace, for an Austro-German middle class that honored and understood music like no other culture, for the sweet Vienna he knew, and for his own lost loves”. This work, which defines Brahms as a renovator of tradition rather than as a reactionary symphonist, simultaneously presents the pessimistic yet crowning conclusion to an extended Austro-German musical tradition.
The first movement, “Allegro non troppo”, opens directly with a melodic chain of descending and ascending thirds that covers all the notes of the diatonic scale. Outlining the principal tonal areas of the symphony, this uncompromising systematic approach to building a melody functions as the generative DNA not only for the first movement but also for the entire symphony. Brahms reverses the usual characteristics of the first and second subjects, with the first sounding expressively lyrical and the second subject—announced by cellos and horns—taking on a robust and sturdy character. The development, according to Gunter Schuller, creates “a multi-layered structure of such rhythmic and polyphonic complexity as to produce one of the most complex and
motivically convoluted sections in all music”. Following the restatement, a majestic canon of the opening theme initiates a coda that explosively grows in intensity and power to bring the movement to a thrilling close.
Brahms introduces the second movement, “Andante moderato”, with a forceful statement by two horns, followed by a striking passage in which all of the strings play delicate pizzicato chords supporting a sustained melody in the winds. Here as elsewhere, Brahms looked at earlier musical models by employing the medieval Phrygian mode to impart an overall archaic quality to this movement. The “Allegro giocoso” has been described as the most extroverted movement in Brahms' symphonic canon. An explosion of vitality and life unmatched elsewhere in his symphonic music, the movement sounds like the triumphant end of a symphony. Full of high spirits and raw energy— reinforced by the piccolo and triangle—this apparent release of tension nevertheless harbours a sense of foreboding as Brahms uses modal harmonies to imply minor keys.
The Finale “Allegro energico e passionato” is without doubt the most powerful movement Brahms ever wrote. In 30 variations on a passacaglia theme adapted from Bach's cantata Nach dir, Herr, verlanget mich (For thee, O Lord, I long), Brahms creates one of the wonders of musical architecture. Brahms draws on the Baroque model to pay homage to an area of musical history that is coming to a tragic conclusion.
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Bamberg Symphony
布拉姆斯
F 大調第三交響曲，作品 90
I. 有活力的快板
II. 行板
III. 不太快的小快板
IV. 快板——稍微持續的
德伏扎克 G 大調第八交響曲，作品 88
I. 有活力的快板
II. 慢板
III. 優美的小快板——甚活潑的
IV. 不太快的快板
BRAHMS (1833-1897)
Symphony No. 3 in F Major, Op. 90
I. Allegro con brio
II. Andante
III. Poco allegretto
IV. Allegro – Un poco sostenuto
中場休息 Interval
LIGETI (1923-2006) Lontano
DVOŘÁK (1841-1904)
Symphony No. 8 in G Major, Op. 88
I. Allegro con brio
II. Adagio
III. Allegretto grazioso – Molto vivace
IV. Allegro ma non troppo
利蓋蒂 《遠方》
班貝格交響樂團
19. 03. 2023
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樂曲介紹 Programme Notes
地向前游去，直到最後。」
布拉姆斯：F 大調第三交響曲，
作品 90（ 1883 ）
約翰內斯．布拉姆斯（ 18331897 ）習慣在和暖的夏天創作， 其他時間則投放於演出和騰寫 自己的音樂靈感。布拉姆斯與 摯友慶祝他的五十歲生日後， 決定在萊茵河畔的威斯巴登鎮 度過 1883 年的夏天。他找了一
個面向河畔的小工作室，並在 數週內完成了他的第三交響曲。
克拉拉．舒曼在用鋼琴彈完這 部交響曲後給他寫道：「全曲的 氣氛是多麼和諧！所有樂章彷 似一個整體，有如心臟跳動， 每個樂章都是一顆寶石。」克
拉拉還聽到「第一樂章中叢林 間的神秘魅力，還有第二樂章 中跪在森林小聖堂前的信徒。」
對約瑟夫．約阿希姆來說，終 曲讓人想起希臘神話中的赫洛 與勒安得耳：「我不禁想像着這 位胸膛被海浪和眼前強大的熱 情激起的勇敢泳者，即使面對 狂風暴雨，還是衷心地、英勇
布拉姆斯這場回顧，在開篇 「有活力的快板 」中頭幾個小 節便開始成形。開首的主題幾 乎是一字不差地摘自羅伯特・ 舒曼的第三交響曲。曲中戲劇 性的衝突可追溯到 1853 年所定 的三音主題。當時，舒曼曾建 議他、布拉姆斯和阿爾伯特． 迪特里希委約創作一首小提琴 奏鳴曲來歌頌約阿希姆。這 首諧謔曲由布拉姆斯寫成，以 「 F-A-E 奏鳴曲」一名見稱，因 為約阿希姆的人生格言正是以 這三個字母為首的「自由但孤 獨」(“frei aber einsam”)。
布拉姆斯如常地戲言說， 約阿希姆的人生格言該是 「 F-A-F 」，即「自由而快樂」
(“frei aber froh”) 。 在整部交響 曲中，F-A-E 主題句以不同的偽 裝成不同形式，並透過轉調和 變化呈現。在開場木管樂和銅 管樂的大調呼喚後，第二個和 弦暗暗用上小調，戲劇化地建 構二元對立，也是布拉姆斯音 樂風格的一大特徵。
然而，當我們來到第三個和弦 時，音樂又截然變得明快樂 觀。第二主題由單簧管帶出， 穿插着痛苦的斷片與抒情的插 話。這種極度抒情、近似民謠 的對比，在發展部分的小調中 再次出現。
第二和第三樂章均沒有盡情揭 露，反而有所保留。單簧管 率先奏出第二樂章的主題「行 板」。優雅的樂句，配以重複三 連音為記憶點的旋律，為樂章
添上有如讚美詩一般的特質。 這段旋律一直徘徊在柔弱的動 態，像是不受時間影響，讓 我們想起克拉拉有關「跪在森 林小聖堂前的信徒」的評論。 提綱揭領的大提琴主題拉開了 「不太快的小快板」的序幕， 這是布拉姆斯最具表現力、最 令人驚嘆的優美樂章之一。在 脆弱而顯明的織體中，圓號獨 奏出重音總是不甚和諧的主題 旋律，而正是聲音的不和諧， 使音樂充滿着神秘的渴望。最 後的「快板」樂章又回到了開 章的活力和大小調性對比。儘 管長號和巴松管的開場灰暗沉 鬱，我們很快就感覺到音樂上 的衝突正逐漸平息。接近終曲 尾段時，布拉姆斯又回到第一 樂章的主旋律，為整部作品帶 來循環的統一感。結尾舒適地 落入 F 大調，但在交響樂大全 中一大壯麗時刻，布拉姆斯選 擇讓音樂簡單自然地淡出。花 過力氣後，這部作品以至布拉 姆斯本人，都對此交響曲開篇 的記憶感到滿足。
Johannes Brahms: Symphony No. 3 in F Major, Op. 90 (1883) Johannes Brahms (1833-1897) habitually composed during the warm summer months, with the rest of the year devoted to performing and copying out his musical inspirations. After celebrating his 50th birthday in the company of close friends, Brahms decided to spend the summer of 1883 in the town of Wiesbaden on the Rhine River. He found a little studio looking towards the river and completed
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布拉姆斯 Johannes Brahms (1833-1897)
his Third Symphony in a matter of weeks.
Clara Schumann wrote to him after playing through the symphony on the piano: “What a harmonious mood pervades the whole! All the movements seem to be of one piece, one beat of the heart, each one a jewel.” Clara also heard “the mysterious charms of woods and forests in the first, with worshippers kneeling about the little forest shrine in the second movement”. For Joseph Joachim, the finale brought to mind the Greek myth of Hero and Leander.
Brahms’s retrospective immediately takes shape in the first measures of the opening “Allegro con brio”. The opening theme is taken from Robert Schumann’s Symphony No. 3 almost verbatim. The dramatic conflict is immediately established by the three-note motto that dates back to 1853. At that time, Schumann had suggested that he, Brahms and Albert Dietrich write a violin sonata by committee to honour Joachim. Brahms supplied the scherzo, and the work became known as the “F-A-E” sonata because Joachim’s life motto was “frei aber einsam” (free but lonely). With typical jocularity, Brahms suggested that his life motto was actually “F-A-F” “frei aber froh”(free but happy).
The F-A-E motto appears in various guises, transpositions and variations throughout the entire symphony. After the
opening wind and brass call in the major key, the minor-key implication of the second chord establishes the dramatic duality that is one of the hallmarks of Brahms’ musical style. By the time we arrive at the third chord, however, the music has again turned brightly optimistic. Continuously juxtaposing anguished segments with lyrical interjection, the second theme is introduced by the clarinet. This highly lyrical, almost folksy contrast, returns in the minor key in the development.
Both the second and third movement hold back as much as they reveal. The clarinet announces the main theme of the second movement, “Andante”. Graceful phrases and a melody marked by repeating triplets give the movement an almost hymnlike quality. Never rising above piano dynamics and suggesting a timeless character, the melody reminds us of Clara Schumann’s comment about “worshippers kneeling in a forest chapel”. An arching cello theme opens the “Poco allegretto”, one of Brahms’s most expressive and stunningly beautiful movements. The theme is taken up by the solo horn in a fragile and transparent texture with accented tones in the melody that are invariably dissonant. It is this dissonance that imbues the music with a sense of mysterious yearning. The concluding “Allegro” movement returns to the vitality and majorminor contrast of the opening
movement. Despite the sombre opening in the trombones and bassoons, we quickly sense that the musical conflict is gradually subsiding. Near the end of the finale, Brahms returns to the main theme of the first movement, bringing cyclic unity to the entire work. The ending settles comfortably into F Major, but, in one of the most sublime moments in symphonic literature, Brahms allows the music to simply unwind. Having spent its energy, the work—and by extension Brahms himself— is content with the memory of the symphony’s opening.
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利蓋蒂 György Ligeti (1923-2006)
利蓋蒂：《遠方》（ 1967 ） 對於捷爾吉．利蓋蒂（ György Ligeti， 1923- 2006 ）來說，《遠 方》描繪了「進入與離開早已 埋藏心底的童年夢境」。
本作品以大型管弦樂團為對象 寫成 ； 顫悚不安的管弦樂之夢 在起伏的音波中展開，音蔟在 逐漸變化的萬花筒中形成，再 隨之消散。利蓋蒂就作曲過程 提出了以下看法。「音域內的 和聲交融，與傳統和聲及無調 和聲完全不同，由是激發起聽 眾思考音程與和聲的關係。
技術上，複調織體在此該應記
一功 ： 虛構和聲從複雜的聲樂 織體中浮現 ； 聲部各自改變， 使織體逐漸變得曖昧，交織成 新的織體結晶。複調本身幾 乎是不可察覺的，但其和聲效 應代表了內在的音樂變動 ： 頁 面上寫的是複調，聽到的卻是 和聲。」
有關微複調錯綜複雜的展開， 利蓋蒂的描述實在是前衛不 過。然而在實際演奏時，即
使是他從不妥協的技術層面， 也要讓位給浪漫的情感表達。
利蓋蒂要求整體的動態起伏必 須精確地對準拍子，以及嚴格 遵從樂譜中的表情記號，確保 情感表達不會因為需要極度專 注的複雜織體而受到影響。 事實上，要像樣地演奏出《遠 方》，管弦樂的絢爛色彩必須 在各個層面呈現，才能帶出那 種不可蓋過的勁度。一位評論 家寫道 ：「《遠方》以其微妙 的暗示，喚起了馬勒與布魯克 的寬廣空間感」，而布拉姆斯 的對位重音則潛伏在下。多聲 部同音齊奏支撐着《遠方》一 曲，由單音開始，逐漸加入樂 器，為音調帶來異彩。由是 而生的巨大音簇，承接着另一 個以弦樂顫音為開端的同音齊 奏，在音樂上方盤旋。
高音揉合低音，描繪出一個安 靜而色調神秘的和聲，和弦 與音簇逐漸浮現，再如煙消 散。最後一次同音齊奏延續着 音階段落，直至織體消失得無 影無蹤。
György Ligeti: Lontano (1967)
For György Ligeti (1923-2006), Lontano ("in the distance") illustrates “the opening and closing of a window on longsubmerged dreamworlds of childhood”.
Scored for large orchestra, the haunting orchestral dreamscape unfolds in undulating sonic waves, with tone clusters forming and dissolving in a gradually shifting kaleidoscope of colours. Ligeti offered the
following observations on the compositional process: “The harmonic crystallisation within the area of sonority leads to an intervallic-harmonic thought process that is thereby radically different from traditional and also atonal harmony.
"Technically speaking, this is achieved with the aid of polyphonic methods: Fictive harmonies emerge from a complex vocal woven texture; gradual opacity and new crystallisations are the result of discrete alterations in the individual parts. The polyphony in itself is almost imperceptible, but its harmonic effect represents the intrinsic musical action: what is on the page is polyphony, but what is heard is harmony.” Ligeti’s description of the intricate process of unfolding micropolyphony is decidedly avant-garde. However, his uncompromising technical analysis gives way to Romantic sensibilities when it comes to actual performance. Demanding precise timing in terms of broad scale dynamics and strict adherence to the expressive markings in the score, Ligeti assures that expression and sensitivity is not compromised by a complicated texture requiring extreme concentration. In fact, any credible performance of Lontano requires inextinguishable intensity wed to a multi-faceted presentation of iridescent orchestral colours. “With its web of subtle allusions,” a critic
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writes, “Lontano evokes the spaciousness of Mahler and Bruckner” with the contrapuntal severity of Brahms lurking just below the surface. Unison pillars anchor Lontano, with single tones gradually joined by an increasing number of instruments introducing heterogeneity to the intonation. The resulting vast orchestral cluster gives way to another unison beginning with string tremolos spreading across the surface.
High harmonics combine with a low bass note to paint a quiet and tonal harmony of mystery, with chords and clusters gradually emerging and subsequently disappearing back into its silken fold. A final unison column moors sustained scale passages before the texture recedes into nothingness.
德伏扎克：G 大調第八交響曲，
作品 88（ 1889 ）
在他的第八交響曲中，德伏扎 克背離傳統慣性的主題進程框 架，反而隨意踏上主題構思的 狂想旅程。但不是所有人都對 此刮目相看，包括他的好友布 拉姆斯。他寫道 ：「這首曲有 太多零碎、偶然、重複的元素 在內。」他又寫道 ：「一切都 很好，音樂優美誘人，唯缺乏 重點！特別是第一樂章中那 結束是不恰當的。這音樂家是 多麽的迷人！但當人們說到德 伏扎克未能以其純粹、個人的 想法獲取任何偉大、全面的成 就時，的確所言甚是。」德伏 扎克採取的獨特方法在開篇的 「有活力的快板 」便已顯露出 來，小調中莊嚴的合唱式引子 再次出現，標誌着整個樂章的 結構段落。在他首個主題中， 德伏扎克披露了他對大自然的 感激之情，以長笛獨奏模仿鳥 鳴發出顫抖的樂句，讓氣氛和 器樂色彩經歷多次變化。其他 主題則自由地呈現，而這種不 尋常的主題密度在短而充滿活 力的尾段中得到解決。
在「慢板」中，德伏扎克以葬 禮進行曲的風格描繪了一個彷 似田園的音景。然而，開篇鬱 鬱蔥蔥的弦樂段落很快就由鶯 歌燕舞的長笛回應。在隨後的 呼喚和回應中，葬禮主題句在 微妙的色彩中閃閃生輝，定音 鼓卻如雷鳴般地敲擊，讓整體 氛圍戲劇性地改變。調子接着 轉成歡快的 C 大調，長笛和雙 簧管呈現出一個質樸而快活的
主題。樂曲最初由弦樂器以撥 弦法襯托，再由小提琴獨奏帶 領，最後整個管弦樂團加入演 奏。在全個樂章中，德伏扎克 毫不費力地從一種氣氛推移到 另一種氣氛，將戲劇性的開場 姿態轉變成稍為輕鬆的迴響。 「優美的小快板」呈現出憂鬱而 閃亮的華爾茲舞曲，與源自他 的歌劇《頑固的戀人》中的三 重奏形成對比。
開場小號段子帶出尾段「不太 快的快板」。為這個樂章準備 時，據說指揮家拉斐爾．庫貝 利克曾對他的樂團說 ：「紳士 們，在波希米亞王國，小號並 不鼓勵戰鬥，而是鼓勵跳舞。」 輕柔的大提琴延續部分有四個 變奏，接着是以小調呈現的急 風暴雨式發展部。大提琴主題 的另一連串變奏在結構上起着 重述的作用，動蕩的尾聲則有 力地壓迫着開篇樂章中的長笛 旋律。作家兼評論家蕭伯納對 這部作品無拘無束的魅力不為 所動，並稱之為「朦朧夏日佳 節的絕配音樂」。儘管如此， 根據一貫言辭鋒利的評論家愛 德華．漢斯利克的說法，德伏 扎克的第八交響曲「散發着革 新與原創的清新氣息」。
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德伏扎克 Antonín Dvořák (1841-1904)
Antonín Dvořák: Symphony No. 8 in G Major, Op. 88 (1889)
In his Eighth Symphony, Dvořák departed from the traditional framework of customary thematic processes and replaced it with a freely unfolding rhapsodic sequence of motivic ideas. Not everybody was impressed, including his good friend Johannes Brahms. “There is too much that’s fragmentary, incidental, loiters about in the piece,” he writes. “Everything is fine, musically captivating and beautiful, but there are no main points! Especially in the first movement, the result is not proper. But what a charming musician! When one says of Dvořák that he fails to achieve anything great and comprehensive with his pure, individual ideas, this is certainly correct.” Dvořák’s unique approach is immediately revealed in the opening “Allegro con brio”, where the solemn choralelike introduction in the minor key returns to mark structural events throughout the movement. In his primary theme, Dvořák discloses his indebtedness to nature as the solo flute, in imitation of bird song, warbles a trilled phrase that undergoes numerous changes in mood and instrumental colour. Additional themes are freely presented and this uncommon thematic density is resolved in a short but highly energetic coda.
In the “Adagio”, Dvořák paints a seemingly idyllic soundscape in the style of a funeral march.
However, the lush and sombre opening string passages are swiftly answered by warbling birdcalls in the flute. During the subsequent call and response, the funeral motif gleams in a number of subtle colorations before the thundering strokes of the timpani dramatically changes the overall mood. The key changes to a jovial C major with the flute and oboe presenting a theme of rustic gaiety. Initially supported by pizzicato strings, the tune subsequently appears in the solo violin and is eventually taken up by the entire orchestra. Throughout the movement, Dvořák effortlessly moves from one mood to another, transforming dramatic opening gestures into slightly more lighthearted reverberations. The “Allegretto grazioso” presents a melancholy yet sparkling waltz, contrasted by a trio originating in his opera The Stubborn Lovers Trumpet fanfares announce the concluding “Allegro ma non troppo”. Preparing for this particular movement, the conductor Rafael Kubelik is supposedly have said to his orchestra: “Gentlemen, in the Bohemian Kingdom the trumpets do not encourage to battle but to dance.” The gently lilting cello continuation is subject to four variations, followed by a stormy development in the minor key. A further sequence of variations on the cello theme structurally functions as the recapitulation, and the turbulent coda forcefully subdues the flute melody from
the opening movement. The author and critic George Bernard Shaw wasn’t entirely happy with the carefree charms of the work, calling it “excellent promenade music for hazy summer festivals”. Be that as it may, in Dvořák’s Eighth Symphony, according to the habitually sharptongued critic Eduard Hanslick, we find a composition “that emanates a refreshing breath of innovation and originality”.
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生於捷克，雅各．胡薩是班貝 格交響樂團的首席指揮，也是 捷克愛樂樂團和聖切契利亞國 立音樂學院管弦樂團的首席客 座指揮。他亦曾是倫敦愛樂樂 團的首席客座指揮。2025 年秋 起，他將成為倫敦皇家歌劇院 的音樂總監。
胡薩經常以客席指揮身分指揮 多個世界知名樂團，並與它們 維持緊密合作，當中包括維也 納愛樂樂團、柏林愛樂樂團、 巴伐利亞廣播電台交響樂團、 慕尼黑愛樂樂團、萊比錫布業 大廳管弦樂團、德累斯頓國家 管弦樂團、蘇黎世音樂廳樂 團、琉森節慶管弦樂團、皇家 大會堂管弦樂團、巴黎管弦樂 團、法國廣播愛樂樂團、NHK 交響樂團和馬勒室內樂團。更 曾共美國各大樂團合作，包括 克利夫蘭管弦樂團、紐約愛樂 樂團、芝加哥交響樂團和波士 頓交響樂團。
胡薩曾為多個劇院指揮歌劇製 作，包括維也納國家歌劇院 （《馬克羅普洛斯事件》）、皇 家歌劇院、倫敦柯芬園（《卡 門》）、巴黎歌劇院（《露莎
卡》）和蘇黎世歌劇院（《馬克 羅普洛斯事件》）。在 2021/22 季度，他曾回皇家歌劇院為 瓦格納的作品《羅恩格林》指 揮。他亦經常作客格林德伯恩 歌劇節，為其眾多作品指揮， 包括《凡妮莎》、《狡猾的小狐 狸》、《仲夏夜之夢》、《卡門》、 《碧廬冤孽》、《唐璜》和《波希 米亞生涯》，更曾作格蘭特堡巡 迴歌劇團音樂總監三年。2022 年，胡薩首次在薩爾茲堡音樂 節指揮歌劇。
近年，胡薩與多名獨唱家和樂 器獨奏家維持緊密合作，包括 貝佐德．阿布杜萊默夫、皮埃 爾-洛朗．艾馬爾、皮奧特． 安德佐夫斯基、利夫．奧韋． 安茲涅斯、伊曼紐爾．艾克 斯、麗莎．巴蒂雅許薇莉、約 夏．貝爾、喬納森．比斯、葉 菲姆．布朗夫曼、魯道夫．布 赫賓德、雷諾．卡普頌、葛替 耶爾．卡普頌、陳銳、伊莎貝 爾．浮士德、貝納達．芬克、 馬汀．弗洛斯特、茱莉亞．費 雪、薇爾德．弗朗、修兒． 嘉碧妲、維羅尼克．根斯、基 斯頓．葛哈爾、基里爾．格斯 坦、瓦丁．葛魯茲曼、五明佳 廉、奧古斯丁．哈德利希、希 拉里．哈恩、芭芭拉．漢尼 根、艾莉娜．伊布拉吉莫娃、 吉妮．楊森、帕特里恰．科帕 欽斯卡亞、卡莉塔．瑪提拉、 列奧尼達斯．卡瓦科斯、瑟 吉．哈察都量、丹尼斯．科祖 金、郎朗、伊格爾．列維特、 揚．利謝茨基、阿爾布雷希 特．邁耶、若阿內斯．莫澤、 維多利亞．穆洛娃、安娜-蘇 菲．穆特、克莉絲汀．歐波萊 絲、斯蒂芬妮．歐斯特拉克、 艾曼紐．帕胡德、歐爾嘉．貝 芮蒂雅可、尚-古漢．奎拉斯、 約瑟夫．史巴塞克、尚-伊 夫．蒂博戴、丹尼爾．特里福 諾夫、西蒙．特普切斯基、内 田光子、克勞斯．佛洛里安．
沃格特、王羽佳、法蘭克．彼 得．齊瑪曼、艾莉莎．魏勒絲 坦和尼科莱．斯奈德。
胡薩所錄製的唱片曾獲得多個 大獎及提名。他與班貝格交響 樂團及法蘭克．彼得．齊瑪曼 錄製的馬替奴和巴托克的小提 琴協奏曲獲 2021 年《留聲機》 大獎的提名，同年更以與巴 伐利亞廣播交響樂團和奧古斯 丁．哈德利希錄製的德伏扎克 的小提琴協奏曲獲得格林美獎 提名。2020 年，他以兩張唱片 贏得 BBC 音樂雜誌大獎，包括 與伊沃．卡哈內克和班貝格交 響樂團錄製的德伏扎克和馬替 奴的鋼琴協奏曲（捷克超音速 留聲機唱片公司），及於格蘭特 堡錄製的《凡妮莎》（倫敦皇家 歌劇院唱片公司）。近年亦發行 多張唱片，包括與班貝格交響 樂團錄製的德伏扎克和布拉姆 斯的交響曲（瑞士帝舵唱片公 司）、與巴伐利亞廣播電台交響 樂團錄製的蘇克的阿斯拉耶爾 交響曲（巴伐利亞廣播電台交 響樂團自主唱片品牌）、以及與 捷克愛樂樂團錄製的德伏扎克 的《安魂曲》和《讚美頌》（迪 卡唱片）。與班貝格交響樂團 錄製的唱片曾獲得多個大獎， 包括以布魯克納的第四號交響 曲（誦調）贏得 2022 年國際古 典音樂大獎、以漢斯．羅特的 第一交響曲（德意志留聲機公 司）贏得 2023 年國際古典音樂 大獎、及以馬勒的第四交響曲 贏得德國唱片評論獎。
胡薩於布拉格表演藝術學院學 習，師從吉里．貝洛拉維克。 他現為國際馬替奴協會和德伏 扎克協會的會長。他是查爾 斯．馬克拉斯爵士獎的首屆獲 獎者。2020 年，胡薩獲捷克共 和國的古典音樂學院頒發安東 寧． 德伏扎克獎，並與班貝格 交響樂團一起獲得巴伐利亞國 家音樂獎。
雅各．胡薩 Jakub Hrůša 指揮 Conductor 34
© Marian Lenhard
Born in the Czech Republic, Jakub Hrůša is Chief Conductor of the Bamberg Symphony, Principal Guest Conductor of the Czech Philharmonic and Principal Guest Conductor of the Orchestra dell’Accademia Nazionale di Santa Cecilia. He was also formerly Principal Guest Conductor of the Philharmonia Orchestra in London. From autumn 2025, he will take up the post of Music Director at The Royal Opera House in London.
He is a frequent guest with many of the world’s greatest orchestras, enjoying close relationships and performing regularly with the Vienna Philharmonic, the Berlin Philharmonic, the Bavarian Radio Symphony, the Munich Philharmonic, the Leipzig Gewandhaus Orchestra, Staatskapelle Dresden, Tonhalle Orchester Zürich, the Lucerne Festival Orchestra, the Royal Concertgebouw Orchestra, Orchestre de Paris, Orchestre Philharmonique de Radio France, the NHK Symphony Orchestra, the Mahler Chamber Orchestra, The Cleveland Orchestra, the New York Philharmonic, the Chicago Symphony Orchestra and the Boston Symphony Orchestra.
As a conductor of opera, he has led productions for the Vienna State Opera (The Makropulos Case), The Royal Opera House, Covent Garden (Carmen), Opéra National de Paris (Rusalka) and the Zurich Opera (The Makropulos Case).
The 2021/2022 season saw him return to The Royal Opera House for Wagner’s Lohengrin He has also been a regular guest with Glyndebourne Festival, conducting Vanessa,
The Cunning Little Vixen, A Midsummer Night’s Dream, Carmen, The Turn of the Screw, Don Giovanni and La bohème; he served as Music Director of the Glyndebourne Tour for three years. In 2022, he made his debut at the Salzburg Festival.
His relationships with leading vocal and instrumental soloists have included collaborations in recent seasons with Behzod Abduraimov, Pierre-Laurent Aimard, Piotr Anderszewski, Leif Ove Andsnes, Emanuel Ax, Lisa Batiashvili, Joshua Bell, Jonathan Biss, Yefim Bronfman, Rudolf Buchbinder, Renaud Capuçon, Gautier Capuçon, Ray Chen, Isabelle Faust, Bernarda Fink, Martin Fröst, Julia Fischer, Vilde Frang, Sol Gabetta, Véronique Gens, Christian Gerhaher, Kirill Gerstein, Vadim Gluzman, Karen Gomyo, Augustin Hadelich, Hilary Hahn, Barbara Hannigan, Alina Ibragimova, Janine Jansen, Patricia Kopatchinskaja, Karita Mattila, Leonidas Kavakos, Sergey Khachatryan, Denis Kozhukhin, Lang Lang, Igor Levit, Jan Lisiecki, Albrecht Mayer, Johannes Moser, Viktoria Mullova, Anne-Sophie Mutter, Kristine Opolais, Stephanie d’Oustrac, Emmanuel Pahud, Olga Peretyatko, Jean-Guihen Queyras, Josef Špaček, JeanYves Thibaudet, Daniil Trifonov, Simon Trpčeski, Mitsuko Uchida, Klaus Florian Vogt, Yuja Wang, Frank Peter Zimmermann, Alisa Weilerstein and Nikolaj Znaider.
As a recording artist, Hrůša has received numerous awards and nominations for his discography. His recording of Martinů and Bartók violin concertos with Bamberg Symphony and Frank Peter Zimmermann (BIS)
was nominated for a 2021 Gramophone Award, and his recording of the Dvořák Violin Concerto with the Bavarian Radio Symphony and Augustin Hadelich was nominated for a Grammy Award in the same year. In 2020, two of his recordings—Dvořák and Martinů Piano Concertos with Ivo Kahánek and the Bamberg Symphony (Supraphon), and Vanessa from Glyndebourne (Opus Arte)—won BBC Music Magazine awards. Other recent releases include Dvořák and Brahms symphonies with Bamberg Symphony (Tudor), Suk’s Asrael Symphony with the Bavarian Radio Symphony (BR Klassik), and Dvořák’s Requiem and Te Deum with the Czech Philharmonic (Decca). For his recordings with Bamberg Symphony, he won the ICMA 2022 for Bruckner’s Fourth Symphony (accentus music), the ICMA 2023 for Hans Rott’s First Symphony (Deutsche Grammophon), and the Jahrespreis der deutschen Schallplattenkritik for Mahler’s Fourth Symphony.
Hrůša studied conducting at The Academy of Performing Arts in Prague, where his teachers included Jiří Bělohlávek. He is currently President of the International Martinů Circle and The Dvořák Society. He was the inaugural recipient of the Sir Charles Mackerras Prize. In 2020, he was awarded both the Antonín Dvořák Prize by the Czech Republic’s Academy of Classical Music, and—together with Bamberg Symphony—the Bavarian State Prize for Music.
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班貝格交響樂團是世上唯一非 處於繁華都市的世界知名樂 團。而近百分之十的當地人 均至少訂購其樂季五場演出中 的一場套票，且訂購持續數十 年。但樂團的「磁場效應」不 限於當地 ： 此遊走各地的樂團 自 1946 年起將其醇厚圓潤和 滿載情感的樂韻帶至世界各 地。樂團至今已在逾五百個 城市和六十三個國家演出超過 七千五百場，並作為巴伐利亞 和德國的文化大使，頻繁於美 國、南美洲、日本和中國等地 進行海外演出，常獲邀到世界 著名音樂廳和音樂節演奏。短 短「引起國際共鳴」幾字為班 貝格交響樂團的使命。
班貝格交響樂團的成立，可以 說是德國歷史的一面鏡 ： 1946 年，布拉格德國愛樂前團員遇 上因戰爭及戰後動盪而被迫流 放至班貝格的同行。若從布 拉格樂團的成立算起，樂團 的歷史可以追溯至十八世紀至 十九世紀，亦即馬勒和莫扎特 的時代。自 2004 年起，樂團 榮獲巴伐利亞州立管弦樂團的 稱號，並獲巴伐利亞自由州撥 款支持。
自 1946 年起，樂團由約瑟夫． 凱爾伯特、詹姆斯．朗格蘭、 霍斯特．史坦恩和喬納森．
諾特四名首席指揮及藝術總監 尤金．約夫姆帶領。連同自 2016 年起作為第五名首席指 揮加入的捷克指揮家雅各．胡 薩，班貝格交響樂團在成立逾 七十五年後，仍能不忘本地作 出與時俱進的演奏。樂團頻繁 與榮譽指揮家合作演出，包括 赫伯特．布隆斯泰特、克里 斯多福．埃申巴哈以及曼弗雷 德．霍內克、安德里斯．尼 爾森斯和拉哈夫．沙尼等知名 指揮家。
班貝格交響樂團與巴伐利亞廣 播交響樂團合作進行的多次廣 播演出及其他廣播和錄製的演 奏均為樂團在全球的高知名度 作出巨大貢獻。 2019 年，樂 團以史麥塔納的作品《我的祖 國》進行的錄製演出作出了唱 片技術上的突破。所錄製的直 刻唱片，即錄製過程中音樂直 接刻製在唱片上，無需磁帶操 作，讓錄音效果更佳。以馬勒 的第四交響曲（ 2020 年 ； 誦 調）錄製的唱片在 2021 年底贏 得德國唱片評論獎。及後，樂 團的獨特唱片（錄有布魯克納 三個版本的第四號交響曲合製 的作品）獲得 2022 年國際古典 音樂大獎。此後，樂團更以漢 斯．羅特的第一交響曲（ 2022 年 ； 德意志留聲機公司）的錄
音贏得 2023 年國際古典音樂大 獎。班貝格交響樂團一個樂季 以德伏扎克和布拉姆斯的交響 曲（ 2018 至 2022 年； 瑞士帝舵 唱片公司）完成了四張雙面光 碟的錄製。 2022 年十一月，當
中兩張唱片獲 BBC 音樂雜誌選 為「本月唱片」。
這次合作在音樂會中對樂曲的 注重更獲得德國音樂出版聯 會的肯定，在 2018 年春贏得 其「最佳音樂會選曲」。 2020 年，樂團榮獲巴伐利亞國家音 樂獎。 2021 年，一本有聲讀物 （誦調）出版，以音樂敍述班貝 格交響樂團由莫扎特時期至今 的歷史。
自 2022 年起，班貝格交響樂團 誓要在旅行行程上實現環保理 念，因而選擇使用以替代能源 的交通工具。在長途和海外演 出中，樂團亦盡可能優化旅行 路線和巡演程序，多次在一個 國家或地區停留較長時間進行 駐場演出，或與當地藝術家合 作舉行教育活動。為抵消旅程 上的二氧化碳排放，樂團更資 助演出場地等地的環保項目。 今趟亞洲演出所得收入將資助 南韓地球之友的植樹計劃。
© Andreas_Herzau
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班貝格交響樂團 BAMBERG SYMPHONY
The Bamberg Symphony is the only orchestra of world renown that is not based in a vibrant metropolis. Almost 10 per cent of the local population of Bamberg in Germany subscribes to one of the orchestra's five concert series; many have been subscribers for decades. However, the orchestra’s "magnetic effect" more importantly reaches outward: it has been bringing the characteristically sombre and warm sound of its hometown to the world since 1946. With almost 7,500 concerts in more than 500 cities and 63 countries, the orchestra has become a cultural ambassador for Bavaria and the whole of Germany. It regularly tours the USA, South America, Japan and China, and is invited by renowned concert halls and festivals worldwide. The Bamberg Symphony therefore describes its mission in two short words: resonating worldwide.
The circumstances of the Symphony’s founding mirror German history: it was formed in 1946, when former members of the German Philharmonic Orchestra of Prague met colleagues in Bamberg who had also fled the war and post-war turmoil in their homelands. The Prague orchestra’s history can be traced back to the 19th and 18th centuries, so the roots of the Bamberg Symphony reach back to Mahler and Mozart. Since 2004, the orchestra has held the honorary title of Bavarian State Philharmonic Orchestra and is substantially financed by the Free
State of Bavaria.
From 1946 to 2016, the orchestra was led by four principal conductors—Joseph Keilberth, James Loughran, Horst Stein and Jonathan Nott—and Artistic Director Eugen Jochum. With its fifth principal conductor, Jakub Hrůša of the Czech Republic, a bridge has been built again between the present-day Symphony and its predecessor in Prague, more than 75 years after the orchestra was founded. The Symphony also regularly performs with honourary conductors Herbert Blomstedt and Christoph Eschenbach, as well as other leading conductors such as Manfred Honeck, Andris Nelsons and Lahav Shani.
Countless concert broadcasts with the Bavarian Radio and CD productions have significantly contributed to the Symphony’s high profile worldwide. In 2019, the orchestra broke new ground with a recording of Smetana's Má vlast using the direct-to-disc process, creating a unique sound experience. The 2020 recording of Mahler's Fourth Symphony (accentus music) was awarded the German Record Critics’ Annual Prize in 2021. This was followed by a recording of three versions of Anton Bruckner's Fourth Symphony, which won the International Classical Music Award in 2022. Subsequently, the orchestra also received the ICMA 2023 for its 2022 recording of Hans Rott's First Symphony (Deutsche Grammophon).
From 2018-22, the Symphony completed a cycle of four
double CDs with symphonies by Brahms and Dvořak (Tudor). In November 2022, two of these CDs were awarded Recording of the Month by BBC Music Magazine. In 2021, accentus published an audio book that musically retells the Symphony’s unique history from Mozart in Prague to the present day.
The Symphony strongly emphasises programmatic content, for which it won the German Music Publishers Association’s Award for Best Concert Programme in 2018. In 2020, the orchestra received the Bavarian State Prize for Music.
Since 2022, the Bamberg Symphony has set itself the goal of acting and travelling in a more climate-friendly manner, such as by using transportation powered by alternative energy sources. For larger tours and trips abroad, efforts are being made to optimise travel routes and tour procedures. Increasingly, the orchestra stays in one country or place for longer periods, to participate in residencies or to realise educational projects with local artists. By financially supporting environmental projects, including those in concert locations, the orchestra attempts to offset most of the CO2 emissions created by its travels. For the current Asian tour, the compensation will support a South Korean reforestation project by "Friends of the Earth / Korea".
39
班貝格交響樂團 Bamberg Symphony
首席指揮 Chief Conductor
雅各．胡薩 Jakub Hrůša
第一小提琴 First Violins
1st concertmasters
Bart Vandenbogaerde
Ilian Garnetz
2nd concertmasters
Aki Sunahara
Mayra Budagjan
Serge Zimmermann
Birgit Hablitzel
Sabine Lier
Thomas Jahnel
Michael Hamann
Dagmar Puttkammer
Berthold Opower
May-Britt Trunk
Angela Stangorra
Jueyoung Yang
Sanghee Ji
Manon Stassen
Benjamin Gatuzz
第二小提琴 Second Violins
Section leaders
Raúl Teo Arias
Melina Kim-Guez
Miloš Petrović
Deputy section leader
Geworg Budagjan
Dorothee Klatt
Barbara Weimer-Wittenberg
Hansjörg Krämer
Quinten de Roos
Michaela Reichel Silva
Vladislav Popyalkovsky
Julia Fortuna
Boris-Alexander Jusa
Minkyung Sul
Nina Junke
Gabriele Campagna
Magdalena Kraus
Julia Knapp
N.N.
大提琴 Violoncellos
Solos
Ulrich Witteler
Marius Urba
Associate solo Indrek Leivategija
Section leaders
Nikola Jovanović
Achim Melzer
Markus Mayers
Eduard Resatsch
Katja Kuen
Verena Obermayer
Lucie de Roos
Tobias Tauber
N.N.
中提琴 Violas
Principal violas
Lois Landsverk
Wen Xiao Zheng
Associate principal viola
Branko Kabadaić
Raphael Lambacher
Martin Timphus
Mechthild Schlaud
Zazie Lewandowski
Christof Kuen
Wolfgang Rings
Christine Jahnel
Yumi Nishimura
Katharina Cürlis
Wolfram Hauser
Paulina Riquelme Díaz
Wakana Ono
低音大提琴 Double Basses
Solos
Stefan Adelmann
N.N.
Associate solo Orçun Mumcuoglu
Section leaders
Christian Hellwich
Luuk Godwaldt
Mátyás Németh
Tim Wunram
Jakub Fortuna
Jan Rosenkranz
N.N. N.N. N.N.
40
長笛 Flutes
Solos
Ulrich Biersack
Daniela Koch
Timea Acsai
Wen-Yi Tsai
雙簧管 Oboes
Solos
Barbara Bode
N.N.
Yumi Kurihara
Zsófia Magyar
單簧管 Clarinets
Solos
Günther Forstmaier
Christoph Müller
Christian Linz
Lina Neuloh
巴松管 Bassoons
Solos
Alexei Tkachuk
Rie Koyama
Hannah Gladstones
Ulrich Kircheis
圓號 Horns
Solos
Christoph Eß
Andreas Kreuzhuber
Peter Müseler
Elisabeth Kulenkampff
Swantje Vesper
William Tuttle
Wolfgang Braun
Hasko Kröger
小號 Trumpets
Solos
Markus Mester
Sandro Hirsch
Thomas Forstner
Lutz Randow
Till Fabian Weser
Johannes Trunk
長號 Trombones
Solos
Johann Voithofer
Angelos Kritikos
Stefan Lüghausen
Christoph Weber
Volker Hensiek
大號 Tuba
Heiko Triebener
定音鼓 Timpani
Solos
Robert Cürlis
Holger Brust
敲擊樂器 Percussion
Principal percussion
Jens Herz
Gregor Moser
41
鳴謝
ACKNOWLEDGEMENTS
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:
香港藝術節基金會贊助人
Hong Kong Arts Festival Foundation Patrons
首席創始贊助人 Lead Founding Patrons
陳俊豪先生 Mr Thomas Chan
黃廷方慈善基金 Ng Teng Fong Charitable Foundation
電訊盈科 PCCW
九龍倉集團 The Wharf Group
主要創始贊助人 Major Founding Patrons
萬通保險國際有限公司 YF Life Insurance International Ltd
眾安銀行 ZA BANK
創始贊助人 Founding Patrons
陳煒文博士, JP Dr Raymond Chan, JP
丹斯里拿督邱達昌 Tan Sri Dato’ David Chiu
曹其鋒先生 Mr Silas Chou
霍建寧先生及霍何綺華女士 Mr and Mrs Canning and Eliza Fok
馮氏基金有限公司 E.M. Fung Foundation Limited
何超瓊女士, SBS , JP Ms Pansy Ho, SBS, JP
科勁國際（控股）有限公司 King’s Flair International (Holdings) Limited
梁婉玲博士 Dr Elina Leung
孫漢明博士 Dr Stephen Suen
包陪麗女士, BBS 及渡伸一郎先生 Ms Cissy Pao, BBS and Mr Shinichiro Watari
其他贊助人 Other Patrons
羅嘉瑞基金 KS & Feili Lo Foundation
孫大倫博士, BBS , JP Dr Dennis T L Sun, BBS, JP
慶祝香港藝術節五十周年晚宴之贊助人
Sponsors of the Hong Kong Arts Festival 50th Anniversary Gala Dinner
鑽石席 – 宴桌 Diamond Table Sponsors 香港上海匯豐銀行有限公司 上海商業銀行
洪祖杭博士, GBM , GBS , JP
鄭慕智博士, GBM , GBS , JP James Houghton 先生, 黃穎灝先生及梅慶堯先生 雍景欣女士
The Hongkong and Shanghai Banking Corporation Limited
Shanghai Commercial Bank
Dr the Hon Albert Hung Chao-hong, GBM, GBS, JP
Dr the Hon Moses Mo-chi Cheng, GBM, GBS, JP
Mr James Houghton, Mr Isaac Wong & Mr Arthur Mui
Ms Jingxin Yong
鑽石席 – 宴位 Diamond Seat Sponsors 呂元祥博士及夫人
譚允芝女士, SBS , SC , JP 龐維新先生及夫人 崇光(香港)百貨有限公司
黃金席 – 宴桌 Gold Table Sponsors 鄭阮培恩女士, 吳來盛先生及夫人 中美國際集團有限公司
華國強先生夫人 太古地產有限公司 卡地亞
黃金席 – 宴位 Gold Seat Sponsors 何苗春暉女士
林梅若梅女士
鄭馮亮琪女士
Janana Suleymanli Pasha 女士 鄭惠貞女士
張利平先生
Dr and Mrs Ronald Lu
Ms Winnie Tam Wan-chi, SBS, SC, JP
Mr and Mrs Wilson Pong
Sogo Hong Kong Company Limited
Mrs Betty Cheng, Mr and Mrs Emil Ng
Chung Mei International Holdings Limited
Mr Granger and Mrs Miriam Hwa
Swire Properties Limited
Cartier
Ms Joanna Hotung
Mrs Lavina Lim
Mrs Fina Cheng
Ms Janana Suleymanli Pasha
Ms Margaret Cheng
Mr Zhang Liping
鳴謝 ACKNOWLEDGEMENTS (續 con' t)
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
黃金會員 Gold Member 怡和集團
The Jardine Matheson Group
其他支持機構 Other Supporters
加拿大駐香港及澳門總領事館
Consulate General of Canada in Hong Kong and Macao
實物支持機構 In - kind Supporters
大亞國際集團 Altaya Group
香港愉景灣酒店 Auberge Discovery Bay Hong Kong
香港君悦酒店 Grand Hyatt Hong Kong
虎豹樂圃 Haw Par Music
藝術節捐助計劃 Festival Donation Scheme
鉑金捐款者 PLATINUM DONOR
HK$140,000 或以上 OR ABOVE
孫大倫博士, BBS , JP Dr Dennis T L Sun , BBS , JP
鑽石捐款者 DIAMOND DONORS
HK$70,000 – HK$139,999
瑞安集團 Shui On Group
Dr Patrick Tong
文藝女士 Ms Wen Yi
翡翠捐款者 JADE DONORS
HK$30,000 – HK$69,999
無名氏 Anonymous
陳求德醫生及夫人 Dr & Mrs KT Chan
Ms Leung Wai Yee Candice
馬美域女士 Ms Yvette Therese Ma
Dr Stephen Suen
楊傳亮先生, BBS , JP Mr Charles Yang , BBS , JP
黃金捐款者 GOLD DONORS
HK$12,000 – HK$29,999
無名氏 ( 2 ) Anonymous ( 2 )
Mr & Mrs Jeffrey & Helen Chan
Mr Edmond Huang
Dr Peter and Nancy Thompson
Dr Sabrina Tsao
曹延洲醫生夫人 Dr & Mrs Tsao Yen - Chow
Mrs Linda Wang
Mr & Mrs YS Wong
純銀會員 Silver Members 太古集團慈善信託基金
The Swire Group Charitable Trust
上海商業銀行有限公司
Shanghai Commercial Bank Limited
荷蘭駐港總領事館
Consulate of the Kingdom of the Netherlands in Hong Kong and Macau
香港故宮文化博物館 Hong Kong Palace Museum
文陳妙蘭女士 Mrs Christina Man
信興集團 Shun Hing Group
純銀捐款者 SILVER DONORS
HK$6,000 – HK$11,999
無名氏( 3 ) Anonymous ( 3 )
Dr Gillian Choa
Ms Ho Man Fung Edith
Mrs Schmitt Ling Jane
文娛慈善基金 The Elementary Charitable Foundation
Ms Isabel Yiu
Mr Vernon Zhang
青銅捐款者 BRONZE DONORS
HK$3,000 – HK$5,999
無名氏( 2 ) Anonymous ( 2 )
AWORKS DESIGN
Jose Manuel Sevilla and Julie Bisaillon
Mrs Anson Chan
鍾雅妍博士 Dr Fiona Chung
Ms Zoe Ho
Ms Li Lian Khoo
Dr Alfred Lau
Apple Lee
李芸輝博士 Dr Lee Wan Fai Walter
Savita Leung
Mr Gary Ma
Mrs Lily Ma
Dr Michael Mak
Dr & Mrs Joseph Pang
San Miguel Brewery Hong Kong Ltd .
Mr A . Smith
The Brandon Centre Limited
Mr Wong Yick Kam
姚曼儀女士 Ms Enoch Yiu
朱玉迎女士 Ms Zhu Yuying
學生票捐助計劃
Student Ticket Scheme
鉑金捐款者 PLATINUM DONORS
HK$140,000 或以上 OR ABOVE
無名氏( 2 ) Anonymous ( 2 )
馬振玉慈善基金會有限公司
CYMA Charity Fund Ltd
鑽石捐款者 DIAMOND DONORS
HK$70,000 – HK$139,999
Mrs Purviz R Shroff , MH and
Late Mr Rusy M Shroff , BBS , MBE
田家炳基金會 Tin Ka Ping Foundation
芝蘭基金會 Zhilan Foundation
翡翠捐款者 JADE DONORS
HK$30,000 – HK$69,999
Mr Roger and Mrs Lina Lui
Dr Stephen Suen
黃金捐款者 GOLD DONORS
HK$12,000 – HK$29,999
Ms Cheng Wai Ching Margaret
Dr Chung See Yuen
天智合規顧問 CompliancePlus Consulting
Mr & Mrs Kenneth & Nelly Fung
C H Mak
Mr & Mrs Kenneth Quinn
曹延洲醫生夫人 Dr & Mrs Tsao Yen - Chow
純銀捐款者 SILVER DONORS
HK$6,000 – HK$11,999
無名氏 ( 2 ) Anonymous ( 2 )
新作捐助計劃 New Works Scheme
黃金捐款者 GOLD DONORS
HK$12,000 – HK$29,999
無名氏 Anonymous
劉仰澤先生 Mr Lau Yeung Chak
純銀捐款者 SILVER DONORS
HK$6,000 – HK$11,999
凌霄志醫生 Dr Tony Ling
區燊耀先生 Mr Au Son Yiu
Mr & Mrs Jeffrey & Helen Chan
Dr Chan Wan Tung
Mr & Mrs Norman Chui
Mrs Margaret Hamilton
Miss Jenny Hodgson
Mr Iain Bruce
麥禮和醫生 Dr Mak Lai Wo
Mr Vernon Zhang
陳穎儀與黃乃正
青銅捐款者 BRONZE DONORS
HK$3,000 – HK$5,999
無名氏 ( 3 ) Anonymous ( 3 )
Mr & Mrs Herbert Au - Yeung
Cynthia Cheng & Aaron Chan
Ms Kit Fung Cheung
Dr Alan Chiang
馮兆林先生太太 Mr & Mrs Fung Shiu Lam
Ms Maureen Leung
Ms Regina Lo
Ms Janice Ritchie
Mrs Anna Chan Sheh
Mr So Kin Man
文娛慈善基金 The Elementary Charitable Foundation
余德銘先生 Mr Desmond Yu
殷和順先生劉善萍夫人
Mr Vernon Zhang
青銅捐款者 BRONZE DONORS
HK$3,000 – HK$5,999
無名氏 Anonymous
Ms Judith Ling
Ms So Wing Yin
網上藝術教育捐助計劃 Digital Arts Education Scheme
青銅捐款者 BRONZE DONORS
HK$3,000 – HK$5,999
無名氏 Anonymous
HK CT Alumni Association
