Hong Kong Arts Festival (HKAF)
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 非牟利機構，2017年第45屆藝術 節的年度預算約港幣一億二千萬，當中香港特區政府 的基本撥款約佔總收入的14%，約9%來自政府慶祝 特區成立20周年特別節目撥款，另外約28%來自票 房收入，約32%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17%則來自政 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的演出，例如： 安娜．涅翠柯、塞西莉亞．芭托莉、馬友友、菲力普． 格拉斯、譚盾、列卡杜．沙爾、克里斯蒂安．泰利曼、 古斯塔沃．杜達美、詹安德列亞．諾斯達、米高．巴 里殊尼哥夫、蕭菲．紀蓮、奇雲．史柏西、羅柏特． 威爾遜、彼得．布祿克、皇家阿姆斯特丹音樂廳樂團、 柏林廣播電台合唱團、聖彼得堡馬林斯基劇院、巴伐 利亞國立歌劇院、莫斯科大劇院、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、 雲門舞集、星躍馬術奇藝坊、皇家莎士比亞劇團、柏 林劇團及中國國家話劇院等。
香港藝術節 積極與 本地演藝人才 和 新晉藝術家 合作， 過去十年共委約及製作逾100套本地全新創作，包括 戲劇、室內歌劇、音樂和舞蹈作品，並同步出版新作 劇本，不少作品更已在香港及海外多度重演。
香港藝術節 大力投資下一代的 藝術教育。「青少年之 友」成立25年來，已為逾710,000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、小學學生的藝術教育活動，並通過「學生票 捐助計劃」每年提供超過8,500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」，例如示範講座、大師班、工作坊、座談會、 後台參觀、展覽、藝人談、導賞團等，鼓勵觀眾與藝 術家互動接觸。
2017年藝術節預計收入來源：約港幣一億二千萬
Estimated Income Sources for 2017 HKAF: Approximately HK$120 Million
HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting annually in February and March leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events
HKAF is a non-profit organisation. Secured government baseline funding for the Festival in 2017 represents roughly 14% of the HK$120 million budget, with another 9% specially provided by the Government for programmes celebrating the 20th Anniversary of the HKSAR. Around 28% of the Festival’s income comes from the box office, and another 32% comes from sponsorship and donations from corporations, individuals, and charitable foundations. It is anticipated that the remaining 17% will come from the Government’s new matching scheme, which matches income generated through private sector sponsorship and donations.
HKAF presents top international artists and ensembles, such as Anna Netrebko, Cecilia Bartoli, Yo-Yo Ma, Philip Glass, Tan Dun, Riccardo Chailly, Christian Thielemann, Gustavo Dudamel, Gianandrea Noseda, Mikhail Baryshnikov, Sylvie Guillem, Kevin Spacey, Robert Wilson, Peter Brook, the Royal Concertgebouw Orchestra, Rundfunkchor Berlin, the Mariinsky Theatre, Bavarian State Opera, the Bolshoi Theatre, New York City Ballet, Paris Opera Ballet, Hamburg Ballet, Tanztheater Wuppertal Pina Bausch, Cloud Gate Dance Theatre, Zingaro, Royal Shakespeare Company, Berliner Ensemble and National Theatre of China.
HKAF actively promotes Hong Kong’s own creative talents and emerging artists, and has commissioned and produced over 100 new local productions in the past decade, including theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas.
HKAF invests in arts education for young people. In the past 25 years, our “Young Friends” scheme has reached over 710,000 secondary and tertiary school students in Hong Kong. A variety of arts education projects serving primary, secondary, and tertiary school students has been launched in recent years. Donations to the “Student Ticket Scheme” also make available over 8,500 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 lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided tours.
誠邀贊助或捐助第45屆香港藝術節；詳情請與藝術節發展部聯絡。 For sponsorship opportunities and donation details of the 45th Hong Kong Arts Festival, please contact the 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
David Oistrakh Quartet and Elisso Virsaladze
歐伊斯特拉夫弦樂四重奏 與
薇莎拉茲
20 2月 Feb
演出時長約 1 小時 45 分鐘，包括一節中場休息
Running time: approximately 1 hour and 45 minutes including one interval
節目資料 p11 for programme details
David Oistrakh Quartet
歐伊斯特拉夫弦樂四重奏
21 2月 Feb
演出時長約 1 小時 45 分鐘，包括一節中場休息
Running time: approximately 1 hour and 45 minutes including one interval
節目資料 p27 for programme details
香港大會堂音樂廳
Concert Hall, HK City Hall
封面照片 Cover Photograph: © Emil Matveev
敬請關掉所有響鬧及發光裝置。 Please switch off all sound- making and light- emitting devices.
請勿擅自攝影、錄音或錄影。 Unauthorised photography or recording of any kind is strictly prohibited.
網上追蹤香港藝術節 Follow the HKArtsFestival on www.hk.artsfestival.org Presents HKartsfestival
本場刊採用環保紙張印刷。Thisprogrammeisprintedonenvironmentallyfriendlypaper
20.2.2017
歐伊斯特拉夫弦樂四重奏與薇莎拉茲
David Oistrakh Quartet and elisso Virsaladze
布拉姆斯
小調鋼琴五重奏，作品 34
不太快的快板
行板，稍慢板
諧謔曲：快板
終曲：稍持續—不太快的快板
大調鋼琴五重奏，作品 44
輝煌的快板
仿進行曲的稍慢板
詼諧曲：非常活潑地
不太快的快板
Johannes Brahms (1833-1897)
Piano Quintet in F minor, Op 34
Allegro non troppo
Andante, un poco adagio
Scherzo: Allegro
Finale: Poco sostenuto – Allegro non troppo
中場休息 Interval
Robert Schumann (1810-1856)
Piano Quintet in e-flat major, Op 44 Allegro brillante
In modo d'una marcia. Un poco largamente
Scherzo: Molto vivace
Allegro ma non troppo
是晚演出曲目及次序或有更改
Pieces and their order of performance are subject to change
藝術節加料節目
弦樂工作坊 String Orchestra Workshop
在這個公開工作坊中，歐伊斯
特拉夫弦樂四重奏將指導本地
青年弦樂團，分享他們合作無 間的秘密和俄國音樂傳統。
The David Oistrakh Quartet will share the secrets of their immaculate ensemble talents and their common Russian music tradition, as they instruct a local youth orchestra in front of a public audience.
22.2 (三 Wed ) 5:00-7:00pm
拔萃男書院葉傑全音樂廳
Yip Kit Chuen Concert Hall,
Diocesan Boys' School
免費 Free
英語主講 In English
更多加料節目詳情及網上報名 More Festival PLUS and online registration: www.hk.artsfestivalplus.org
樂曲介紹 Programme notes
布拉姆斯
小調鋼琴五重奏，作品 34
小調鋼琴五重奏是 1864 年 11 月上旬完成 的作品，原本寫給由兩部小提琴、一部中 提琴和兩部大提琴組成的弦樂五重奏演出。
布拉姆斯一向會把完成的弦樂作品交給好 友小提琴家約瑟夫．姚阿幸評價。姚阿幸認 為，此曲的純弦樂曲式只由弦樂奏出，既太 單薄又太豐富，高潮的地方有點負荷不來， 其他段落部分卻又太密集；除此之外，他還 認為作品的聲音不夠吸引。
布拉姆斯趕緊把作品改成給雙鋼琴演奏，並 1864 年 4 月與陶西克一起演出。作曲家 又把作品交給克拉拉．舒曼評價，得到克 拉拉的好評，但她認為以整個樂團的力量奏 出，才能讓作品成功。最後，布拉姆斯找到 一個解決方法，就是以鋼琴加上弦樂四重 奏，讓各方面都配合得宜，總體的聲音效果 重拾約姚阿幸前指出欠缺的吸引力。作品到 年才於萊比錫音樂學院公開首演。 正如克拉拉所指，作品一開始以整個合奏團 靜靜以八度奏出開首段落，明顯有交響樂的 效果。不久，音樂就來到具戲劇性與掙扎 感的部分。具張力的樂段與沉思的時刻為樂 曲帶來對比，布拉姆斯以其慣常的處理手法 把每個主題以細緻的連繫接駁起來。行板十 分優美，有讓合奏團鬆一口氣的感覺，此樂 章大量使用三度和六度，像一首延長了的情
諧謔曲以大提琴撥弦模仿遙遠的鼓聲，幽暗 地展開，接着是突出的節奏動機，和一段利 用節奏動機寫成的主題，聲音極強，又像聖 歌。三重奏帶來一個雄壯的大調主題。一段 頗長的探索似的段落過後，響起終曲，速度 並不急速，只是慢跑。到尾聲時一切都好像 要消失了，接着一段華麗的急板充滿活力和 能量，讓作品以一個堅決的感覺結束。
Johannes Brahms
Piano Quintet in F minor, Op 34
Completed in early November 1864, this work began as a string quintet for two violins, viola and two cellos, and Brahms sent it to his friend and violinist Joseph Joachim for comment, as was his habit with works for stringed instruments. Joachim found it to be both too thin and too thick in its strings-only form, as the climaxes strained the resources of the group, and yet for the other passages the effect was too dense. As well as this he found that the sound of the piece lacked charm.
Brahms set to work organising the music for two pianos, in which form he performed it with virtuoso Carl Tausig in April 1864. Clara Schumann, to whom he sent the work in this version, felt that the music was superb, but that it needed the strength of a full orchestra to succeed. In the end Brahms hit upon the solution, which was to combine the piano with a string quartet. In this form everything becomes clear, and the soundscape instantly gains the charm that Joachim found lacking earlier. The first public performance took place in 1866, at the Leipzig Conservatoire.
The symphonic proportions of the work, as noted by Clara, are clear right from the quiet opening passage in octaves from the whole group. It is not long, however, before drama and struggle appear. Passages of strenuous activity are contrasted with moments of reflection, and as always with Brahms each theme is connected in subtle ways with the others. The Andante provides relaxation in beautiful writing for the group, making almost constant use of thirds and sixths. The effect is of a prolonged love song.
The Scherzo begins in a shadowy manner over the distant drum of the cello’s pizzicato, and there follows a striking rhythmic motif and a fortissimo hymn-like theme, using the outline of the rhythmic motif. The trio brings a grand major key theme. A long and groping passage introduces the Finale, which proceeds at a trot rather than a gallop. Towards the end all appears to be fading away, when a splendid presto of considerable energy and power brings the work to an emphatic close.
舒曼
降 e 大調鋼琴五重奏，作品 44
早年的舒曼傾向在同一時期集中寫某一類 型的作品，而 1842 年集中寫的是室內樂。
該年年初，他研究海頓和莫扎特的弦樂四重 奏，然後自己寫了三部，成為作品 41。接 着就是鋼琴五重奏，然後還有鋼琴四重奏。
翌年 1 月，他寫了一套變奏曲，原本是為兩 部鋼琴、兩部大提琴和一支圓號寫的，後來 孟德爾頌建議他把作品改為雙鋼琴作品。
鋼琴五重奏在 10 月中旬完成，是他最成功 和最受歡迎的作品之一。克拉拉經常演出此 作，而華格納有一次聽完此作後寫信給舒曼 說：「親愛的舒曼，你的五重奏教我十分高 興，希望尊夫人能把音樂再奏一次 我 看得出你的意向，而這也是我的意向。那就 是唯一的救贖：美！」然而，李斯特卻認為 作品「太萊比錫」。
舒曼把自己的雙重人格，分別命名弗洛斯 坦和約瑟比斯，一個激烈、一個溫和，在 這部五重奏中表露無遺：首先是弗洛斯坦以 非常有力和樂觀的姿態把音樂展開，然後 是約瑟比斯帶出夢幻且具詩意的第二主題。
第一樂章採用了奏鳴曲式。第二樂章是喪禮 進行曲，約瑟比斯和弗洛斯坦再次形成兩個 充滿對比的段落。諧謔曲分為五段，既華麗 又使人興奮。終曲不尋常地以 G 小調展開， 奏出一段刻板的快板進行曲，而約瑟比斯不 時穿插其中，奏出非常優美的間奏。最後 音樂到達一個令人難忘的降 E 大調屬和弦， 作曲家以一段興高采烈的賦格曲將第一樂 章的第一主題和終曲的進行曲放在一起，把 作品帶到一個教人興奮的結尾，讓音樂熱烈 地完結。
樂曲介紹 紀大衛 中譯 張婉麗
Robert Schumann
Piano Quintet in e-flat major, Op 44
In the earlier part of his life Schumann tended to write music of specific types over a period of months, and 1842 was the year for chamber music compositions. At the beginning of that year he made a study of the string quartets of Haydn and Mozart, and then produced three examples of his own, his Op 41. The Piano Quintet followed, and after that the Piano Quartet. In January of the following year came a set of variations, originally scored for two pianos, two cellos and horn, which Mendelssohn persuaded him to reduce to two pianos.
The Piano Quintet was finished in mid-October and became one of his most successful and much loved works. Clara performed it often, and after hearing it on one such occasion Wagner wrote to Schumann, “My dear Schumann, your quintet has given me great pleasure: I beg your dear wife to play it again… I can see what your aim is, and I assure you that it is mine too. It is the only salvation: beauty!” Liszt, however, thought the work to be “too Leipzigerisch”.
The two sides to Schumann’s character, which he named Florestan and Eusebius – one stormy and the other gentle – are much in evidence in this quintet, with Florestan taking the lead in a strikingly powerful and optimistic opening. Eusebius follows in the dreamy and lyrical second subject. This movement follows the pattern of sonata form. The second movement is a funeral march, with two contrasting episodes –Eusebius and Florestan at work again. The Scherzo is a magnificently exhilarating piece, falling into five sections. Unusually, the final movement begins in G minor, with a rather stern, quick march, which gives way from time to time for Eusebian interludes of striking beauty. Eventually the music arrives at an impressive dominant chord of E-flat, whereupon Schumann combines the first subject from the first movement with the final movement’s march in an exultant fugue, which leads to an exciting coda and a rousing finish.
Programme notes by David Gwilt
歐伊斯特拉夫弦樂四重奏
歐伊斯特拉夫弦樂四重奏薈萃當今四位傑出的俄 羅斯音樂家。他們均是獨當一面的獨奏家，造詣 精湛，本着對四重奏的熱情組成四重奏。他們於
2012 年獲 20 世紀傳奇小提琴大師後人贈以「歐 伊斯特拉夫」稱號。
歐伊斯特拉夫弦樂四重奏經常巡迴歐洲，曾到訪 法國、比利時、瑞士、瑞典、挪威及丹麥，並在 許多俄羅斯頂尖場地亮相，踏足當地多個著名音 樂廳。他們曾於歐洲、俄羅斯及格魯吉亞的著名 音樂節上，與眾多藝術家合作演出，例如艾莉索． 薇莎拉茲、愛德華．布魯納、利亞納．伊薩卡澤、 伊琳娜．康定斯基、阿歷山大．波杜瑞恩斯基、 波里斯．安德里亞諾夫及丹尼爾．奧斯列希。
第一小提琴 First Violin
安德烈．巴雲洛夫 Andrey Baranov
成立四重奏後的幾年間，安德烈．巴雲洛夫（第 一小提琴手）、費多爾．比倫金（中提琴手）及 亞歷斯．哲林（大提琴手）有幸與俄羅斯著名室
樂家塞爾蓋．伊凡諾維奇．皮尤金合作。他是大 衛．歐伊斯特拉夫的學生、身兼莫斯科柴可夫斯 基紀念音樂學院教授和傳奇樂團蕭斯達高維契四 重奏成員，對創立歐伊斯特拉夫弦樂四重奏功不 可沒。
最近，四重奏首次遠赴日本演出，又發行了柴可
夫斯基及蕭斯達高維契作品專輯，大獲成功，今 個樂季將於南美及香港亮相。
David Oistrakh Quartet
The David Oistrakh Quartet features four of today's most outstanding Russian musicians, all soloists in their own right, united in their artistry and their passion for the art of quartet playing. In 2012 the family of the legendary 20th century violinist honoured the quartet with his name.
The David Oistrakh Quartet frequently performs across Europe in France, Belgium, Switzerland, Sweden, Norway, Denmark and at many of the most recognised Russian venues, including all of the country's famous philharmonic halls. They have received the honour of playing at renowned festivals in Europe, Russia and in Georgia where they have collaborated with celebrated artists such as Elisso Virsaladze, Eduard Brunner, Liana Isakadze, Irina Kandinskaya, Alexander
第二小提琴 Second Violin
羅廸安．佩卓夫 Rodion Petrov
中提琴 Viola
費多爾．比倫金 Fedor Belugin
Bonduryansky, Boris Andrianov, and Daniel Austrich.
In the first few years of the Quartet's existence, Andrey Baranov (first violin), Fedor Belugin (viola) and Alexey Zhilin (cello) had the honour of working with Sergey Ivanovich Pischugin, a renowned Russian chamber musician. A former student of David Oistrakh, professor at the Moscow State Conservatory and member of the legendary Shostakovich Quartet, Pischugin played a vital role in the founding of the David Oistrakh Quartet.
Following the recent success of the Quartet’s debut in Japan and the release of their first CD featuring the works of Tchaikovsky and Shostakovich, this season takes the Quartet to South America and Hong Kong.
大提琴 Cello
亞歷斯．哲林 Alexey Zhilin
安德烈‧巴雲洛夫 第一小提琴
2012 年，安德烈‧巴雲洛夫勝出伊利莎伯王后小提琴大賽，剛好是大衛． 歐伊斯特拉夫贏得同一比賽桂冠的七十五年後。巴雲洛夫榮獲多個國際 大賽獎項，包括：大衛．歐伊斯特拉夫、班傑明．布列頓、馬替努及利 亞納．伊薩卡澤大賽。他以獨奏家身份亮相國際舞台，與眾多樂團攜手 合作，例如倫敦愛樂樂團、仙台愛樂樂團、聖彼得堡愛樂樂團、布魯塞 爾愛樂樂團、比利時國家樂團、柴可夫斯基交響樂團、盧森堡愛樂樂團、 蒙特利爾交響樂團、馬林斯基劇院管弦樂團及音樂永恆管弦樂團。
Andrey baranov First Violin
Andrey Baranov won first prize at the Queen Elisabeth International Violin Competition in 2012, 75 years after David Oistrakh’s triumph at the same competition. Baranov is also a laureate of more than a dozen international competitions including the David Oistrakh, Benjamin Britten, Marteau and Liana Isakadze competitions. His international career has led him to perform as a soloist with the London Philharmonic, Sendai Philharmonic, St. Petersburg Philharmonic, Brussels Philharmonic, National Orchestra of Belgium, Tchaikovsky Symphony Orchestra, Luxembourg Philharmonic, Montreal Symphony Orchestra, Mariinsky Theatre Orchestra and MusicAeterna Orchestra.
羅廸安．佩卓夫
第二小提琴
羅廸安．佩卓夫畢業於馬德里索菲亞王后音樂學院及莫斯科音樂學院， 曾勝出多個大賽，包括皮澤國際小提琴大賽及意大利帕格尼尼國際小提 琴大賽。他曾於俄羅斯及歐亞多個音樂廳舉行獨奏會，如馬德里國家音 樂廳及東京三得利音樂廳，並不時亮相大型國際音樂節。
Rodion Petrov
Second Violin
Rodion Petrov is a graduate of the Reina Sofia Music Academy in Madrid and the Moscow State Conservatory. Petrov has won prizes at numerous competitions including the Premio Rudolfo Lipizer and Premio Paganini in Italy. He has appeared as a soloist in Russia, Europe and Asia at concert halls such as the Auditorio Nacional in Madrid and Suntory Hall in Tokyo, and is a regular participant at many of the world’s great festivals.
費多爾‧比倫金
費多爾‧比倫金畢業於莫斯科音樂學院，求學時期已獲邀與蕭斯達高維 契四重奏攜手演出。他曾勝出多個國際比賽，現於莫斯科音樂學院及格 尼辛音樂學院任教。他不但活躍於獨奏演出，亦積極參與四重奏，曾巡 迴多地亮相，包括俄羅斯、德國、法國、比利時、克羅地亞、斯洛文尼亞、 塞爾維亞、馬其頓、波蘭、美國、瑞典及意大利。
Fedor belugin
Viola
Fedor Belugin is a graduate of the Moscow State Conservatory. While still a student there, he was invited to play with the Shostakovich String Quartet. Belugin is a laureate of a number of international competitions and teaches at the Moscow State Conservatory as well as at the Gnessin Music Academy. He pursues a busy solo career alongside his quartet engagements, and he has toured to numerous cities and towns in Russia, Germany, France, Belgium, Croatia, Slovenia, Serbia, Macedonia, Poland, the USA, Sweden, and Italy.
亞歷斯‧哲林
大提琴
亞歷斯‧哲林是俄羅斯當代最出色的大提琴家之一，榮獲多個國際獎 項，經常為當地和海外室樂團及交響樂團的演出擔任獨奏，包括：馬林 斯基劇院管弦樂團及聖彼得堡愛樂樂團。他曾巡迴多國演出，例如奧地 利、比利時、德國、法國、韓國及日本等。哲林於 2014 年獲委任為聖彼 得堡音樂學院助理教授。他在該校就讀時師隨阿納托利．尼基京。
Alexey Zhilin
Cello
Alexey Zhilin is considered one of the leading cellists of his generation in Russia. He has won a number of international prizes and appears frequently as a soloist with chamber and symphony orchestras in Russia and abroad, including renowned ensembles such as the Mariinsky Theatre Symphony Orchestra and the St. Petersburg Philharmonic Orchestra. His tours have taken him to Austria, Belgium, Germany, France, South Korea, Japan and others. In 2014 Zhilin was appointed to the post of assistant professor at the St. Petersburg Conservatory, where he himself studied with Anatoly Nikitin.
艾莉索‧薇莎拉茲生於第比利斯，在格魯吉亞一
個藝術文化深厚的世家裏成長。自小跟隨祖母阿 娜絲泰西亞‧薇莎拉茲學習鋼琴。她從第比利斯 國立音樂學院畢業後，便離開家鄉前往莫斯科。
年僅二十歲即獲得柴可夫斯基鋼琴大賽第三名。
在莫斯科期間，薇莎拉茲師從涅高茲和扎克。兩
位老師以著名的傳統俄國鋼琴教育來教導薇莎拉 茲，對她影響深遠。她本人亦是位出色的老師， 她的學生在國際鋼琴大賽裏均有着卓越表現。
薇莎拉茲是莫斯科音樂學院及慕尼黑音樂與表演 藝術大學的常任教授，經常獲邀擔任重要的國際 鋼琴賽事評審，包括西班牙桑坦德鋼琴大賽、蘇 黎世安達鋼琴大賽、以色列特拉維夫魯賓斯坦鋼 琴大賽、莫斯科柴可夫斯基鋼琴大賽和較近期的 李希特國際鋼琴大賽。
薇莎拉茲熱衷於演繹十八、十九世紀偉大作曲家 的作品，尤其是莫札特、貝多芬、蕭邦和舒曼。
二十四歲那年，她贏得德國舒曼鋼琴大賽冠軍， 被國際樂壇譽為「當今首屈一指的舒曼演繹者」。
她同時又以廣泛的演奏曲目為人所識，其中包括 現代俄羅斯作曲家的作品，並獲前蘇聯政府頒發
最高藝術成就獎。
薇莎拉茲經常到歐洲各地巡迴演出，包括倫敦、 米蘭、羅馬、巴黎、里斯本、柏林、巴塞隆拿等，
又曾與大提琴大師古特曼到維也納、柏林、布魯 塞爾、馬德里、慕尼黑、米蘭、日內瓦、倫敦、 洛桑等地巡演。
薇莎拉茲也是位室樂演奏家，與多個知名樂團合 作，如聖彼得堡愛樂樂團和皇家愛樂樂團於北美、 日本及歐洲巡演，並與法國、德國、意大利、西 班牙、瑞士、日本、美國等地的多個頂尖樂團演 出。並曾與著名指揮同台，包括巴爾夏、康德拉 辛、慕迪、珊特齡、沙瓦利殊、葉夫根尼、特米 爾卡洛夫等。
薇莎拉茲曾灌錄多張唱片，由 Live Classics 發行， 展現其音樂風格及生涯。
Elisso Virsaladze grew up in Tbilisi, into a family which had been involved in the arts and culture of Georgia for generations. She received her first piano lessons from her grandmother, Professor Anastasia Virsaladze. After graduating from the Tbilisi State Conservatory she left her native city and moved to Moscow, before winning third prize in the International Tchaikovsky Competition at the age of 20.
In Moscow, Virsaladze continued her studies with Heinrich Neuhaus and Yakov Zak. These gifted teachers had not only a deep influence on her artistic development, but also immersed her in the renowned tradition of Russian piano pedagogy. It is therefore not surprising that today she is recognised as an exceptional teacher whose students have won sensational recognition at competitions.
The Moscow Conservatory and Munich Musikhochschule have made Virsaladze a regular professor, and of the important international piano competitions there are only a few where she has not been invited to be a member of the jury. Competitions to which she has received regular invitations include Santander, Geza Anda in Zurich, Rubinstein in Tel Aviv, and of course Tchaikovsky (and more recently Richter) in Moscow.
Virsaladze’s deepest love is for the composers of the late 18th and 19th centuries, especially Mozart,
Beethoven, Chopin and Schumann. At the age of 24, she won the first prize at the Schumann Competition in Zwickau, and has been described by the international press as one of the great contemporary interpreters of Schumann. At the same time, Virsaladze is well known for her wide range of repertoire, up to and including modern Russian composers. She has been honoured with the highest artistic awards of the former Soviet Union.
Elisso Virsaladze regularly performs in London, Milan, Rome, Paris, Lisbon, Berlin and Barcelona; duo concerts with Natalia Gutman have taken place in Vienna, Berlin, Brussels, Madrid, Munich, Milan, Geneva, London and Lausanne, to name some of the most important European cities.
As a chamber musician and with orchestras such as the St. Petersburg Philharmonic and Royal Philharmonic she has toured North America, Japan and Europe extensively. Besides this Virsaladze regularly appears with prestigious orchestras in France, Germany, Italy, Spain, Switzerland, Japan, the USA and other countries. Virsaladze has also worked with conductors including Rudolf Barschai, Kyril Kondraschin, Ricardo Muti, Kurt Sanderling, Wolfgang Sawallisch, Evgeny Svetlanov and Yuri Temirkanov.
Elisso Virsaladze has released numerous recordings on the Live Classics label, offering a wide perspective on her musical personality.
歐伊斯特拉夫弦樂四重奏：命名由來
David Oistrakh Quartet: How the name came about
由四位傑出的俄羅斯音樂家組成的歐伊斯特拉夫 四重奏，以蘇聯時期小提琴大師命名。以下由創 團團員及第一小提琴安德烈‧巴雲洛夫談談四 重奏名字的由來。
我們的弦樂四重奏有幸以大衛．歐伊斯特拉夫為 名，背後有悠久的歷史和事件促成。
四重奏的成員一向景仰大衛．歐伊斯特拉夫 作為音樂家、獨奏家以及他的為人。但我們並不 是自創團開始就冠以他的名字，當時只是夢想。
我曾在多個國際小提琴比賽中贏得獎項，包括利 亞納．伊薩卡澤比賽（伊氏曾是歐伊斯特拉夫的 門生）和大衛．歐伊斯特拉夫比賽（由他的兒子 伊戈和孫子瓦列里擔任評判）。於是我有機會與 他們見面、交談，並加深認識。到了 2012 年， 我在大衛．歐伊斯特拉夫贏得布魯塞爾伊利莎伯 王后國際小提琴大賽七十五年後，在同項比賽中 奪冠。這也是我們的四重奏獲准以小提琴大師名 字命名的重要原因。
四重奏創團頭幾年，我們有幸與俄羅斯著名室樂 演奏家塞爾蓋．伊凡諾維奇．皮尤金合作。他除 了曾經是歐伊斯特拉夫的門生，也在莫斯科音樂 學院擔任教授，並且是傳奇室樂團蕭斯達高維契 四重奏的團員。歐伊斯特拉夫弦樂四重奏創團和 爭取命名，皮尤金亦功不可沒。
Featuring four of Russia’s most talented string players, the David Oistrakh Quartet is named after the great Soviet-era violinist. Here, founding member and first violinist Andrey baranov explains how the Quartet came to hold this prestigious name.
There’s a long history and many important facts which led to the quartet receiving the honour of being named after David Oistrakh.
First of all, David Oistrakh was an idol for all the members of the Quartet, as a musician, solo artist and human being. The quartet didn’t have his name from the beginning of its existence – it was only a dream.
I’ve won prizes at many international violin competitions, for example at the Liana Isakadze competition (Isakadze was a former student of Oistrakh), and at the David Oistrakh competition, where Igor and Valery Oistrakh (his son and grandson) were jury members. So I had an opportunity to meet them, talk to them, and to get to know them quite well. Finally, I won the 2012 Queen Elisabeth violin competition in Brussels, 75 years after David Oistrakh, and this was an important moment in getting the Oistrakh name.
Another important moment in the first few years of the Quartet's existence was the opportunity to work with Sergey Ivanovich Pischugin, a renowned chamber musician in Russia. He was a former student of David Oistrakh, professor at the Moscow State Conservatory and a member of the legendary Shostakovich Quartet. Pischugin played a vital role in the founding of the Oistrakh Quartet and also helped us to assume its current name.
21.2.2017
歐伊斯特拉夫弦樂四重奏
David Oistrakh Quartet
海頓
《基督在十字架上的最後七言》，
作品 51：引子
蕭斯達高維契
C 小調第八弦樂四重奏，作品 110
廣板
甚快的快板
小快板
廣板
廣板
Joseph Haydn (1732-1809)
Seven Last Words of Our Saviour on the Cross, Introduction, Op 51
Dmitri Shostakovich (1906-1975)
String Quartet No 8 in C minor, Op 110
Largo
Allegro molto
Allegretto
Largo
Largo
中場休息 Interval
柴可夫斯基
F 大調第二弦樂四重奏，作品 22
慢板 溫和的中板
諧謔曲：嚴格的快板
不過份的行板
終曲：活躍的快板
帕格尼尼
24 首隨想曲之 20 及 24，作品 1
比倫金改編
D 大調第二十號隨想曲，小快板
A 小調第二十四號隨想曲，接近急板
是晚演出曲目及次序或有更改
Pieces and their order of performance are subject to change
Pyotr Ilyich Tchaikovsky (1840-1893)
String Quartet No 2 in F major, Op 22
Adagio – Moderato assai
Scherzo: Allegro giusto
Andante ma non tanto
Finale: Allegro con moto
Niccolò Paganini (1782-1840)
Caprices No 20 and 24, Op 1
Arr Fedor belugin
No 20 in D major, Allegretto
No 24 in A minor, Quasi presto
樂曲介紹 Programme notes
海頓
《基督在十字架上的最後七言》， 作品 51：引子
海頓於 1761 年加入艾斯塔哈西王子麾下工 作，到了 1780 年代中期五十多歲時，他已 經在國際上享負盛名，就在這個時候，他接 受了兩份重要的委約創作。一份是將會於巴 黎演出的六首交響樂；另一份則是由西班牙 聖奎沃山洞教堂的神父所委約創作的一系列 樂章，將於宣讀十字架上的最後七言之間演 奏。在苦難禮儀中，神父會讀出耶穌在十字 架上說出的最後七句話語，逐句默想，然後 在祭壇裏祈禱。海頓為此而寫的音樂就是在 祈禱時演奏的。他自己把這套作品命題為 《基督在十字架上的最後七言 寫給器樂 的引子、七首奏鳴曲及地震的終曲》。
海頓為這七首器樂作品上加了一個引子和 一個終曲 terremoto，意思是「地震」。他 經常對傳記作者格里辛格說這是自己最成 功的作品。音樂最初是寫給管弦樂團的，其 後海頓自己把它分別改編成弦樂四重奏和 鍵盤曲。約有五分鐘之長的引子設定了隨後 的基調。
Joseph Haydn
Seven Last Words of Our Saviour on the Cross, Introduction, Op 51
Haydn entered the service of Prince Esterházy in 1761, but gradually his fame spread, and by the mid1780s, when he was in his 50s, he was well-known internationally, and it was at this time that he received two important commissions. One was to write six symphonies for performance in Paris, and the other for pieces to be played in between readings of the seven last words from the cross. This was from a Spanish priest for use in a church built in a cave in Cádiz. During the Passion rites the priest would read out the seven last utterances from the cross, meditate on each, and then pray at the altar. Haydn’s music would be played during these prayers. Haydn’s own title for the piece was Musica instrumentale sopra le 7 ultime parole del nostro Redentore in croce, ossiano 7 sonate con un’introduzione ed al fine un terremoto
To the seven instrumental pieces he added an introduction and a final terremoto, meaning earthquake. To his biographer Griesinger he often said that this was his most successful work. Originally for orchestra, Haydn himself arranged the music for string quartet, and also for keyboard. The introduction, about five minutes long, sets the tone for what is to follow.
蕭斯達高維契
C 小調第八弦樂四重奏，作品 110
作為一個非常多產的作曲家，蕭斯達高維 契創作過各類型的音樂，涵蓋鋼琴獨奏曲、
歌劇和電影音樂。其中交響曲和弦樂四重奏 各有十五首。 1960 年，蕭斯達高維契經歷 了人生的低潮 受到小兒麻痺症發作的纏 擾，又被迫加入共產黨 同時寫成了第八 首弦樂四重奏。他曾向朋友透露這作品是為 紀念自己而寫下的，吩咐他甚至可以在封面 上寫上「獻題紀念此四重奏的作曲家 」。
最終，他把作品獻題「紀念受法西斯主義和 戰爭之苦的受害者 」。這意念源於他到訪 德累斯頓時，目睹戰爭所帶來的後果， 並 深受觸動。
這作品以他自己名字的簡寫 D - S - C - H， 即是 D、降 E、 C 和 B 開始。在整部四
重奏中，蕭斯達高維契引用了不少來自自己 作品的材料，如在第一樂章裏，我們聽到慢 速的第一交響曲的開首。第二樂章的激烈快 板則引用了同樣與戰爭有關的第二鋼琴三 重奏的樂句。來到第三樂章，帶有嘲諷口吻 的諧謔曲是出自第一大提琴協奏曲開首的 主題 。第四樂章則由第十一交響曲及嘉德
莉娜於歌劇《莫桑斯克的馬克白夫人》中所 唱的詠嘆調，組成當中感人的樂段。這首四 重奏惹來評論家的蔑視，導致他撤回了幾首 將會被演出的樂曲。終曲的廣板是一首根據 D - S - C - H 動機所寫成、強烈的賦格曲。這是 蕭斯達高維契其中一首最簡潔的，同時亦最 具表現性的弦樂四重奏。
Dmitri Shostakovich
String Quartet No 8 in C minor, Op 110
An immensely prolific composer, Shostakovich produced music in all genres, from solo piano music to opera and film music. Amongst these were 15 symphonies, and 15 string quartets. It was in 1960, when he was at a low ebb, suffering the onset of polio, and being pressured to join the Communist Party, that he composed his eighth Quartet. He wrote of it to a friend that it was “written in memory of myself. You could even write on the cover ‘Dedicated to the memory of the composer of this quartet’”. Ultimately, he dedicated it “to the memory of the victims of fascism and war”. The stimulus for its genesis was a visit to Dresden, where he was greatly moved by what he saw of the results of war.
The work begins with his own motto, D-S-C-H, or D, E-flat, C and B natural. Shostakovich quotes from his own works throughout the quartet, and in the first movement we hear the opening of the Symphony No 1, at a slow pace. In the second movement, a fierce Allegro, there is a quote from the second piano trio, also a work dealing with war, and in the third, a kind of sardonic Scherzo, the opening theme from the first cello concerto appears. The fourth movement refers to the Symphony No 11, and also Katerina’s aria from his opera Lady Macbeth of Mtsensk District is heard in a highly moving passage. It was this work which had brought down the scorn of the establishment, and had caused him to withdraw several compositions from performance. The final Largo is an intense fugue on the D-S-C-H motif. One of his most concise quartets, it is also one of his most expressive.
柴可夫斯基
F 大調第二弦樂四重奏，作品 22
柴可夫斯基寫第二首弦樂四重奏時，仍在 莫斯科音樂學院教授作曲，而在同一時間， 他也創作了歌劇《禁衛軍》、第二交響曲和 為歐斯特洛夫斯基的戲劇《雪娘》譜寫的配 樂。柴可夫斯基於 1873 年開始創作這首四 重奏，並於翌年 1 月完成。作品以一個具有 尋找性的引子開始，緊隨的溫和的中板充滿 動感和活力，有時也包含了古怪的節奏。作 曲家的弟弟莫傑斯特認為四重奏的靈感一 定程度上來自 svyatki，指在聖誕節期間精心 打扮到處拜訪，期望換取茶點的鄰居。
諧謔曲基本上是七拍子的 即是兩個 6 / 8 拍的小節緊隨着一個 9 / 8 拍的小節，這是 傳統俄羅斯民俗音樂的典型節奏，而樂章幾 乎也完全由這模式所貫穿，產生了抑揚頓挫 的效果。中間部分是一首華爾茲（通常以第 二拍為重音）。第三樂章是最美麗和表達性 極為豐富的音樂。終曲氣氛相當歡樂，因為 聖誕訪客已經有好幾杯酒下肚，並打算開懷 暢飲。柴可夫斯基明顯地自得其樂，甚至在 凱旋完結之前，根據主題旋律加插了一段簡 短而富有娛樂性的賦格曲。
Pyotr Ilyich Tchaikovsky
String Quartet No 2 in F major, Op 22 Tchaikovsky’s second string quartet was written while he was still teaching composition at the Moscow Conservatory, and during the same period as he produced his opera The Oprichnik , his Symphony No 2 and incidental music to Ostrovsky’s play The Snow Maiden . The work was started in 1873 and finished in January of the following year. It begins with a searching introduction after which the Moderato assai brings plenty of activity and vigour, and at times some quirky rhythms. The composer’s brother, Modest, believed that the quartet was inspired to some extent by the svyatki – neighbours who dressed in costume to visit during Christmas time, and expected refreshment for their pains.
The Scherzo is basically in 7 time – there are two bars of 6/8 followed by one of 9/8 almost throughout, a rhythm typical of much Russian folk music. This produces a fine lilting effect. The middle section is a waltz, with the accent frequently on the second beat. In the third movement comes the most beautiful and highly expressive writing. The Finale is great fun, as the svyatki have clearly enjoyed plenty of liquid hospitality and are bent on enjoying themselves. Tchaikovsky obviously enjoyed himself, and even includes a short but entertaining fugue on the main subject before the triumphant finish.
帕格尼尼
24 首隨想曲之 20 及 24，作品 1 比倫金改編
《 24 首隨想曲》創作於 1801 年至 1818 年之 間，並於 1820 年出版，隨即被公認為無法 演奏。隨想曲是專為「藝術家」──也就是 專業人士──而寫的。其他小提琴家則認為 他們自己沒有可能演奏這些樂曲。但事實 上，帕格尼尼將他青年時代所知的小提琴演 奏技巧大為拓展，作品更體現了他高超的小 提琴技藝。不管他們是否真的會演出《隨想 曲》，它們現已成為所有認真的小提琴家反 覆練習的核心部分。
帕格尼尼在歐洲任何地方表演，都會令人讚 賞和肅然起敬，舒伯特曾提到，當帕格尼尼 演奏時，他「聽到天使歌唱」的聲音。這套 作品從前到現在仍然影響許多作曲家。舒曼 和李斯特把作品改編成鋼琴曲、布拉姆斯則 根據第 24 號寫成了一套華麗的變奏曲。這 也激發了拉赫曼尼諾夫去創作《帕格尼尼主 題狂想曲》，而鮑利斯．布拉赫也以同一主 題創作了一套管弦樂變奏曲。西馬諾夫斯基 亦為其中三首譜寫了鋼琴伴奏。較近代的作 曲家也以第 24 號的主題去創作整套的變奏 曲，因其簡明的結構和型態最為適合這樂 種。
第 20 號寧靜地以持續低音上的圓滑旋律展 開，再緊接相對小調的恆動樂段。第 24 號 是帕格尼尼的得意之作，一個主題旋律和 十一首閃爍精彩的變奏曲。以小提琴獨奏去 演繹已相當迷人，當四手爭輝時，更是其樂
Niccolò Paganini
Caprices No 20 and 24, Op 1 Arr Fedor belugin
The 24 Caprices were composed between 1801 and 1818, and published in 1820, whereupon they were immediately declared unplayable. They are dedicated to alli Artisti – that is, to professionals. Other violinists thought them to be impossible to play, but the fact is that Paganini greatly enlarged the boundaries of violin technique as it was known in his youth, and the pieces exemplify all the extraordinary elements of the composer’s exceptional prowess on the instrument. The Caprices have since become a central part of all serious violinists’ practice, whether or not they actually perform them.
Paganini’s playing excited both enormous admiration and awe in Europe wherever he played, Schubert once remarking that he “had heard an angel sing”. The pieces had, and still have, an influence on many composers. Schumann and Liszt translated the music into pianistic terms, and Brahms composed a terrific set of variations based on number 24. This also inspired Rachmaninov’s Rhapsody on a Theme of Paganini, and there are also the orchestral variations on the same theme by Boris Blacher. Szymanowski added a piano accompaniment to three of them. More recent composers have produced sets of variations on the theme of number 24, which is perfect for variations with its simplicity of structure and concise shape.
Number 20 begins calmly with a smooth melody over a pedal point, and is followed by a moto perpetuo in the relative minor. Number 24 is one of Paganini’s finest creations, a theme and eleven scintillating variations. Fascinating enough when played on solo violin, the fun can be even more exciting when four players are involved in the fray.
Programme notes by David Gwilt
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作曲、編劇：盛宗亮
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粵劇《漢武東方》
◤
Sino Group Arts Celebration Series
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28/2-1/3 7:30pm
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音樂 MUSIC
歌特柴爾與玻魯桑伊斯坦堡愛樂樂團
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小提琴：瓦汀．列賓
鋼琴：吉爾素．奧納伊
Sascha Goetzel and the Borusan Istanbul Philharmonic Orchestra
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薇莎拉茲鋼琴獨奏會 Elisso Virsaladze Piano Recital CHCH 18/2 8pm
歐伊斯特拉夫弦樂四重奏與薇莎拉茲
小提琴：巴雲洛夫、柏度夫 中提琴：比倫金
大提琴：哲林 鋼琴：薇莎拉茲
賽馬會本地菁英創作系列
《世紀．香港》音樂會
音樂總監/作曲：陳慶恩
David Oistrakh Quartet and Elisso Virsaladze Violin: Andrey Baranov, Rodion Petrov Viola: Fedor Belugin Cello: Alexey Zhilin Piano: Elisso Virsaladze
Jockey Club Local Creative Talents SeriesHong Kong Odyssey Music Director/Composer: Chan Hing-yan
捷克布爾諾國家歌劇院 National Theatre Brno
- 德伏扎克《聖母悼歌》
舞蹈 dANCE
巴伐利亞國家芭蕾舞團《舞姬》 編舞：馬利斯．佩蒂巴、帕翠斯．巴特 音樂總監：邁克爾．史密朵夫 與香港管弦樂團聯合演出
巴伐利亞國家芭蕾舞團二團芭蕾精選 編舞：巴蘭欽、納曹．杜亞陶、理察．斯寇、 奧斯卡．史萊莫、哈德．博納爾
多蘭斯舞團《電音踢躂》
編舞：米雪．多蘭斯、尼古拉斯．范楊
蒙特利爾爵士芭蕾舞團 編舞：伊錫克．加里尼、 安東尼斯．方尼亞達基斯、班傑明．米爾派德
亞太舞蹈平台﹝第九屆﹞ 史提芬妮．蕾克《雙》； Taldans《櫃》
翩娜．包殊烏帕塔爾舞蹈劇場 《穆勒咖啡館》及《春之祭》 編舞：翩娜．包殊
Bayerisches Staatsballett (Bavarian State Ballet)La Bayadère
Choreography: Marius Petipa, Patrice Bart
Musical Direction: Michael Schmidtsdorff
With the Hong Kong Philharmonic Orchestra
Bayerisches Staatsballett II (Bavarian State Ballet II) - Mixed Bill
Choreography: George Balanchine, Nacho Duato, Richard Siegal, Oskar Schlemmer, Gerhard Bohner
Dorrance Dance - ETM: Double Down Choreography: Michelle Dorrance, Nicholas Van Young APAL 24-25/2 8pm
Les Ballets Jazz de Montréal
Choreography: Itzik Galili, Andonis Foniadakis, Benjamin Millepied
Asia Pacific Dance Platform IX Stephanie Lake Company: Dual Taldans: Dolap
Tanztheater Wuppertal Pina BauschCafé Müller and The Rite Of Spring Choreography: Pina Bausch
香港賽馬會當代舞蹈平台 The Hong Kong Jockey Club Contemporary Dance Series -《明天你還愛我嗎？》香港篇 編舞：阿歷山度．沙朗尼、毛維
-《西西利亞狂想曲》 編舞：藍嘉穎、黃俊達、黃碧琪
-《舞鬥》
編舞：曹德寶、李偉能、廖月敏、莫嫣、 白濰銘、曾景輝、肖呈泳
CHCH 20/2 21/2 8pm
25-27/2 8pm
指揮 雅洛斯拉夫．基茲林克 - Dvo rák Stabat Mater Conductor: Jaroslav Kyzlink CCCH 26/2 5pm
- 楊納傑克《小交響曲》、《永恆的福音》、
《格拉高利彌撒曲》
指揮：雅洛斯拉夫．基茲林克
意大利協奏團蒙特威爾第《晚禱》（1610 年版）
指揮：里納爾多．亞歷山德里尼
- Janá cek Sinfonietta, The Eternal Gospel, Glagolitic Mass Conductor: Jaroslav Kyzlink CCCH 28/2 8pm
Concerto Italiano - Monteverdi Vespers of 1610 Conductor: Rinaldo Alessandrini CHCH 3/3 8pm
陳家保假聲男高音音樂會 Chan Ka-bo Countertenor Recital NLG-XHX 4/3 3pm, 7pm
海燕合奏團 Arianna Savall & Petter Udland Johansen - Ensemble Hirundo Maris CHCH 9/3 8pm
薩爾斯堡室樂團與安德塞斯基 指揮/鋼琴：安德塞斯
陳銳小提琴獨奏會
Camerata Salzburg and Piotr Anderszewski Conductor/Piano: Piotr Anderszewski CHCH 10/3 8pm
小提琴：陳銳 鋼琴：胡里奧．艾利薩德 Ray Chen Violin Recital Violin: Ray Chen Piano: Julio Elizalde CHCH 11/3 ◤ 8pm
佩特連科與奧斯陸愛樂樂團
指揮：佩特連科 大提琴：莫克 Vasily Petrenko and the Oslo Philharmonic Conductor: Vasily Petrenko Cello: Truls Mørk
朗格黑與辛辛那提交響樂團
指揮：朗格黑
管風琴：林芍彬 鋼琴：伽佛利佑克 Louis Langrée and the Cincinnati Symphony Orchestra Conductor: Louis Langrée Organ: Anne Lam Piano: Alexander Gavrylyuk
CCCH 14-15/3 ◤ 8pm
CCCH 17/3 ◤ 8pm
《香港小交響樂團．月魄》 Hong Kong Sinfonietta．Ethereal Is the Moon CHCH 12/3 8pm
香港藝術節：中樂無疆界—國
際作曲大賽決賽音樂會 HKAF: Chinese Music Without Bounds International Composition Competition Finals Concert CHCH 1/3 8pm
爵士樂/世界音樂 JAzz / WORld MUSIC
泰莉‧萊恩‧卡榮頓《騷靈情歌》 Terri Lyne Carrington’s Mosaic Project: LOVE AND SOUL CCCH 24/2 ◤ 25/2 8pm
珍．寶金《交響情人》
與香港管弦樂團聯合演出 Gainsbourg Symphonic with Jane Birkin With the Hong Kong Philharmonic Orchestra CCCH 3-4/3 8pm 庫斯圖里卡與無煙大樂隊 Emir Kusturica & The No Smoking Orchestra CCCH 7/3 8pm
世界音樂週末營 World Music Weekend
-巴拉克．斯索高 – 科拉琴獨奏 - Ballaké Sissoko – Solo Kora APAA 19/3 2:45pm -古斯．愛簡拿三重奏：蘇非音樂《愛之花園》- Kudsi Erguner Trio: Sufi Music Garden of Love APAA 19/3 5pm -瑪麗亞．芭莎拉蒂 - María Berasarte APAA 18-19/3 8pm
- Will you still love me tomorrow? Hong Kong Remix Choreography: Alessandro Sciarroni in
- Cecilia’s Rhasody Choreography: Blue Ka-wing, Ata Wong, Rebecca Wong Pik-kei
- Dance Off Choreography: Hugh Cho, Joseph Lee, Sudhee Liao, Jennifer Mok, Ming Pak, Terry Tsang, Sarah Xiao
拱 8 舞團《俄羅斯方塊》 編舞：艾利克．凱兒 Arch 8 - Tetris Choreography: Erik Kaiel
戲劇 THEATRE
《闖關一代男》 導演：塔提安娜．瑪拉連路 創作/設計/演出：德迪斯．菲利普斯
17 Border Crossings Direction: Tatiana Mallarino Creator/Designer/Performer: Thaddeus Phillips
7/3 8:15pm
8-11/3
紐約公共劇院《大選年的家庭》三部曲 導演/編劇：理察．尼爾遜 Public Theater - The Gabriels: Election Year in the Life of One Family Director/Playwright: Richard Nelson -《餓》 - Hungry CCST 22/2 25-26/2
-《你究竟想怎樣 ?》 - What Did You Expect? CCST
25-26/2 8:15pm 4:15pm -《某個時代的女人》 - Women of a Certain Age CCST 24-26/2 8:15pm
聲光劇團《黑漆漆馬戲團》 原著：彼夫 創作/演出：羅曼爾．貝門、尚-巴蒂斯特．馬勒
STEREOPTIK - Dark Circus Based on the story by Pef Creation/Performance: Romain Bermond, Jean-Baptiste Maillet APAA 23-24/2 25/2 26/2 8pm 3pm, 8pm 3pm 《香港家族》三部曲
導演：方俊杰 編劇：龍文康 A Floating Family - A Trilogy Director: Fong Chun-kit Playwright: Loong Man-hong
-第一部曲《香港太空人》 - Play One: Hong Kong Astronaut CHT 24-25/2, 8,15/3 26/2 11,18-19/3 8:15pm 3pm 2pm
-第二部曲《留住香港》 - Play Two: All Out of Love CHT 1-3,9,16/3 11,18-19/3 8:15pm 4:30pm
-第三部曲《香港人太空》 - Play Three: Vacant in the City CHT 4,10,11,17-19/3 5/3 8:15pm 3pm, 8:15pm
天選者《暗影》 導演：嘉莉．賀頓 編劇：約恩．福斯
京士頓玫瑰劇院《都是我的孩子》 導演：米高．魯文 編劇：阿瑟．米勒
自主神殿劇團《埃及式最後晚餐》 導演/編劇：阿默特．艾雅塔
都爾德劇團《麗南小姐》 導演：嘉妮．海恩 編劇：馬丁．麥克唐納
特備節目 SPECIAl EvENTS
《幻光動感池》
De Utvalgte - Shadows
Director: Kari Holtan Playwright: Jon Fosse CCST 1-2/3 8:15pm
Rose Theatre Kingston - All My Sons
Director: Michael Rudman
Playwright: Arthur Miller APAL 3,5,7-10/3
Temple Independent Theatre - The Last Supper
Director/Playwright: Ahmed El Attar
Druid - The Beauty Queen Of Leenane Director: Garry Hynes Playwright: Martin McDonagh
藝術家︰珍．利維 Super Pool Artist: Jen Lewin
《聲光頌》
藝術家︰萊爾．利
Artist: Ray Lee
請留意網站公布 Please refer to website for details
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 28/11/2016 今時今日的東方主義 Orientalism Today 17/12/2016 開往詩與歷史的渡輪 流動寫詩工作坊 Poetry in Motion – Poetry Writing Workshop 8/2/2017 加料電影：《為妳彈琴》
PLUS Films: Gainsbourg: A Heroic Life 10/2/2017 說吧，香港 香港詩與詩中的香港（讀詩會）
Moments of Hong Kong - Poetry Salon 14/2/2017 藝術家沙龍：列賓 Artist Salon: Vadim Repin 21/2/2017 片刻時光 Moments in Time 22/2/2017 加料電影：《百寶箱》PLUS Films: The Boxes 1/3/2017 藝術家沙龍：珍．寶金 -《千面珍寶金》放映會
Artist Salon: Jane Birkin - Screening of Jane B. for Agnès V 17/3/2017 香港藝術節傑出文化領袖講座系列 聚焦愛爾蘭劇場
22/2/2017
歐伊斯特拉夫弦樂四重奏 - 弦樂工作坊 String Orchestra Workshop by David Oistrakh Quartet 24/2/2017 交響樂工作坊：尋找楊納傑克 Orchestra Workshop: Finding Janáček 25/2/2017 爵士鼓大師班及《樂隊少女》放映會 Drumming with Terri & Screening of The Girls in the Band 28/2/2017 楊納傑克的一生：楊納傑克音樂會演前講座 Janáček Moments: Janáček Pre-concert Talk 17/3/2017 法美音樂之緣
Finding the French-American Connection 19/3/2017 世界音樂演前講座 World Music Weekend Pre-concert Talk
歌劇/戲曲 OpeRa 11/2/2017 粵劇舞台上的弄臣
Jester's Cantonese Operatic Moment in the Spotlight 21/2/2017 女高音 Annalena Persson 大師班 Masterclass with Soprano Annalena Persson 25/2/2017 後台一刻：《馬克普洛斯檔案》揭秘
Speakers: Garry Hynes & Marie Mullen
HKAF Distinguished Cultural Leader Series: 40 Years of Producing Theatre - In Conversation with two Tony Award-winning Theatre Greats 舞蹈 DaNce 4/12/2016 包浩斯手作坊 Crafting Bauhaus 13/1/2017 包浩斯在香港：二十世紀建築遺產
Bauhaus in Hong Kong: 20th Century Architectural Heritage 20/1/2017 解構包浩斯舞衣 The Making of Bauhaus Costumes 18,19/2/2017 後台一刻：《舞姬》風采
Backstage Moments: The Glamour of La Bayadère 19/2/2017 《3．芭蕾》舞蹈體驗班
The Triadic Ballet Class by Ivan Liška 22/2/2017 後台一刻：史萊莫與包浩斯
Backstage Moments: Oskar Schlemmer and Bauhaus 22/2/2017 駐節藝術家計劃 公開展演
Artist-in-Residence Project - Public Showcase 25/2/2017 踢躂舞體驗班 Experience Tap Dance 25/2/2017 踢躂舞深造班 Tapping with Michelle 4/3/2017 《3D 翩娜》放映及分享會
3D Pina Screening and Sharing 12/3/2017 俄羅斯方塊童趣工作坊 Tetris for Kids
音樂 MUSic
21/1/2017
蒙特威爾第《晚禱》的巧思
Monteverdi In Mantua - the Genius of the Vespers 22/1/2017 週日捷克室樂音樂會
Czech Music for a Sunday Afternoon 19/2/2017 薇莎拉茲鋼琴大師班
Learning from Virsaladze - Piano Masterclass 20/2/2017 歐伊斯特拉夫弦樂四重奏大師班 Following In Oistrakh’s Footsteps – String Quartet Masterclass
Backstage Moments: Secrets of The Makropulos Case 25/2/2017 楊納傑克的一生：《馬克普洛斯檔案》
Janáček Moments: The Makropulos Case 26/2/2017 崑曲的藝術 給過去一個未來
The Art of Kun Opera - Give the Past a Future 18/3/2017 後台一刻：走進大觀園
Backstage Moments: Inside the Red Chamber 戲劇 THeaTRe
15/1/2017 返屋企食飯 ─《香港家族》的故事 Home is Where You Return for Dinner 20/2/2017 理察．尼爾遜：說書人
Richard Nelson: Master of Storytelling 18/3/2017 《紅樓夢》歌劇創作講座
A Chinese Classic Reimagined 電影 FilM
26/11/2016, 4,10/12/2016, 7/1/2017 《明亮的小溪》The Bright Stream 25,26/12/2016 《胡桃夾子》The Nutcracker 15,21/1/2017, 12/2/2017 《黃金時代》The Golden Age 19/2/2017, 4,12/3/2017 《李爾王》King Lear 19/3/2017 《天鵝湖》Swan Lake 2,8,23/4/2017, 11/5/2017
《睡公主》The Sleeping Beauty 6,14,20/5/2017 《暴風雨》The Tempest 7,13,21/5/2017 《當代芭蕾盛宴》A
4,18,24/6/2017 《當代英雄》A
