前言 FOREWORD
香港藝術節的其中一個主要目標，就是推動國 際文化交流。本屆香港藝術節秉承一貫既尊重
傳統又開創新猷的精神，邀請了一眾來自世界 各地殿堂級的大師，以及國際上備受矚目的年 輕藝術拓荒者，為我們獻上優秀的名作。當中 不少取材自經典文學，甚至是原汁原味地呈現 原著的創作，為觀眾帶來豐富的藝術享受。
與此同時，我們還獻上一系列以「幻想與冒險」 為主題的節目，部分以虛擬實境及擴增實境等 技術，把藝術與科技完美融合，部分則借鑑傳 統的戲偶與馬戲演出，創造出引人入勝的新作 品。本屆藝術節亦繼續積極支持本地藝術家， 鼓勵交流，共同建構一個充滿活力的多元化藝 術平台。
演出精采可期之外，我們更不忘在藝術教育和 觀眾拓展方面努力耕耘，一方面送上一連串精 心準備的「加料節目」，包括展覽、大師班、後 台參觀、演後藝人談等，另一方面亦策劃了豐 富多元的青少年之友及教育活動，冀望從不同 的層面、角度，為大家塑造更立體而深刻的藝 術體驗。
希望您會喜歡香港藝術節團隊今年為您準備的 藝術盛宴。
香港藝術節行政總監 余潔儀
香港藝術節的資助來自：
The Hong Kong Arts Festival is made possible with the funding support of:
Promoting international cultural exchange has always been a key objective of the Hong Kong Arts Festival. This year’s Festival continues to invite renowned global masters and internationally recognised young pioneers to present a range of world-class programmes, respecting tradition while encouraging new, innovative initiatives. Many of these works are inspired by classic literature or offer rediscoveries of the original, bringing vibrant artistic experiences to the city.
We will also present a series of programmes centred around “fantasy and adventure”. These include works that seamlessly blend the arts with VR and AR technology, as well as captivating new creations that draw on traditional puppetry and circus performances. The Festival will also continue to support local artists and encourage exchanges to foster a vibrant and diversified platform for the arts.
We also remain dedicated to advancing arts education and audience building. Our PLUS programmes will present a series of thoughtfully curated masterclasses, backstage visits, post-performance artist talks and an exhibition. And our Young Friends and educational activities will continue to offer multi-dimensional arts experiences to students.
We hope that you will enjoy this year’s arts extravaganza prepared by the Hong Kong Arts Festival team.
Flora Yu Executive Director Hong Kong Arts Festival
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，2024/25 財政年度 預計收入（包括第 53 屆香港藝術節及 2025 年「無限 亮」）約港幣一億五千萬，當中香港特區政府的年度 恆常撥款佔總收入約 12%，另外約 23% 需來自票房 收入，約 45% 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 20% 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 海崑劇團、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、 劉曉禹、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、班貝格交響樂團、 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、維也納愛樂樂團
• 爵士樂及世界音樂：波比．麥非年、尤蘇．恩多 爾、艾斯佩蘭薩．斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼
• 舞蹈：米高．巴里殊尼哥夫、蕭菲．紀蓮、艾甘． 漢、娜塔麗亞．奧斯波娃、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、米蘭史卡拉歌劇院芭蕾舞團
• 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《茱莉小姐》、 《飯戲攻心》踏台版、《末戀 · 無愛合約》、《我們最 快樂》、《鼠疫》、《陪着你走》、《百花亭贈劍》、 《香港家族》三部曲、《世紀．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
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 FY2024/25 (including the 53rd Hong Kong Arts Festival and 2025 “No Limits”) is approximately HK$150 million. Current Government annual baseline funding accounts for around 12% of the Festival's total income. Around 23% of the Festival’s income needs to come from the box office, and around 45% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 20% is expected to come from other revenue sources including the Government’s matching grant 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: Bayerische Staatsoper, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre
• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Kunqu 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, Bruce Liu, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, Bamberg Symphony, 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, Natalia Osipova, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet–John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch, Teatro alla Scala Ballet Company
• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company
• Large-scale special events: World of WearableArt, 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, the 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 Miss Julie, Table for Six On Stage, Loveless Romance, We Are Gay, 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 the HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch, Richard III
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》、香港藝術節與三藩市歌劇院聯合製作的《紅樓 夢》、香港藝術節與芬蘭國家歌劇院及芭蕾舞團聯合 製作的《拉娜》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32年來，已為約836,000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「無限亮」計劃於20 19 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。
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， 香港藝術節基金會 於 2022 年成立，旨在讓 藝術節在未來進行年度預算以外的大型或特別項目。
(2025年2月更新 Updated February 2025)
and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with the HKAF as a co-commissioning institution, Green Snake co-commissioned with the Shanghai International Arts Festival, Dream of the Red Chamber co-produced with the San Francisco Opera, and Laila, a co-production of the HKAF and the Finnish National Opera and Ballet.
The HKAF invests heavily in arts education for young people. Over the past 32 years, our “Young Friends” scheme has reached around 836,000 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 inclusion 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.
To provide greater financial security and long-term sustainability for the Festival, the Hong Kong Arts Festival Foundation was officially launched in 2022. Donations to the Foundation will be used towards enabling the Festival to present in the future largescale or special projects which its annual budget cannot cater for.
*有關香港藝術節的過往節目 Details of past HKAF programmes https://www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2024.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2024/25年度預計收入來源（約港幣一億五千萬）
電郵 Email: dev@hkaf.org
直線 Direct Lines: (852) 2828 4911/12
網頁 Website: www.hk.artsfestival.org/en/support-us
Estimated Income Sources for the Hong Kong Arts Festival Society in FY2024/25 (About HK$150 million)
約Around 45%
贊助和捐款 Sponsorship & Donations
約Around 23%
票房收入 Box Office
約Around 12%
政府的年度 恆常撥款 Current Government annual baseline funding
約Around 20%
其他收入 (包括按捐款和贊助收入 可望獲得的政府配對資助) Other Revenues (including possible Government Matching Grant for Sponsorship and Donation Income)
李飈與柏林愛樂打擊樂重奏組
Li Biao and The Philharmonic Percussion Group of Berlin
《敲擊傳奇》
Percussion Legend
14.03.2025 / 8:00pm
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
《一起鼓舞》
Drum Together
15.03.2025 / 8:00pm
香港文化中心音樂廳
Concert Hall, Hong Kong Cultural Centre
演出長約 1 小時 45 分鐘，包括一節中場休息
Approximately one hour and 45 minutes including one interval
※ 演出期間敬請關掉手提電話及其他電子產品，以免發出聲響或產生光線， 影響表演者及其他觀眾。
Please switch off mobile phones and all electronic devices so they will not emit sound or light during the performance, disturbing the performers and other audience members.
※ 請勿擅自攝影、錄音或錄影。
Unauthorised photography or recording of any kind is strictly prohibited.
※ 演出期間請保持安靜。
Please keep noise to a minimum during the performance.
※ 本場刊採用環保紙張印刷。
This programme is printed on environmentally friendly paper.
※ 如不欲保留本場刊，請於完場後放回演出場地入口。
If you don’t wish to keep this booklet, please return it to the admission point.
所有作品內容均由創作團隊獨立製作，並不代表贊助機構之立場或意見。
The content of all works is independently produced by the creative team, and does not reflect the views or opinions of the Sponsor.
本節目內容及本刊物所載之藝術家/客席撰文者言論屬於個人觀點，並不代表 香港藝術節（「本會」）之立場或意見。
The content of this programme and the opinions featured in this publication are solely thoseof the artists/guest writers and do not represent the views or opinions of the Hong Kong Arts Festival ( HKAF ).
適合 6 歲或以上的兒童及家長觀看
Suitable for children aged six and above and their families
藝術節加料節目
大師班 Masterclass
13.03.2025 ( 已舉行 Past event)
香港演藝學院音樂廳
Concert Hall, The Hong Kong Academy for Performing Arts
3 月 14 日（五）的演出將設有演後藝人談 Meet-the-Artist Session will be held after the performance on 14 March (Friday)
為免影響演出，持票人士務請準時入場。本會有權不讓於演出開始後或中場 休息後遲到和在演出期間中途離場的觀眾重新入場。
Ticket holders are strongly advised to arrive punctually. The HKAF reserves the right to refuse the (a) admission of latecomers (whether at the beginning of the performance or after the intermission) and (b) re-admission of audience members who leave the auditorium during the performance.
本會保留全權決定觀眾（包括遲到和中途離場的觀眾）入場和重新入場的可 能性及方式。
The HKAF also reserves the sole discretion to determine the possibility of admission and re-admission of audience members (which includes latecomers and audience members who have left the auditorium and are seeking readmission), as well as the manner in which they are admitted.
在任何情況下，若本會允許遲到者入場，該等遲到者只能在指定的遲到點入 場。持票人士如因遲到而不獲安排入場，本會恕不退票或換票。如有任何爭 議，本會保留最終決定權。
In any case, should the HKAF permit the admission of latecomers, such latecomers shall only be admitted at designated latecomer point(s). No refunds or changes will be offered if ticket holders are refused admission due to late arrival. In the event of any dispute, the HKAF reserves all rights to make the final decision.
帕特
Arvo Pärt (b. 1935)
《兄弟》 Fratres
皮爾．安德烈亞森 Per Andreasson (b. 1981)
《骨》 Bones
約翰．基治
John Cage (1912-92)
《客廳音樂》 LivingRoomMusic
米奇．馬爾科維奇
Mitch Markovich (b. 1944)
《團隊精神》 Teamwork
喬治．漢密爾頓．格林
科特．英格爾
奧托．維特
George Hamilton Green (1893-1970)
Kurt Engel (1909-67)
Otto Witt (1875-1923)
《繁拍組曲》 RagtimeSuite
中場休息 INTERVAL
杜比亞斯．布羅斯特羅姆
Tobias Broström (b. 1978)
《連繫世界》 BridgingtheWorld
郭文景 Guo Wenjing (b. 1956)
《戲中戲》 Drama X
史提夫．萊克
Steve Reich (b. 1936)
《響木音樂》 Music for Pieces of Wood
克里斯多夫．魯斯
Christopher Rouse (1949-2019)
《戰神之舞》 Ku-Ka-Ilimoku
三木稔 Minoru Miki (1930-2011)
《木琴靈歌》 MarimbaSpiritual
帕特 《兄弟》
愛沙尼亞作曲家帕特所創作的《兄弟》於 1977 年問世，將其標誌性的「鐘鳴作曲法」 發揮得淋漓盡致。這部作品為三個聲部而 作，卻沒有指定配器。樂曲以一個「六小節 長的主題不斷變奏，在喧囂與寧靜之間來 回交織，宛如瞬間與永恆的糾纏。該曲融 入作曲家對人生的領悟，教人迷醉神往。」
2006 年，萬博拉．克里古爾更將此作改 編，供五位敲擊樂手演奏。
Arvo Pärt (b. 1935)
Fratres
皮爾．安德烈亞森
《骨》
皮爾．安德烈亞森生於 1981 年，是瑞典鼓 手、搖滾歌手和作曲家。他的第二首敲擊 樂作品《骨》旨在創作一個獨特的作品，他 將這首樂曲形容為「恐怖電影的敲擊樂版
Fratres (Latin for “brothers”) is a musical work by Estonian composer Arvo Pärt that exemplifies his Tintinnabuli style of composition. Written in 1977 for three voices with no fixed instrumentation, it has been described as “mesmerising variations on a six-bar theme, combining frenetic activity and sublime stillness, summing up Pärt’s observation that ‘the moment and eternity fight within us’”. The arrangement for five percussionists was written by Vambola Krigul in 2006.
Per Andreasson (b. 1981) Bones
Born in 1981, Per Rickard Henrik Andreasson is a Swedish drummer, rock singer and songwriter. Bones is his second work for percussion and his attempt “to create something really unique and special. It’s my percussion version of a horror movie”. This work intends to portray comical elements normally associated with skeletons and bones, as well as the grim reality of decaying, dead bodies. While not always a comfortable experience for either performer or listener, it features various humorous moments and effects to keep the audience engaged.
While Tinplay—Andreasson’s first work for percussion—focused on using metallic instruments‚ Bones is written mainly for wooden instruments, featuring many sound references that play on the word “bones”. The work juxtaposes the soft against the hard, the simple against the intricate, occasionally allowing itself to become absurd and over the top.
約翰．基治 《客廳音樂》
《客廳音樂》於 1940 年由約翰．基治創作。
這首四重奏作品並無指定樂器，卻可利用住 宅客廳裏的物件演奏，因而得名。
基治將此曲獻給當時的妻子辛尼婭。作品分 為四個樂章：〈開始〉、〈故事〉、〈旋律〉和 〈完結〉。根據作曲家的指示，演奏者可利 用任何家居物件或建築材料，例如雜誌、紙
板、大型書籍、地板和木窗框等，演奏第一 和第四樂章。第二樂章則以言語為樂器，四 重奏成員結合說話或唱詠，演繹格特魯德． 史坦短詩《世界是圓的》的零碎片段。第三
樂章則可略去不演，它只包括一段旋律， 由其中一位表演者以「任何合適的樂器」演 奏。
John Cage (1912-92)
Living Room Music
Living Room Music is a musical composition by John Cage from 1940. It is for a quartet of unspecified instruments, all of which may be found in the living room of a typical house, hence the title.
米奇．馬爾科維奇
《團隊精神》
米奇．馬爾科維奇生於 1944 年，是美國敲
擊樂手、作曲家、教育家和音樂導師。他擅 長的範疇包括鼓樂基礎、步操敲擊樂、鼓號 及步操管樂團。馬爾科維奇憑藉一系列凌厲 密集的步操小鼓獨奏及敲擊樂四重奏作品 打響名堂。其作品展示的創作風格、記譜手 法、作曲技巧和演奏方式，對敲擊樂發展貢 獻尤甚，影響延續至今，超過五十載。
Living Room Music is dedicated to Cage’s then-wife, Xenia. The work consists of four movements: “To Begin”, “Story”, “Melody” and “End”. Cage instructs the performers to use any household objects or architectural elements as instruments, such as magazines, cardboard, largish books, the floor, the wooden frame of a window, etc. The first and last movements are percussion music for said instruments. In the second movement, the performers transform into a speech quartet, where the music consists entirely of spoken or sung pieces of Gertrude Stein’s short poem The World Is Round (1938). The third movement is optional. It includes a melody played by one of the performers on “any suitable instrument”.
Mitch Markovich (b. 1944)
Teamwork
Born in 1944, Mitch Markovich is an American percussionist, composer, educator and clinician in rudimental drumming, marching percussion, drum and bugle corps, and marching band. He is best known for his intensive marching snare drum solo and percussion quartet compositions. Markovich’s contributions to the style, notation, composition and performance of percussion have endured over the past five decades.
喬治．漢密爾頓．格林 科特．英格爾
奧托．維特
《繁拍組曲》
喬治．漢密爾頓．格林是木琴演奏家、作曲
家和漫畫家，生於美國內布拉斯加州奧馬哈 市的一個音樂世家。他的祖父與父親皆為作 曲家、編曲家和指揮，曾與不少當地樂隊合 作。格林年僅四歲便展現非凡的鋼琴天賦，
後來改為鑽研木琴。他在十一歲便在上萬名 觀眾前表演，更獲得「世上最偉大的木琴演 奏家」的美譽。作為繁拍音樂的代表作曲家 之一，格林譜寫了大量木琴作品，而這些作 品至今仍是該樂器的經典曲目。
上世紀七十年代末，加拿大敲擊樂團 NEXUS 銳意復興格林的木琴作品，重新喚起世人對
他的音樂的關注，他們將其用作敲擊樂教學 和表演曲目，從而啟發了科特．英格爾和奧 托．維特等後進創作同類型音樂。
杜比亞斯．布羅斯特羅姆 《連繫世界》
杜比亞斯．布羅斯特羅姆的敲擊樂三重奏作 品《連繫世界》，取材自巴赫 D 小調小提琴 變奏曲的《夏康舞曲》，是為慶祝國際扶輪 社成立一百周年的委約創作。2005 年，此 作於瑞典馬爾默音樂廳舉行世界首演。
George Hamilton Green (1893-1970)
Kurt Engel (1909-67)
Otto Witt (1875-1923)
Ragtime Suite
George Hamilton Green Jr. was a xylophonist, composer and cartoonist born in Omaha, Nebraska. He was born into a musical family, where his grandfather and father were composers, arrangers and conductors for bands in Omaha. From the age of four, Green demonstrated a prodigious talent as a pianist. He then took up the xylophone, and by the age of 11, he was promoted as the world’s greatest xylophonist, playing for crowds of up to 10,000 people. Green was also an important ragtime composer and authored many pieces that remain standards for the instrument today.
The rebirth of Green’s music was led by members of the NEXUS Percussion Ensemble in the late 1970s. Through their efforts, his xylophone music has been preserved as a relevant part of contemporary percussion instruction and performance, motivating other composers such as Kurt Engel and Otto Witt to write similar music.
Tobias Broström (b. 1978)
Bridging the World
Bridging the World is a piece for percussion trio composed by Tobias Broström. It was commissioned for Rotary International’s Centennial celebration and is based on J.S. Bach’s Chaconne in D minor. The world premiere of Bridging the World took place in 2005 at the Malmö Concert Hall.
郭文景
《戲中戲》
1956 年，郭文景生於中國四川省重慶。
1978 年，他從一萬七千名學生中脫穎而 出，成功考入北京中央音樂學院，成為該 校復辦首屆的一百名精英之一，同屆學生 包括譚盾、陳怡和周龍等國際知名作曲 家。郭文景曾獲亞洲文化協會頒贈助學 金，在紐約短暫留學，但畢業後一直紮根 中國本土。《紐約時報》讚揚郭文景是唯 一未曾長居海外，卻蜚聲國際的中國作曲 家。在國內，他躋身全國最傑出的藝術家 項目「百人計劃」之列。
郭文景以豐沛的作品產量著稱，同時不斷 教育講學。他曾任中央音樂學院作曲系主 任，而目前仍在該校執教。他的敲擊樂作 品《戲》和《炫》亦持續在全球各地演出。
史提夫．萊克
《響木音樂》
史提夫．萊克的《響木音樂》與另一作品 《拍手音樂》的創作緣由相近，全因作曲家 醉心以最簡單的樂器來演奏音樂。他為此 作選取的雙擊木（由兩塊圓柱狀硬木組成的 敲擊樂器）不但音色洪亮，更能發出特定音 高，包括 A、B、升 C、升 D，以及高八度 的升 D。這首敲擊樂曲不需配合擴音裝置演 奏，卻仍是作曲家聲量最大的作品之一。萊 克運用細膩的編排，使敲擊聲逐漸繁密，同 時巧妙地以休止符取代部分敲擊點，形成張 力十足的節奏結構。全曲共分為三段，分別 以六四拍、四四拍及三四拍呈現，每段節奏 愈趨短促。
Guo Wenjing (b. 1956)
Drama X
Guo Wenjing was born in 1956 in Chongqing, an ancient city in China’s mountainous Sichuan province. In 1978, he became one of 100 students admitted out of 17,000 applicants to Beijing’s re-opened Central Conservatory of Music. Unlike many peers from this acclaimed class, including Tan Dun, Chen Yi and Zhou Long, Guo remained in China after graduation, except for a short stay in New York on an Asian Cultural Council grant. The New York Times praised Guo as the only Chinese composer who has never lived abroad but established an international reputation. At home, Guo has been honoured among the Top China Hundred Outstanding Artists.
Guo was the former head of the Composition Department at the Central Conservatory, where he remains on the faculty. He also retains a busy schedule as a composer and educator. Additionally, Guo wrote Drama and Parade for percussion, which are regularly performed worldwide.
Steve Reich (b. 1936) Music for Pieces of Wood
Steve Reich’s MusicforPiecesofWood grew from the same roots as ClappingMusic: a desire to make music with the simplest instruments possible. The claves, or cylindrical pieces of hardwood, used in the work were selected for their particular pitches (A, B, C-sharp, D-sharp and D-sharp an octave above), and for their resonant timbre. This piece is one of the loudest Reich has ever composed. However, no amplification is used. The rhythmic structure is based entirely on the process of rhythmic “buildups” or the substitution of beats for rests. It is set in three sections, each with progressively shorter patterns: 6/4, 4/4, 3/4.
克里斯多夫．魯斯 《戰神之舞》
1978 年，克里斯多夫．魯斯應雪城交響樂 團敲擊樂合奏組的委約，創作了這首《戰 神之舞》（Ku-Ka-Ilimoku）。魯斯曾撰文解 釋：「在夏威夷神話中，『 Ku 』是眾神之主， 相當於希臘神話中的宙斯和北歐傳說中的 奧丁。『 Ku 』可化身不同形態，如『 Ku-KaIlimoku 』即為『戰爭之神』。因此，這首敲擊 樂合奏作品應被視為野性激昂的戰舞。」
Christopher Rouse (1949-2019)
Ku-Ka-Ilimoku
夏威夷的聖歌通常由兩個音高構成，當地敲 擊音樂則以短促反復的節奏模式為核心，表 面上看似簡單，但節奏暗藏微妙的變化與變 奏。魯斯巧妙地捕捉並運用了這一特徵，創 作出這首嚴密精巧，同時振奮人心的作品。
雖然作曲家並未採用夏威夷本土樂器，但 音樂仍能喚起對當地音色與氛圍的聯想。同 時，充滿活力的西方樂器為作品注入一股狂
《木琴靈歌》
日本作曲家三木稔的作品庫包含大量馬林巴 琴作品，《木琴靈歌》便是一例。作品以馬 林巴琴獨奏為核心，並輔以三名敲擊樂手使 用不同的鼓伴奏。三木的作曲風格以融合西 方與東方元素著稱，使他成為日本最知名的 作曲家之一。
三木稔早年醉心西方管弦樂創作，惟自上 世紀六十年代起，他成立了「日本音樂集 團」，銳意試驗以傳統日本樂器進行創作， 及後相關作品源源不絕。
Ku-Ka-Ilimoku, completed in 1978 on commission from the Syracuse Symphony Percussion Ensemble, is a composition by Christopher Rouse. “In Hawaiian mythology,” Rouse explains in his writing, “Ku is perhaps the most fundamental and important of gods, occupying a place similar to that of Zeus in Greek mythology or Odin in Norse legend. Ku is manifested in several forms: as Ku-Ka-Ilimoku he represents the god of war. Thus, this work for percussion ensemble is best viewed as a savage, propulsive war dance”.
Hawaiian chants are often based on as few as two pitches and Hawaiian percussion focuses on short, repetitive patterns. Beneath this surface simplicity is a wealth of subtle rhythmic inflections and variations. Rouse incorporates this diversity to great effect, creating a tightly knit, exhilarating work. Although indigenous instruments are not employed, the work evokes the timbre of their voices. Additionally, the dynamic power of Western instruments injects an intense ferocity into the proceedings.
Minoru Miki (1930-2011)
Marimba Spiritual
MarimbaSpiritual is one of many pieces written for the marimba by Japanese composer Minoru Miki. The piece features three percussionists who accompany the solo marimba on various drums. This combination of Western and Eastern influences is typical of Miki’s compositional style, making him one of Japan’s best-known composers.
Originally dedicated to Western-style orchestral music, Miki began experimenting with traditional Japanese instruments in the 1960s with the ensemble he founded, Nipponia. Since then, he has written many works for virtuosos of these instruments .
音樂介紹由李飈與柏林愛樂打擊樂重奏組提供 Programme
李飈
《一起鼓舞》
文森．科格爾
《敲擊樂三重奏》
安德烈．菲利多爾
雅克．菲利多爾 （迪特爾．戴克編曲）
《兩對定音鼓進行曲》
迪文齊．蕭斯達高維契
間奏曲，選自《鼻子》
沃爾夫岡．萊芬德
《跨界》（為小鼓獨奏而作）
史提夫．萊克
《拍手音樂》
Li Biao (b. 1969)
DrumTogether
Vincent Vogel (b. 1995)
Percussion Trio
André Philidor (1647-1730)
Jacques Philidor (1657-1708)
arr. Dieter Dyk
March for Two Pairs of Kettledrums
Dmitri Shostakovich (1906-75)
Intermezzo from The Nose
Wolfgang Reifeneder (b. 1960)
Crossover for Snare Drum Solo
Steve Reich (b. 1936)
ClappingMusic
中場休息 INTERVAL
皮亞蘇拉
（李飈編曲）
Astor Piazzolla (1921-92)
arr. Li Biao
《探戈組曲》 TangoSuite
劉恆編曲 arr. Liu Heng (b. 1954)
《中國民歌組曲》 ChineseFolkSongSuite
艾哈德．哥佩茨基 Eckhard Kopetzki (b. 1956)
《蛇之歌》 LeChantduSerpent
羅素．派克
Russell Peck (1945-2009)
《起飛》 Lift-off!
李飈
《一起鼓舞》
《一起鼓舞》是李飈專門為是次香港藝術節 創作的作品。樂曲以來自世界各地及不同文 化背景的鼓樂為基礎，讓表演者有更多即興 發揮的空間，如同香港──一個多元並存的 大都市。
Li Biao (b. 1969)
Drum Together
This piece was created by Li Biao specifically for the Hong Kong Arts Festival. It uses drum music from various cultures around the world as its foundation, allowing performers more opportunities for improvisation, much like Hong Kong, a metropolis famed for its diversity.
文森．科格爾
《敲擊樂三重奏》
《敲擊樂三重奏》是一首洋溢着歡樂氣息的 作品，捕捉了人們年輕時那深刻而美好的生 命體驗，彷如凝視一片色彩斑斕、百花盛開 的風景。樂曲以 F 大調開展主題，運用強烈 的切分音，爆發出激動人心的能量，但隨即 安謐寧靜的旋律帶來平衡，並發展成一段受 到爵士樂和森巴音樂啟發的樂段。三位演 奏者輪流帶來獨奏，直至推向降 E 小調的高 潮，最後回歸到開首那充滿感染力的 F 大調 歡樂之中。這兩個主題由三把馬林巴琴完美 地呈現，建構出一個充滿律動、和聲多變且 令人愉悅的音樂體驗 。
Vincent Vogel (b.1995)
Percussion Trio
Percussion Trio is a joyful piece that captures the deep experience of being young and looking at one’s own life as if it was a colourfully blossoming landscape in front of your eyes. This outburst of excitement that manifests in a heavily syncopated F-Major theme is quickly counteracted by a peacefully flowing melody which develops into a jazz-samba-inspired section with all three players alternately soloing their way up to the e-flat-minor climax before returning to the contagious F-Major happiness from the beginning. The two themes are building blocks that create a groovy, harmonically exciting and pleasant musical experience, perfectly represented by the wonderful sound of three marimbas.
安德烈．菲利多爾 雅克．菲利多爾
（迪特爾．戴克編曲） 《兩對定音鼓進行曲》
1685 年，菲利多爾兄弟創作了《兩對定音 鼓進行曲》。後來，奧地利敲擊樂家迪特 爾．戴克對樂曲進行改編，不但保留原譜中 的兩組定音鼓，還加入當時土耳其禁衛軍使 用的樂器，令作品的歷史價值更加豐富，故 不論是典禮儀式或音樂會，此曲都可作開場 之用。
André Philidor (1647-1730)
Jacques Philidor (1657-1708)
arr. Dieter Dyk
March for Two Pairs of Kettledrums
March for Two Pairs of Kettledrums is a composition by Jacques and Andre Philidor from 1685. In Dieter Dyk’s arrangement, the original instruments of the Turkish Janissary troops are added to the original score for two pairs of timpani. This historical composition is highly recommended and effective as a concert opening, for ceremonial processions or as any part of a programme.
迪文齊．蕭斯達高維契 間奏曲，選自《鼻子》
這首選自迪文齊．蕭斯達高維契歌劇《鼻 子》的間奏曲， 是最早專為敲擊樂合奏而創 作的樂曲之一，比埃德加．瓦雷茲的《電 離》更早面世，開創了在歌劇運用敲擊樂合 奏的先河。
沃爾夫岡．萊芬德 《跨界》（為小鼓獨奏而作）
沃爾夫岡．萊芬德透過《跨界》發掘小鼓迥 異多變的聲音潛力，展示出多達二十種的聲 音。
在第一樂章〈軍樂、傳統〉中，小鼓以強力 的滾奏、準確且清晰的調性，展現該樂器在 普魯士步操音樂中的傳統角色。在第二樂 章〈維也納式〉中，演奏家需同時使用定音 鼓、小鼓槌及刷子，演繹對維也納式華爾茲
的譏諷。而在第三樂章〈鄉村風格〉中，特 製鼓發出的金屬聲響營造出濃厚的民俗音樂 韻味，同時令人聯想起該區原產的口簧琴。
第三樂章的結構參考了在奧地利和巴伐利亞 一帶特別流行的「段歌」曲式：開首基本節 奏凌厲，但卻逐漸衰弱，儼如遠去的回聲。
最後，第四樂章〈性情多變、意氣風發〉的 律動和聲響，則與南美自由奔放的音樂文化 和活力充沛的生活態度遙相呼應。樂譜起初 對演奏者有明確的指引，但隨着樂章發展， 逐漸賦予演奏者更多即興的自由。
Dmitri Shostakovich (1906-75)
Intermezzo from The Nose
Intermezzo from The Nose by Dmitri Shostakovich is one of the first pieces composed exclusively for percussion ensembles. It was composed before Edgard Varèse’s Ionisation and it is the first instance of a percussion ensemble being used in an opera.
Wolfgang Reifeneder (b. 1960)
Crossover for Snare Drum Solo
Crossover, a composition by Wolfgang Reifeneder, showcases the diverse sound possibilities of the snare drum, uncovering up to 20 different sound facets.
The first movement, “Militärisch, traditionell”, reflects the function of the snare drum in traditional Prussian marching music. The accentuated roll passages are provided with precise dynamic and tonal specifications. The second movement, “Hochgradig wienerisch”, is a satire on the Viennese waltz, interpreted through the simultaneous use of timpani and snare drum mallets as well as brushes. In the third movement, “Ländlich”, the metallic sounds of the prepared drum echo folk music and the Jew’s harp, which is native to that region.
Formally, the third movement is based on the traditional structure of the “Gstanzl”. The basic rhythm of the beginning gradually intensifies and fades away at the end, as if in the distance. In the fourth movement, “Temperamental, exuberant”, the rhythm and sound recall South America’s musical culture and the region’s vibrant attitude to life. While the sequence is precisely notated at the beginning, it gradually gives the musician more improvisational freedom.
史提夫．萊克 《拍手音樂》
作曲家史提夫．萊克希望創作一首只用人體 為樂器的作品，遂於 1972 年完成了《拍手
音樂》。在這首作品中，第一位演奏者需重 複拍出一個十二拍節奏，作為全曲不變的基 調，而另一位演奏者則以相同節奏逐步前移 一個八分音符，使雙方節奏錯開，直至雙方 在結尾恢復齊奏。
Steve Reich (b. 1936)
Clapping Music
Clapping Music was composed by Steve Reich in 1972. It emerged from Reich’s desire to write a piece using only the human body as an instrument. The first player repeats a pattern consisting of 12 beats throughout, while the second player shifts it by 1/8 of a beat, thus creating various rhythmic canons. At the end, the second player returns to unison with the first player.
皮亞蘇拉
（李飈編曲） 《探戈組曲》
皮亞蘇拉被譽為新探戈的一代宗師。他將一 度遭世人鄙棄輕視的卡巴萊音樂，搖身一變 成為煥然一新的當代藝術，融會古典音樂豐 沛的和聲和配器語彙，且吸納爵士樂和新 音樂的元素。探戈起源於布宜諾斯艾利斯， 最初以長笛與結他演奏，盛行於當地妓院。
因此這位阿根廷作曲家追本溯源，採用這兩 種樂器，寫成多首聯篇室樂作品，當中包括
為長笛與結他而作的《探戈的歷史》，以及 1984 年為雙結他而作的《探戈組曲》。誠如 皮亞蘇拉的眾多其他作品，《探戈組曲》後 來衍生多個改編版本，包括今晚演奏的雙馬 林巴琴版本。
Astor Piazzolla (1921-92)
arr.
Li Biao
Tango Suite
Piazzolla was a grand master of tango nuevo. He transformed the once ridiculed and despised cabaret music into a great form of contemporary art, enriched with classical harmony and instrumentation, and influences from jazz and new music. In several cyclical chamber music works, Piazzolla returned to the origins of the tango, using instruments first heard in the brothels of Buenos Aires: a flute and a guitar. Notable works include Histoire duTango for flute and guitar, and Tango Suite for two guitars. The original 1984 version of TangoSuite was, like many Piazzolla pieces, followed by various arrangements, including this version for two marimbas.
劉恆編曲
《中國民歌組曲》
《中國民歌組曲》是一首由李飈委約創作的 敲擊樂重奏作品。樂曲選用了五首極具代表 性的中國民歌，包括江蘇民歌《茉莉花》、 廣東民歌《彩雲追月》、新疆民歌《達阪城
的姑娘》、四川民歌《康定情歌》，以及《太 陽出來喜洋洋》。這首組曲通過敲擊樂獨特 的音色和演奏技巧，將五首耳熟能詳的中國 民歌以「串燒」形式加以創作，巧妙地運用 西洋敲擊樂講述中國民間故事。
arr. Liu Heng (b. 1954)
Chinese Folk Song Suite
ChineseFolkSongSuite, commissioned by Li Biao, is a work for a percussion ensemble. It presents five distinctive Chinese folk songs: Mo Li Hua from Jiangsu, Guangdong’s Colourful Clouds ChasingtheMoon, TheGirlofDabanCity from Xinjiang, and Sichuan’s KangdingLoveSong and JoyatSunrise. Showcasing the unique timbres and performance techniques of percussion music, this suite reinvents these household tunes in a medley, combining Chinese folklore with the syntax of Western percussion music.
艾哈德．哥佩茨基
《蛇之歌》
在艾哈德．哥佩茨基的《蛇之歌》中，八道 鼓聲迴盪交錯，磅礡澎湃，宛如舉行一個音 樂儀式。呼喊、拍掌和鼓聲四處響起，觀眾 仿佛能想像幾位舞者環繞野火共舞，他們的 身姿隨着音樂緩緩扭動，最終幻化成一條巨 大的蛇身。
Eckhard
Kopetzki (b. 1956)
Le Chant du Serpent
Eckhard Kopetzki’s Le Chant du Serpent (“The Song of the Snake”) is a powerful work for eight drums that fills the room with resonant sounds, embodying a musical ritual. Shouts, clapping and drumming paint a picture of an enormous serpent body, seemingly composed of various imaginary dancers, engaging in spellbinding movement around a wildfire.
羅素．派克
《起飛》
《起飛》由美國作曲家羅素．派克於 1966 年 創作，由三名或以上敲擊樂手演奏，包括低 音大鼓、中音鼓和高音鼓。作品分為兩個部 分：第一部分通過節奏營造活潑有趣的鼓樂 對話；第二部分，十六分音符扮演重要角 色，並營造出強而有力的結尾。作曲家旨在 模仿三架直升機起飛時的聲音效果。
音樂介紹由李飈與柏林愛樂打擊樂重奏組提供
Programme notes supplied by Li Biao and The Philharmonic Percussion
of Berlin
李飈與柏林愛樂打擊樂重奏組
李飈與柏林愛樂打擊樂重奏組的合作始於 年。作為國際最知名的敲擊樂獨奏家 之一，李飈與四位全球頂尖交響樂團成員 的合作，從一開始便吸引了眾多國際音樂 節及觀眾的高度關注。他們的合作不僅展 現出音樂的完美契合，更因為深厚的友情 而顯得格外珍貴。他們既是同僚，也是師 生與朋友。
他們曾在柏林愛樂音樂廳與柏林愛樂樂團 同台演出，並多次於德國巴特基辛根音樂 節亮相，還參與了中國國家大劇院五月音 樂節的開幕演出。2012 年，他們於中國內 地六個城市巡演，並以特邀嘉賓身份參與 香港國際鼓手節 。
Li Biao and The Philharmonic Percussion Group of Berlin
Li Biao’s collaboration with The Philharmonic Percussion Group of Berlin began in 2010. As the most internationally renowned percussion soloist, this collaboration with his peers from the world’s best symphony orchestra has attracted the attention of many music festivals and the public since the beginning. In addition to music, friendship is another major feature of this group: they are not only colleagues, but also teachers, students and friends.
Together, they have performed in the famous Philharmonie Berlin with the Berliner Philharmoniker, and at the Bad Kissingen Music Festival in Germany, and staged the opening performance for the May Music Festival at the China National Centre for the Performing Arts. In 2012, they toured six cities in Mainland China and participated in the Hong Kong International Drummer Festival as guests.
李飈
李飈為世界音樂舞台上屈指可數的全職敲擊 樂獨奏家之一，他對敲擊樂的獨特悟性和創 新的演奏風格，為古典音樂帶來新啟發和新 角度，被譽為當代最優秀的敲擊樂獨奏家之 一。
李飈出生於南京，五歲開始學習音樂， 1982 年入讀中央音樂學院附中主修敲擊 樂。1988 年，他成為中國首位公派敲擊樂 留學生，獲文化部選送到莫斯科柴可夫斯基 紀念音樂學院，師從斯留基業夫，並取得一 級音樂碩士學位。1995 年，他獲德國學術
交流總署獎學金，入讀慕尼黑音樂暨表演藝 術大學，並在彼得．薩德羅的指導下取得大 師文憑。
他在學生時期已屢獲殊榮，其中包括首屆德 布勒森敲擊樂比賽銀獎，成為首位在國際音 樂比賽中獲獎的華人敲擊樂演奏家。李飈自
2003 年起擔任中央音樂學院敲擊樂教授； 2005 年成立李飈打擊樂團 ；2006 年起擔任 柏林漢斯．艾斯拿音樂學院敲擊樂教授。
Li Biao
As one of the most outstanding percussion soloists in the world, Li Biao’s unique, in-depth interpretation of percussion music has brought significant rediscovery and fresh insight into the wellestablished percussion repertoire. Born in Nanjing, China, Li began his musical studies at five years old. In 1982 he entered the middle school affiliated to the Central Conservatory of Music in Beijing to study percussion. In 1988, he was selected by the Chinese Government as the first percussionist to study at the Moscow Tchaikovsky Conservatory. Studying under V. Sniegerew, Li graduated with a Master’s degree with First-Class Honours. In 1995, after winning the DAAD scholarship, Li continued his music education at the Hochschule für Musik und Theater in Munich under Professor Peter Sadlo and graduated with a Meisterklassendiplom. Li won many prizes as a student percussionist, including the Silver Award at the first Debrecen Percussion Competition in 1993, making him the first Chinese percussionist to win at the international percussion competition. Since 2003, Li has served as a professor of percussion at Central Conservatory of Music in Beijing. In 2005 he established the Li Biao Percussion Group and in 2006 became the percussion professor at the Hochschule für Musik Hanns Eisler Berlin.
法蘭茲．辛德貝克
法蘭茲．辛德貝克自五歲起開始打鼓，十二歲正 式接受敲擊樂訓練。 1983 至 1988 年，他在特 羅辛根音樂學院隨赫曼．施文特納學習敲擊樂。
1988 至 1992 年間，他擔任曼咸國立劇院敲擊樂 首席，後加入柏林愛樂樂團。
辛德貝克熱愛爵士樂和古典音樂。他在學生時期已 加入多個樂隊，並擔任巴登符騰堡州青年樂團鼓手。
1999 年，他與柏林愛樂樂團的同僚創立柏林愛樂爵 士樂隊。自 1994 年起，他一直在柏林愛樂樂團音樂 學院任教。
Franz Schindlbeck
Franz Schindlbeck has been drumming since he was five. At the age of 12, he began regular percussion instruction and studied from 1983-88 with Hermann Gschwendtner at the Trossingen Musikhochschule. Before becoming a member of the Berliner Philharmoniker, he gained his first orchestral experience as principal percussionist of the Mannheim National Theater from 1988-92. Schindlbeck loves jazz as well as Classical music. While still a student, he was already playing in a number of bands and as a drummer in the youth big band of Baden-Württemberg state. In 1999, together with several Philharmoniker colleagues, he founded The Berlin Philharmonic Jazz Group and since 1994 he has taught in the orchestra’s academy.
雷納．西格斯
雷納．西格斯於 1952 年出生在一個音樂世家，他 的祖父多年來擔任萊比錫布業大廳樂團小號首席。
他從小受祖父的音樂薰陶，隨家人定居德國漢諾威 後，於漢諾威音樂學院接受敲擊樂和定音鼓訓練， 並在 1973 至 1977 年間主修敲擊樂。
西格斯十三歲便活躍於漢諾威國立歌劇院，後擔任 布倫瑞克國家劇院定音鼓首席。1977 至 1982 年， 他成為拜羅伊特音樂節樂團的成員。1982 年，他加 入柏林愛樂樂團，並於 1986 年晉升為定音鼓首席。
自 1982 年起，他在德國漢諾威音樂及戲劇大學任 教，並在柏林愛樂樂團音樂學院、柏林漢斯．艾斯 拿音樂學院任教敲擊樂。
Rainer Seegers
Rainer Seegers, born in 1952, is a German percussionist, former principal timpanist of the Berliner Philharmoniker, tutor of the European Union Youth Orchestra and guest professor at the Hochschule für Musik Hanns Eisler Berlin. Seegers is also a timpani soloist who has championed an unusual repertoire for timpani and orchestra.
Seegers’ first musical influence was his grandfather, who was a trumpet player with the Gewandhausorchester in Leipzig. After his family moved to Hanover, he studied percussion at the local Musikhochschule, although he had already been performing professionally with the Staatsoper Hannover. Soon after receiving his first principal position as timpanist of the Staatstheater Braunschweig, he left to join the WDR Symphony Orchestra Cologne. From 1977-82, he performed with the Bayreuth Festival Orchestra. In 1982, Seegers joined the Berliner Philharmoniker and served as its principal timpanist until the summer of 2019.
揚．施利特
揚．施利特最初學習鋼琴，憑藉非凡的讀譜天賦， 在學校的音樂老師推薦下加入青年管弦樂團，擔任 敲擊樂手。
1991 年，他在法蘭克福就學，隨後轉學 至特羅辛根音樂學院，師從法蘭茲．朗和柏林愛樂 樂團定音鼓手雷納．西格斯。西格斯和法蘭茲．辛 德貝克也是他在柏林愛樂樂團音樂學院的導師。
在加入柏林愛樂樂團之前，施利特在德國青年愛樂 樂團和西南德國廣播交響樂團累積了豐富的演出經 驗，他對當代鋼琴和敲擊室樂特別感興趣。他同時 是柏林樂團「核」的創始成員之一，亦是柏林新音 樂室樂團和沙隆樂團的成員。
Jan Schlichte
Jan Schlichte originally played the piano, and his obvious talent for reading music led to an invitation from his music teacher at school to take over the percussion in its youth orchestra. In 1991, he began his studies in Frankfurt, later transferring to the Musikhochschule Trossingen, where his teachers included Franz Lang and Rainer Seegers, timpanist of the Berliner Philharmoniker. Seegers was, along with Franz Schindlbeck, also his teacher in the orchestra’s academy. Before joining the Berliner Philharmoniker, Schlichte acquired extensive orchestral experience playing in, among other ensembles, the Junge Deutsche Philharmonie and Southwest German Radio Symphony Orchestra. His particular interest is contemporary chamber music with piano and percussion. He is also a founding member of the Berlin ensemble Nukleus and plays in the Berlin New Music Chamber Ensemble, as well as the Scharoun Ensemble.
文森．科格爾
文森．科格爾的雙親均為管弦樂團成員，使他自幼 接觸音樂及音樂創作。他對敲擊樂充滿熱情，經常 將廚房用具鋪在地面，試圖從鍋蓋中尋找理想的音 調。
科格爾八歲便在家鄉維也納學習音樂。2011 至 2014 年，他就讀維也納音樂與表演藝術大學，師從約瑟 夫．甘平格、博格達．巴卡努和克里斯托夫．西岑。
2015 年，他在柏林漢斯．艾斯拿音樂學院繼續深 造，並師從法蘭茲．辛德貝克和雷納．西格斯。
Vincent Vogel
Vincent Vogel came into contact with music and music making at an early age through his parents, who both played in orchestras. He was fascinated by the world of percussion. In his search for the ideal sound, he often spread kitchen utensils on the floor to find the sound of the perfect pot lid.
At the age of just eight, he became a junior student at the conservatory in his home town of Vienna. From 2011-14, he studied at the University of Music and Performing Arts in Vienna under Josef Gumpinger, Bogdan Bacanu and Christoph Sietzen. In 2015, he continued his studies at the Hochschule für Musik Hanns Eisler Berlin under Franz Schindlbeck and Rainer Seegers.
盧卡斯．伯姆
盧卡斯．伯姆畢業於柏林漢斯．艾斯拿音樂學院， 曾於柏林愛樂樂團的卡拉揚音樂學院擔任研究員。
他屢獲殊榮，曾勇奪 2017 年比利時環球馬林巴琴比 賽一等獎。伯姆曾在歐洲、亞洲、美國、加拿大和 南美洲等地舉行音樂會，並在當地擔任客座教授。
除了與李飈和亞列克謝．格拉西梅茲合作室樂，他 還經常在柏林德意志交響樂團客席演奏，並在柏 林、漢堡和史圖加等地的歌劇院演出。
Lukas Böhm
Lukas Böhm studied at the Hochschule für Musik Hanns Eisler Berlin and with the Berliner Philharmoniker as a scholar of the Karajan Academy. He has won international awards such as the first prize at the Universal Marimba Competition in Belgium in 2017. Concert tours and guest professorships have taken him throughout Europe, to Asia, the USA, Canada and South America.
In addition to close chamber music partnerships with Li Biao and Alexej Gerassimez, he is a regular guest with orchestras including the Deutsches Symphonie-Orchester, and at the opera houses of Berlin, Hamburg and Stuttgart.
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無名氏 (2) Anonymous (2)
D. Chang
CHANG Shen
Ms CHIU Shui Man Tabitha
W W Y Ho
Dr Alfred Lau
Mr LEE Ming Wai Joannes
李芸輝博士 Dr LEE Wan Fai Walter
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
HKCT ABRSM Alumni Association
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
Agnes Chu Vocal Studio
教育局藝術教育組 Arts Education Section, Education Bureau
網上售票平台 Art-mate
香港展能藝術會 Arts with the Disabled Association Hong Kong
AS Production Co., Limited
亞洲文化協會香港分會 Asian Cultural Council Hong Kong
香港愉景灣酒店 Auberge Discovery Bay Hong Kong
奧地利駐港總領事館 Austrian Consulate General Hong Kong
Backstage Music Studio
Ballet Blanc
卓藝舞蹈學院 Balletbean Dance Academy
BRICK LANE
英國駐香港總領事館 British Consulate General Hong Kong
百老匯院線 Broadway Circuit
CAMPSITE
思藝舞蹈中心 CB Dance Studio
中英劇團 Chung Ying Theatre Company
城市當代舞蹈團 City Contemporary Dance Company
Cloverland Music and Arts Centre Limited
阿根廷駐香港總領事館 Consulate General of Argentina in Hong Kong
比利時駐香港總領事館 Consulate General of Belgium in Hong Kong
加拿大駐香港及澳門總領事館 Consulate General of Canada in Hong Kong and Macao
法國駐港澳總領事館 Consulate General of France in Hong Kong & Macau
愛爾蘭駐香港總領事館 Consulate General of Ireland in Hong Kong
意大利駐香港總領事館 Consulate General of Italy Hong Kong
日本國駐香港總領事館 Consulate-General of Japan in Hong Kong
馬來西亞駐香港總領事館 Consulate General of Malaysia in Hong Kong
西班牙駐港總領事館 Consulate General of Spain in Hong Kong
瑞士駐香港總領事館 Consulate General of Switzerland in Hong Kong
捷克共和國駐港總領事館 Consulate General of the Czech Republic
荷蘭駐港總領事館 Consulate General of the Kingdom of Netherlands in Hong Kong and Macau
大韓民國駐香港總領事館 Consulate General of the Republic of Korea in Hong Kong
新加坡駐香港總領事館 Consulate General of the Republic of Singapore in Hong Kong.
俄羅斯聯邦駐香港總領事館 Consulate General of the Russian Federation in Hong Kong
美國駐香港及澳門總領事館 Consulate General of the United States, Hong Kong and Macau
創藝舞蹈學院 Creation Dancing Academy
寶貝芭蕾舞學校 Dance with Me Ballet Academy
Edmond Cheng's Music Center Ltd.
誠品書店 eslite bookstore FOSSA.ART Studio
德國駐香港總領事館 German Consulate General Hong Kong
纋雅芭蕾舞學校 Glamor Ballet School
Glenda Allen Dance Academy
六國酒店 Gloucester Luk Kwok Hong Kong
香港君悅酒店 Grand Hyatt Hong Kong
廣州市唄壳文化發展有限公司 Guangzhou Beike Culture Development Co. Ltd.
香港藝術中心 Hong Kong Arts Centre
香港中樂團 Hong Kong Chinese Orchestra
香港大會堂 Hong Kong City Hall
香港文化中心 Hong Kong Cultural Centre
香港文化博物館 Hong Kong Heritage Museum
香港藝術館 Hong Kong Museum of Art
香港話劇團 Hong Kong Repertory Theatre
香港小交響樂團 Hong Kong Sinfonietta
香港旅遊發展局 Hong Kong Tourism Board
摩洛哥駐香港名譽領事館 Honorary Consulate of Morocco in Hong Kong
可允芭蕾 Howan Ballet
入境事務處 Immigration Department
敲擊樂藝術中心 Initial-P Music Ltd
益普索 IPSOS
王仁曼芭蕾舞學校 Jean M. Wong School of Ballet
高山劇場 Ko Shan Theatre
葵青劇院 Kwai Tsing Theatre
勞工處 Labour Department
康樂及文化事務署 Leisure and Cultural Services Department
牧羊少年與他的浮萍 Lemna of the Alchemist
陳綺婷舞蹈及藝術學院 Les Danseurs Dance Academy
曾眉芭蕾舞學校 Le Studio Ballet
Maxibit HK/China
MOViE MOViE
Ms Grace Li
Munchkinlands Company
迷音樂 Musikholic
南蓮園池 Nan Lian Garden
北區大會堂 North District Town Hall
柏斯琴行 Parsons Music Limited
Performing Arts Fund NL
迷離科技有限公司 Practical Magic and Innovation
犇華企業服務有限公司 Primasia Corporate Services Limited
舍區 Quarryside
RED ZHU
富豪九龍酒店 Regal Kowloon Hotel
富豪東方酒店 Regal Oriental Hotel
黃日芝芭蕾舞學校 Regine Wong School of Ballet
倫敦皇家歌劇院及芭蕾舞團館藏 Royal Opera and Ballet Collections
皇家太平洋酒店 Royal Pacific Hotel
沙田大會堂 Sha Tin Town Hall
上環文娛中心 Sheung Wan Civic Centre
Southgate Design
春天芭蕾舞學校 Springtide Ballet School
大館—古蹟及藝術館 Tai Kwun Centre for Heritage and Arts
台灣蘇富比國際房地產 Taiwan Sotheby's International Realty
駐香港臺北經濟文化辦事處 Taipei Economic and Cultural Office in Hong Kong
藝林文具印刷有限公司 The Artland Co. Ltd.
瑞典駐香港及澳門總領事館 The Consulate General of Sweden in Hong Kong and Macau
灣景國際 The Harbourview
香港演藝學院 The Hong Kong Academy for Performing Arts
音樂學院 School of Music
表演場地管理部 Venue Performance Unit
場地技術部 Venue Technical Unit
香港兒童合唱團 The Hong Kong Children's Choir
香港管弦樂團 The Hong Kong Philharmonic Orchestra
加拿大國家芭蕾舞團 The National Ballet of Canada
香港半島酒店 The Peninsula Hong Kong
港青—香港基督教青年會 The Salisbury – YMCA of Hong Kong
荃灣大會堂 Tsuen Wan Town Hall
屯門大會堂 Tuen Mun Town Hall
東華三院東蒲 TWGHs TungPo
郭慧芸芭蕾舞學校 Vivian Kwok School of Ballet
西九文化區管理局 West Kowloon Cultural District Authority
Wewow House
艾希妮控股有限公司 X Social Group Holdings Limited
高木 Yakitori Takagi
元朗劇院 Yuen Long Theatre
電話 TEL （852）2824 3555
傳真 FAX （852）2824 3798、（852）2824 3722
電子郵箱 Email afgen@hkaf.org
節目查詢熱線 （852）2824 2430
Programme Enquiry Hotline
地址 ADDRESS
香港灣仔港灣道二號十二字樓 1205 室 Room 1205, 12/F,2 Harbour Road, Wan Chai, Hong Kong
贊助人 李家超先生 , PATRON
The Hon. John KC Lee, GBM SBS PDSM PMSM GBM SBS PDSM PMSM
永遠名譽會長 邵逸夫爵士（1907-2014）
執行委員會
主席 盧景文教授
副主席 文肇偉先生 義務司庫 范高廉先生 委員 鄭惠貞女士 馮愉敏先生
何苗春暉女士
薛文熹先生 譚榮邦先生 姚潔莉女士 楊 光先生
節目委員會
主席 譚榮邦先生
委員 白諾信教授 羅志力先生
毛俊輝教授
約瑟・施力先生 + 姚 珏女士
財務委員會
主席 范高廉先生
委員 鄭惠貞女士 梁國輝先生
發展委員會
委員 張詩樂先生 馮愉敏先生 馮穎詩女士 梁嘉彰女士 龐心怡女士 孫林宣雅女士
文 藝女士
顧問 夏佳理先生 鮑 磊先生 查懋成先生 陳祖澤博士
陳達文博士
霍 璽先生 李業廣先生 梁紹榮夫人
李國寶博士
名譽法律顧問 甘乃迪女士
（美博香港律師事務所）
核數師 羅兵咸永道會計師事務所
HONORARY LIFE PRESIDENT The Hon. Sir Run Run Shaw, GBM CBE（1907-2014）
EXECUTIVE COMMITTEE
Chairman Prof. Lo Kingman, SBS MBE JP
Vice-Chairman
Honorary Treasurer
Members
PROGRAMME COMMITTEE
Chairman
Mr Sebastian Shiu-wai Man
Mr Colin Farrell
Ms Margaret Cheng, JP
Mr Michael Fung
Ms Joanna Hotung
Mr Hugh Simon
Mr Tam Wingpong, SBS
Ms Miriam Yao
Mr Sunny Yeung
Mr Tam Wingpong, SBS
Members Prof. Giorgio Biancorosso
Mr Peter C L Lo
Prof. Fredric Mao, BBS
Mr Joseph Seelig, OBE +
Ms Jue Yao, SBS JP
FINANCE COMMITTEE
Chairman
Members
DEVELOPMENT COMMITTEE
Members
ADVISORS
HONORARY SOLICITOR
AUDITOR
Mr Colin Farrell
Ms Margaret Cheng, JP
Mr Nelson Leong
Mr Carey Cheung
Mr Michael Fung
Ms Ophelia Fung
Ms Catherine Leung
Ms Samanta Sum-yee Pong
Mrs Helen Lin Sun
Ms Yi Wen
The Hon. Ronald Arculli, GBM CVO GBS OBE JP
Mr Martin Barrow, GBS CBE
Mr Victor Cha
Dr John CC Chan, GBS JP
Dr Darwin Chen, SBS ISO
Mr Angus H Forsyth
The Hon. Charles YK Lee, GBM GBS OBE JP
Mrs Mona Leong, SBS BBS MBE JP
Dr The Hon. Sir David KP Li, GBM GBS OBE JP
Ms Gabriela Kennedy, Mayer Brown Hong Kong LLP
PricewaterhouseCoopers
職員
行政總監 余潔儀
行政總監助理 何丹蓉
節目
節目總監 梁掌瑋、蘇國雲
副節目總監 李冠輝
高級節目經理 蘇雪凌、游慧姿*
節目經理 鄭佩群*、趙蔚霖*、廖國穎*、 馬筠婷*
節目統籌 容諾行*
節目主任 周 翹*、鍾曉晴*
製作助理 陳娟瑜#
節目助理 黃明儀#
物流
物流及接待經理 金學忠*
技術
製作經理 梁雅芝*
副製作經理 陳梓衡*
出版
編輯經理 陳詠恩*
英文編輯 Adam Wright*
副編輯 陳劭儀*、楊紫媛*
外展
外展經理 林嘉敏*
外展統籌 李幸凝*、鄧芷蔚*、黃思婷*
外展主任 陳沅渟*、趙家琳*
外展助理 郭曉潼*、汪意玲*
市場推廣
市場總監 鄭尚榮
副市場總監 盧伯全
市場經理 陳綺紅*、鄭曉恩*、張予心*
副市場項目經理 李穎軒*、譚懿諾*
副市場經理 曾諾怡*
市場統籌 盧之愷*
市場主任 梁喬正*
市場助理 陳慧琳#
票務
高級市場經理（票務） 梁彩雲
票務助理 蔡嘉熹*
發展
發展總監 簡潤如
特別發展協理 蘇啟泰*
高級發展經理 譚樂瑤
發展經理 葉巧儀*、黃珮茵*
助理發展經理 黃堅詠*
發展助理 葉涴喬*
行政事務
財務總監 鄺敬婷
會計
會計經理 杜詩麗*
會計及行政助理 麥婕妤*
人力資源及行政 人力資源及行政經理 楊美君* 接待員/初級秘書 李美娟 助理 黃國愛 資訊科技
資訊科技經理 陳啟明*
無限亮
項目總監 錢 佑*
節目及外展經理 鍾美琼*、高君*、吳卓恩*
助理節目及外展經理 潘詠汶*
節目及外展統籌 張沚鈴*
市場經理 黃嘉欣*
副市場經理 陳佩鈴*、吳雪琼*
助理製作經理 鄭家裕*
高級會計主任 鍾巧明*
藝術家統籌經理 朱芷慧*
STAFF
Executive Director
Assistant to Executive Director
PROGRAMME
Programme Directors
Associate Programme Director
Senior Programme Managers
Programme Managers
Programme Coordinator
Programme Officers
Production Assistant
Programme Assistant
LOGISTICS
Logistics Manager
TECHNICAL
Production Manager
Flora Yu
Connie Ho
Grace Lang, So Kwok-wan
Kenneth Lee
Shirley So, Janet Yau*
Cathy Cheng*, Crystal Chiu*,
Sophie Liao*, Katie Ma*
Ryan Yung*
Nicole Chow*, Dorothy Chung*
Alice Chan#
Melissa Wong#
Elvis King*
Shirley Leung*
Deputy Production Manager Jacob Chan*
PUBLICATIONS
Editorial Manager
English Editor
Associate Editors
OUTREACH
Outreach Manager
Outreach Coordinators
Eugene Chan*
Adam Wright*
Shao yi Chan*, Trista Yeung*
Carman Lam*
Giselle Li*, Tina Tang*, Ariel Wong*
Outreach Officers Olivia Chan*, Raven Chiu*
Outreach Assistants
MARKETING
Marketing Director
Angel Kwok*, Elaine Wong*
Katy Cheng
Associate Marketing Director Eugene Lo
Marketing Managers Annie Chan*, Vicki Cheng*, Stephanie Cheung*
Deputy Project Managers - Marketing Hill Li*, Hades Tam*
Deputy Marketing Manager
Marketing Coordinator
Marketing Officer
Margaret Tsang*
Lettie Lo*
Isaac Leung*
Marketing Assistant Kelly Chan#
TICKETING
Senior Marketing Manager (Ticketing) Eppie Leung
Ticketing Assistant
DEVELOPMENT
Development Director
Heidi Choi*
Brenda Kan
Special Development Associate Alex So*
Senior Development Manager
Development Managers
Assistant Development Manager
Development Assistant
CORPORATE SERVICES
Lorna Tam
Evelyn Ip*, Janice Wong*
Angela Wong*
Jeria Yip*
Finance Director Teresa Kwong
ACCOUNTS
Account Manager
Connie To*
Accounting & Administrative Assistant Charmaine Mak*
HR & ADMINISTRATION
HR and Admin Manager
Janet Yeung*
Receptionist/Junior Secretary Virginia Li
General Assistant Bonia Wong
INFORMATION TECHNOLOGY
Information Technology Manager
NO LIMITS
Project Director
Derek Chan*
Eddy Zee*
Programme and Outreach Managers Becky Chung*, Tiffany Ko*, Frieda Ng*
Assistant Programme and Outreach Jasmine Poon* Manager
Programme and Outreach Coordinator Cheung Chi-ling*
Marketing Manager Carly Wong*
Deputy Marketing Managers Gina Chan*, King Ng*
Assistant Production Manager Dick Cheng*
Senior Accounting Officer Catherine Chung*
藝術家統籌 張晞琳*、莊唯*、向怡君*、何敬堯*、梁頌怡*、盧悅穎*、Giacomo Matelloni*、曾婷欣*、胡肇婷*、楊嘉嘉*、翁蒨懃*
製作主任 王子蕙*
技術統籌 張詠宜*、范文恩*、李浩賢*、彭家達*、曾以德*
Head of Artist Coordinators Eleanor Chu*
Artist Coordinators Haynes Cheung*, Viola Chong*, Cassandra Heung*, Kelvin Ho*, Kitty Leung*, Joyce Lo*, Giacomo Matelloni*, Renee Tsang*, Blanche Wu*, Jiajia Yang*, Bonnie Yung*
Production Officer Anissa Wong*
Technical Coordinators Jess Cheung*, Yan Fan*, Lawrence Lee*, Pang Ka-tat*, Joyi Tsang*
*合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order
# 藝術人才見習配對計劃2023/24 及2024/25 由香港藝術發展局資助
# 2023/24 and 2024/25 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2025年2月更新 Updated February 2025
