Mivos Quartet
Steve Reich: The String Quartets
特首獻辭 Chief Executive ’ s Message
二零二六年香港藝術節隆重 舉 行，謹此致賀。
今年藝術節邁進第五十四屆，約 180 場演出涵蓋 音樂、戲曲、歌劇、戲劇、舞蹈、藝術科技及 其他表演藝術創作，精彩多元，引人矚目。
藝術節在二月二十七日以西班牙國家舞劇院著 名舞劇《美麗的奧蒂羅》揭開序幕，在舞台重 現巴黎黃金時代的歌舞昇平，別出心裁。三月 二十七日藝術節閉幕以大型舞劇《牡丹亭》為 壓軸演出，呈獻導演兼編舞黎星對經典愛情劇 目的嶄新演繹。今年的音樂節目陣容強大，匯 聚各傑出鋼琴家獻技，有年輕韓國天才鋼琴家 任奫燦，也有榮獲二零二五年范．克萊本國際 大賽金獎及觀 眾 大獎的本地鋼琴家沈靖韜，實 在不容錯過。
一如既往，藝術節包羅繽紛多彩的外展及教育 活動。今年的「加料節目」着重豐富藝術愛好 者的文化體驗，加深對世界級藝術家的認識， 對於啓發更多人參與藝術活動，以至鞏固香港 作為中外文化藝術交流中心的定位，極為重要。
感謝眾多贊助商及捐款者慷慨支持香港藝術節。
我亦感謝藝術節團隊再接再厲，為本港以至全
球各地觀 眾 呈獻異彩生輝，令人讚嘆的文化藝 術與娛樂盛會。
香港特別行政區行政長官 李家超
I am pleased to congratulate the Hong Kong Arts Festival on the organisation of its 2026 season. This year’s Festival, the 54th edition, features some 180 performances, encompassing music, Chinese and Western opera, theatre, dance, arts technology and a dazzling variety of performing arts productions.
The Festival opens on 27 February with Ballet Nacional de España’s acclaimed operatic ballet La Bella Otero , recreating the glamour of Paris’ golden era on stage. The Festival concludes on 27 March with the large-scale dance theatre production DreaminThePeonyPavilion , directed and choreographed by Li Xing, injecting fresh life into the timeless love classic. This year’s music performances present a number of brilliant pianists, including young Korean piano sensation Yunchan Lim, and Hong Kong-born Aristo Sham, the gold medallist and audience award winner at the 2025 Van Cliburn International Piano Competition.
As ever, the Festival features a diverse range of outreach and educational activities. This year’s PLUS programme focuses on a wide cultural experience for arts lovers and deeper understanding of world-class artists, contributing to promoting engagement in cultural events and consolidating Hong Kong’s positioning as the East-meets-West centre for international cultural exchange.
I am grateful to our many sponsors and donors for their generous support. My thanks also, as always, go to the Hong Kong Arts Festival for once again bringing Hong Kong, and the world, a shining season of arts and culture, entertainment and wonder.
John KC LEE Chief Executive Hong Kong Special Administrative Region
主席獻辭 Chairman ’ s Message
誠摯歡迎閣下蒞臨第 54 屆香港藝術節。作為國際 藝壇中重要的表演藝術盛事，藝術節一直秉持使 命，致力豐富香港的文化生活，並向社會各界推 廣最優質的表演藝術。今年，藝術節匯聚逾 1,100 位本地及國際的頂尖藝術家，為觀 眾 呈獻超過 45 個涵蓋不同藝術領域的多元化節目，合共逾 180 場精釆演出，並 舉 辦約 300 項「加料節目」、外 展及教育活動，為香港注入充沛的文化活力。
我由衷感謝香港特別行政區政府透過康樂及文化事 務署，提供年度恆常撥款及配對資助；感謝香港 賽馬會慈善信託基金、一眾企業贊助機構、慈善基 金會及捐助者的慷慨支持；還有感謝在藝術節舞台 上盡顯才華及創意的享譽國際藝術家，以及在所有
節目背後努力耕耘的香港藝術節團隊——你們每 一分的寶貴捐獻、每一位的投入參與和支持，讓 香港藝術節得以順利舉行，並且成為我們的龐大 動力，使我們能夠持續透過表演藝術回饋社會。
今後，香港藝術節將繼續為觀 眾 呈獻目不暇給的 演出、委約創意無限的新作品，以及致力培育才 華洋溢的本地藝術人才。最後，我要向所有前來
觀賞演出的觀 眾 致以萬分謝意。希望您享受這趟 我們為您精心策劃的藝術之旅，並從中獲得喜 悅、共鳴與啟發。
香港藝術節主席
盧景文
A warm welcome to the 54th Hong Kong Arts Festival. As a leading international performing arts event, the Festival continues to uphold its mission of enriching our city’s cultural life and promoting the best of the performing arts to different sectors of our community. This year, the Festival brings to Hong Kong more than 1,100 distinguished local and international artists from a wide range of artistic disciplines in over 180 performances of more than 45 programmes, as well as about 300 “PLUS”, outreach and education events.
I would like to express my sincere gratitude to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention and matching grant. My heartfelt thanks also go out to The Hong Kong Jockey Club Charities Trust, our corporate sponsors, charitable foundations and donors for their generous support. Their invaluable contributions empower us to actively advance the community through the performing arts.
My genuine appreciation goes to all our internationally renowned and most talented artists for their creativity and outstanding performances on stage. Their dedication profoundly motivates us to continue showcasing exceptional productions, commissioning new works and nurturing local talent. I am also deeply grateful to the HKAF team for its commitment and efforts to bring this Festival to life. Finally, I extend my warmest thanks to all audience members. We truly hope you enjoy this artistic journey and discover moments of delight, resonance and inspiration throughout the programmes being presented this year.
Lo Kingman Chairman Hong Kong Arts Festival
支持機構：
Supporting Organisation:
前言 Foreword
第 54 屆香港藝術節雲集眾多大師級藝術家與傑 出團隊，帶來超過 180 場的音樂、舞蹈、戲劇、 歌劇、戲曲、藝術科技與跨界創作節目，展示藝 術家的精湛造詣。
今年的其中一個主題，是對「勇氣與和平」的探 索。當全球都因為戰亂、流離、經濟下行等苦難 感到焦躁不安，藝術家以獨特的視角與語言，在 舞台上交織出對世界的回應，提醒我們抱持堅毅 與希望。
此外，今屆藝術節部分作品採用了簡約的戲劇手 法，讓我們擺脫地域與資源的限制。我們亦繼續 擁抱藝術科技，利用混合實景技術，開拓新的表 演效果。
一如既往，藝術節今年帶來超過 300 項的外展與 教育活動。「加料節目」準備了一系列講座、大師 班、後台參觀、文化深度遊等活動。我們為大、
中、小學生設計的全方位外展及教育活動，則會 帶領數以萬計的年輕觀眾理解作品背後的故事。
衷心感謝您出席這一場演出，願您從中找到愉悅 與共鳴。
The 54th Hong Kong Arts Festival once again brings together great masters and outstanding artists, presenting more than 180 performances across music, dance, theatre, opera, Chinese opera, arts-tech and interdisciplinary creations—showcasing the exceptional craft of leading local and international talent.
One of this year’s themes is an exploration of “Courage and Peace”. At a time when the world is troubled by war, displacement, economic downturns and other hardships, artists respond from their own distinctive perspectives and in their own languages on stage, reminding us of the need to be resilient and hopeful.
Some works in this year’s Festival adopt a minimalistic theatrical approach, enabling us to transcend the constraints of geography and resources. We also continue to embrace arts-tech, using mixed-reality technologies to open up new performance possibilities.
As always, the Festival presents more than 300 outreach and education activities. Our PLUS events feature a curated series of talks, masterclasses, backstage tours and guided cultural walks. Our comprehensive education initiatives tailored for primary, secondary and tertiary students are aimed at enabling students to gain a more in-depth understanding and appreciation of the works we present.
I sincerely thank you for joining us at this performance, and we hope that you find joy and resonance in the experience.
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:
Flora Yu Executive Director Hong Kong Arts Festival
港藝術節收入目標（包括第 54 屆香港藝術節及 2026 年「無限亮」）約港幣一億五千九百萬，當中香港特 區政府的年度恆常撥款佔總收入約 12%，另外約 24% 需來自票房收入，約 44% 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、三藩市歌 劇院、薩翁林納歌劇節
• 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、上海越劇院
• 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、安德拉斯．席夫爵士、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、英國國家劇院
• 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》
• 音樂劇：《日新》、《雄獅少年》、《咆哮山莊》
• 藝術科技：《超真實》裝置音樂會、《真．幻境 界》、《巴黎舞會》
, 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 as well as a diverse range of “PLUS” and in February and March each year.
non-profit organisation. The total income target for FY2025/26 (including the 54th Hong Kong Arts Festival and 2026 “No Limits”) is approximately HK$159 million. Current Government annual baseline funding accounts for around 12% of the Festival's total income. Around 24% of the Festival’s income needs to be generated from the box office, and around 44% 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, San Francisco Opera, Savonlinna Opera Festival
• 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, Shanghai Yue Opera House
• 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, Sir András Schiff, 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, National Theatre of Great Britain
• Large-scale special events: World of WearableArt, Zingaro
• Outdoor events: Power Plant, Super Pool, Chorus
• Musicals: Yat-sen, I Am What I Am the Musical, Wuthering Heights
• Arts-Tech: Hyperreality—An Installation Concert, Norealitynow , VR Interactive Dance—Le Bal de Paris
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.
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。
香港藝術節多年來與知名國際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聯同香港歌德 學院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹 窗人》；作為聯合委約機構之一並聯同倫敦老域劇 院、布魯克林音樂學院與尼爾街製作公司製作的「橫 貫計劃」之《暴風雨》及《李察三世》；與上海國際 藝術節聯合委約的《青蛇》；與三藩市歌劇院聯合製 作的《紅樓夢》；與芬蘭國家歌劇院及芭蕾舞團聯合 製作的《拉娜》，以及與中央戲劇學院及 Compagnie Point Fixe 聯合製作的《海底兩萬里》等。
香港藝術節 一直大力投資 下一代的藝術教育。「青 少年之友」成立 33 年來，已為約 849,000 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 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。
香港藝術節協會 2025/26 年度收入目標：
Estimated Target Income for the HKAF in FY2025/26:
港幣一億五千九百萬
The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced with GoetheInstitut Hong Kong and Tanztheater Wuppertal Pina Bausch; Richard III and TheTempest 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 Shanghai International Arts Festival; Dream of the Red Chamber coproduced with San Francisco Opera; Laila , a co-production with Finnish National Opera and Ballet, and 20,000LeaguesUndertheSea , co-produced with The Central Academy of Drama, China, and Compagnie Point Fixe.
The HKAF invests heavily in arts education for young people. Over the past 33 years, our “Young Friends” scheme has reached around 849,000 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 halfprice 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, meetthe-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.
政府的年度恒常撥款 Current Government annual baseline funding
HK$159 million 約 Around 44% 約 Around 12% 約 Around 20% 約 Around 24%
其他收入 Other Revenues
（包括按捐款和贊助收入 可望獲得的政府配對資助 including possible Government Matching Grant for Sponsorship and Donation income）
票房收入 Box Office
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.
電郵 Email: dev@hkaf.org
直綫 Direct lines: (852) 2828 4911/12
網頁 Website: http://go.hkaf.org/give
贊助和捐款 Sponsorship & Donations
*有關香港藝術節的過往節目 Details of past HKAF programmes
創新向前 共拓新景 請支持 新作捐助計劃
香港藝術節一直致力委約及製作高質素的全新作品，鼓勵藝術創新 和培育演藝人才。您對 新作捐助計劃 的捐款能協助我們把優秀又大 膽創新的作品搬上舞台，讓它們發光發亮。
香港藝術節是香港特區政府的「藝術發展配對資助計劃」受惠機構， 部份籌得的捐款及贊助收入將獲 一元 對 一元 的配對資助。*
無論捐贈數額多少，我們均衷心感謝您的支持！
The Festival is committed to promoting original works, and has commissioned and produced many critically acclaimed productions in the past. Your donation to the New Works Scheme will help us produce more innovative performances and nurture local talent.
The Hong Kong Arts Festival is a recipient of the HKSAR Government’s Art Development Matching Grants Scheme. Part of the Festival’s sponsorship and donation income will benefit from a dollar-for-dollar match by the Government.* Donations of any amount will make a difference, and are greatly appreciated!
網上捐款
ONLINE DONATION http://go.hkaf.org/give
其他捐款方法，請參閱刊於本 冊子尾部之捐款表格 For other donation methods, please refer to the Donation Form near the end of this booklet
米費斯弦樂四重奏——
萊克弦樂四重奏作品音樂會
Mivos Quartet—
Steve Reich: The String Quartets
14.03.2026 / 8:00 pm
香港大會堂音樂廳
Concert Hall, Hong Kong City Hall
演出長約 1 小時 25 分鐘，包括一節中場休息
Approximately one hour and 25 minutes including one interval
藝術節加料節目
講座 Talk
米費斯弦樂四重奏—— 萊克弦樂四重奏作品
Mivos Quartet—Steve Reich: The String Quartets 10.01.2026 （已舉行 Past event）
封面照片Cover Photograph
© Marco Borggreve
※ 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 those of the artists/guest writers and do not represent the views or opinions of the Hong Kong Arts Festival (“HKAF”).
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.
本會有權決定觀眾（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 right 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 re-admission), 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.
The Mivos Quartet
米費斯弦樂四重奏致力為世界各地的觀眾 呈獻創新的弦樂四重奏音樂。樂團於 2008
年在紐約成立，不論是知名或新晉、任何 風格與背景的作曲家，樂團均與之合作。
樂團積極委約並首演新作，同時透過巡 演，不斷演出來豐富其曲目。樂團追求與 作曲家深度合作，經常邀請不同音樂傳統 與類型的作曲家和客席藝術家合作及參與 演出，以加強其藝術表現力。
米費斯弦樂四重奏近期委約創作的包括作 曲家安布羅斯．阿金穆斯亞、喬爾 – 弗朗 索瓦．杜蘭德、瑪麗．哈爾佛遜等的作 品。而即將舉行的首演將包括作曲家大 衞．伯德、茱莉．漢登、維勒．拉薩卡、 羅尼．瑞謝夫和伊凡．約翰遜的作品。除
了演出不同作曲家的作品，樂團更與柏德
烈．希金斯、森．普魯塔和瑟西兒．麥克 羅恩．莎芳等藝術家合作，演出多媒體與
即興表演。
米費斯弦樂四重奏以往在多個舞台的演出 皆廣獲好評，當中包括奧德堡音樂廳（英
國）、紐約卡內基音樂廳（美國）、易北愛 樂廳（德國）和華盛頓國會圖書館（美國） 等。樂團亦曾獲達姆施塔特夏季課程演繹
大獎，以及 2019 年德懷特和烏爾蘇拉．馬 姆洛克當代音樂演繹者獎。
除了演出，米費斯弦樂四重奏也致力於培
養年輕作曲家和弦樂演奏家，例如在達姆
施塔特夏季課程和維也納當代作曲家音樂 節等夏季音樂節擔任常駐樂隊，也曾獲邀 在柏克萊音樂學院和美國哈佛大學等知名 學府舉辦工作坊。為鼓勵創作，樂團設立
了米費斯／坎特弦樂四重奏作曲獎，以及 為全球華裔作曲家而設的「 I–Creation 創 作獎」。
Beyond performance, Mivos is committed to educating young composers and string players. It serves as an ensemble-in-residence at summer festivals, including the Darmstadt Summer Course and the Vienna Contemporary Composers Festival. It has conducted workshops at numerous prestigious institutions, including the Berklee College of Music and Harvard University in the USA. Mivos also awards the Mivos/Kanter String Quartet Composition Prize to support emerging composers and the I-Creation Prize for composers of Chinese descent worldwide. 米費斯弦樂四重奏
The Mivos Quartet is dedicated to presenting innovative new string quartet music to diverse audiences worldwide. Founded in New York in 2008, the quartet collaborates with established and emerging composers across a wide spectrum of demographics and styles. Mivos commissions and premieres new works while deepening the repertoire through repeated performances on tour. The quartet aims for meaningful collaborations with composers for each project and often engages guest artists from various traditions and genres to expand its capabilities.
Recent commissions for Mivos include works by Ambrose Akinmusire, Joël-François Durand, Mary Halvorson and others. Upcoming premieres feature composers David Bird, Julie Herndon, Ville Raasakka, Ronnie Reshef and Evan Johnson. In addition to composed music, Mivos presents multimedia projects and improvised performances, collaborating with artists including Patrick Higgins, Sam Pluta and Cécile McLorin Salvant.
Mivos has received critical acclaim at venues such as Aldeburgh Music (UK), Carnegie Hall (USA), Elbphilharmonie (Germany) and the Library of Congress (USA). The quartet has won the Interpretation Prize at the Darmstadt Summer Course and the 2019 Dwight and Ursula Mamlok Prize for Interpreters of Contemporary Music.
他們的最新專輯《史提夫．萊克：弦樂四 重奏》由德意志留聲機發行，是萊克四重
奏的首張完整錄音。其他備受關注的專輯 還包括作曲家詹姆斯．佐治．瑟爾韋爾和 瑪麗．哈爾佛遜的作品。米費斯弦樂四重 奏的音樂作品還獲 KAIROS 、 New Focus
Recordings 和 Tzadik labels 等唱片公司 發行。
Mivos’ recent album, SteveReich:TheString Quartets on Deutsche Grammophon, is the first complete recording of Reich’s quartets. Other notable albums include works by James George Thirlwell and Mary Halvorson. Mivos’ music is also featured on the KAIROS, New Focus Recordings and Tzadik labels.
（左起）維克托．洛里．塔福亞、奧利維亞．迪．普拉托、納森．華德斯、威廉．奧弗卡殊
From left: Victor Lowrie
Olivia De
Marco Borggreve
Tafoya,
Prato, Nathan Watts, William Overcash
米費斯弦樂四重奏——
萊克弦樂四重奏作品音樂會
Mivos Quartet
Steve Reich: The String Quartets
史提夫．萊克
《世貿中心9.11》
2001年9月11日
2010 年
世貿中心
《三重四重奏》
第一樂章
第二樂章
第三樂章
《不同的列車》
I. 美國—戰前
II. 歐洲—戰爭時期
III. 戰後
米費斯弦樂四重奏
The Mivos Quartet
小提琴
奧利維亞．迪．普拉托
小提琴
威廉．奧弗卡殊
中提琴
維克托．洛里．塔福亞
大提琴
納森．華德斯
Steve Reich (b. 1936)
WTC9/11 (2010)
9/11/01
2010
WTC
TripleQuartet (1999)
First Movement
Second Movement
Third Movement
中場休息 INTERVAL
Different Trains (1988)
I. America—Before the War II. Europe—During the War III. After the War
Violin
Olivia De Prato
Violin
William Overcash
Viola
Victor Lowrie Tafoya
Cello
Nathan Watts
14.03.2026
作曲
史提夫．萊克
史提夫．萊克獲《紐約客》評為「我們這 個時代最具原創性的音樂思想家」；亦獲 《紐約時報》評為「本世紀最偉大的作曲 家」。自上世紀六十年代起，他的《要下雨 了》、《鼓聲》和《為十八位音樂家而作的 音樂》等具影響力的作品，將音樂創作的 重心從複雜性轉向脈動和音調吸引力，影 響了全球的作曲家和藝術家。
2009 年，萊克憑《雙六重奏》榮獲普立茲
獎，其作品亦多次獲得格林美獎。他獲得 的國際榮譽包括東京高松宮殿下紀念世界 文化獎、瑞典極地音樂獎和威尼斯雙年展 金獅獎。他獲授予法國藝術及文學勳章司 令勳位，並獲茱莉亞音樂學院等著名學府 頒授榮譽博士學位。
萊克經常與安．德麗莎．迪．姬爾斯美嘉
和伊利．季利安等編舞家合作，其作品包 括紀錄片式錄像歌劇《洞穴》和《三個故 事》，拓展了音樂劇的界限。正如《衛報》 所指，萊克是少數真正改變音樂史進程的 在世作曲家之一。
Composer
Steve Reich (b. 1936)
Steve Reich has been hailed as “the most original musical thinker of our time” (TheNewYorker) and “among the great composers of the century” (The NewYorkTimes). Since the 1960s, his influential works, including It'sGonnaRain, Drumming and Musicfor18Musicians, have been widely credited with shifting focus from complexity to pulsation and tonal attraction, impacting composers and artists globally.
Reich won the Pulitzer Prize for DoubleSextet in 2009, and his works have garnered multiple Grammy Awards. His accolades include the Praemium Imperiale (Tokyo), the Polar Music Prize and the Golden Lion at the Venice Biennale. He has been named Commandeur de l'Ordre des Arts et des Lettres in France and has received honourary doctorates from prestigious institutions including The Juilliard School.
A frequent collaborator with choreographers such as Anne Teresa De Keersmaeker and Jiri Kylián, Reich's works, including the documentary video operas TheCave and ThreeTales, have expanded the boundaries of music theatre. As noted by The Guardian, Reich is one of the few living composers who has genuinely altered the course of musical history.
曲目介紹 Programme Notes
《世貿中心9.11》
2 009 年，克諾斯四重奏請我用預錄聲音
創作一首作品。惟早在 1973 年，我便開始 構思通過延長說話者每句說話最後的母音 或子音，創造「定格聲音」。這個構想固 然不可能在當年實現，但去到 2001 年我創 作《多利》 * 期間，情況就截然不同了。在 《世貿中心 9.11 》這部作品裏，我便試圖運 用定格聲音，將一個人與另一個人通過和 聲連結起來，而成品效果的確亦然。
我曾經茫無頭緒，不知道要預錄誰說話的 聲音，也不知道作品將圍繞甚麼話題。數
月過去，有天我終於記起，我和家人曾經 居住在距離世貿中心僅僅四個街區的公寓 長達二十五年。9.11 當天，我和內子人在佛 蒙特州，但兒子、孫女和媳婦都身處曼哈 頓的公寓內。我們無間斷地通了六小時的 電話，直至鄰居最終得以帶着家人，連同 我家三人，一同驅車向北，駛離城市。對
我們來說，9.11 並非一件新聞事件。
收到克諾斯四重奏的邀約後，我意識到作 品裏的預錄聲音要從 9.11 事件取材。具體而
言，我先從公共領域入手，搜集包括北美 空防司令部和紐約市消防局的聲音，繼而 與住在下曼哈頓或在該區工作的朋友和鄰 居訪談，將他們的聲音加入作品中。
我的作曲家好友大衛．朗曾說，世貿中心 的英文縮寫「 WTC 」，同樣也可指代來世 （world to come）。9.11 事件後，死難者遺 體和殘肢被送往位於東曼哈頓的法醫辦公 室。根據猶太傳統，生者有責任守護屍首 直至下葬。在這個希伯來語稱為「什米拉」 的儀式上，守靈者會坐在屍首旁邊，一直 誦讀《詩篇》或聖經經文。而這個習俗的 由來，一方面是避免屍身遭受動物或昆蟲 的侵擾，另一方面則是陪伴下葬前仍縈繞 肉身的「內沙瑪」靈魂。由於 DNA 鑑定 困難重重，這場守靈儀式足足持續了七個
WTC9/11 (2010)
In 2009, the Kronos Quartet asked me for a piece using pre-recorded voices. My first idea was to elongate the speaker's final vowels or consonants. Stop-action sound. Impossible in 1973 when I first thought of it. Possible in 2001 when Dolly* was begun. In WTC9/11 it was to be, and is, the means of connecting one person to another, harmonically.
I had no idea who would be speaking. No subject matter. After several months I finally remembered the obvious. For 25 years, we lived four blocks from the World Trade Center. On 9/11 we were in Vermont, but our son, granddaughter and daughter-in-law were all in our apartment. Our phone connection stayed open for six hours and our next-door neighbours were finally able to drive north, out of the city, with their family and ours. For us, 9/11 was not a media event.
After Kronos asked me for the piece, I realised the prerecorded voices would be from 9/11. Specifically, they would start with the public domain: NORAD, the Fire Department of New York, and then from interviews with friends and neighbours who lived or worked in Lower Manhattan.
WTC is also an abbreviation for “world to come”, as my composer friend David Lang pointed out. After 9/11, the bodies and parts of bodies were taken
月，全天候不間斷進行。在第三樂章中， 我們便可聽到其中兩位守靈女子誦讀《詩 篇》，亦可以聽到一名當時在其他地方參
與守靈的大提琴家演奏旋律，而一名來自 紐約市主要猶太會堂的領唱人，則在吟唱 《詩篇》選段和《妥拉》經文。
《世貿中心 9.11 》共有三個樂章，分別是 〈 2001 年 9 月 11 日〉、〈 2010 年〉和〈世貿中 心〉，惟速度保持通篇一致。在作品開始和 尾聲，第一小提琴均複奏着電話尚未掛上 時發出的響亮警報（實際上是個 F 音）。在 第一樂章中，我們可以從北美空防司令部 的檔案錄音，聽得出當時空中交通管制員 對美國航空 11 號班機偏離航道感到驚惶不 已，而後來我們都知道這將是第一架故意 撞向世貿中心的客機。隨後，紐約市消防 局在事件當天的檔案錄音響起，有關人員 正在講述當時的地面狀況。第二樂章則運 用了我在 2010 年的錄音，附近居民、一名 消防官以及第一位抵達現場的救護車司機 （隸屬哈察拉志願醫療組織）紛紛憶述起九 年前發生的一切。最後一個樂章採用的聲 音錄音，則來自事發附近一名居民、兩位 輪流守在遺體旁邊的義工，以及上述的大 提琴家 / 歌唱家和領唱人。
整首作品中，弦樂不斷模仿錄音中的話語 旋律，以及延長後的母音或子音，甚至為 它們配上和聲。我們合共可以聽到三個弦 樂四重奏的聲音，當中包括一個現場演奏 和兩個預錄的四重奏，但這部作品也可以 由三個現場四重奏與預錄聲音一同演奏。
《世貿中心 9.11 》成品僅長 15 分 30 秒，但在 創作過程中，我不時試圖將它延長，只是 最終都會削弱作品的震撼力，這麼看來，
這部作品本身也想保持簡明扼要。
撰文：史提夫．萊克（寫於 2012 年）
* 編按：多利為世上首隻複製羊，於1996年誕生。
to the Medical Examiner's office on the east side of Manhattan. In the Jewish tradition, there is an obligation to guard the body from the time of death until burial. This practice, called shmira, consists of sitting near the body and reciting Psalms or Biblical passages. The roots of the practice are, on one level, to protect the body from animals or insects, and on another, to keep the neshama, or soul, company as it hovers over the body until burial. Because of the difficulties with DNA identification, this went on for seven months, 24/7. Two of the women who sat and recited Psalms are heard in the third movement. You will also hear a cellist (who has sat shmira elsewhere) and a cantor from a major New York City synagogue sing parts of Psalms and the Torah.
WTC9/11 is in three movements, though the tempo remains unchanged throughout: “9/11/01”, “2010” and “WTC”. The piece begins and ends with the first violin doubling the warning beep (an F) of a phone left off the hook. In the first movement, there are archival recordings of NORAD air traffic controllers alarmed that American Airlines Flight 11 was off course. This was the first plane to deliberately crash into the World Trade Center. The movement then shifts to the New York City Fire Department archives from that day telling what happened on the ground. The second movement uses recordings I made in 2010 of neighbourhood residents, a Fire Department officer, and the first ambulance driver (from Hatzalah medical volunteers) to arrive at the scene, remembering what happened nine years earlier. The third and final movements use the voices of a neighbourhood resident, two volunteers who took shifts sitting near the bodies, and the cellist/singer and cantor mentioned above.
Throughout WTC9/11, the strings double and harmonise the speech melodies and prolonged vowels or consonants of the recorded voices. You will hear a total of three string quartets: one live and two prerecorded. The piece can also be played by three live quartets and pre-recorded voices. WTC9/11 lasts 15.5 minutes only. While composing it, I often tried to make it longer and each time it felt that extending its length reduced its impact. The piece wanted to be terse.
Text: Steve Reich, 2012
*Editor's note: Dolly was the world's first cloned sheep, born in 1996.
《世貿中心 9.11 》口述文本
Spoken Text for WTC9/11
I. 2001 年 9 月 11 日
北美空防司令部：
他們從波士頓出發—
飛往洛杉磯—
卻朝着南方飛去—
他們走錯—
他們走錯方向—波士頓— 洛杉磯—
朝着南方飛去— 走錯—
走錯方向—
失去聯絡—
失去與機長的聯絡— 完全失去與機長的聯絡—
完全
失去 與機長
的聯絡
紐約市消防局：
請繼續說
飛機剛剛撞—
飛機剛剛撞向世貿—所有可以出動的 所有可以出動的救護車— 飛機朝着
飛機朝着大樓飛去—發生重大 發生重大倒塌—
求救！求救！自由街與西街交界，我被困我被 困在瓦礫堆—
第二架飛機
第二架飛機
第二架飛機！— 求救！求救，求救！
我快窒息了
我快撐不住了
另一座大樓剛剛倒塌
II. 2010 年
附近居民、消防官、第一位抵達世貿中心現 場的救護車司機：
當時我在上課—
I. 9/11/01
NORAD:
They came from Boston –Goin’ to LA –and they’re headed South –They’re goin’ the wrong They’re goin’ the wrong way – Boston –LA –headed South –goin’ the wrong goin’ the wrong way –no contact –no contact with the pilot –no contact with the pilot whatsoever –
No contact with the pilot whatsoever
FDNY: go ahead Plane just crashed –Plane just crashed into the World Trade – every available every available ambulance –the plane was aiming the plane was aiming towards the building – there’s been a major there’s been a major collapse –May-day! May-day! Liberty and West, I’m trapped I’m trapped in the rubble –the second plane the second plane a second plane! –May-day! May-day, may-day! I can’t breathe
I can’t breathe much longer Other tower just collapsed
II. 2010
Neighbourhoodresidents,FireDept.Officer,first ambulancedrivertoarriveatWorldTradeCenter:
I was sitting in class –
四個街區
距離事發地點以北四個街區—
我正在送孩子上學—
第一架飛機—
直接
直接從我們頭頂飛過—
直接從我們頭頂飛過，撞向大樓—
我猛然瞪大眼睛
火焰
其中一座大樓
其中一座大樓正熊熊燃燒
但我們都以為
但我們都以為這是意外，意外
我知道這不是意外
我隨即知道這不是意外
所有人四散奔逃
奔逃
所有人奔逃、尖叫—
接着—
接着
第二架飛機撞擊—
第二架飛機撞擊
這不是意外
這不是
這不是意外
人—
人
從大樓跳下來—
從大樓跳下來
人
第一輛救護車
第一輛趕到現場的救護車 一片混亂
混亂
沒人知道
沒人知道該怎麼辦 沒人
地面—
地面開始震動—
地面開始震動
你能感覺到
大樓倒塌
倒塌
快跑
為了保命快跑
快跑
突然
four blocks four blocks north of Ground Zero –I was taking my kids to school –the first plane –went straight went straight over our heads –went straight over our heads and into the building –My eyes just kind of shot up flames one of the towers one of the towers just in flames but we all thought but we all thought it was an accident, an accident I knew it wasn’t an accident I knew it wasn’t an accident right away Everyone was running running
Everyone was running and screaming –Then –
Then
The second plane hit –The second plane hit It was not an accident It was not It was not an accident
People –People jumping from the building –jumping from the building people
The first ambulance the first ambulance to get there It was chaos chaos nobody knew nobody knew what to do nobody
The ground –The ground started shaking –The ground started shaking You could feel it
The building came down came down
Run
Run for your lives
Run
Suddenly
突然外面變得漆黑—
突然外面變得漆黑
你根本無法看到前方
你根本無法
瓦礫吞噬了所有人
瓦礫吞噬了現場所有人
所有人
所有人都認為我們死定了
所有人都認為我們死定了 完全死寂
死寂
街上只有灰塵
只有灰塵
三千人
三千人遭謀殺
這裏會發生甚麼事？
接下來這裏會發生甚麼事？
III. 世貿中心
社區居民、在9.11事件罹難者遺體旁二十四小
時不間斷誦讀《詩篇》直至下葬的女人、一
位嗓音優美的大提琴手、一位猶太會堂的領 唱人：
遺體
遺體被運往大型帳篷
這些帳篷位於東曼哈頓
我會坐在那裏
我會坐在那裏，整晚誦讀《詩篇》
整晚誦讀《詩篇》
就這樣坐着
坐着
你出你入，耶和華要保護你，從今時直到永遠 *
你出你入，耶和華要保護你，從今時直到永遠 你出你入，耶和華要保護你，從今時直到永遠
來世
我其實不明白那是甚麼意思
看哪，我要差遣使者在你前面，在路上保護 你，領你到我所預備的地方 **
看哪，我要差遣使者在你前面，在路上保護 你，領你到我所預備的地方— 然後就是來世
然後這裏就是來世
*《詩篇》一百二十一篇 8 節：你出你入，耶和華要 保護你，從今時直到永遠 ** 選自旅行者禱文（《出埃及記》二十三章 20 節）： 看哪，我要差遣使者在你前面，在路上保護你，領 你到我所預備的地方
Suddenly it was black outside –Suddenly it was black outside
You could not see in front of you
You could not
Debris engulfed everybody
Debris engulfed everybody that was there
Everybody Everybody thought we were dead
Everybody thought we were dead
Totally silent silent just dust in the street just dust
Three thousand people
Three thousand people were murdered
What’s gonna happen here?
What’s gonna happen here next?
III. WTC
Neighborhoodresident,womenwhosatwith9/11 bodiessayingPsalms24/7untilburial,acellistwitha goodvoice,acantor:
The bodies
The bodies were moved to large tents
On the east side of Manhattan I would sit there I would sit there and recite Psalms all night recite Psalms all night
Simply sitting sitting
Hashem yishmor tzaytcha uvoecha may atah va-ahd olahm *
Hashem yishmor tzaytcha uvoecha may atah va-ahd olahm
Hashem yishmor tzaytcha uvoecha may atah va-ahd olahm
The world to come
I don’t really know what that means
Hiney ahnochi sholayach malach lephaneycha lishmorcha badarech valahaviahcha el-hamahkom asher hakinoti **
Hiney ahnochi sholayach malach lephaneycha lishmorcha badarech valahaviahcha el-hamahkom asher hakinoti –and there’s the world and there’s the world right here
* Psalm 121:8 – The Eternal will guard your departure and your arrival from now till the end of time
** From The Wayfarer’s Prayer (Exodus 23:20) – Behold, I send an angel before you to guard you on the way and to bring you to the place that I have prepared
《三重四重奏》
《三重四重奏》為一個弦樂四重奏和另外
兩個預錄四重奏而作，亦可由三個弦樂四 重奏在不使用預錄素材下現場演奏。這部 作品共有三個樂章，採用快—慢—快的 結構，以四個小調屬和弦為骨幹，拉起全 曲。這些屬和弦均相隔小三度，依次是 E 小 調、G 小調、降 B 小調和升 C 小調，最後回 歸 E 小調，形成和聲循環。
第一樂章兩度進行這個和聲循環，當中每 個屬和弦的樂段約長一分鐘，形成類似變 奏曲式。節奏方面，第二及第三四重奏在 此樂章中交錯奏出和弦，而第一四重奏則 以卡農方式陸續演奏較長的旋律線，其中 第一小提琴與中提琴，就像在跟第二小提 琴和大提琴爭持較勁。
慢板樂章則完全是對位法創作，旋律緩慢
綿長，一直在 E 小調徘徊，卻又以卡農的姿 態漸次展開，最終蔓延至十二部弦樂器上。
第三樂章恢復第一樂章的快速節奏，亦保
留了原先和聲循環的脈絡，只是調性轉換 更為迅速。來到樂章尾聲，四重奏回到起 始的 E 小調，奏響終止式。
撰文：史提夫．萊克（寫於 1999 年）
TripleQuartet (1999)
TripleQuartet is for string quartet plus two prerecorded quartets. Alternately, the piece can be played live by three string quartets with no prerecorded material. The piece is in three movements, fast-slow-fast, and is organised harmonically on four dominant chords in minor keys, each a minor third apart: E minor, G minor, B-flat minor, C-sharp minor, before returning to E minor to form a cycle.
The first movement goes through this harmonic cycle twice, with a section on each dominant chord that lasts about one minute; the result is a kind of variation form. Rhythmically, the first movement has the second and third quartet playing interlocking chords while the first quartet plays longer melodies in canon, with the first violin and viola pitted against the second violin and cello.
The slow movement is completely contrapuntal, with a long, slow melody in canon eventually appearing in all 12 voices. It stays in E minor throughout.
The third movement resumes the original fast tempo and maintains the harmonic chord cycle but modulates back and forth between keys more rapidly. The final section of the movement is in the initial key of E minor, and it is there that the cadence finally occurs.
Text: Steve Reich, 1999
《不同的列車》
《不同的列車》為弦樂四重奏和預錄錄音 帶而作，開創了嶄新的作曲方式，跟我 的早期錄音帶作品《要下雨了》（1965 年） 和《出來》（1966 年）一脈相承。這個作 曲方式的基本構思，是讓經精心挑選的話 語錄音成為器樂的演奏素材。這首作品的 創作靈感源自我的童年：父母在我一歲時 分居，母親搬到洛杉磯居住，而父親則留 在紐約。因為我的雙親共同行使撫養權， 所以在 1939 至 1942 年間，我經常都要在家 庭教師陪同下，乘坐列車往返兩地。這些 旅程教人興奮，同時又很浪漫，但現在回 心一想，倘若身為猶太人的我當時身處歐 洲，恐怕就要坐上截然不同的列車了。我 對這個想法念茲在茲，希望用創作如實反 映當時的世道。為了準備作品需要的錄音 帶，我執行了以下步驟：
1. 錄下當時已屆七旬的家庭教師維珍妮亞 憶述與我乘坐列車往返兩地的經歷。
2. 錄下當時已屆八旬、曾在普爾曼鐵路公 司任職的退休乘務員勞倫斯．戴維斯憶述 昔日服務紐約至洛杉磯路線的生活。
3. 搜集三位與我年齡相約、後來留美定居 的大屠殺倖存者瑞秋娜、保羅與瑞秋分享 經歷的錄音。
4. 搜集上世紀三、四十年代美國和歐洲列 車聲音的錄音。
為了結合話語錄音與弦樂，我選取了音高 相對明確的話語樣本片段，並盡可能以貼 近音高的方式記譜，以讓弦樂器直接模仿 話語旋律。我借助取樣鍵盤和電腦，將話 語樣本和列車聲音轉錄至錄音帶上，再配 以三個預先錄好的弦樂四重奏。演出作品 時，最後一個四重奏便會加入作現場演 奏。《不同的列車》有三個樂章，樂章之間 不設停頓，不過每個樂章之內變速頻繁， 因此擴充了「樂章」一詞本來的意義。
撰文：史提夫．萊克（ 寫於 1988 年）
DifferentTrains (1988)
DifferentTrains, for string quartet and pre-recorded performance tape, initiated a new way of composing that has its roots in my early tape pieces It'sGonna Rain (1965) and ComeOut (1966). The basic idea is that carefully chosen speech recordings generate the musical material for instruments. The idea for this piece stems from my childhood. When I was one year old, my parents separated; my mother moved to Los Angeles and my father stayed in New York. Since they arranged joint custody, from 1939 to 1942 I frequently travelled back and forth by train between New York and Los Angeles accompanied by my governess. While these trips were exciting and romantic at the time, I now look back and think that if I had been in Europe during that period, as a Jew I would have had to ride very different trains. With this in mind, I wanted to make a piece that would accurately reflect the whole situation. In order to prepare the tape, I did the following:
1. Record my governess Virginia, then in her 70s, reminiscing about our train trips together.
2. Record a retired Pullman porter, Lawrence Davis, then in his 80s, who used to ride the lines between New York and Los Angeles, reminiscing about his life.
3. Collect recordings of Holocaust survivors— Rachella, Paul and Rachel, all about my age and then living in America—speaking about their experiences.
4. Collect recordings of American and European train sounds in the 1930s and '40s.
In order to combine the taped speech with the string instruments, I selected small speech samples with more or less clear pitches, and then notated them as accurately as possible. The strings then literally imitate that speech melody. The speech samples as well as the train sounds were transferred to tape with the use of sampling keyboards and a computer. Three separate string quartets were also added to the pre-recorded tape and the final, live quartet part is added in performance. DifferentTrains is in three movements (played without pause), although that term is stretched here since tempos change frequently in each movement.
Text: Steve Reich, 1988
《不同的列車》話語錄音謄本
Transcript of Speech Recordings for Different Trains
I. 美國—戰前
「從芝加哥到紐約」（維珍妮亞）
「最快的列車之一」
「從紐約出發的頂尖 * 列車」（戴維斯先生）
「從紐約到洛杉磯」
「每次都乘坐不同的列車」（維珍妮亞）
「從芝加哥到紐約」
「在 1939 年」
「 1939 年」（戴維斯先生）
「 1940 年」
「 1941 年」
「 1941 年，我想應該是那年」（維珍妮亞）
II. 歐洲—戰爭時期
「 1940 年」（瑞秋娜）
「在我生日那天」
「德國人闖入」
「闖入荷蘭」
「德國人入侵匈牙利」（保羅）
「當時我二年級」
「其中一位老師」
「是個子非常高的男人，他的頭髮梳得如水 泥般平滑」
「他說：『那些黑烏鴉在很多年前入侵我們 的國家』，然後他直指着我」
「再也不能上學了」（瑞秋）
「你必須離開」
「她說：『快走！』」（瑞秋娜） 「他說：『別呼吸！』」
「擠進那些運載牲畜的車廂裏」（瑞秋娜）
「整整四日四夜」
「我們接連看到很多聽來奇怪的名字」 「是波蘭語名字」
「那裏有很多運載牲畜的車廂」
「裏面裝滿人」
I. America—Before the War
“from Chicago to New York” (Virginia)
“one of the fastest trains”
“The crack* train from New York” (Mr Davis)
“from New York to Los Angeles”
“different trains every time” (Virginia)
“from Chicago to New York”
“in 1939”
“1939” (Mr Davis)
“1940”
“1941”
“1941 I guess it must've been” (Virginia)
II. Europe—During the War
“1940” (Rachella)
“on my birthday”
“The Germans walked in”
“walked into Holland”
“Germans invaded Hungary” (Paul)
“I was in second grade”
“I had a teacher”
“a very tall man, his hair was concretely plastered smooth”
“He said, ‘Black Crows invaded our country many years ago' and he pointed right at me”
“No more school” (Rachel)
“You must go away”
“and she said 'Quick, go!'” (Rachella)
“and he said, 'Don't breathe!'”
“into those cattle wagons” (Rachella)
“for 4 days and 4 nights”
“and then we went through these strange sounding names”
“Polish names”
“Lots of cattle wagons there”
“They were loaded with people”
「他們剃光我們的頭髮」
「他們在我們的手臂刺上號碼」
「火焰沖天—濃煙滾滾」
III. 戰後
「然後戰事結束」（保羅） 「你肯定？」（瑞秋娜）
「戰事結束」
「要去美國」
「去洛杉磯」
「去紐約」
「從紐約到洛杉磯」（戴維斯先生）
「最快的列車之一」（維珍妮亞）
「但今天，它們全都消失了」（戴維斯先生）
「有個女孩，她的歌聲非常美妙」（瑞秋娜）
「那些德國人，他們都很喜歡聽她唱歌」
「當她停下來不唱，他們便會說『再來， 唱多一點』，然後鼓掌」
* 在較早的用法中，「 crack 」一詞意指「頂尖」。
曲目介紹、口述文本及話語錄音謄本中文翻譯： 瀧澤勳
“They shaved us”
“They tattooed a number on our arm”
“Flames going up to the sky—it was smoking”
III. After the War
“and the war was over” (Paul)
“Are you sure?” (Rachella)
“The war is over”
“going to America”
“to Los Angeles”
“to New York”
“from New York to Los Angeles” (Mr Davis)
“one of the fastest trains” (Virginia)
“but today, they're all gone” (Mr Davis)
“There was one girl, who had a beautiful voice” (Rachella) “and they loved to listen to the singing, the Germans”
“and when she stopped singing they said, ‘More, more’ and they applauded”
*“Crack” in the older sense of “best”
Chinese translation for Programme Notes, Spoken Text & Transcript of Speech Recordings: Amadeus Cheung
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:
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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
支持及協助 Support and Co-operation
1Plus1 Production
第三十七屆澳門國際音樂節 37th Macao International Music Festival
史卡拉歌劇院學院 Accademia Teatro alla Scala
Antonieta Fernandes Manhão
Art-mate 網上售票平台 Art-mate
教育局藝術教育組 Arts Education Section, Education Bureau
香港愉景灣酒店 Auberge Discovery Bay Hong Kong
Bettypaige Flamenco
英國駐香港總領事館 British Consulate-General Hong Kong
英國文化協會 British Council
British Film Institute
楊文秀 Camelia Yeung
陳定遠 Chan Ting-yuen, Timothy 中國電影資料館 China Film Archive
城市當代舞蹈團 City Contemporary Dance Company
Clara Ramona Danza Flamenca Limited
西洋會所 Club Lusitano
比利時駐港總領事館 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
法國駐香港及澳門總領事館 Consulate General of France in Hong Kong & Macau
愛爾蘭駐香港及澳門總領事館 Consulate General of Ireland to Hong Kong and Macao
意大利駐香港總領事館 Consulate General of Italy in Hong Kong
葡萄牙駐澳門及香港總領事館 Consulate General of Portugal in Macau and Hong Kong
西班牙駐港總領事館 Consulate General of Spain in Hong Kong
瑞士駐港總領事館 Consulate General of Switzerland in Hong Kong
捷克共和國駐香港總領事館 Consulate General of the Czech Republic in Hong Kong
Culture Ireland
愛爾蘭外交貿易部 Department of Foreign Affairs and Trade, Ireland
Diamond Digital Marketing (HK)
天主教澳門教區 Diocese De Macau
林芍彬博士 Dr Anne Lam Cheuk-bun
盧定彰博士 Dr Daniel Lo Ting Cheung
Dr Elisabeth Berry Drago
林丰博士 Dr Fung Lam
張國雄博士 Dr Stephen Cheung Kwok Hung
黃志淙博士 Dr Wong Chi-chung
東九文化中心 East Kowloon Cultural Centre
Esencia Flamenca HK
誠品書店 Eslite bookstore
楊欣諾 Felix Yeung
翻騰三周半 Fountain de Chopin
藝穗會 Fringe Club
德國駐香港總領事館 German Consulate General Hong Kong
六國酒店 Gloucester Luk Kwok Hong Kong
香港君悅酒店 Grand Hyatt Hong Kong
Habyt Bridges
Hansen Chan
香港藝術行政人員協會 Hong Kong Arts Administrators Association
香港藝術中心 Hong Kong Arts Centre
香港浸會大學 Hong Kong Baptist University
音樂學院 Academy of Music
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
香港旅遊發展局 Hong Kong Tourism Board
香港聯合國教科文組織世界地質公園 Hong Kong UNESCO Global Geopark
悅品海景酒店．觀塘 Hotel COZi Harbour View
宜必思香港中上環 ibis Hong Kong Central & Sheung Wan
入境事務處 Immigration Department
In Black
法國文化中心 Institut français
東方葡萄牙學會 Instituto Português do Oriente
益普索 IPSOS
廖健邦 James Liu
滘西村值理會 Kau Sai Village Office
林欣傑 Keith Lam
梁頌怡 Kitty Leung
駐香港韓國文化院 Korean Cultural Center in Hong Kong
高山劇場 Ko Shan Theatre
Kubrick
葵靑劇院 Kwai Tsing Theatre
光華印務公司 Kwong Wah Printing Company
勞工處 Labour Department
李淑嫻 Lee Suk Han
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
林昕楠 Lin Xinnan
盛薈 @ 莊士敦 Loplus@Johnston LORE Limited
馬志恆 Ma Chi Hang
馬哥孛羅香港酒店 Marco Polo Hongkong Hotel
Margaret Cheung
Mariko Drayton
Maxibit HK/China
MOViE MOViE
Munchkinlands Company
迷音樂 Musikholic
MYKE40 ltd
荃灣西如心酒店 Nina Hotel Tsuen Wan West
北區大會堂 North District Town Hall
香港諾富特世紀酒店 Novotel Century Hong Kong
One Bite Design Studio
Parenthèses
柏斯琴行 Parsons Music Limited
迷離科技有限公司 Practical Magic and Innovation
葉劍豪教授 Professor Ip Kim-ho
瑞士文化基金會 Pro Helvetia – Swiss Arts Council
犇華企業服務有限公司 Primasia Corporate Services Limited
舍區 Quarryside
歐永財魅力弗拉門戈藝術團 Raymond Au & His Flamenco Troupe Los Duende
麗豪酒店 Regal Riverside Hotel
黃日芝芭蕾舞學校 Regine Wong School of Ballet
皇家太平洋酒店 Royal Pacific Hotel
Saul Zaentz Company
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 聯合新零售（香港）有限公司 SUP Retail (Hong Kong) Limited
大館 古蹟及藝術館 Tai Kwun Centre for Heritage and Arts
駐香港臺北經濟文化辦事處 Taipei Economic and Cultural Office in Hong Kong 台灣蘇富比國際房地產 Taiwan Sotheby's International Realty
唐娟 Tang Juan
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
The Corner Coffee Ltd.
香港教育大學 The Education University of Hong Kong
文化與創意藝術學系 Department of Cultural and Creative Arts
香港演藝學院 The Hong Kong Academy for Performing Arts
舞蹈學院 School of Dance
戲劇學院 School of Drama
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
香港管弦樂團 The Hong Kong Philharmonic Orchestra
香港朗廷酒店 The Langham, Hong Kong
香港半島酒店 The Peninsula Hotel Limited
港靑 香港基督敎靑年會 The Salisbury – YMCA of Hong Kong
香港大學 The University of Hong Kong
比較文學系 Department of Comparative Literature
音樂系 Department of Music
荃灣大會堂 Tsuen Wan Town Hall
翠華船務（香港）有限公司 Tsui Wah Ferry Service (H.K.) Limited
屯門大會堂 Tuen Mun Town Hall
東華三院東蒲 TWGHs TungPo
美國駐港澳總領事館 U.S. Consulate General HK & Macau
郭慧芸芭蕾舞學校 Vivian Kwok School of Ballet
Vivian Suen
西九文化區管理局 West Kowloon Cultural District Authority
WINK
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
贊助人
李家超先生 , PATRON
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 何苗春暉女士
紀文鳳女士 林健忠博士
劉鎮漢先生 李敬恩女士
馬清正先生 薛文熹先生
譚榮邦先生 閻 蘭博士 楊 光先生
節目委員會
主席 譚榮邦先生 委員 白諾信教授
黃 翔先生 羅志力先生 毛俊輝教授
約瑟 施力先生 +
姚 珏教授
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
主席 閻 蘭博士
副主席 梁嘉彰女士
委員 張詩樂先生 馮穎詩女士
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 Programme Advisor
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
The Hon. John KC Lee,
GBM SBS PDSM PMSM
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
Members
FINANCE COMMITTEE
Chairman
Members
DEVELOPMENT COMMITTEE
Chairperson
Vice-Chairperson
Members
ADVISORS
HONORARY SOLICITOR
AUDITOR
Mr Sebastian Shiu-wai Man
Mr Colin Farrell
Ms Joanna Hotung
Ms Leonie Ki, GBS SBS JP
Sir Lam Kin Chung, KCR
Mr Anthony Lau
Ms Kristine Li
Mr Ma, Ching Cheng
Mr Hugh Simon
Mr Tam Wingpong, SBS
Dr Yan Lan
Mr Sunny Yeung
Mr Tam Wingpong, SBS
Prof. Giorgio Biancorosso
Mr Edmond Huang
Mr Peter C L Lo
Prof. Fredric Mao, BBS
Mr Joseph Seelig, OBE +
Prof. Jue Yao, SBS JP
Mr Colin Farrell
Ms Margaret Cheng, JP
Mr Nelson Leong
Dr Yan Lan
Ms Catherine Leung
Mr Carey Cheung
Ms Ophelia Fung
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 *、廖國穎 *、馬筠婷 * 、
黃 嵐 *
項目經理 李朗軒 *
節目統籌 陳娟瑜 *、周 翹 *、鍾曉晴 * 、
容諾行 *
節目主任 黃明儀 #
物流
物流及接待經理 金學忠 *
技術
高級製作經理 梁雅芝 * 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 *
助理編輯 干 霖 *
外展
外展經理 林嘉敏 *
外展統籌 陳沅渟 *、李幸凝 *、鄧芷蔚 * 、 黃思婷 *
外展主任 趙家琳 *、郭曉潼 *
外展助理 陳美鳳 *
市場推廣
市場總監 鄭尚榮
副市場總監 盧伯全
市場經理 鄭曉恩 *、張予心 *、黃芷賢 *
市場項目經理 譚懿諾 *
副市場項目經理 李穎軒 *
助理市場經理 朱凱潼 *
市場統籌 梁喬正 *
市場主任 王舒萱 *
票務
高級市場經理（票務） 梁彩雲
票務主任 蔡嘉熹 *
發展
發展總監 簡潤如
特別發展協理 蘇啟泰 *
發展經理 陳寶齋 *、葉巧儀 *、黃珮茵 *
助理發展經理 郭倩珩 *
發展主任 葉涴喬 *
短期發展助理 陳芍穎 *
行政事務
財務總監 鄺敬婷
會計
會計經理 杜詩麗 * 會計及行政主任 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
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 鄭銘柔 *
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 *
STAFF
Executive Director
Assistant to Executive Director
PROGRAMME
Programme Directors
Associate Programme Director
Senior Programme Managers
Programme Managers
Project Manager
Programme Coordinators
Programme Officer
LOGISTICS
Logistics Manager
TECHNICAL
Senior Production Manager
Production Manager
PUBLICATIONS
Editorial Manager
English Editor
Associate Editor
Assistant Editor
OUTREACH
Outreach Manager
Outreach Coordinators
Outreach Officers
Flora Yu
Connie Ho
Grace Lang, So Kwok-wan
Kenneth Lee
Shirley So, Janet Yau*
Cathy Cheng*, Sophie Liao*, Katie Ma*, Neva Wong*
Li Long-hin*
Alice Chan*, Nicole Chow*, Dorothy Chung*, Ryan Yung*
Melissa Wong#
Elvis King*
Shirley Leung*
Jacob Chan*
Eugene Chan*
Adam Wright*
Shao yi Chan*
Lindsey Gan*
Carman Lam*
Olivia Chan*, Giselle Li*, Tina Tang*, Ariel Wong*
Raven Chiu*, Angel Kwok*
Outreach Assistant Christine Chan*
MARKETING
Marketing Director
Associate Marketing Director
Marketing Managers
Project Manager – Marketing
Katy Cheng
Eugene Lo
Vicki Cheng*, Stephanie Cheung*, Effie Wong*
Hades Tam*
Deputy Project Manager - Marketing Hill Li*
Assistant Marketing Manager
Jessica Chu*
Marketing Coordinator Isaac Leung*
Marketing Officer
TICKETING
Senior Marketing Manager (Ticketing)
Ticketing Officer
DEVELOPMENT
Development Director
Nancy Wong*
Eppie Leung
Heidi Choi*
Brenda Kan
Special Development Associate Alex So*
Development Managers
Assistant Development Manager
Development Officer
Leroy Chan*, Evelyn Ip*, Janice Wong*
Evelyn Kwok*
Jeria Yip*
Temporary Development Assistant Cherry Chan*
CORPORATE SERVICES
Finance Director
ACCOUNTS
Account Manager
Accounting & Administrative Officer
HR & ADMINISTRATION
HR and Admin Manager
Teresa Kwong
Connie To*
Charmaine Mak*
Janet Yeung*
Receptionist/Junior Secretary Virginia Li
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 Manager Jasmine Poon*
Programme and Outreach Coordinator
Marketing Manager
Deputy Marketing Managers
Assistant Production Manager
Taylor Cheng*
Carly Wong*
Gina Chan*, King Ng*
Dick Cheng*
Senior Accounting Officer Catherine Chung*
藝術家統籌 張晞琳*、朱芷慧*、馮碧琪*、向怡君*、何敬堯*、梁頌怡*、盧悅穎*、羅玲* 、Lucrezia Luxardo*、胡肇婷*、楊曦*、翁蒨懃*
製作主任 魏俊瑩* 技術統籌 張詠宜*、范文恩*、馮舒凝*、李浩賢*、譚學臻*、鄧煒培*、曾以德*
Artist Coordinators Haynes Cheung*, Eleanor Chu*, Betty Fung*, Cassandra Heung*, Kelvin Ho*, Kitty Leung*, Joyce Lo*, Celine Luo*, Lucrezia Luxardo*, Blanche Wu*, Adrien Yeung*, Bonnie Yung*
Production Officer Rita Ngai*
Technical Coordinators Jess Cheung*, Yan Fan*, Cherry Fung*, Lawrence Lee*, Camille Tam*, Billy Tang*, 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2025/26由香港藝術發展局資助
# 2025/26 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2026年2月更新 Updated February 2026
請支持您的藝術節！
Become a Supporter of Your Festival!
香港藝術節是一所非牟利機構，單憑票房收入及政府基本資助，遠遠 未足以應付呈獻及推廣世界各地頂尖表演藝術的成本。藝術節之所以 能持續舉辦，捐助者的慷慨支持實在功不可沒。誠意邀請您捐助藝術 節捐助計劃，協助我們繼續帶來高質素國際及本地藝術家精采的演出， 以及舉辦多元化的外展及教育活動。
香港藝術節是香港特區政府的「藝術發展配對資助計劃」受惠機構， 部份籌得的捐款及贊助收入將獲一元對一元的配對資助。*
無論捐贈數額多少，我們均衷心感謝您的支持！
The Hong Kong Arts Festival is a non-profit organisation. Income from ticket sales and government baseline funding can only partially cover the Festival’s costs for presenting and promoting the best performing arts from around the world. The Festival can only continue its work thanks to the generous support of its donors. Please support the Festival Donation Scheme so we can continue to present world-class international and local artists as well as offering diverse outreach and education activities.
The Hong Kong Arts Festival is a recipient of the HKSAR Government’s Art Development Matching Grants Scheme. Part of the Festival’s sponsorship and donation income will benefit from a dollar-for-dollar match by the Government.* Donations of any amount will make a difference, and are greatly appreciated!
* 須受「藝術發展配對資助計劃」之條款及細則約束。 Subject to conditions of the Government’s Art Development Matching Grants Scheme.
網上捐款
ONLINE DONATION http://go.hkaf.org/give
其他捐款方法，請參閱刊於本 冊子尾部之捐款表格
For other donation methods, please refer to the Donation Form near the end of this booklet
查詢 Enquiries: dev@hkaf.org 2828 4911/12
is amongst the world's
Our home base most promising.
我們位於世界最具潛力的城市之一
1899.Childe Hassam - New England Headlands