香港藝術節匯聚全城文化精髓， 是享譽亞洲的文化盛事。藝術節 絢麗多姿的節目，每年吸引無數 海內外藝術愛好者熱烈捧場。觀
眾無論以香港為家，還是慕名而 來，都不難感受箇中都會魅力。
香港藝術節雲集本地以至全球名 家傾力演出，盡展藝術才華。精 選節目包羅萬象，古今俱備，觀 眾既可欣賞當代新銳創作，更可 回味大師經典作品。
欣逢香港藝術節四十周年，可喜 可賀。謹祝各位有一個愉快難忘 的晚上。
獻辭 message
The Hong Kong Arts Festival is a highlight of our city’s cultural calendar and a widely celebrated arts event in Asia. Each year it presents a feast of exciting programmes that draw arts lovers from near and far, adding to Hong Kong’s attractiveness both as a home and a tourist destination.
The Festival is an important platform for showcasing local talent alongside the best artists from around the world. With a judicious mix of programmes, it champions new and contemporary works while celebrating great masterpieces, giving audiences much to savour.
I congratulate the Hong Kong Arts Festival on its 40th Anniversary and wish you all a truly memorable evening.
香港特別行政區行政長官
Chief Executive Hong Kong Special Administrative Region
Presents
小提琴 奈吉爾．甘廼迪
結他 耶列克．斯米塔納
低音大提琴 亞隆．斯塔維
鼓 基斯杜化．傑迪玆
Violin Nigel Kennedy
Guitar Jarek mietana
Bass Yaron Stavi
Drums Krzysztof Dziedzic
9.2.2012
香港文化中心音樂廳 Concert Hall, Hong Kong Cultural Centre
封面照片 Cover photograph © Rankin
敬請關掉所有響鬧及發光裝置，請勿擅自攝影、錄音或錄影，多謝合作。
Please switch off all sound-making and light-emitting devices. Unauthorised photography or recording of any kind is strictly prohibited. Thank you for your co-operation.
為小提琴、結他、
Programme
Johann Sebastian Bach (1685-1750)
Sonata No 2 in A minor, BWV1003
Grave Fugue
Andante
Allegro
Interval
Nigel Kennedy 's special arrangements of the music of the legendary Fats Waller (1904-1943) for violin, guitar, bass and percussion
* The repertoire is subject to change
Production
Nigel Kennedy Management
Terri Robson Associates (TRAssociatesLtd@aol.com)
Production Manager/Technical Manager
Steve Cox
Sound Technician
Gary Falkenthal
The limousine service for Mr Nigel Kennedy is provided by The Langham, Hong Kong
奈吉爾．甘廼迪
Nigel Kennedy
奈吉爾．甘廼迪作為技藝超凡的小提 琴大師，早已享譽全球二十五年，更 無疑是英國史上最重要的小提琴家之 一。他技藝精湛、才華出眾、深具舞 台魅力，為古典和現代音樂提供了全
新演繹角度，唱片銷量高踞歷來小提 琴家銷量榜首。
甘廼迪年紀小小就已成為小提琴大師 曼奴軒的得意門生，起初就讀於曼奴 軒音樂學校（曼奴軒過世後世人才得
知，甘廼迪在學的全部費用一直由這 位傳奇小提琴家私人資助）。後來甘 廼迪進入紐約茱莉亞音樂學院，在名 師多羅茜．迪蕾門下習藝。
甘廼迪國際巡演無數，足跡踏遍歐 洲、北美、中南美、東南亞以及澳洲 等地，與世界一流樂團和指揮合作。
重要首演包括1977年在倫敦皇家節日 音樂廳的演出、1980年與柏林愛樂樂 團的演出、1987年的紐約管弦樂首演 以及2004年的法國首演。
甘廼迪獨樹一幟的風格備受媒體關 注，他不僅頻頻亮相全球各類電視節
For over twenty-five years, Nigel Kennedy has been acknowledged as one of the world's leading violin virtuosos and is one of the most important violinists Britain has ever seen. His virtuoso technique, unique talent and mass appeal have brought fresh perspectives to both the classical and contemporary repertoire. He is the bestselling classical violinist of all time.
From a young age, he was Yehudi Menuhin’s most famous protégé, studying first at the Menuhin School (where it emerged, following Menuhin's death, that the legendary violinist had personally financed the young Kennedy throughout his education at the school) before moving to the Juilliard School of Music in New York to study under celebrated teacher, Dorothy DeLay.
During his career, Nigel Kennedy has undertaken countless international tours, performing with the world's leading orchestras and conductors throughout Europe, North America, Central and South America, South East Asia and Australia.
2010 年5 月，倫敦南岸藝術中心邀請 甘廼迪擔任一個大型波蘭文化周末的
藝術總監，活動為期三天，向於波蘭 文化致意，參與的藝術家背景不同、 風格各異。
不久前，甘廼迪創建了自己的管弦樂 團——生命樂團，團員多為年輕有為 的波蘭樂手。該團骨子裏雖為古典室
樂團，卻非常靈活，善於演奏甘廼迪 欣賞的各類音樂。 2010 年4 月，生命 樂團在德國展開第一次巡演，表演艾 靈頓公爵和巴赫的作品選集。其後樂 團前往歐洲主要城市和音樂節公演。
甘廼迪曾受到吉米．亨德里克斯的音 樂啟發進行創作，並於亨德里克斯 四十周年祭日時在朗尼．史葛爵士俱
樂部（亨德里克斯最後登台的地方） 表演，獲得圓滿成功。
2010 年他演奏韋華第的《四季》，
the fore as composer as well as improviser. 2010 saw the release of the latest Nigel Kennedy Quintet release of mainly original Kennedy compositions, entitled SHHH! The album also features Kennedy’s arrangement of Nick Drake’s Riverman , sung by Boy George.
In May 2010, London’s South Bank Centre invited Nigel Kennedy to become Artistic Director of a major Polish weekend, a threeday event celebrating Polish culture which brought together musicians and artists from a wide range of backgrounds and styles.
The violinist recently founded a new orchestra, made up of vibrant young (mainly Polish) musicians. The Orchestra of Life has a classical chamber group as its nucleus but is uniquely adaptable to perform the different styles of music Kennedy embraces.
In April 2010, the Orchestra of Life made its debut tour in Germany, presenting a programme of Duke Ellington and Bach, before going on to perform in major cities and festivals in Europe.
Kennedy presented a programme inspired by the music of Jimi Hendrix at Ronnie Scotts (the last venue Hendrix performed at) on the 40th anniversary of the musician’s death.
Following the staggering success of his UK performances of Vivaldi’s Four Seasons in 2010, including a sold out show at London’s Royal Albert Hall, Kennedy is currently undertaking a major 2011/12 tour, performing his exhilarating and
在英國取得巨大成功，在英國皇家艾 伯特演奏廳的一場全場爆滿。繼此之 後，甘廼迪開始2011 /2012 巡演，展 示他對韋華第《四季》獨特又令人振 奮的新演繹，以及首演他自己的全新 創作——《四元素》。《四元素》是 為「生命樂團」打造，取靈感自水、 土、空氣與火，是一首集合原聲樂器 和電子樂器，描寫性較強的作品。
今年 2 月，甘廼迪將攜本次在香港藝 術節演出的「巴赫與胖子華勒」巡迴 亞洲。演奏會的上半場，他將演奏巴 赫的小提琴獨奏曲，而下半場則是甘 廼迪為小提琴、結他、低音大提琴及 敲擊樂改編的胖子華勒作品。這個引 人注目的節目組合在2011年逍遙音樂 會的子夜音樂會上大受歡迎，一票難 求。
甘廼迪於 2011 年加盟索尼公司，發 行《四元素》大碟。目前則正在重新 灌錄《四季》，預期於今年下半年發 行。
甘廼迪是阿士東維拉的狂熱球迷，只 要時間允許，每場比賽必到場觀戰。
他夫人阿格尼絲卡來自波蘭，任職律 師，兩人育有一子，於英國和波蘭兩 地輪流居住。
除了幾把特別定制的五弦電子小提 琴，甘廼迪的通常演奏用琴是一把 1732年的小提琴，出自意大利克雷莫 納制琴大師卡洛．伯貢齊之手。
unique new take (“re-write”) on Vivaldi’s Four Seasons as well as the premiere of his own new composition, the Four Elements Composed for members of the Orchestra of Life and voices, the Four Elements is a highly descriptive composition for acoustic and electric instruments, inspired by the elements of earth, water, air and fire.
Another series Kennedy is currently taking around the world is Bach Plus, an entirely acoustic programme developed for the venues with natural acoustics. He will present Bach plus Fats Waller throughout Asia in February. The first half of the programme consists of solo Bach and, for the second part, Kennedy has arranged the music of Fats Waller for violin, guitar, bass and percussion. This repertoire captivated a sold out late night Proms audience in 2011. Kennedy records for Sony, which has recently released the Four Elements. Sony is recording Kennedy’s new Four Seasons for release later this year.
He is also a passionate Aston Villa fan and attends as many games as his schedule allows. He has one son, is married to a Polish lawyer, Agnieszka, and they divide their time between homes in the UK and Poland.
As well as several customised five string electric violins, Nigel Kennedy plays a 1732 instrument by the great violin maker, Carlo Bergonzi of Cremona.
發明了這些產品，家庭亦不見得更和
諧。演繹空間的優美之處，正在於可
以將這些負面的因素除去，因為在現
實世界中，我們不能除去這些如毒品
般令人心癮難耐的電腦和電視機。
雖然巴赫的音樂如此正面，但在演繹 他的環境裏，也出現了幾個負面因
素。我認識到了這些因素，而需要把 它們扭轉過來！接下來就讓我們談 談。
have more than one television but, in my opinion, less gets done nowadays and families are not as happy as they were before these inventions were created. The beauty of the interpretational world is that you can get rid of negative factors like these, whereas in reality one cannot purge the world of computers and TVs, which have become as strong an addiction as any illegalised drug.
巴赫小提琴獨奏音樂演繹的沒落
在我看來，這沒落大約發生在 1970 年 代。我認為這段時期發生了三件可佈
的事：
1 紐約學派
紐約學派的音樂家，大都源自加拉米
安樂派。他們有着優秀的技巧，卓
越的聲音投射，亦能演奏出優美的音 質。他們缺乏的，是精密性、節奏的 獨特性與對結構的敏銳觸覺。就我所 見，他們最普遍的不足，似乎就是 對聲音沾沾自喜，用優美的音色掩蓋 其他不足。雖然如此，學派中後來出 現的兩位小提琴家——沙索夫斯基和 聖薔，對巴赫都有着優秀而獨特的理 解。
2 俄羅斯學派 米爾斯坦以後，我認為俄羅斯小提琴 手中似乎沒有人能演繹巴赫。我不知 道是不是因為共產主義為要證明所有
來自俄羅斯的都是最卓越的，而耗盡
了他們的所有。但從我能聽到的俄羅 斯派樂手，他們似乎不能分辨巴赫和
Although Bach’s music is so positive, there are a few negative factors in Bach’s interpretational environment that I have noticed and that need fixing! These lead to my take on:
The Demise of Interpretation of Bach’s Solo Violin Music
As far as I can see, this demise occurred largely during the 1970s. In my opinion three horrible things happened:
1 The New York School
These musicians mainly emanated from the Galamian school. Fantastic technique, great sound projection and a beautiful tone were all they had to offer. What they lacked was rhythmic ingenuity, dynamic sophistication and architectural awareness. What seemed to be most pervasive was self-satisfied smugness of sound, which was supposed to make up for (or hide) all these other deficiencies. Following generations did, however, offer us Paul Zazofsky and Lara St John, both of whom have a wonderful and unique understanding of Bach’s music.
2 The Russian School
After Nathan Milstein, in my opinion, is a giant void when looking for Russian violinists who can interpret Bach. Whether this is down to that strange brand of imperial communism that tried at any cost to prove the superiority of all things Russian (at the
帕格尼尼的區別，並將這些偉大的作 品，變成膚淺的炫技曲，用來展現小 提琴手的高超技巧。
這演繹的缺失，似乎還帶來副作 用 很多本應是核心曲目的德國作 曲家作品，從俄羅斯音樂學院的課程 中消聲匿跡，為很多學生製造了極 大的盲點。當我們檢視俄羅斯的小提 琴樂派，我們很容易以為在莫扎特以 前，沒有發生過什麼樂壇大事，而在 蕭斯達高維契出現之前，古典音樂是 停滯不前。
3 「正宗」古樂專家
一個人自稱「正宗」，實在是狂妄 的，而在所謂的「古樂」演奏中，更 是引人誤會。音樂，或者是任何一種 藝術形式，如果少了激情而變成追求 技術的痛苦練習，怎會是原本而「正 宗」的？像巴赫這種具有深度又能引 發感觸的音樂，不能從這種演奏方法 中得益。雖然，這風潮將浪漫主義時 期的人物如約阿希姆等的陋習除去， 但以新的矯揉去取代舊的造作，似乎 也無甚理據，甚至可能比以前的更加 惡劣。
我承認我於 1989 年灌錄《四季》時， 首要目的就是要在「正宗」派過份單 調的演繹外，提供一個另類而富動感 的版本。那些唱片公司不遺餘力地以 不成熟的手法宣傳「正宗」派演奏， 問題可以是罄竹難書。幸而巴赫的音 樂實在滿有憐憫，所以今天晚上我大 可不談這個乏味的問題！
expense, even, of the rest of the Soviet Union), I’ll never know. From what I’ve heard of the Russian school, they are unable to differentiate between Bach and Paganini, with the result being that these philosophical masterpieces end up sounding like shallow showpieces designed merely to show off technical mastery of the violin. This interpretational deficiency seems even to have had an unfortunate side effect in that many central German composers seem to have been struck off the Russian music academy curriculum, leaving many students with huge blind spots in what should be basic repertoire. When checking the Russian violin school, it would be easy to believe that nothing happened before Mozart and that classical music possibly didn’t really get going until Shostakovich.
3
“Authentic” Period Specialists
Even the description of oneself as being “authentic” is unbelievably arrogant — and, in the case of so-called “period” performance, misguided. How can music, or any art, be authentic if it is stripped of passion and is made instead into an exercise of painfully self-conscious technique? Music of such depth and pathos as Bach’s certainly doesn’t benefit from such treatment — and, while it is beneficial to eradicate the bad habits emanating from the excessive influence of such Romanticera figures as Joachim, surely such an exercise is pointless if these old mannerisms are replaced with new ones that are even worse.
I have to admit that the primary motivation for my 1989 recording of Vivaldi’s Four Seasons was to offer a dynamic performance with contrast as an alternative to the lugubrious tedium I perceived in the interpretation of the “authentic” school. The immature and desperate claims made by the record
演繹巴赫小提琴獨奏音樂正面與優美
的方法
卡薩爾斯
的確，卡薩爾斯不是拉小提琴的。但
是，他演奏的巴赫大提琴組曲，與現 代空虛而自滿的演奏方法截然相反。
他不着意去尋找優美的聲音。事實
上，若然音樂需要醜陋的聲音（就如
C小調組曲中的第一樂章），他會稍稍 放下自我，去理解和達致音樂所需要
的深度。結果是他的演奏富有靈感， 讓人相信上帝果然存在。只有愚人才 不能從他的演奏中學到任何東西。
顧爾德
好吧，他也不拉小提琴的，但顧爾德
彈奏巴赫時的修養、自由和靈感，
也是必聽（而且必學）的。他的演奏 證明了在尋找巴赫鍵盤音樂的完美演
繹時，那時代的「正宗」樂器（古鍵
琴）只是第二選擇。
格魯米歐
像格魯米歐這般能呈現出音樂結構的 小提琴家可謂寥寥無幾。大部份小提 琴家對和聲、結構，以及所有旋律和
飛快的手指以外的東西都不屑一顧。
如果要聽夏康舞曲史上最好的錄音的 話，聽格魯米歐的就是了。
米爾斯坦
精采而創新的聲調、靈敏和音色，但
相比於格魯米歐，可能就略遜一籌 了。
域赫
巴赫音樂中的民歌意象和管風琴般的 和聲，在域赫手上活靈活現。
companies selling these “authentic” performances could also be gone into at considerable length — but Bach showed great mercy in his music, so I will not go into that tedious and superficial subject tonight!
Positive and Beautiful Approaches to the Performance and Interpretation of Bach’s Solo Violin Music
Pablo Casals
All right, so Casals didn’t play the violin! However, his performances of Bach’s solo cello Suites are the antithesis of the vanity and complacency of modern playing. He didn’t go for pure beauty of sound — in fact, if the music dictated an ugly sound (as in the first movement of the C minor Cello Suite), he would put his ego second in order to achieve the depth and understanding required by the music. The results are inspired and would have you believe that God exists. Only an idiot would not learn from his performances.
Glenn Gould
OK, so this guy also didn’t play the violin, but Glenn Gould’s discipline, freedom and inspiration in Bach are also essential listening (and learning) and are proof that the “authentic” instrument of Bach’s time (the harpsichord) only comes off as second best when searching for the most complete realisations of Bach’s keyboard music.
Arthur Grumiaux
Such realisation of musical architecture is rare among violinists, most of whom have little appreciation of harmony, structure or anything other than melody and fast fingers. If you want the best possible recording of the Ciaconna, Grumiaux is the one to get.
Nathan Milstein
Wonderful creative intonation, delicacy and
曼奴軒
曼奴軒的手指就像巴赫的代言人。曼 奴軒拉的四個音，抵得上現時任何一 位小提琴家的一千個。
瑪茨
瑪茨在樂章結尾誇張的揉弦和漸慢， 令我有時幾乎質疑她的演繹，但她演 奏的線條美，充滿磁性，令人難以忘 懷。
史頓
史頓是優秀小提琴家中最優秀的，他 從未灌錄過巴赫的獨奏音樂，若然 他有的話，以他的直率和感情豐富的 音符，以及他對音樂結構及和聲之 張力的獨特理解，你大可將其他演出 版本拋諸腦後。（我記得一次我在他 面前演奏並獲得指點，結果是我花了 最少十分鐘，嘗試去說服他把這些偉 大的作品灌錄成唱片。這不是他的損 失，而是我們的損失，因為一個可能 是最偉大的演出，並沒有存留在錄音 上。）
在此我希望向曼奴軒和諾利斯致敬及 致謝，沒有他們，我將不會有充份的 準備來演奏今晚的音樂。
sound colours — but maybe just possibly a little lightweight compared with Grumiaux. Sándor Végh
The folk imagery and the organ-like harmonies of Bach come alive under Végh’s custody.
Yehudi Menuhin
Bach speaks through Menuhin’s violin — also, four melodic notes from Yehudi are worth more than a thousand from any of our living violinists.
Johanna Martzy
At times Martzy’s over-frenetic vibrato and some killer ritardandos at the end of movements put me on the verge of discounting her interpretations but the sense of line she achieves is just so electrifying and magnetic that you cannot tear yourself away.
Isaac Stern
The most supreme of all supreme violinists, Isaac Stern never recorded solo Bach but if he had — with his laser-like honesty, his expressive intonation and his unique understanding of structure and harmonic tension — you could throw all the other versions into the bin. (I remember during the time I was playing and getting advice from Mr Stern that, on one occasion, it was me doing all the talking for at least ten minutes when I was trying to convince him to record these masterpieces. The loss is not his but ours, in that what would have been the greatest interpretation of these works out of all of them, never got recorded.)
I would like to pay tribute and give thanks to both Yehudi Menuhin and Peter Norris, without whom I think I would probably be illequipped to deal with performing this music tonight.
