City of Birmingham Symphony Chorus
Hong Kong Philharmonic Orchestra
封面圖片Cover photograph:
合唱團 Chorus © Adrian Burrass
哈爾西Simon Halsey © Michael Homberg
合唱團總監／樂團指揮西蒙．哈爾西 Chorus Director/ConductorSimon Halsey
曲目 Programme
樂曲介紹 Programme Notes
歌詞 Lyrics
合唱團介紹 Chorus Profile
生平介紹 Biographies
樂團介紹 Orchestra Profile
合唱團成員 Chorus Members
樂團成員 Orchestra Members
17.2.2006
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 20 分鐘中場休息
Running time: approximately 1 hour and 45 minutes with a 20 minute interval
為了讓大家對這次演出留下美好印象，請切記在節目開始前關掉手錶、無㵟電話及傳呼 機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙，多謝合作。
To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your alarm watches, MOBILE PHONES and PAGERS. Eating and drinking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your co-operation.
布拉姆斯 (1833 - 1897)
命運之歌，作品 54
朱利安．安德遜 (1967 - )
《美麗的伊甸園之谷》（無伴奏合唱曲）
選自《四首美國合唱曲》
莫頓．勞里特臣 (1943 - )
《無限神秘》
（無伴奏合唱曲）
拉爾夫．沃恩．威廉斯 (1872 - 1958)
《五首神秘之歌》
復活節
我帶着花兒
愛上前來歡迎我
感召
對唱曲：讓世界每個角落都放聲高唱
男中音 阿什利．霍蘭
－中場休息－
弗瑞 (1845-1924)
《安魂曲》，作品 48
進堂詠 垂憐經：甚廣板
中庸的快板 奉獻經：很慢的慢版 中庸的快板 很慢的慢板 聖哉經：中庸的快板 慈悲的耶穌：慢板 羔羊經：快板 甚廣板 快板 拯救我：中板 速度轉快 中板 在天國：中庸的快板
男中音 阿什利．霍蘭
女高音 特里莎．拉羅卡
管風琴 盧帕特．哥夫
Johannes Brahms (1833-1897)
Schicksalslied, Op 54
Julian Anderson (1967- )
Beautiful Valley of Eden (a capella) from Four American Choruses
Morten Lauridsen (1943 - )
O Magnum Mysterium (a capella)
Ralph Vaughan Williams (1872 - 1958)
Five Mystical Songs
Easter
I Got Me Flowers
Love Bade Me Welcome
The Call
Antiphon: Let all the world in every corner sing
Ashley Holland Baritone
- Interval -
Gabriel Fauré (1845-1924)
Requiem, Op 48
Introitus et Kyrie: molto largo - andante moderato
Offertoire: adagio molto - andante moderato - adagio molto
Sanctus: andante moderato
Pie Jesu: adagio
Agnus Dei: andante - molto largo - andante
Libera me: moderato - più mosso - moderato
In Paradisum: andante moderato
Ashley Holland Baritone
Teresa La Rocca Soprano
Rupert Gough Organ
布拉姆斯
Johannes Brahms
命運之歌，作品 54
Schicksalslied (Song of Destiny), Op 54
一如《德意志安魂曲》和其他布拉姆斯 的合唱作品，在《命運之歌》中，作曲 家專注探索人類命運的種種、人生短 暫如過客、和凡人面對浩瀚宇宙的無 助；然而這次他並非從聖經取材，卻 轉向古希臘的神話世界，歌詞來自德 國詩人賀德林的詩篇，描述極樂世界 有無限福樂，可是塵世的人無休止直 墮未知的境地，映成蒼涼的對比。
作品寫成於1868 到1871 年間，由三個 段落組成：第一段的引子綿長而寧 靜，預示諸神的幸福，可是隱約的定 音鼓三連音，帶出焦慮與不安，叫人 想起《德意志安魂曲》的第二樂章 「凡有血肉的，盡都如草」，引子隨着 合唱的開始而淡出。歌詞的配置美麗 而簡樸，卻恰到好處：你可以聽到「光 輝的聖靈之風」的閃亮和音、單純的琶 音撥奏模仿豎琴手劃過聖潔的琴弦， 以及在第二段詩文的最後 「永恆的 澄明」那種萬古不動的寂靜。
就在器樂的終止句完結之前，不安的 不協和弦把樂曲帶至第二段落；音樂 有如驚濤駭浪，和像歌詞一樣，未讓 人有歇息之處，「礁石之間的浪花」在 狂野的切分音中被猛力扔出，當句子 以高一音調重複時，效果更加強烈， 直到最後一句，營造出一種音樂上的 虛空，顯然漫無目的地漂流到未知的 境地。
雖然布拉姆斯心繫賀德林悲觀的歌 詞，但就像《德意志安魂曲》一樣，他 並沒有失去希望。即使第二樂段最後 沉沒得了無蹤影，樂曲卻轉化作器樂 引子的重述，微妙地幻化成使人感到
As in the Deutsches Requiem and much of his choral music, so too in this work Brahms is preoccupied with the lot of humankind, the transitory nature of our life on earth, and our alienation from the vastness of the universe. This time however he turned for his text not to Scripture but to the classical world of Greek mythology, and to Hölderlin’s desolate contrast between the eternal bliss of Elysium and the wretchedness of our own relentless plunge towards the unknown.
The work, written between 1868 and 1871, is cast in three sections: the first opens with a long, serene introduction that anticipates the blessedness of the gods, yet with an undertone of timpani triplets uneasily reminiscent of the second movement of the Requiem — ‘For all flesh is as grass’ which fades with the first chorus entry. The word-setting is beautifully unobtrusive yet absolutely right: listen for the shining harmony at ‘Glänzende Götterlüfte’, the simple arpeggiated pizzicato chords as the harpist touches her sacred strings, or the stillness of the ‘ewiger Klarheit’ at the end of the second verse.
The orchestra’s closing phrase is almost complete when a disturbing dissonance leads to the second section, and to a tempestuous violence which, like the text, is denied any resting-place. ‘Wie Wasser von Klippe zu Klippe’ is hurled out in wild syncopation, intensified when the text is repeated by being presented a tone higher, until the final line provokes a kind of musical emptiness, drifting apparently aimlessly towards the unknown.
Yet for all his preoccupation with the pessimism of Hölderlin’s text, Brahms (again as in the Requiem) is not bereft of hope, and even as it
安慰的後奏；笛子獨奏帶着旋律，不 安的定音鼓差不多消失了，最後一句 並沒有受之前不協和樂句的影響，達 至圓滿的效果；作品以明亮的Ｃ大調 作結，而非開段時較灰暗的降Ｅ調， 是匠心獨運而效果昭著的神來之筆。
樂曲介紹：羅伯特．米克爾
sinks into oblivion, the second section turns to a restatement of the orchestral introduction, subtly transformed into a consoling postlude. A solo flute now carries the melody, the restless timpani have all but disappeared, the final phrase reaches its consummation unhindered by the earlier dissonance, and an uncharacteristic but effective touch — the work closes in a radiant C major rather than the more sombre E flat of its opening.
Programme Notes © Robert Meikle
朱利安．安德遜 Julian Anderson
Beautiful Valley of Eden (a capella) 選自《四首美國合唱曲》 from Four American Choruses
這四首合唱曲的歌詞選自十九世紀中 流行一時的艾拉．桑基的美國福音詩 歌集，美國作曲家艾菲斯對這套歌集 情有獨鍾，在幾乎所有成熟期作品， 都採用了桑基詩歌的調子。在十九世 紀的美國，生活水準普遍低落，桑基 的詩歌能引起廣泛的社會共鳴，它們 是一種慰藉，帶給人平安的感覺，以 及對美好生活的憧憬。
這些詩歌的修辭和句子轉折亦影響了 十九世紀後期的美國詩人，起碼在《我 是朝聖者》和《美麗的伊甸園之谷》的歌 詞况，我都在後來的艾美莉．狄金森 的詩歌况聽到回音。選自這四首合唱 曲的歌詞，大致上都避免偏向某一教 派的宗教涵意，因為我希望表達的意 念是社會的集體盼望與慶典。
在四首合唱曲中，《美麗的伊甸園之 谷》(2002) 是最長篇的。受到歌詞所啟 發，我想像有幾個合唱組，在山谷四
The texts of these four choruses are chosen from Ira D Sankey’s popular American Gospel Hymn Book , from the mid-19th century, a volume much beloved by Charles Ives who quoted numerous Sankey tunes in almost all his mature works. There is something socially very moving about them, providing as they did a means of solace, comfort and hope in a better life for people whose lives were, on average, probably terrible.
Some of the phraseology and turns of phrase may also have been an influence on American poets in the latter half of the 19th century. I hear pre-echoes of Emily Dickinson, at least, in the texts of both I’m a Pilgrim and Beautiful Valley of Eden . In all four cases, the chosen texts generally avoid any specifically denominational religious references, as I wanted to focus on the social idea of collective hope and celebration.
By contrast, Beautiful Valley of Eden (2002) is the most extended of the four choruses. Inspired by the text, I imagined a group of choruses
周的山上一同唱着聖詩；在《美麗的伊 甸園之谷》，歌詠團分為四個小組，各 自以不同的速度演唱。為了幫助團員 和聽眾去分辨速度不一的詠唱，四個 小組分別對應合唱的四個標準聲部： 最高的高音部、第二的中音部、中間 的次中音部和最低音域的低音部，每 組都有自己的指揮，除了在最後一個 音節，小組的演唱都不同步。每一部 份本身的難度不高，但是結合起來卻 能造出意想不到的和諧；樂曲整體由 開始到結束的流暢演繹，有賴各合唱 部之間的提示。
創作這首樂曲面對兩個挑戰： 1）把相 同的歌詞，一句一句的，以四種完全 不同的手法去演繹； 2）雖然四個聲部 的速度都不一致，卻要保證它們在所 有情況下都能營造和諧感覺。克服這 些挑戰而成就的作品，並非為炫耀樂 曲的複雜性，而是要帶出一種群眾慶 典的歡愉。
樂曲介紹：朱利安．安德遜， 2004 年
singing hymns simultaneously in different mountains across a valley. In Beautiful Valley of Eden, the chorus is split up into four groups, each singing at their own speed. In order to aid both singers and listeners in hearing the different speeds going on at once, the four sub-choruses correspond to the four standard voice parts of a chorus: the top group are sopranos, the second the altos, the tenors in the middle, and the basses in the lowest register — each under their own sub-conductor. They are never synchronised save for the very last bar. Each part on its own is fairly easy to sing; however, their combination produces much more surprising harmonies. A system of cues between the chorus sections ensures the whole thing runs in order from beginning to end.
The challenge here was two-fold: 1) to set the same text, line by line, in four completely different ways; 2) to ensure that no matter what happens the four parts always make harmonic sense against each other despite the fact that they are never singing at the same speed. The end result is intended not to convey complexity, but a sense of joyous collective celebration.
Programme Notes © Julian Anderson 2004
朱利安．安德遜 Julian Anderson
朱利安．安德遜 1967 年倫敦出生，師從約翰．蘭柏特、亞歷山大．戈爾和特里斯坦．穆雷 等名作曲家， 1990 年的管弦樂作品《雙聯畫》是其成名作，替他摘取了1992 年的皇家愛樂協 會青年作曲家大獎，讓他獲提名代表英國廣播公司參與 1996 年巴黎國際現代音樂交流會。 由 1996 到2001 年，他是室樂團「交響 21」的駐團作曲家， 1999 到 2005 年間任伯明翰市交響 樂團聯駐作曲家；安德遜擔任皇家音樂學院的作曲系系主任至 2005 年，現為哈佛大學的作 曲系教授。
Julian Anderson was born in London in 1967 and studied composition with John Lambert, Alexander Goehr and Tristan Murail. His first acknowledged work, Diptych (1990) for orchestra, won the 1992 Royal Philharmonic Society Prize for Young Composers and was subsequently nominated as the BBC entry in the 1996 International Rostrum of Composers in Paris. From 1996 to 2001 he was Composer in Residence with the chamber orchestra Sinfonia 21, and between 1999 and 2005 he was Composer-In-Association with the City of Birmingham Symphony Orchestra. Anderson was Head of Composition at the Royal College of Music until 2005, and is now a professor of Composition at Harvard University.
莫頓．勞里特臣 Morten Lauridsen
《無限神秘》（無伴奏合唱曲） O Magnum Mysterium (O Great Wonder) (a capella)
《無限神秘》是馬修．羅特獻給他妻子 泰麗．諾爾斯而委約的作品。自 1994 年由洛杉磯大合唱團首演之後，此曲 在世界各地演出次數已有千次，被灌 錄成唱片數十次。我曾把此曲改成以 鋼琴或管風琴伴奏的獨唱作品（收錄在 《勞里特臣：西北之旅》，由方格倫主 唱，勞里特臣伴奏）、男聲合唱及銅管 樂合奏；而由羅拔．雷洛改編成的管 樂合奏版本，最近在明尼阿波利斯由 方頓管樂團首演，令人耳目一新。
《無限神秘》歌詞美麗動人，描述救主 在卑微的牲畜和牧羊人當中降生，幾 百年來給予作曲家不少靈感；歌曲肯 定了神對謙卑的人的恩寵，亦是對蒙 受祝福的童貞女的敬拜，在我的筆 下，這些都由祥和的歌聲所唱頌，散 發着來自內心深處的喜樂。
樂曲介紹：莫頓．勞里特臣
莫頓．勞里特臣 Morten Lauridsen
O Magnum Mysterium, commissioned by Marshall Rutter in honour of his wife Terry Knowles, has had several thousand performances throughout the world and been recorded dozens of times since its 1994 premiere by the Los Angeles Master Chorale. I have also arranged the work for solo voice and piano or organ (recorded on Lauridsen: Northwest Journey by Jane Thorngren, accompanied by the composer), men's chorus, and brass ensemble H Robert Reynold's stunning adaptation for symphonic winds was recently premiered in Minneapolis by the Thornton Wind Symphony.
For centuries, composers have been inspired by the beautiful O Magnum Mysterium text depicting the birth of the newborn King amongst the lowly animals and shepherds. This affirmation of God’s grace to the meek and the adoration of the Blessed Virgin are celebrated in my setting through a quiet song of profound inner joy.
Programme Notes © Morten Lauridsen
莫頓．勞里特臣卓越的音樂創作，在合唱和聲樂曲目中穩佔重要地位，世界各地的合唱團
和聲樂家都經常演出他的作品，當中最受稱許的包括六首聲樂或合唱套曲：《玫瑰頌》（詞： 里爾克）、《仲冬之歌》（詞：格雷夫斯）、《四首歌》（詞：加西亞．洛爾卡）、《冬日至》（詞： 摩斯）、《牧歌：六首取材自意大利文藝復興詩作的「火之歌」》，以及《永恆之光》，另外還有 他的無伴奏經文歌系列，包括感人的《無限神秘》，此曲自 1994 年首演後，在世界各地的演 出已有千計。勞里特臣除了擔任洛杉磯大合唱團的駐團作曲家，也是洛杉磯南加州大學音 樂學院的作曲系系主任。
Morten Lauridsen’s distinguished music has reached a permanent place in the standard choral and vocal repertoire, and is performed regularly by choruses and vocal artists throughout the world. His catalogue is most noted for six major vocal/choral cycles Les Chansons des Roses (Rilke), Mid-Winter Songs (Graves), Cuatro Canciones (Lorca), A Winter Comes (Moss), Madrigali: Six ‘Firesongs’ on Italian Renaissance Poems and Lux Aeterna and his series of sacred a capella motets. Among these is the moving O Magnum Mysterium , which has had literally thousands of performances worldwide since its premiere in 1994. In addition to his residency with the Los Angeles Master Chorale, Lauridsen is Chair of the Composition Department at the School of Music, University of Southern California in Los Angeles, a faculty he joined in 1967.
拉爾夫．沃恩．威廉斯
Ralph Vaughan Williams
《五首神秘之歌》 Five Mystical Songs
沃恩．威廉斯於1906 年就着手以五首 喬治．赫伯特的詩作，創作一套題為 《五首神秘之歌》的作品；他的「塔利斯
主題幻想曲」在 1910 年的格洛斯特三 大聖詩班音樂節中大受好評，由此他 獲邀在翌年的伍斯特音樂節發表及指 揮新作；他正好把握這次演出機會， 把《五首神秘之歌》完成，並配上樂器 編排。賀伯特的詩風瀰漫神秘氣氛， 帶着濃厚的宗教意象，深深地吸引着 威廉斯，並啟發他筆下這些至情至聖 的音樂。
《復活節》由動人的男中音上升句帶 起，合唱部立即回應，這個安排適切 地比喻預見基督復活的歡欣。在《我帶 着花兒》的最後一節，合唱部的哼唱與 男中音亦步亦趨，直至最後的樂句， 兩聲部一同唱出勝利的宣言。這種巧 妙地利用合唱部的手法在《愛上前來歡 迎我》的最後一段再派用場，合唱以無 字的哼歌，唱出素歌《啊！神聖的饗 宴》，效果美不勝收。《感召》溫婉的旋 律，令人煩惱盡忘，但樂曲卻也帶着 一種堅毅，透過詩歌表現信念的穩 固。前四首歌曲都帶着深思的氣氛， 而《對唱曲》則以力量和讚美燦爛地總 結整套樂曲。
樂曲介紹：安德魯．伯恩
The success of the Tallis Fantasia at the 1910 Gloucester Three Choirs Festival, led to Vaughan Williams being invited to conduct a further premiere at the Worcester Festival the following year. For this occasion he completed and orchestrated a setting of five poems by George Herbert which he had been working on since 1906 under the title Five Mystical Songs Herbert’s mystical poetry with its rich religious imagery appealed strongly to Vaughan Williams who responded with music of intense lyricism.
Easter opens with a striking rising phrase for the baritone, echoed immediately by the chorus, which is an apt musical simile for the exultant joy at the contemplation of the risen Lord. In the final verse of I Got Me Flowers, the chorus’ humming offsets the baritone, until they too join him for the triumphant affirmation of the last line. Similarly the chorus is used to brilliant purpose again in the final section of Love Bade Me Welcome where to a wordless ‘ah’ they sing the plainsong chant O sacrum convivium, resulting in music of ravishing beauty. The Call has a disarmingly gentle melody which nevertheless has a strength reflecting the security of the power of faith expressed in the poem. In contrast to the reflective moods of the first four songs the Antiphon concludes the work with an outburst of energy and praise.
Programme Notes by Andrew Burn - Interval -
弗瑞 Gabriel Fauré
《安魂曲》，作品 48
Requiem, Op 48
在弗瑞的大型作品中，《安魂曲》是最 為流行的一首；安謐寧靜的主導風 格，給予音樂一種超脫塵俗的氣質。
然而，這首《安魂曲》的創作歷程可謂 波折重重，弗瑞早於 1877 年已經有了 腹稿，但首稿要到1893 年才完成，而 我們今天所認識的管弦樂版，更遲於 1900 年才問世。
《安魂曲》的拉丁文歌詞來自羅馬天主 教追思彌撒的經文，但弗瑞的手法跟 前人所作有幾個顯著的分別，當中最 明顯的在於經文的選取：大部份十九 世紀安魂曲都採用的《末日經》，由每 段數句串成的長篇經文聖詩，詩文非 常露骨的描述世界在復仇的神的眼前 燒成灰燼的災難情景。貝遼士和威爾 第都不約而同把這段經文以高度戲劇 化的手法處理，利用銅管號角曲伴着 大型合唱，以宣告世界的終結；相反 地，弗瑞卻完全刪去了這段經文，把
注意力投放於儀式的其他部份，以期 更適當地配合他的創作意念。然而， 弗瑞並未有忽略世人對死亡的恐懼， 他在《拯救我》中加插了一段《末日經》 的引文，但圍繞這段嚇人的毀滅場面 的，是懇求寬恕的溫柔，憤怒的恐怖 氣息由此得以緩和。
總括而言，這首樂曲打破同類作品一 貫的鋪張姿態，轉而以聲樂的寫法， 帶出中世紀聖歌的婉然柔韌；淡淡的 器樂色調，由溫和的變化和聲所潤 飾，編織出優美的旋律。簡言之，弗 瑞的《安魂曲》所表現的死亡，不是悲 哀的生命終結，也不是世人要無奈接 受的命運，他視死亡為成就的一種， 是生命到達頂峰的一種平安境界。
Of Gabriel Fauré’s large-scale works, the Requiem is by far the most widely popular. Fauré drafted the initial ideas as early as 1877, but only completed a first version in 1893. The orchestral version we know today was not produced until 1900.
The Latin text of the Requiem comes from the Roman Catholic liturgy for funerals. Fauré’s setting however differs in a number of notable ways from the settings of earlier composers. The most obvious difference involves his selection of texts. Most 19th century requiems included the Dies irae, a lengthy sequence or hymn-like poem of several verses. This sequence describes in terrifying detail — a cataclysmic scene in which the world dissolves into ashes before the eyes of a vengeful God. Berlioz and Verdi had both set this poem in a highly theatrical manner, employing brass fanfares to accompany a large chorus that announces the end of the world. In contrast, Fauré simply ignored this text preferring to concentrate on the other parts of the liturgy that better suited his purposes. Nonetheless, Fauré does not ignore the human fear of death. Indeed, the Libera me includes a quotation of the Dies irae text, but this frightening scene of destruction is surrounded by gentle pleas for mercy that soften its ferocity.
Overall, the musical setting of this work eschews grandiose gestures in favour of vocal writing that evokes the sinuous flexibility of medieval chant. These melodies are supported by a muted instrumental palette enriched by mildly chromatic harmonies. In short, Fauré’s Requiem presents death neither as a tragic end to life nor as an inevitability to which one must be stoically resigned. His view of death is one of fulfilment, the culmination of life in peace.
Programme Notes by Michael McClellan
Schicksalslied, Op 54
Text by Friedrich Hölderlin
Ihr wandelt droben im Licht
Auf weichem Boden, selige Genien!
Glänzende Götterlüfte
Ruhren Euch leicht, Wie die Finger der Künstlerin Heilige Saiten.
Schicksallos, wie der schlafende Säugling, atmen die Himmlischen; Keusch bewahrt
In bescheidener Knospe, Blühet ewig Ihnen der Geist,
命運之歌，作品54
文：賀德林
受祝福的神仙啊！你在光暈之中、 軟地之上漫遊；
光輝的聖靈之風輕拂着你，猶如音樂家的手 指撫摸着神聖的琴弦。
沒有命運的束縛，神仙們呼吸着，有如酣睡 的嬰孩，在端莊的花蕾那純潔的保護中，精
Song of Destiny, Op 54
Text by Friedrich Hölderlin
You wander above in the light on soft ground, blessed genies! Blazing, divine breezes brush by you as lightly as the fingers of the players on their holy strings.
Fateless, like sleeping infants, the divine beings breathe, chastely protected in modest buds,
Und die seligen Augen Blicken in stiller Ewiger Klarheit.
Doch uns ist gegeben, Auf keiner Stätte zu ruhn; Es schwinden, es fallen Die leidenden Menschen Blindlings von einer Stunde zur andern, Wie Wasser von Klippe Zu Klippe geworfen, Jahrlang ins Ungewisse hinab.
神靈魂綻放到永恆無盡；他們載滿福樂的眼 睛，靜靜地凝視着永恆的澄明。
可是，我們卻沒有止息之處，我們消失，我 們墮落；受苦的人類盲目地度着年月，有如 浪花在礁石之間被拋來拋去，長久陷入未知 的深淵。
blooming eternally their spirits, and their blissful eyes gazing in mute, eternal clarity.
Yet there is granted us no place to rest; we vanish, we fallthe suffering humansblind from one hour to another, like water thrown from crag to crag, for years into the unknown depths.
美麗的伊甸園之谷
美麗的伊甸園之谷， 你那午間的恬靜是那麼甜美， 撫過疲憊心靈的， 是你陣陣的芳香。
美麗的伊甸園之谷， 純潔和幸福的家園， 多少次在惡浪之中， 我夢想着你的安寧，甜蜜的安寧。
在悲傷的人心裏， 你的金光滿照， 從遙遠的地方， 吹送着天使之歌。
這是我的救世主的家， 在光榮的高地上， 美妙的新歌在流動。
美麗的伊甸園之谷， 純潔和幸福的家園， 多少次在惡浪之中， 我夢想着你的安寧，甜蜜的安寧。
此組曲首次完整的演出為2004 年伯明翰 市交響樂團合唱團三十週年所委約，屬 於伯明翰市交響樂團作曲家計劃的一部 份。
O Magnum Mysterium
O magnum mysterium et admirabile sacramentum ut animalia viderent Dominum natum jacentem in praesepio. Beata Virgo cujus viscera meruerunt portare Dominum Christum.
O
Great Wonder
O great wonder, and miraculous sacrament: that the animals see the Lord born lying in a manger.
Blessed is the Virgin whose womb was worthy to bear the Lord Jesus Christ.
Beautiful Valley of Eden
Beautiful Valley of Eden, Sweet is thy noonday calm, Over the hearts of the weary, Breathing thy waves of balm.
Beautiful Valley of Eden, Home of the pure and blest, How often amid the wild billows I dream of thy rest, sweet rest!
Over the heart of the mourner, Shineth thy golden day, Wafting the songs of the angels Down from the far away.
There is the home of my Saviour Over the highlands of glory Rolleth the great new song.
Beautiful Valley of Eden, Home of the pure and blest, How often amid the wild billows I dream of thy rest, sweet rest!
The first complete performance in 2004 was commissioned for the 30th Anniversary of the City of Birmingham Symphony Chorus as part of the CBSO Composer-In-Association scheme.
無限神秘
啊！無限神秘， 這是奇妙無比的神聖事蹟： 牲畜們看着主的降生， 祂躺在馬槽况， 蒙受恩寵的童貞女， 她的腹中孕育了 主耶穌基督。
五首神祕之歌
1.復活節
歡躍起來吧，你的主已復活了，
來頌讚祂，不要耽延，
祂拖着你的手，而你亦然， 與祂一起你得到昇華，
當祂的死把你化成塵埃， 祂的生命卻能把你煉得比金更純。
甦醒吧，我的琴，努力做好你本份，
施展你的本領，
十字架已教化所有樹木， 頌揚祂的名字， 一位它曾背負的；
祂被拉緊的筋已教化所有琴弦， 彈出讚美這無上之日的最佳樂調。
讓心琴合奏，交織一首歌，
歡愉而深長，
或然所有音樂皆有三部爭鋒、繁衍， 就讓蒙受祝福的聖靈也參與其中， 以祂優美的技藝彌補我們的缺憾。
2.我帶着花兒
我帶着花兒來撒在㢠的路上，
我也從很多樹上摘下了樹枝， 但㢠在破曉時已復活過來， 帶來了㢠的喜樂。
旭日從東方升起， 即使旭日帶來了光， 而東方也散發幽香， 但若它們想與㢠的復活爭輝， 它們是休想。
除了這天，能再有這樣， 就像有眾多太陽拱照的日子嗎？ 我們數算一年的歲月，但我們懷念的， 永遠只有那獨一無二的一天。
Five Mystical Songs
1.Easter
Rise heart; thy Lord is risen. Sing his praise Without delays, Who takes thee by the hand, that thou likewise With him may’st rise; That, as his death calcined thee to dust, His life may make thee gold, and much more, Just.
Awake, my lute, and struggle for thy part With all thy art. The cross taught all wood to resound his name Who bore the same.
His stretched sinews taught all strings, what key Is best to celebrate this most high day.
Consort both heart and lute, and twist a song
Pleasant and long: Or since all music is but three parts vied, And multiplied; O let thy blessed Spirit bear a part, And make up our defects with his sweet art.
2.I Got Me Flowers
I got me flowers to strew thy way; I got me boughs off many a tree: But thou wast up by break of day, And brought’st thy sweets along with thee.
The Sun arising in the East, Though he give light, and the East perfume; If they should offer to contest With thy arising, they presume.
Can there be any day but this, Though many suns to shine endeavour? We count three hundred, but we miss: There is but one, and that one ever.
3.愛上前來歡迎我
愛上前來歡迎我，我的靈魂卻後退，
塵與罪的歉疚，
可是，明眼的愛，從我一進來， 就看出我的遲疑。
愛就更靠近我，親切的問， 我是否有所缺欠。
我答：「一位有資格來到這兒的貴賓。」 愛說：「那人正是你。」
「我？這般無情、不懂感恩的我？啊！
尊貴的，我不敢正視㢠啊！」
愛拉着我的手，微笑着回應：
「你的眼睛不也是我創造的嗎？」
「主啊，不錯，但我污損了我的雙眼， 就讓我的羞愧得到它的報應。」
愛說道：「你可知道是由誰替你承擔罪 過？」
「尊貴的，那我就服從吧。」
愛說道：「你定要坐下，來分享我的身 體。」
於是我就坐下來吃了。
4.感召
來！我的道路，我的真理，我的生 命：
這道路，賜予我們呼吸的空氣， 這真理，能平息所有爭端， 這生命，能戰勝死亡。
來！我的光明，我的饗宴，我的力 量：
這光明，能照亮饗宴， 這饗宴，能補足所欠， 這力量，能感召祂的賓客。
來！我的喜樂，我的愛，我的心靈： 這喜樂，無人能動， 這愛，無人能離棄， 這心靈，愛在喜樂况。
3.Love Bade Me Welcome
Love bade me welcome: yet my soul drew back, Guilty of dust and sin.
But quick-ey’d Love, observing me grow slack From my first entrance in, Drew nearer to me, sweetly questioning, If I lack’d anything.
A guest, I answer’d, worthy to be here: Love said, You shall be he. I the unkind, ungrateful? Ah, my dear, I cannot look on thee.
Love took my hand, and smiling did reply, Who made the eyes but I?
Truth, Lord, but I have marr’d them: let my shame Go where it doth deserve.
And know you not, says Love, who bore the blame?
My dear, then I will serve. You must sit down, says Love, and taste my meat: So I did sit and eat.
4.The Call
Come, my Way, my Truth, my Life: Such a Way, as gives us breath: Such a Truth, as ends all strife: Such a Life, as killeth death.
Come, My Light, my Feast, my Strength: Such a Light, as shows a feast: Such a Feast, as mends in length: Such a Strength, as makes his guest.
Come, my Joy, my Love, my Heart: Such a Joy, as none can move: Such a Love, as none can part: Such a Heart, as joys in love.
5.對唱曲：
讓世界每個角落都放聲高唱 讓世界每個角落都放聲高唱 我的上主我的王！
天堂並非高不可攀， 對祂的讚美可以直達雲霄，
大地並不低下卑微， 對祂的讚美可以紮根成長。
讓世界每個角落都放聲高唱 我的上主我的王！
教堂都要把頌讚的詩篇高聲頌揚， 沒有門能阻隔， 而最重要的是， 心靈領受最恆久的喜悅。
讓世界每個角落都放聲高唱 我的上主我的王！
－中場休息－
5.Antiphon:
Let all the world in every corner sing
Let all the world in every corner sing, My God and King!
The heavens are not too high, His praise may thither fly: The earth is not too low, His praises there may grow.
Let all the world in every corner sing, My God and King!
The church with Psalms must shout. No door can keep them out: But above all, the heart Must bear the longest part.
Let all the world in every corner sing, My God and King!
- Interval -
Requiem, Op 48
Introitus - Kyrie
Choir, tenors
Requiem aeternam dona eis Domine et lux perpetua luceat eis
Sopranos
Te decet hymnus, Deus in Sion et tibi reddetur votum in Jerusalem
Offertoire
Altos, tenors
O Domine, Jesu Christe, Rex Gloriae libera animas defunctorum de poenis inferni et de profundo lacu
O Domine, Jesu Christe, Rex Gloriae libera animas defunctorum de ore leonis ne absorbeat eus Tartarus ne cadant in obscurum.
Altos, tenors, basses
O Domine, Jesu Christe, Rex Gloriae ne cadant in obscurum.
Sanctus
Sopranos, tenors, basses
Choir
Exaudi orationem meam ad te omnis caro veniet
Kyrie eleison, Christe eleison Kyrie eleison.
Baritone solo
Hostias et preces tibi Domine, laudis offerimus tu suscipe pro animabus illis quarum hodie memoriam facimus
Fac eas, Domine, de morte transire ad vitam Quam olim Abrahae promisisti et semini eus.
Chorus
O Domine, Jesu Christe, Rex Gloriae libera animas defunctorum de poenis inferni et de profundo lacu ne cadant in obscurum. Amen.
Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth Pleni sunt coeli et terra gloria tua Hosanna in excelsis.
Pie Jesu
Soprano solo
Pie Jesu, Domine, dona eis requiem dona eis requiem sempiternam requiem
Agnus Dei
Tenors, choir
Agnus Dei, qui tollis peccata mundi dona eis requiem
Choir
Agnus Dei, qui tollis peccata mundi dona eis requiem
Tenors
Agnus Dei, qui tollis peccata mundi dona eis requiem, sempiternam requiem.
Choir
Lux aeterna luceat eis, Domine
Cum sanctis tuis in aeternum, quia pius es Requiem aeternam dona eis Domine, et lux perpetua luceat eis
Libera me
Baritone solo
Libera me, Domine, de morte aeterna in die illa tremenda
Quando coeli movendi sunt et terra Dum veneris judicare saeculum per ignem
Choir
Tremens factus sum ego et timeo dum discussio venerit atque ventura ira
In Paradisum
Sopranos
In Paradisum deducant Angeli in tuo adventu suscipiant te Martyres et perducant te in civitatem sanctam Jerusalem
Chorus Jerusalem
安魂曲，作品48
進堂詠 ─ 垂憐經
合唱，男高音
主啊！求㢠賜予他們永遠的安息， 並以㢠永囱的光照耀他們。
女高音
主啊！㢠在聖地受稱頌，所有誓願 也要在耶路撒冷向㢠償還。
奉獻經
女低音，男高音
主耶穌基督，光榮之王， 求㢠從地獄的痛苦和無底深淵中， 拯救信徒的靈魂； 主耶穌基督，光榮之王， 求㢠救他們脫離獅口， 別讓他們墮入幽冥， 也別讓黑暗的深淵吞噬他們。
女低音，男高音，男低音 主耶穌基督，光榮之王， 別讓黑暗的深淵吞噬他們。
Dies illa dies irae calamitatis et miseriae dies illa, dies magna et amara valde
Requiem aeternam dona eis Domine et lux perpetua luceat eis
Libera me, Domine, de morte aeterna in die illa tremenda Quando coeli movendi sunt et terra Dum veneris judicare saeculum per ignem.
Sopranos
Chorus Angelorum te suscipit et cum Lazaro quondam paupere aeternam habeas requiem
Chorus Aeternam habeas requiem
合唱
聽我的禱告，凡有血肉的，都要投向㢠。
天主，求㢠垂憐， 基督，求㢠垂憐， 天主，求㢠垂憐。
男中音獨唱 我們為㢠獻上禱告和讚美， 請為我們今天所懷念的靈魂， 接納我們的奉獻； 主啊！請讓他們從死亡進入永生的境界， 就如㢠所曾許諾予亞伯拉罕及其後裔的 一樣。
合唱 主耶穌基督，光榮之王， 求㢠從地獄的痛苦和無底深淵中， 拯救信友的靈魂； 別讓他們墮入幽冥。
阿門
聖哉經
女高音，男高音，男低音
神聖！神聖！神聖！上主，萬有的天主， 㢠的光榮充滿天地， 歡呼之聲，響徹雲霄。
慈悲的耶穌
女高音獨唱
慈悲的耶穌，主啊，求㢠賜他們安息， 賜他們安息，永遠的安息。
羔羊經
男高音，合唱
除免世罪的天主的羔羊， 求㢠賜給他們安息。
合唱
除免世罪的天主的羔羊， 求㢠賜給他們安息。
拯救我
男中音獨唱
主啊！拯救我， 在那可怕的一天， 天地都會動搖， 㢠將以地獄之火來審判人世， 求主在這一天從永恆的死亡中拯救我。
合唱
在驚懼中我抖顫， 等待着審判和隨之而來的憤怒的來臨。
在天國
女高音
願天使在天堂迎接他們， 㢠來到時，願聖人迎接你， 並帶你到聖城耶路撒冷。
合唱
耶路撒冷
男高音
除免世罪的天主羔羊， 求㢠賜給他們安息， 永遠的安息。
合唱
主啊！願永恆的光照耀他們， 使他們永遠與㢠的聖人為伍， 因為主是慈悲的。
主啊！請賜他們永遠的安息， 願永恆的光照耀他們。
那一天，神怒之日， 充滿悲慘與絕望， 那一天，偉大的一天， 至極痛苦的一天。
主啊！請賜他們永遠的安息， 願永恆的光照耀他們。
主啊！拯救我， 在那可怕的一天， 天地都會動搖，
㢠將以地獄之火來審判人世，
女高音
在那况天使的歌聲迎接你， 跟曾是乞丐的拉撒路一起， 願你得到永恆的安息。
合唱
願你得到永恆的安息。
Requiem, Op 48
Introitus — Kyrie
Choir, tenors
Grant them eternal rest, O Lord, and may perpetual light shine upon them
Sopranos
Thou, O God, art praised in Zion, and unto Thee shall the vow be performed in Jerusalem.
Offertoire
Altos, tenors
Lord Jesus Christ, King of Glory, deliver the souls of all the faithful departed from the pains of hells and from the bottomless pit.
Lord Jesus Christ, King of Glory, Deliver them from the lion’s mouth, nor let them fall into darkness, neither the black abyss swallow them up.
Altos, tenors, basses
Lord Jesus Christ, King of Glory, neither the black abyss swallow them up.
Sanctus
Sopranos, tenors, basses
Holy, holy, holy, Lord God of Sabbath heaven and earth are full of Thy glory Hosanna in the highest.
Pie Jesu
Soprano solo
Merciful Jesus, Lord, grant them rest grant them rest, eternal rest.
Choir
Hear my prayer, unto Thee shall all flesh come.
Lord have mercy, Christ have mercy, Lord have mercy
Baritone solo
We offer unto Thee this sacrifice of prayer and praise
Receive it for those souls whom today we commemorate.
Allow them, O Lord, to cross from death into the life which once Thou didst promise to Abraham and his seed.
Chorus
Lord Jesus Christ, King of Glory, deliver the souls of all the faithful departed from the pains of hells and from the bottomless pit. Nor let them fall into darkness.
Amen
Agnus Dei
Tenors, choir
O Lamb of God, that takest away the sins of the world, grant them rest
Choir
O Lamb of God, that takest away the sins of the world, grant them rest
Libera me
Baritone solo
Deliver me, O Lord, from everlasting death on that dreadful day when the heavens and the earth shall be moved when thou shalt come to judge the world by fire
Choir
I quake with fear and I tremble awaiting the day of account and the wrath to come.
In Paradisum
Sopranos
May the angels receive them in Paradise, at thy coming may the martyrs receive thee and bring thee into the holy city Jerusalem
Chorus Jerusalem
Tenors
O Lamb of God, that takest away the sins of the world, grant them rest, everlasting rest.
Choir
May eternal light shine on them, O Lord, with Thy saints for ever, because Thou art merciful. Grant them eternal rest, O Lord, and may perpetual light shine on them.
That day, the day of anger, of calamity, of misery, that day, the great day, and most bitter.
Grant them eternal rest, O Lord, and may perpetual light shine upon them.
Deliver me, O Lord, from everlasting death on that dreadful day when the heavens and the earth shall be moved when thou shalt come to judge the world by fire.
Sopranos
There may the chorus of angels receive thee, and with Lazarus, once a beggar, may thou have eternal rest.
Chorus
May thou have eternal rest.
伯明翰市交響樂團合唱團
City of Birmingham Symphony Chorus
「這樂團代表大型合唱團的最高境界，把高質素的音樂作品演繹得明 亮靈巧；力拔千軍的同時，卻也能溫柔婉約，創造出色彩與明暗， 含蓄而細膩︙︙無論是引吭高歌或是呢喃細語，同樣使人難忘。」
基斯度化．達夫，《溫哥華太陽報》 伯明翰市交響樂團合唱團由一群不受薪的專業樂師組成，1974 年初試啼聲，隨即晉身世 界頂尖合唱團之列，常與伯明翰市交響樂團一同演出，並備受其他國際級樂團青睞。在西 蒙．哈爾西的領導下，合唱團的足跡遍及英國各大音樂廳，亦在歐洲、北美洲和澳洲巡迴 演出。合唱團是伯市交響樂團旗下四個合唱團之一，其餘分別是兩個交響樂青年合唱團， 及一個由伯明翰市年輕人組成的合唱團，這樣全面的合唱團編制在英國實屬僅有。
與伯明翰市交響樂團及薩卡利．奧拉姆的合作
通過與伯市交響樂團及其音樂總監薩卡利．奧拉姆的合作，合唱團嘗試了不少具挑戰性的 曲目。在 2001 年，合唱團的演出包括了布列頓的《彼得格林》和巴赫的《聖馬太受難曲》， 而在同年的艾爾加《格隆提斯之夢》百週年音樂會中，合唱團更只靠背誦把樂曲唱出；在 2004 年分別於伯明翰市交響樂廳和阿姆斯特丹皇家音樂廳演出《格隆提斯之夢》，獲樂評 人極力推崇。
夥拍其他樂團
合唱團是伯明翰市交響樂團和該市非常重要的文化大使；在過去幾年豐盛的工作中，最突 出的要數2000 年的世界巡迴之旅，在悉尼奧運藝術節的開幕表演中獻唱馬勒的《千人交響 曲》，標誌着巡迴之旅的高潮。合唱團經常到訪曼徹斯特，與英國廣播公司愛樂樂團合作 演出及灌錄唱片。
2002年5 月，合唱團哄動了維也納愛樂音樂廳；當時她獲得一個獨一無二的邀請，與維也 納愛樂樂團及西蒙．歷圖爵士現場灌錄貝多芬的《第九交響曲》。兩場精采絕倫的演出結束 時，合唱團贏得如雷的掌聲。在2004 年1月，合唱團到赫爾辛基與奧拉姆和芬蘭電台交響 樂團合作，首次在芬蘭演出艾爾加的《格隆提斯之夢》；同年九月，合唱團與柏林愛樂樂團 在逍遙音樂節和伯明翰市演出貝多芬《第九交響曲》，皆獲一致好評。
合唱團灌錄超過二十張唱片，包括五張得獎的專輯。
“This musical organisation represents the large choir at its impressive best, a brilliantly versatile interpreter of great music. There is enormous power here, but there is also the ability to speak softly, to create colour, shading, nuance and subtle suggestion... It is as impressive in a whisper as it is at full volume.”
Christopher Dafoe, Vancouver
Sun
Since its debut in 1974, the City of Birmingham Symphony Chorus (CBSC) a body of unpaid professionals has become one of the finest of its kind, performing regularly with the City of Birmingham Symphony Orchestra (CBSO) and now in regular demand from other world-class orchestras. Under the direction of Simon Halsey, its director for 23 years, it has been heard in all the UK’s major concert venues and has toured extensively across Europe, North America and Australia. The CBSC is one of the four choruses of the CBSO, along with two symphony youth choruses and a community-based choir for young people; this extensive choral set-up is unique in Great Britain.
Working with the CBSO and Sakari Oramo
A huge range of challenging repertoire has been undertaken by the Chorus with the CBSO and its Music Director, Sakari Oramo. In 2001 CBSC performances included Britten’s Peter Grimes, Bach’s St Matthew Passion and the centenary concerts of Elgar’s The Dream of Gerontius which the Chorus performed from memory. In 2004 performances of Elgar’s The Dream of Gerontius at Symphony Hall and the Amsterdam Concertgebouw attracted immense critical acclaim.
Working with other orchestras
The Chorus is an extremely important cultural ambassador, both for the CBSO and for Birmingham. Featured amongst a wealth of prestigious engagements in the past few years was the CBSC’s 2000 World Tour, the highlight of which was a performance of Mahler’s Symphony of a Thousand at the opening of the Sydney Olympic Arts Festival. The CBSC is a regular visitor to Manchester to perform and record with the BBC Philharmonic.
In May 2002 the CBSC literally shook the foundations of the Vienna Musikverein, as it accepted a unique invitation to record live for EMI Beethoven’s 9th Symphony with the Vienna Philharmonic and Sir Simon Rattle. Roars of approval greeted the Chorus at the close of two spectacular performances of the work. In January 2004 the CBSC flew to Helsinki to join Sakari and the Finnish Radio Symphony Orchestra for the Finnish premiere of Elgar’s The Dream of Gerontius , and in September the CBSC met with the Berlin Philharmonic to wow Prom and Birmingham audiences with a performance of Beethoven’s 9th Symphony which attracted unanimous critical acclaim.
The CBSC has over 20 recordings to its credit, including five award-winning releases.
合唱團總監兼指揮 Chorus Director and Conductor
哈爾西是當今英國頂尖指揮家之一，他擔任伯明翰市交響樂團合唱團 的總監已經二十三年，在他領導下，合唱團聲名遠播，獲獎無數，並到 各地巡迴演出，與世界各大樂團合作無間，亦是國際著名音樂節的常 客，包括維也納、薩爾斯堡、萊比錫和英國廣播公司逍遙音 樂節等。這個樂季即跟英國廣播公司愛樂樂團合作，在逍遙 音樂節中演出威爾第的《安魂曲》。
哈爾西跟多位指揮家合作，包括西蒙．歷圖、迪華特、沙 爾、雅諾夫斯基、奧拉姆、長野健、阿巴度和沙羅年。哈爾 西還擔任北方交響樂團的首席合唱指揮、柏林和荷蘭電台合 唱團的指揮，以及歐洲之聲合唱團創辦人兼藝術總監。
哈爾西帶領伯明翰市交響樂團合唱團，灌錄唱片無數，而 且屢獲殊榮，包括多個《留聲機》獎項、和德國唱片樂評大獎 等。去年在伯明翰市交響樂廳為朱利安．安德遜的《四首美 國合唱》和《最受喜愛的英國合唱曲選》作世界首演，這個樂 季哈爾西會把這些作品錄成唱片。他最有名的作品，是伯市 交響樂團合唱團跟西蒙．歷圖爵士的維也納愛樂樂團合作， 現場灌錄的貝多芬《第九交響曲》。
Simon Halsey is one of Britain’s leading conductors, renowned for his work with choirs. He has been Chorus Director of the City of Birmingham Symphony Chorus for 23 years, and under his direction the Chorus has become widely known as one of the world’s greatest choirs. The Chorus has won many awards and toured extensively with Halsey, building strong relationships with the orchestras and festivals in Vienna, Salzburg, Leipzig and the BBC Proms. This season such dates include a performance of Verdi’s Requiem at the BBC Proms with the BBC Philharmonic.
As chorus master Simon Halsey has formed close partnerships with conductors including Sir Simon Rattle, Edo de Waart, Riccardo Chailly, Marek Janowski, Sakari Oramo, Kent Nagano, Claudio Abbado and EsaPekka Salonen. His other posts are Principal Conductor Choral Programme of the Northern Sinfonia, and Chief Conductor of the Berlin and Netherlands Radio Choirs. He is Artistic Director and founder of the dynamic European Voices, formed at the invitation of Sir Simon Rattle.
Halsey has worked on countless major recording projects with the CBSC, many of which have won major awards including several Gramophone Awards and Preis der Deutschen Schallplattenkritik. Following last year’s world premiere at Symphony Hall, this season Halsey will record Julian Anderson’s Four American Choruses and English Choral Favourites . Other landmark recordings include Beethoven’s 9th Symphony, in a live recording with the City of Birmingham Symphony Chorus and Vienna Philharmonic under Sir Simon Rattle. 西蒙．哈爾西
阿什利．霍蘭 Ashley Holland
男中音 Baritone
阿什利．霍蘭擅長演出十九世紀意大利歌劇，在年青一輩的男中音况， 他已漸漸躋身最受歡迎之列；最近他與明尼蘇達歌劇團合作，首度演出 唐尼采第的《瑪利亞．帕迪雅》中唐．帕德羅一角，成績斐然，隨即再獲 該劇團邀請，於2006年製作的梅卡丹特劇作《歐拉茲與古尼阿茲》中飾演 歐拉茲。
霍蘭於華威大學攻讀，並是皇家北方音樂學院的研究生，在音樂學院况 他取得布夫－埃索聲樂大獎與及寇蒂斯金獎；在 1995年的卡迪夫世界聲 樂大賽中，他代表英國出賽； 1998年，他也在漢堡的意大利歌劇國際歌 唱比賽中掄元。
他是英國國家歌劇團的男中音主音，其他的演出包括參與馬克．艾德及 啟蒙時代樂團的音樂會、與卡加利歌劇團合作首次擔演唐．喬望尼、與 德雷斯頓歌劇院首度演出《法斯塔夫》中的福特；他也在世界各大管弦樂 團演出中獻唱。
Ashley Holland is one of the most sought after young baritones for the 19th century Italian repertory. Following his recent highly-successful debut as Don Pedro in Donizetti’s Maria Padilla with the Minnesota Opera, he was immediately invited back for the role of Orazio in their new production Orazi e Curiazi in 2006.
Holland studied at Warwick University and as a postgraduate at the Royal Northern College of Music. In 1995 he was the English representative in the Cardiff Singer of the World Competition and in 1998 he won the RANIERI I cestelli competizione dell’opera in Hamburg. For several seasons Ashley Holland was a principal baritone at the English National Opera. Other engagements have included concert performances with Mark Elder and the Orchestra of the Age of Enlightenment, his first Don Giovanni for the Calgary Opera and his debut with Semper Opera Dresden as Ford in a new production of Falstaff. He also sings in concerts with major orchestras around the world.
特里莎．拉羅卡 Teresa La Rocca
女高音 Soprano
特里莎．拉羅卡於阿得萊德大學完成戲劇與音樂學位，她曾參演電影《閃 亮的風采》，也是南澳洲國立歌劇團的年輕音樂家。
拉羅卡曾與澳洲各大歌劇團合作；在南澳洲國立歌劇團中，她擔當多套 劇的重要角色，包括《騙婚記》的諾妮娜、史達拉汶斯基的《瑪芙拉》的帕 拉莎、《天皇萬歲》的鴦鴦、《女人心》的德斯皮娜；她替澳洲歌劇團演出 的角色有《魔笛》的夜之后、《波希米亞生涯》的梅塞塔，以及《費加羅的婚 禮》的蘇珊娜；此外，她也在其他樂團中任演出嘉賓，包括悉尼交響樂團 及阿得萊德交響樂團。
Teresa La Rocca completed a drama and music degree at Adelaide University. She appeared in the movie Shine and was a Young Artist with the State Opera of South Australia.
La Rocca has performed many principal roles with the major opera companies of Australia including Norina in Don Pasquale, Parasha in Stravinsky’s Mavra, Yum Yum in The Mikado , and Despina in Così fan tutte , all for State Opera of South Australia. Her roles performed for Opera Australia include Queen of the Night in The Magic Flute, Musetta in La Bohème and in The Marriage of Figaro . She has performed as a guest artist with many other orchestras including the Sydney Symphony Orchestra and Adelaide Symphony Orchestra.
© Patrick Togher Artists’ Management 2005
盧帕特．哥夫
Rupert Gough
管風琴
Organ
自1994年起，盧帕特．哥夫一直擔任英國衛爾斯大教堂的副管風琴師， 負責在崇拜中伴奏並指導詠唱，每星期達九次之多。他和合唱團常到世 界各地的音樂會、電台、電視等演出。哥夫多才多藝，參與獨奏、指揮 和伴奏的工作，又曾到歐美各地作獨奏演出。哥夫同時在衛爾斯大教堂 附屬學校教授管風琴。在 1998 年，哥夫成立了衛爾斯大教堂室樂合唱 團，後來易名為舒爾頓合奏團，這個專業組合以高水準的演奏著名，並 精於發掘英國音樂作品中的遺珠。
Rupert Gough has been Assistant Organist at Wells Cathedral since 1994 where he accompanies and assists in directing the nine sung services every week. With the choir he has performed all over the world, on the radio, and on television. Rupert Gough enjoys a busy career as recitalist, conductor and accompanist. As a recitalist he has performed widely in Europe and America.
Gough also teaches organ at Wells Cathedral School. He has established a successful organ and violin duo with his wife Rachel. In 1998 Gough founded the Wells Cathedral Chamber Choir and this professional ensemble (now also known as the Sheldon Consort) has established a reputation for high standards and exploring lesser known aspects of the English repertory.
Hong Kong Philharmonic Orchestra
「迪華特接掌港樂不到數月，竟然可以將之脫胎換骨，聽來猶如世界第一流樂團，真是一 個奇跡。」
李歐梵，《亞洲週刊》，
2004/05 樂季起，舉世知名的指揮家艾度．迪華特出任藝術總監兼總指揮後，香港管弦樂 團（港樂）迅速冒起成為亞洲區具領導地位的管弦樂團。過去三十多年間，樂團已發展為一 隊集華人和海外音樂精英的組合，吸引全球最出色的音樂家同台演出。港樂每年演出過百 場次，眾多節目更成為本港的文化盛事。港樂每年演出七十多場免費交響及室樂音樂會， 讓逾七萬位中、小學生認識古典音樂，亦與香港演藝學院緊密聯繫，協助培育出色的專業 音樂人才。
“In the few months since Edo de Waart took over the HKPO, he has transformed it, and their performance now sounds like that of a world-class orchestra. This is truly a miracle.” - Leo Lee, Yazhou Zhoukan, February 2005
The Hong Kong Philharmonic Orchestra is rapidly emerging as Asia’s leading orchestra, since the internationally renowned Edo de Waart joined the Orchestra as Artistic Director and Chief Conductor in the 2004/05 season. Throughout the last three decades, the Orchestra has grown into a formidable ensemble of Chinese and international talents, attracting world-class artists to perform on the same stage. Apart from giving over 100 performances annually, many of which are highly anticipated events in the city’s cultural calendar, the Orchestra performs more than 70 free orchestral and chamber concerts for 70,000 primary and secondary school students a year. It also joins hands with the Hong Kong Academy for Performing Arts to help nurture aspiring professionals.
伯明翰市交響樂團合唱團
City of Birmingham Symphony Chorus
合唱團總監 Chorus Director
副指揮 Associate Conductor
助理指揮 Assistant Conductor
合唱團經理 Chorus Manager
合唱團行政 Chorus Administrator
女高音
Sopranos
Sally Bateman
Nikki Bawcutt
Sarah Beedle
Heledd Bennett Joynson
Louisa Blankson
Kay Bodley *
Catherine Byers
Heather Cole
Julie Coley *
Tanya Cutts
Helen Davies
Pamela Davies
Kathy Deakin *
Lisa Elkington-Bourne
Lynne Evans
Nancy Gillio-Terry
Naomi Goldsworthy
Lucy Griffiths
Prue Hawthorne *
Robyn Jennings
Simon Halsey
David Lawrence
Julian Wilkins
Elen Huws Elis
Mike Flower
Diana King *
Annabel Kings
Sheila Koch
Katherine Lawson
Valerie Matthews *
Dawn Mullard
Catherine Panting
Sarah Rees
Sally Ryan
Jennifer Scholes
Victoria Shirtliff
Emily Smith
Yvonne Sutton
Sarah Tambling
Emma Thickens
Diane Todd
Isobel Towers
Linda Ward
Naomi Wellings
Alison Wright
女低音 Altos
Yvonne Allen
Anne Almond
Janet Bellinger *
Tracy Bowden
Kathleen Campbell *
Christine Chadwick
Helen Chamberlain
Deborah Dakin *
Catherine Duke
Sarah Ennis *
Louise Fullbrook
Christine Giles
Alison Haynes
Barbara Hulse
Susan Lawrence
Catherine Marriott
Jennifer Mason *
Josephine Mesa Bandres
Lorna Morris
Lesley Nickell *
Barbara Parker
Elizabeth Parkin
Alison Sadler
Heather Somerfield
Christine Trethowan
Sally Walker
Christina Warner *
Gillian Yates
Alison York
男高音 Tenors
David Barber
Charles Barwell
Richard Cook
Peter Davies
Michael Delany
Michael Ennis
Michael Foster
Paul Glossop
Steve Harper
Simon Judge
Robin Lewis
David Lorimer
Howard Marriott
Bradley Minchin
William Nealon *
男高音 Tenors
Ron Powell *
Harold Raitt
David Richardson
Allen Roberts
Paul Sheldon
Victor Smith
Michael Whitewood *
Jon Wilson
Alan Winwood
男低音 Basses
Steve Ash
John Bayley *
Philip Beynon
Paul Bodley *
Martin Brown *
Paul Chambers
Mark Checketts
Chun Fai Cheuk
Michael Claridge *
Robert Cleal
Julian Davey
Michael Dernie
Dominic Edgar
David Ennis
Richard Fullbrook
Stephen Gibbs
Thomas Henderson
Peter Leppard
Stuart Mitchell
Martin Monks
Chris O’Grady
Andrew Packer *
Andrew Parker
Richard Prew
Phillip Rawle *
Michael Smith
Gordon Thornett *
Christopher Wellings
Alan White
* Holders of CBSC Long Service Award
The City of Birmingham Symphony Chorus is represented by Intermusica Artists’ Management Ltd for their 2006 Hong Kong tour.
香港管弦樂團
Hong Kong Philharmonic Orchestra
藝術總監兼總指揮
Artistic Director and Chief Conductor
桂冠指揮 Conductor Laureate
駐團指揮 Resident Conductor
香港管弦樂團指揮家獎學金
艾度．迪華特 Edo de Waart
艾德敦 David Atherton
哈曼．克諾森 Harmen Cnossen
鄒翔
Hong Kong Philharmonic Chau Cheung
Conducting Fellowship 2005
第一副團長
First Associate Concertmaster
梁建楓
第二副團長
Leung Kin-fung
Second Associate Concertmaster
王思恆
第三副團長
Wong Sze-hang
Third Associate Concertmaster
朱蓓
第一小提琴
First Violins
毛華
程立
鄭之敏
周立松
何慕國
冒異國
梅麗芷
倪瀾
白玲
黃嘉怡
張希
周騰飛
Zhu Bei
Mao Hua
Cheng Li
Cheng Chi-man
Chow Lap-chung
Scott Homer
Mao Yiguo
Rachael Mellado
Ni Lan
Pak Ling
Christine Wong Kar-yee
Zhang Xi
Zhou Tengfei
第二小提琴
Second Violins
‧范丁
▲ 梁文瑄
馬嘉蓮
鈴木美矢香
冒田中知子
戴偉信
李嘉道
何嘉俊
簡宏道
巫國暉
諾天賜
潘廷亮
沈榕
閻宇晴
中提琴 Violas
▲
熊谷佳織
黎明
羅舜詩
陳誠強
崔宏偉
范欣
洪依凡
陸展球
白明
孫斌
趙宇
Fan Ting
Leslie Ryang Moon-sun
Katrina Ma
Miyaka Suzuki
Tomoko Tanaka Mao
William Davidson
Ricardo de Mello
Gallant Ho Ka-chun
Russell Kan Wang-to
Mo Kwok-fai
Sarah Nordlund
Martin Poon Ting-leung
Shen Rong
Alisa Yan Yuqing
Kaori Wilson
Li Ming
Alice Rosen
Chan Shing-keung
Cui Hong-wei
Fan Yan
Ethan Heath
Luk Chin-kau
Pak Ming
Sun Bin
Zhao Yu
大提琴
Cellos
‧鮑力卓
陳怡君
關統安
張明遠
霍添
李銘蘆
孫泰進
宋亞林
艾衛林
低音大提琴 Double Basses
‧宗小謙
▲ 姜馨來
馮榕
費利亞
林傑飛
林達僑
范戴克
薜昱
許裕成（休假）
長笛 Flutes
‧史德琳
▲ 柯冬娜
施家蓮
Richard Bamping
Chen Yi-chun
Anna Kwan Ton-an
Cheung Ming-yuen
Timothy Frank
Li Ming-lu
Patrick Sohn Tae-jin
Yalin Song
Erik Williams
Eddie Zong Xiaoqian
Jiang Xinlai
Feng Rong
Samuel Ferrer
Jeffrey Lehmberg
George Lomdaridze
Jonathan Van Dyke
Xue Yu
Hui Yu-sing (on sabbatical leave)
Megan Sterling
Donna Orbovich
Linda Stuckey
巴松管 Bassoons
‧金瑞
▲ 李浩山
崔祖斯
低音巴松管 Contra Bassoon
Kam Shui
Vance Lee
Adam Treverton Jones
崔祖斯 Adam Treverton Jones
圓號 Horns
‧韋麥克
▲ 周智仲
尹洛蔓
李少霖
川瀨貴子
小號 Trumpets
‧卡拉克
▲ 莫思卓 華達德
長號 Trombones
‧韋雅樂 韋力奇
低音長號 Bass Trombone
Mark Vines
Chow Chi-chung
May Van Norman
Homer Lee Siu-lam
Takako Kawase
Jonathan Clarke
Christopher Moyse
Douglas Waterston
Jarod Vermette Maciek Walicki
布勒特 Denson Paul Pollard
大號 Tuba
施家蓮 Linda Stuckey
雙簧管 Oboes
短笛 Piccolo * 黃錚 *
韋爾遜
陳篤信
英國管 Cor Anglais
Huang Zheng
Michael Wilson
Christopher Chen
陳篤信 Christopher Chen
單簧管 Clarinets
‧史安祖
▲ 史家翰
簡博文
降 E 調單簧管 E Clarinet
史家翰
低音單簧管 Bass Clarinet
Andrew Simon
John Schertle
Michael Campbell
John Schertle
簡博文 Michael Campbell
‧陸森柏 Paul Luxenberg
定音鼓 Timpani
‧龐樂思
敲擊樂器 Percussion
‧史凡高
梁偉華
胡淑徽
豎琴 Harp
‧史基道
James Boznos
Adrian Stefanescu
Raymond Leung Wai-wa
Sophia Woo Shuk-fai
Christopher Sidenius
鍵盤 Keyboard Shirley Ip
‧葉幸沾
特約團員
Extra Players
溫傑西
（客席副團長）
盧嘉娜
（客席首席中提琴）
Kristian Winther (Guest Associate Concertmaster)
CarlaMaria Theresa Rodrigues (Guest Principal Viola)
‧首席 Principal* 聯合首席 Co-Principal
▲助理首席 Assistant Principal