Sir András Schiff_HP-53rd Hong Kong Arts Festival

三月十八日演出贊助 18 MAR PERFORMANCE SPONSORED BY

特首獻辭

CHIEF EXECUTIVE'S MESSAGE 二零二五年度香港藝術節隆重揭幕，這項名聞 中外的國際文化盛事昂然踏入第五十三屆，可 喜可賀。

I am pleased to congratulate the Hong Kong Arts Festival on the organisation of its 2025 season—the 53rd edition of one of the world’s most celebrated international cultural events.

今年藝術節匯聚逾1,300名本地及海外藝術家， 帶來約125場文藝節目，包括音樂、舞蹈、戲 劇、 戲 曲、 歌 劇 等， 多 彩 多 姿。 其 中， 意 大 利的博洛尼亞市立歌劇院樂團在大師級指揮家 杜拿多．倫澤第領導下，演奏經典的意大利歌 劇詠嘆調，為藝術節揭開序幕。藝術節閉幕當 日，著名中國指揮家呂嘉將率領中國國家大劇 院管弦樂團，與國際鋼琴家張昊辰和女高音宋 元明攜手演出，獻上音樂盛宴，為今屆藝術節 畫上圓滿句號。

This year’s Festival brings together over 1,300 international and local artists in some 125 performances covering music, dance, theatre, Chinese and Western opera and much more. The Festival-opening performance, by Italy’s Orchestra of the Teatro Comunale di Bologna, conducted

by Maestro Donato Renzetti, features classic Italian opera arias. Renowned Chinese conductor Lü Jia and the China National Centre for the Performing Arts Orchestra, together with international pianist Zhang Haochen and soprano Song Yuanming, bring the Festival to a close in grand style.

一如往年，今屆藝術節推出多個「 加料節目 」， 包括大師班、工作坊、後台參觀、文化導賞團 等，讓藝術家與觀眾互動交流。藝術節「 青少年 之友 」計劃則籌備了學校巡演、演前講座、藝術 示範及其他特備節目，讓本地年輕人有更豐富 的文化與藝術體驗。

Festival PLUS returns, presenting a wealth of artistaudience events, including masterclasses and workshops, backstage visits, guided cultural tours and more. Besides, the Festival’s “Young Friends” programme features school tours, pre-performance talks, arts demonstrations and other special events designed to engage local young people with a world of arts and culture.

政府銳意加強香港文化影響力。為進一步鞏固 香港作為中外文化藝術交流中心的地位，政府 於去年11月公佈《 文藝創意產業發展藍圖 》，提 出四個發展方向共71項具體措施，並正積極推 展相關工作。

The Government is determined to enhance the appeal of Hong Kong’s culture. To further solidify Hong Kong’s position as a vibrant East-meets-West centre for international cultural exchanges, the Government has launched the Blueprint for Arts and Culture and Creative Industries Development in November 2024, and has been actively working on the 71 measures under four key strategic directions as outlined in the Blueprint.

感謝香港藝術節及其團隊盡心竭力推動香港、 整個地區以至全球的文化藝術發展；亦感謝贊 助商和捐款者慷慨解囊和鼎力支持，令藝術節 綻放異彩。

I am grateful to the Hong Kong Arts Festival and its dedicated team for their unremitting efforts in promoting arts and culture in Hong Kong, throughout the region and around the world. I am grateful, too, to the many sponsors and donors for their generous support for the Festival.

祝願今屆香港藝術節續創輝煌，再度呈獻文藝 盛宴，讓市民樂在其中，回味無窮。

I wish this year’s Hong Kong Arts Festival another resplendent season of arts and culture, entertainment and memorable community engagement.

香港特別行政區行政長官

John KC LEE

李家超

Chief Executive Hong Kong Special Administrative Region

主席獻辭

CHAIRMAN'S MESSAGE 歡迎閣下蒞臨第53屆香港藝術節。作為一個具 領導地位的國際表演藝術盛事，藝術節將在今 年繼續肩負重任，拓寬香港文化景觀，透過邀 請超過1,300位國際及本地的優秀藝術家，為 觀眾帶來超過45套節目、合共逾125場精采演 出，並同時舉辦約300項加料節目及教育活動， 促進香港的藝術文化發展。

A warm welcome to the 53rd Hong Kong Arts Festival.

As a leading international performing arts event, the Festival is continuing its mission of enhancing Hong Kong’s cultural landscape by showcasing over 1,300 exceptional international and local artists in more than 125 performances of over 45 unique programmes, as well as organising about 300 PLUS and educational activities for the community.

我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，對我們的 工作予以鼓勵和肯定。此外，我亦由衷感謝香 港 賽 馬 會 慈 善 信 託 基 金 在 過 去53年 的 堅 定 支 持，以及其他贊助機構、慈善基金會和捐助者 的慷慨解囊，讓我們得以透過表演藝術為社會 各界帶來裨益。

I would like to thank the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention and matching grant which are not only essential to our operations, but also an important recognition of the work we do. I also want to thank The Hong Kong Jockey Club Charities Trust for its unwavering support during the past 53 years, as well as other corporate sponsors, charitable foundations and donors, whose contributions have enabled us to reach out to different sectors of the community and positively impact society through the performing arts.

與此同時，我亦向我們的藝術家深表謝意，感 謝你們不斷追求藝術上突破，為觀眾帶來無與 倫比的藝術享受。我也份外感激藝術節團隊一 直以來努力不懈，令藝術節得以順利舉行。 最重要的是，我衷心感謝所有觀眾的參與與支 持。希望您享受在藝術節的節目及活動，並從 中找到喜悅和靈感。

香港藝術節主席

盧景文

My deepest gratitude goes to all participating artists for their dedication and exceptional performances. I also thank all HKAF staff, who worked extremely hard to bring this Festival to life.

Most importantly, I extend my heartfelt appreciation to all audience members for your participation and support. May you find joy and inspiration in our programmes and events.

Lo Kingman

Chairman Hong Kong Arts Festival 支持機構： Supporting Organisation:

前言 FOREWORD 香港藝術節的其中一個主要目標，就是推動國 際文化交流。本屆香港藝術節秉承一貫既尊重 傳統又開創新猷的精神，邀請了一眾來自世界 各地殿堂級的大師，以及國際上備受矚目的年 輕藝術拓荒者，為我們獻上優秀的名作。當中 不少取材自經典文學，甚至是原汁原味地呈現 原著的創作，為觀眾帶來豐富的藝術享受。

Promoting international cultural exchange has always been a key objective of the Hong Kong Arts Festival. This year’s Festival continues to invite renowned global masters and internationally recognised young pioneers to present a range of world-class programmes, respecting tradition while encouraging new, innovative initiatives. Many of these works are inspired by classic literature or offer rediscoveries of the original, bringing vibrant artistic experiences to the city.

與此同時，我們還獻上一系列以「 幻想與冒險 」 為主題的節目，部分以虛擬實境及擴增實境等 技術，把藝術與科技完美融合，部分則借鑑傳 統的戲偶與馬戲演出，創造出引人入勝的新作 品。本屆藝術節亦繼續積極支持本地藝術家， 鼓勵交流，共同建構一個充滿活力的多元化藝 術平台。

We will also present a series of programmes centred around “fantasy and adventure”. These include works that seamlessly blend the arts with VR and AR technology, as well as captivating new creations that draw on traditional puppetry and circus performances. The Festival will also continue to support local artists and encourage exchanges to foster a vibrant and diversified platform for the arts.

演出精采可期之外，我們更不忘在藝術教育和 觀眾拓展方面努力耕耘，一方面送上一連串精 心準備的「 加料節目 」，包括展覽、大師班、後 台參觀、演後藝人談等，另一方面亦策劃了豐 富多元的青少年之友及教育活動，冀望從不同 的層面、角度，為大家塑造更立體而深刻的藝 術體驗。

We hope that you will enjoy this year’s arts extravaganza prepared by the Hong Kong Arts Festival team.

We also remain dedicated to advancing arts education and audience building. Our PLUS programmes will present a series of thoughtfully curated masterclasses, backstage visits, post-performance artist talks and an exhibition. And our Young Friends and educational activities will continue to offer multi-dimensional arts experiences to students.

希望您會喜歡香港藝術節團隊今年為您準備的 藝術盛宴。

香港藝術節行政總監

余潔儀

香港藝術節的資助來自： The Hong Kong Arts Festival is made possible with the funding support of:

Flora Yu

Executive Director Hong Kong Arts Festival

香港藝術節 HONG KONG ARTS FESTIVAL 扎根香港的國際藝壇盛事 聯繫中國與世界 An International Arts Festival in Hong Kong Connecting China and the World 香港藝術節於1973年正式揭幕，是國際藝壇中重要 的文化盛事，於每年2、3月期間呈獻眾多優秀本地及 國際藝術家的演出，以及舉辦多元化的「 加料 」和教 育活動，致力豐富香港的文化生活。

The HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year.

香港藝術節是一所非牟利機構，2024/25財政年度 預計收入（包括第53屆香港藝術節及2025年「 無限 亮 」）約港幣一億五千萬，當中香港特區政府的年度 恆常撥款佔總收入約12%，另外約23% 需來自票房 收入，約45% 則需依賴來自各大企業、熱心人士和 慈善基金會的贊助和捐款。預計餘下的約20% 則來 自其他收入，包括政府針對捐款和贊助收入而提供的 配對資助。

The HKAF is a non-profit organisation. The total estimated income for FY2024/25 (including the 53rd Hong Kong Arts Festival and 2025 “No Limits”) is approximately HK$150 million.

Current Government annual baseline funding accounts for around 12% of the Festival's total income. Around 23% of the Festival’s income needs to come from the box office, and around 45% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 20% is expected to come from other revenue sources including the Government’s matching grant scheme, which matches income generated through private sector sponsorship and donations.

香港藝術節每年呈獻眾多國際演藝名家精采多元的 演出，例如 *： • 歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、 莫斯科大劇院、聖彼得堡馬林斯基劇院 • 中國戲曲：中國國家京劇院、河北梆子劇院、上 海崑劇團、上海張軍崑曲藝術中心、江蘇省蘇州 崑劇院、浙江小百花越劇團 • 古典音樂：塞西莉亞．芭托莉、列卡杜．沙爾、 趙成珍、古斯塔沃．杜達美、菲力普．格拉斯、 劉曉禹、馬友友、丹尼斯．馬祖耶夫、安娜．涅翠 柯、詹安德列亞．諾斯達、小澤征爾、湯瑪士． 夸 斯 托 夫、 甘 拿 迪．羅 傑 斯 特 汶 斯 基、 譚 盾、 湯沐海、克里斯蒂安．泰利曼、班貝格交響樂團、 倫敦交響樂團、NHK 交響樂團、皇家阿姆斯特丹 音樂廳樂團、柏林廣播電台合唱團、萊比錫聖 多馬合唱團、維也納愛樂樂團 • 爵 士 樂 及 世 界 音 樂： 波比．麥非年、尤蘇．恩多 爾、艾斯佩蘭薩．斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼 • 舞 蹈： 米高．巴里殊尼哥夫、蕭菲．紀蓮、艾甘． 漢、娜塔麗亞．奧斯波娃、美國芭蕾舞劇院、雲門舞 集、漢堡芭蕾舞團 —約翰．紐邁亞、紐約市芭蕾 舞團、巴黎歌劇院芭蕾舞團、翩娜．包殊烏珀塔爾 舞蹈劇場、米蘭史卡拉歌劇院芭蕾舞團 • 戲劇：彼得．布祿克、羅伯特．利柏殊、蜷川幸雄、 羅柏特．威爾遜、柏林劇團、中國國家話劇院、皇家 莎士比亞劇團 • 大型特備節目：《 藝裳奇幻世界 》、星躍馬術奇 藝坊 • 戶外節目： 《 聲光園 》 、 《 幻光動感池 》 、 《 聲光頌 》 香港藝術節積極與本地演藝人才合作，並致力為新進 藝術家提供展示才華的平台。藝術節至今委約及 製作逾250套本地全新創作，包括粵劇、戲劇、室內 歌劇、音樂和舞蹈作品，不少製作更已在香港及海外 多度重演。近年的藝術節新製作包括《 茱莉小姐 》 、 《 飯戲攻心 》踏台版、 《 末戀 · 無愛合約 》 、 《 我們最 快 樂 》、《 鼠 疫 》、《 陪 着 你 走 》、《 百 花 亭 贈 劍 》、 《 香港家族 》三部曲、 《 世紀．香港 》 、 《 炫舞場 》 、 《 大同 》 、 《 金蘭姊妹 》 、 《 聖荷西謀殺案 》等。 香港藝術節多年來與知名海外藝術家及團體聯合製 作不少優秀作品，當中包括由香港藝術節、香港歌

The HKAF has presented top international artists and ensembles across multiple genres, such as*: • Western opera: Bayerische Staatsoper, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre • Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Kunqu Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe • Classical music: Cecilia Bartoli, Riccardo Chailly, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Bruce Liu, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, Bamberg Symphony, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra • Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini • Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, Natalia Osipova, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet–John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch, Teatro alla Scala Ballet Company • Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company • Large-scale special events: World of WearableArt, Zingaro • Outdoor events: Power Plant, Super Pool, Chorus The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, the HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include Miss Julie, Table for Six On Stage, Loveless Romance, We Are Gay, The Plague, Always by Your Side, Pavilion of a Hundred Flowers, A Floating Family—A Trilogy, Hong Kong Odyssey, Danz Up, Datong—The Chinese Utopia, The Amahs and Murder in San Jose, to name a few.

The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by the HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch, Richard III

德學院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的 《 抹窗人 》、由倫敦老域劇院、布魯克林音樂學院與 尼爾街製作公司製作、香港藝術節為聯合委約機構 之一的「 橫貫計劃 」之《 暴風雨 》及《 李察三世 》、 由香港藝術節及上海國際藝術節聯合委約的《 青 蛇 》、香港藝術節與三藩市歌劇院聯合製作的《 紅樓 夢 》、香港藝術節與芬蘭國家歌劇院及芭蕾舞團聯合 製作的《 拉娜 》等。 香港藝術節大力投資下一代的藝術教育。「 青少年之 友 」成立32年來，已為約836,000位本地中學生及 大專生提供藝術體驗活動。藝術節近年亦開展多項 針 對 大、 中、 小 學 生 的 藝 術 教 育 活 動， 包 括 由 國 際及本地藝術家主持的示範講座及工作坊、學生 展演、演前講座、公開彩排、以及欣賞藝術節演 出。同時，通過「 學生票捐助計劃 」，藝術節每年提 供約10,000張半價學生票。 香港藝術節每年主辦一系列多元化並深入社區的 「 加料節目 」，例如電影放映、示範講座、大師班、 工作坊、座談會、後台參觀、展覽、藝人談、文化 導賞團等，鼓勵觀眾與藝術家互動接觸。 香港藝術節亦銳意將共融藝術理念拓展到社區每一 角落。由藝術節與香港賽馬會慈善信託基金聯合呈 獻的「 無限亮 」計劃於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。 為創造更穩健的財政環境以及確保藝術節的長期可 持續性，香港藝術節基金會於2022年成立，旨在讓 藝術節在未來進行年度預算以外的大型或特別項目。

and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with the HKAF as a co-commissioning institution, Green Snake co-commissioned with the Shanghai International Arts Festival, Dream of the Red Chamber co-produced with the San Francisco Opera, and Laila, a co-production of the HKAF and the Finnish National Opera and Ballet.

The HKAF invests heavily in arts education for young people.

Over the past 32 years, our “Young Friends” scheme has reached around 836,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year.

The HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided cultural tours.

The HKAF actively promotes inclusion via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019.

Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together.

To provide greater financial security and long-term sustainability for the Festival, the Hong Kong Arts Festival Foundation was officially launched in 2022. Donations to the Foundation will be used towards enabling the Festival to present in the future largescale or special projects which its annual budget cannot cater for.

(2025年2月更新 Updated February 2025) *有關香港藝術節的過往節目 Details of past HKAF programmes https://www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2024.html

誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。 To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.

電郵 Email: dev@hkaf.org 直線 Direct Lines: (852) 2828 4911/12 網頁 Website: www.hk.artsfestival.org/en/support-us

香港藝術節協會2024/25年度預計收入來源（約港幣一億五千萬） Estimated Income Sources for the Hong Kong Arts Festival Society in FY2024/25 (About HK$150 million) 約Around

45%

贊助和捐款 Sponsorship & Donations

約Around

約Around

約Around

票房收入 Box Office

政府的年度 恆常撥款 Current Government annual baseline funding

其他收入

23%

12%

20% (包括按捐款和贊助收入 可望獲得的政府配對資助)

Other Revenues

(including possible Government Matching Grant for Sponsorship and Donation Income)

©Nadja Sjöström

安德拉斯．席夫爵士與安德烈．巴爾卡室樂團 Sir András Schiff and Cappella Andrea Barca 全莫扎特曲目

全巴赫曲目

All-Mozart Programme

All-Bach Programme

香港文化中心音樂廳 Concert Hall, Hong Kong Cultural Centre

香港文化中心音樂廳 Concert Hall, Hong Kong Cultural Centre

演出長約 2 小時，包括一節中場休息 Approximately two hours including one interval

演出長約 2 小時 10 分鐘，包括一節中場休息 Approximately two hours and 10 minutes including one interval

18.03.2025 / 7:45pm

19.03.2025 / 7:45pm

封面照片Cover Photograph © Nadja Sjöström ※ 演出期間敬請關掉手提電話及其他電子產品，以免發出聲響或產生光線， 影響表演者及其他觀眾。 Please switch off mobile phones and all electronic devices so they will not emit sound or light during the performance, disturbing the performers and other audience members. ※ 請勿擅自攝影、錄音或錄影。 Unauthorised photography or recording of any kind is strictly prohibited. ※ 演出期間請保持安靜。 Please keep noise to a minimum during the performance. ※ 本場刊採用環保紙張印刷。 This programme is printed on environmentally friendly paper. ※ 如不欲保留本場刊，請於完場後放回演出場地入口。 If you don't wish to keep this booklet, please return it to the admission point. 所有作品內容均由創作團隊獨立製作，並不代表贊助機構之立場或意見。 The content of all works is independently produced by the creative team, and does not reflect the views or opinions of the Sponsor. 本節目內容及本刊物所載之藝術家/客席撰文者言論屬於個人觀點，並不代表 香港藝術節（「本會」）之立場或意見。 The content of this programme and the opinions featured in this publication are solely thoseof the artists/guest writers and do not represent the views or opinions of the Hong Kong Arts Festival “ ( HKAF”).

為免影響演出，持票人士務請準時入場。本會有權不讓於演出開始後或中場 休息後遲到和在演出期間中途離場的觀眾重新入場。 Ticket holders are strongly advised to arrive punctually. The HKAF reserves the right to refuse the (a) admission of latecomers (whether at the beginning of the performance or after the intermission) and (b) re-admission of audience members who leave the auditorium during the performance. 本會保留全權決定觀眾（包括遲到和中途離場的觀眾）入場和重新入場的可 能性及方式。 The HKAF also reserves the sole discretion to determine the possibility of admission and re-admission of audience members (which includes latecomers and audience members who have left the auditorium and are seeking readmission), as well as the manner in which they are admitted. 在任何情況下，若本會允許遲到者入場，該等遲到者只能在指定的遲到點入 場。持票人士如因遲到而不獲安排入場，本會恕不退票或換票。如有任何爭 議，本會保留最終決定權。 In any case, should the HKAF permit the admission of latecomers, such latecomers shall only be admitted at designated latecomer point(s). No refunds or changes will be offered if ticket holders are refused admission due to late arrival. In the event of any dispute, the HKAF reserves all rights to make the final decision.

7

指揮及鋼琴

安德拉斯．席夫爵士 安德拉斯．席夫爵士1953年生於匈牙利布 達佩斯，自五歲起跟隨伊莉莎白．沃道斯學 習鋼琴，後入讀布達佩斯李斯特音樂學院， 師從帕爾．卡杜沙、哥爾格．庫塔克和費倫 茨．勞多斯；在倫敦期間則師從喬治．馬爾 科姆。 鋼琴獨奏會是他職業生涯中的重要一環， 尤其集中演奏巴赫、海頓、莫扎特、貝多 芬、舒伯特、蕭邦、舒曼和巴托克的鍵盤作 品。自2004年起，席夫在全球二十多個城 市舉辦了一系列貝多芬專題音樂會，依創作 時序完整演奏貝多芬的鋼琴奏鳴曲。他也與 世界頂尖的樂團和指揮合作，登上多個國際 舞台。 1999年，席夫創辦了安德列．巴爾卡室樂 團，並以指揮和獨奏家的身份與歐洲室樂 團緊密合作。席夫自青年時期便熱愛室內 樂，1989至1998年間，他擔任月湖樂聚室 樂音樂節的藝術總監，使音樂節大獲好評； 1995至2013年間，他與海恩茨．賀利格共 同擔任瑞士卡爾特修道院的聖靈降臨節音 樂節的藝術總監；自1998年，在他的領導 下，帕拉迪歐音樂節在維琴察奧林匹克劇院 舉行。 席夫曾榮獲多個國際獎項。2006年更成為 波恩「 貝多芬故居 」的榮譽成員，以表彰其 詮釋貝多芬樂曲的卓越成就。 2014年6月，鑑於席夫對音樂界的貢獻， 英國女王伊莉莎白二世授予他爵士勳銜； 2022年6月，他獲萊比錫頒發巴赫勳章， 並高度讚揚為「 當代最重要的巴赫詮釋者之 一 」；2023年8月，席夫第六十六次登上薩 爾斯堡藝術節的舞台，被譽為「 推動音樂節 發展不可或缺的藝術家 」。

10

Conductor and Piano

Sir András Schiff

Sir András Schiff was born in Budapest in 1953. He received his first piano lessons at the age of five from Elisabeth Vadász. He later continued his studies at the Franz Liszt Academy in Budapest with Professor Pál Kadosa, György Kurtág and Ferenc Rados, and with George Malcolm in London.

Piano recitals are an important element of his professional career, particularly cyclical performances of the piano works of Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, Schumann and Bartók. Since 2004, Schiff has performed the complete cycle of Beethoven's piano sonatas in chronological order in more than 20 cities, and has appeared with most of the world’s leading orchestras and conductors.

In 1999, he founded his own chamber orchestra, Cappella Andrea Barca, which he works with closely as conductor and soloist, as he does with the Chamber Orchestra of Europe. Schiff has been a passionate chamber musician since his early youth and from 198998 he directed the Musiktage Mondsee, a chamber music festival that received international acclaim. Together with Heinz Holliger, he handled the artistic direction of the Ittinger Pfingstkonzerte at Kartause Ittingen, Switzerland, from 1995-2013. Since 1998, the concert series Omaggio a Palladio has been held at the Teatro Olimpico in Vicenza under Schiff’s direction.

Schiff has been awarded several international prizes. He was recognised for his exceptional standing as a Beethoven interpreter in 2006 by being elected an honourary member of the Beethoven-Haus Bonn.

In June 2014, he was appointed Knight Bachelor by Queen Elizabeth II for his services to music. In June 2022, Schiff was awarded the Bach Medal of the City of Leipzig as “one of the most important Bach interpreters of our time”. In August 2023, at his 66th appearance at the Salzburg Festival, he was honoured as an “indispensable artist who has helped to write Festival history”.

©Nadja Sjöström

11

©Angelo Nicoletti

安德烈．巴爾卡室樂團

Cappella Andrea Barca

安德烈．巴爾卡室樂團的成員由活躍於國 際舞台的獨奏家和室樂演奏家組成，他們 皆由安德拉斯．席夫爵士親自挑選，不隸 屬於任何管弦樂團。1999至2005年，樂團 在薩爾斯堡「 莫扎特週 」演繹了莫扎特鋼琴 協奏曲全集，並自此成為該音樂節的常客。

The musicians of Cappella Andrea Barca are primarily active as globally successful soloists and chamber musicians, and are not tied to any orchestras. They were selected personally by Sir András Schiff for performances of the complete Mozart piano concertos at the Mozartwoche in Salzburg from 1999-2005. Since then, Cappella Andrea Barca has been a regular guest at Mozartwoche.

自1999年起，樂團每年都會在維琴察奧林 匹克劇院舉辦帕拉迪歐音樂節。他們曾在歐 洲多地巡演，包括維也納、因斯布魯克、蘇 黎世、巴塞爾、日內瓦、雅典、布魯塞爾、 盧森堡、科隆、埃森、法蘭克福、不來梅、 貝登 - 貝登、布達佩斯和里斯本等。2006年 「 莫扎特之年 」 ，樂團在美國舉辦了兩次巡 演、共三場音樂會，音樂會分別在紐約卡內 基音樂廳、林肯中心和華盛頓甘迺迪中心舉 行。及後，他們於2008和2010年的波恩貝 多芬音樂節演出，並於2012年在琉森音樂 節演奏巴赫的 B 小調彌撒曲，好評如潮。 2019年，安德烈．巴爾卡室樂團展開為期 三週的亞洲巡演，足跡遍及中國、日本、 南韓和香港。2020及2023年，樂團在薩爾 斯堡莫扎特週舉行多場音樂會，演奏莫扎 特著名歌劇《 費加羅的婚禮 》及《 唐．喬望 尼 》的樂曲。

Since 1999, the ensemble has organised the annual Omaggio a Palladio festival at the Teatro Olimpico in Vicenza. It has toured numerous European cities such as Vienna, Innsbruck, Zurich, Basel, Geneva, Athens, Brussels, Luxembourg, Cologne, Essen, Frankfurt, Bremen, Baden-Baden, Budapest and Lisbon. Two tours in the Mozart Year 2006 led Andrea Barca to the USA, where it performed three concerts at New York’s Carnegie Hall, as well as the Lincoln Center and the Kennedy Center, Washington. It went on to perform at the Beethovenfest Bonn in 2008 and 2010, and in 2012 was featured at the Lucerne Festival, where it performed Bach’s Mass in B minor to great acclaim.

A three-week tour of Asia took Cappella Andrea Barca to Mainland China, Japan, South Korea and Hong Kong in 2019. Further highlights were the concert performances of Mozart's operas Le nozze di Figaro and Don Giovanni at the Mozartwoche Salzburg in 2020 and 2023.

13

全莫扎特曲目 All-Mozart Programme

莫扎特 A大調第二十三鋼琴協奏曲，K488 快板 慢板 甚快板 G小調第四十交響曲，K550 極快板 行板 小步舞曲 甚快板

18.03.2025

Wolfgang Amadeus Mozart (1756-91) Piano Concerto No 23 in A Major, K488 Allegro Adagio Allegro assai Symphony No 40 in G minor, K550 Molto allegro Andante Menuetto Allegro assai

中場休息 INTERVAL

序曲，選自 《唐．喬望尼》，K527

Overture from Don Giovanni, K527

D小調第二十鋼琴協奏曲，K466

Piano Concerto No 20 in D minor, K466

快板 浪漫曲 甚快板

Allegro Romance Allegro assai

15

魅力與感傷：莫扎特之夜 Charm and Pathos: An All-Mozart Evening 安 德 拉 斯． 席 夫 爵 士 於1999年 創 立 安 德 烈．巴爾卡室樂團，旨在與志同道合的音 樂家共同演奏全套莫扎特鋼琴協奏曲。是 次在香港藝術節的首場演出，便以莫扎特 巔峰時期的兩首鋼琴協奏曲為主軸。

It was with the goal of performing Mozart’s complete piano concertos with an ensemble of like-minded musicians that Sir András Schiff originally founded his ensemble Cappella Andrea Barca in 1999.

Two examples from the composer’s glory years of writing such concertos frame the first of their 2025 Hong Kong Arts Festival programmes.

Mozart spent his final decade as a freelance artist in Vienna, where he settled in 1781. All of the works Schiff has selected for this programme date from the second half of the 1780s. By that time, Mozart had established his fame as a charismatic pianist who regularly showcased his latest compositional thinking in the form of concertos for his instrument. The biographer Robert Gutman noted that the piano concerto “became the symbol of his ascending popularity, the very core of his extraordinary success in Vienna”. In the process, Mozart laid the groundwork for the piano concerto as the vehicle for substantive musical statements, on par with the rapidly evolving symphony.

莫扎特 Wolfgang Amadeus Mozart (1756-91)

1781年，莫扎特定居維也納，並在其人生 的最後十年間自由創作。席夫為這次演出 選取的曲目全來自1780年代後期，當時莫 扎特已確立其卓越的鋼琴家地位，常以鋼 琴協奏曲展示他的創作才華。傳記作家羅 伯特．古特曼認為，鋼琴協奏曲「 成為莫 扎特在維也納聲名鵲起的象徵，是他非凡 成就的核心 」。莫扎特為鋼琴協奏曲奠定 了基礎，使其不亞於當時快速發展的交響 曲式。 A 大調第二十三鋼琴協奏曲，K488，創作 於1786年3月，抒情優美，讓人聯想到莫 扎特為意大利歌劇塑造的那份溫暖。首兩 個樂章散發溫柔且徐疾有致的魅力，單簧 管取代了傳統的雙簧管，呈現出光彩照人 的質感，彷彿描繪了一個寧靜的午後，夕 陽漸褪的光景。

The Piano Concerto No 23 in A Major, K488 dates from March 1786 and displays a lyrical quality that resembles the expressive warmth of Mozart’s Italian operas—particularly in the first two movements, which radiate a soft, unhurried charm. Scored for clarinets instead of the conventional oboes, the concerto has a luminous quality suggestive of a tranquil late afternoon, just before the light begins to fade.

After the orchestral introduction, the soloist enters in the opening Allegro with a subtle, almost casual grace and proceeds to engage in a refined dialogue with the orchestra. Unusually for one of his slow movements, Mozart uses the indication “Adagio” for the second movement. Its lilting, minor-key melody is deceptively simple and opens to reveal something similar to the darker moods of works to come, such as Don Giovanni . The finale erupts with joyful, syncopated energy, triggering an exuberant release following such introspection.

The D minor Piano Concerto, one of Mozart’s most dramatic compositions, dates from the previous year (1785) and was particularly admired

by Beethoven (who not only performed it but also 17

鋼琴獨奏隨着管弦樂引子，奏出含蓄溫婉 的 快 板， 繼 而 是 獨 奏 與 管 弦 樂 優 雅 的 對 話。莫扎特很少會標示慢樂章為「 慢板 」， 此第二樂章是少數之一，輕快的小調旋律 看似簡單，實則暗藏玄機，預示了往後如 《 唐．喬望尼 》等作品的陰沉氛圍。經過內 省之後，終曲爆發出歡快的切分音，盡情 釋放熱情洋溢的力量。 D 小調第二十鋼琴協奏曲是莫扎特最具戲 劇性的作品之一，創作於1785年，早於 A 大調鋼琴協奏曲一年。作品深受貝多芬的 青睞，他不僅經常演奏，更為其特別撰寫 了華彩樂段。樂曲動盪和繃緊的氣氛與抒 情的 A 大調協奏曲形成鮮明對比。莫扎特 以激烈的姿態開場（後來創作的 G 小調交 響曲也使用類似手法） ，營造出不穩、陰暗 如暴風雨般的氛圍；獨奏與樂團的交流充 滿動感及驚喜。 隨後慰藉人心的浪漫曲帶來短暫的喘息， 但中段仍隱藏着風暴的跡象。終曲的主題 向上推進，喚起了第一樂章的激動與緊張 感，但莫扎特最終卻轉為 D 大調，以明朗 與自信作結。 莫扎特的鋼琴協奏曲總是仿如聲音世界的 創新實驗，而他在歌劇中也更深入地探討 聲音的可能性。對莫扎特而言，D 小調象 徵 人 生 的 悲 劇 與 命 運， 隱 含 一 種 魔 性 的 激情，他未完成的安魂曲正是採用了 D 小 調。而他與劇作家洛倫佐．達．龐蒂合作 的第二部歌劇《 唐．喬望尼 》 （1787年）也 包含這些特質。

wrote his own cadenzas). Its mood of turbulence and tension poses a stark contrast to the lyrical A Major concerto. Mozart begins with agitated gestures—anticipating a similar strategy for the G minor symphony—that at once establish an atmosphere of instability and dark, stormy energy.

Here, the exchange between soloist and orchestra is dynamic and unpredictable.

鍵盤上的莫扎特、小提琴手湯馬士．林利與居住於佛羅倫斯 的加瓦爾．德．皮維家族 Wolfgang Amadeus Mozart and Thomas Linley with the family of Gavard des Pivets in Florence, 1770

The consoling “Romance” that ensues offers a temporary respite, yet even here, a storm lurks beneath the surface in the middle section. The finale’s upward-thrusting theme recalls the agitation and tension of the first movement, but Mozart ends by turning to D Major for a brightly confident conclusion.

Mozart’s piano concertos can often sound like experiments for sound worlds he continued exploring at greater length in his operas. The key of D minor, which he chose for his unfinished Requiem as well, suggested to Mozart an area of 《 唐．喬望尼 》的序曲以充滿威脅的 D 小調 human experience he associated with tragedy, 開場，時而令人震驚，時而深沉壓抑。緩 fate and even a kind of demonic passion—all of 慢引子幾乎是對劇中主角命運的「 劇透 」 which can be found in Don Giovanni (1787), the ——唐．喬望尼對其自戀且放縱色慾的人 second of his three operatic collaborations with 生毫無悔改，終被他在第一幕殺死的權貴 the librettist Lorenzo Da Ponte .

化成的幽靈拖入地獄。莫扎特巧妙地在序 曲中切換節奏，以喜劇精神向前推進，將 悲劇和喜劇融為一體。儘管看似矛盾，卻 成功地交織了多種情感，模糊了劇種的界 限。就像莎士比亞一樣，莫扎特也明白人 生如戲，嚴肅與滑稽、人類與超自然現象 均可在混亂中並存。 正如他的鋼琴協奏曲，莫扎特的交響曲很少 採用小調作主調。在他豐富的作品中，僅有

The Overture from Don Giovanni sets the scene with menacing D-minor music that is alternately shocking and brooding. The slow introduction is almost a “spoiler” for the demise of the protagonist after whom the opera is titled. When Don Giovanni refuses to repent for his life of narcissistic pleasure and careless sexual conquests, he is dragged to hell by the ghostly embodiment of a powerful man he had killed in the opera’s first scene. But Mozart miraculously switches gears for the main 19

part of the Overture, which presses forward with an irresistible comic spirit. This seeming contradiction—blending the tragic and the comic—lies at the heart of Don Giovanni ’s endless fascination as a genre-blurring mixture of emotions and moods. For Mozart, like Shakespeare, understood that serious and slapstick elements coexist alongside melodrama and even the supernatural in the chaos of human life.

歌唱家弗朗西斯科．安德拉德主演《 唐．喬望尼 》時的 肖像，由麥斯．斯萊佛特繪畫 Portrait of Francisco D'Andrade in the title role of Don Giovanni by Max Slevogt, 1912

兩首鋼琴協奏曲（K466、K491）和兩首交響 曲（K183、K550）使用小調。 1788年的夏天，莫扎特用短短一個半月寫 了三首交響樂，這同時是他最後的三首交響 曲，G 小調交響曲 (K550) 是當中的第二首。 這三部作品被公認為莫扎特創作生涯中的巔 峰之作，然而，由於沒有證據顯示他生前曾 演出這些作品，學者們至今仍不確定究竟是 甚麼促成了這些偉大的創作。 毋庸置疑的是，該作品充滿了大膽和創新的 想法。莫扎特打破了傳統交響曲以強烈開場 的慣例，反而從陰影中開始，以低音弦樂伴 奏引出主題。主題圍繞着一個半音階的「 嘆 息」 ，不僅貫穿了第一樂章，還延續到整部 作品中。在色彩細膩的行板中，這個「 嘆 息 」姿態以變換形式重現，宛如一條優雅的 繡帶。 莫扎特以無比創意把節奏和力度發揮得淋漓 盡致。第三樂章（小步舞曲）節奏強烈，一 波接一波地向前推進，幾乎無法隨之起舞； 終曲則利用緊張的停頓來增強不安的躁動 感。樂曲的「 火箭主題 」一飛沖天，接着又 回到「 嘆息 」的另一變奏。 在維也納的那些年，莫扎特熱切研究巴赫的 音樂和技巧，樂曲的尾聲充分證明他駕馭對 位法的能力，他將多條旋律交織成一首渾然 天成的交響樂，完美地平衡了悲劇的感染力 和撫慰人心的曲式。 撰文：湯馬士．梅

As with his piano concertos, Mozart made rare use of the minor key as the home tonality for his symphonies: his prolific catalogue contains only two examples for each of these genres (the piano concertos K466 and K491 and the symphonies K183 and K550).

The Symphony in G minor (K550) is the second of three symphonies that Mozart wrote back to back in the astonishingly short span of a month and a half in the summer of 1788—his final works in the genre. Each of these ranks among Mozart’s highest creative achievements, yet the lack of evidence of a performance in his lifetime has left scholars uncertain as to what prompted this tremendous creative outpouring.

What is beyond dispute is that K550 abounds in bold and unusual ideas. Mozart discards the convention of a forceful call to attention to launch a symphony, but instead starts in the shadows, presenting only the accompaniment in the lower strings before stating the main theme. The latter revolves around a “sighing” gesture of half-steps that pervades not only the first movement but the entire work. This “sigh” reappears in mutated form as the gracious embroidery running through the delicately shaded colours of the Andante, for example.

Mozart also exploits rhythmic and dynamic parameters with great ingenuity. This Minuet is hardly music to dance to as it hurtles forward, wave after wave, with fierce intensity, while the finale deploys nervous pauses to enhance the sense of restless agitation. Its “rocket theme” shoots upward, turning on another variation of the “sigh” gesture.

During his Vienna years, Mozart eagerly studied the music and technique of J.S. Bach, and his mastery of the art of counterpoint comes into full play in the finale as he weaves multiple lines into a brilliant symphonic whole. The result is a perfect balance of tragic pathos and reassuring form.

Text: Thomas May

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全巴赫曲目 All-Bach Programme

巴赫 D大調第三鍵盤協奏曲，BWV1054 快板 持續輕柔的慢板 快板 F小調第五鍵盤協奏曲，BWV1056 中庸的快板 廣板 急板 G小調第七鍵盤協奏曲，BWV1058 快板 行板 甚快板 E大調第二鍵盤協奏曲，BWV1053 快板 西西里舞曲 快板

19.03.2025

Johann Sebastian Bach (1685-1750)

Keyboard Concerto No 3 in D Major, BWV1054 Allegro Adagio e piano sempre Allegro Keyboard Concerto No 5 in F minor, BWV1056 Allegro moderato Largo Presto Keyboard Concerto No 7 in G minor, BWV1058 Allegro Andante Allegro assai Keyboard Concerto No 2 in E Major, BWV1053 Allegro Siciliano Allegro

中場休息 INTERVAL

A大調第四鍵盤協奏曲，BWV1055 快板 小廣板 不太快的快板 D小調第一鍵盤協奏曲，BWV1052 快板 慢板 快板

Keyboard Concerto No 4 in A Major, BWV1055 Allegro Larghetto Allegro ma non tanto Keyboard Concerto No 1 in D minor, BWV1052 Allegro Adagio Allegro

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巴赫的創意協奏曲 Bach’s Concerto Inventions 現代鋼琴協奏曲的雛形或許是由莫扎特發 展而成，但實際發明鍵盤協奏曲的卻是巴 赫，而他的幼子約翰．基斯頓．巴赫正是 連繫這兩位大師的關鍵人物。巴赫以卓越 的管風琴演奏技藝聞名，但他也創作了一 系列鍵盤協奏曲，既為自己演奏，亦供幾 個發展音樂事業的孩子使用。

Although Mozart developed the prototype of the modern piano concerto as we know it, it was Johann Sebastian Bach who essentially invented the keyboard concerto. (His youngest son, Johann Christian Bach, provided the crucial link between them.) Especially renowned for his dazzling skill as an organist, Bach also composed a series of harpsichord concertos for his own use—and quite likely for that of his musical children as well.

Many Bach experts believe these concertos were fashioned from material the composer originally created for other contexts in order to be presented at the Collegium Musicum in Leipzig, where Bach served as Music Director and Cantor for the Church of St Thomas beginning in 1723. The Collegium was a musical society and civic institution founded by his predecessor in Leipzig, Georg Philipp Telemann. It gave a platform to an ensemble of local musicians, many of whom were university students, to perform in public weekly at Café Zimmermann, a coffeehouse situated on Leipzig’s most handsome street.

巴赫 Johann Sebastian Bach (1685-1750)

許多巴赫專家認為，這些協奏曲改編自為 其他場合創作的素材，而當初的目的可能 是供萊比錫音樂學社樂團演出之用。巴赫 自1723年起擔任萊比錫聖多馬大教堂的 音樂總監和聖詠團的指揮，學社樂團則由 巴赫的前任泰利曼創立，屬民間組織的音 樂社，為當地音樂家提供演出平台，其中 許多成員是大學生。每週，該團會在坐落 城中最有格調的大街上的齊默曼咖啡館演 奏。 作 為 音 樂 總 監， 巴 赫 的 本 職 是 為 教 堂 的 禮 拜 創 作 和 組 織 聖 樂 演 出， 但 於1729至 1741年領導學社樂團期間，樂團頻繁在齊 默曼咖啡館聚會，為他提供了一個試驗世 俗作品的機會，這些鍵盤協奏曲便是其中 的代表。

Bach directed the Collegium Musicum from 1729-41. While his chief duties as Leipzig’s Music Director were to compose and organise performances of sacred music for liturgical services in the city’s various churches, the Collegium Musicum’s gatherings at Café Zimmermann provided Bach with an opportunity to try out his latest secular compositions, such as his harpsichord concertos.

Bach’s surviving body of work includes keyboard concertos for varying numbers of soloists, ranging from one to four. He devoted particular attention to the first category, copying out a series of these into a single autographed manuscript in 1738 or 1739 (BWV1052-1059)— the source for Sir András Schiff’s all-Bach programme. The first six were evidently planned as a self-standing collection, but Bach kept the seventh (BWV1058) separate, while BWV1059 comprises only a brief fragment (and has been associated with a lost oboe concerto). This 27

interest in the format may have been prompted by the arrival of a new model of harpsichord that was announced at the Collegium in 1733.

The fact that the concertos BWV1052-1057 were grouped together in the manuscript reflects Bach’s favouring of the number six for anthologies of works in the same genre.

Other examples include the six Brandenburg Concertos, the six Suites for Solo Cello, and other solo keyboard suites (the English and French Suites, as well as the Partitas).

萊比錫聖多馬大教堂與學校 St Thomas Church and School, Leipzig, in 1723

巴赫現存的鍵盤協奏曲中，獨奏者數量由 一 位 至 四 位 不 等。 但 他 偏 愛 只 有 一 位 獨 奏者的曲目，並在1738年或1739年將一 系列此類作品親手抄寫了一份簽名手稿 （BWV1052-1059） ，而這次席夫演出的曲 目便來自這份手稿。前六首協奏曲顯然被 規劃成一個獨立系列，但巴赫卻將第七首 （BWV1058）單獨處理，而 BWV1059則是 一個簡短片段，雖不完整，卻與一首失傳 的雙簧管協奏曲相關。巴赫嘗試鍵盤協奏 曲的誘因之一，可能是學社在1733年開始 使用的新型鍵琴。 BWV1052-1057協奏曲在手稿中被歸為一 組，反映出巴赫偏愛用「 六 」這個數字來 編纂同類型的作品集。其他例子還包括六 首勃蘭登堡協奏曲、六首無伴奏大提琴組 曲及其他鍵盤獨奏組曲（如英國組曲、法 國組曲以及帕蒂塔組曲）。 在 巴 赫 後 期 的 聲 樂 作 品 中， 他 經 常 使 用 「 仿作 」技法，即把舊作改編以切合不同歌 詞和場合。巴赫的鍵盤協奏曲同樣是由早 期的器樂作品改編而來，這些舊作大多是 為旋律樂器（如小提琴或雙簧管）而創作的 協奏曲。巴赫必須改寫原旋律線及結構， 使其適合雙手彈奏（而現在，使用現代鋼 琴演奏協奏曲已成為一種慣例）。 這些協奏曲的素材可回溯至巴赫在科騰擔 任 宮 廷 樂 長 的 時 期（1717-1723年） ，當

In his later career, Bach frequently resorted to the technique known as “parody” for his vocal compositions—in other words, he adapted music from previously written pieces so that it would fit different texts and contexts.

A parallel technique can be found with the keyboard concertos: here, Bach arranged instrumental music that he had written earlier in his career. These pre-existing pieces were, for the most part, originally concertos for a melody instrument (violin or perhaps oboe).

Bach had to adapt the original line and its supporting structure to make these suitable for the two hands of the harpsichord soloist (or, as in the present case, piano soloist, for it has been a longstanding practice to present these concertos using a modern piano).

As key sources for these concertos, Bach likely drew on material that dates back to his years as Kapellmeister in Köthen (1717-23), which preceded his move to Leipzig. At the court in Köthen, Bach had enjoyed more freedom to focus on instrumental composition, for his patron’s brand of Protestantism preferred simple church music.

The Concerto in D Major, BWV1054, for example, is actually a harpsichord concerto transformation of the Violin Concerto in E Major, BWV1042 (which likely was written at Köthen). Why the difference in key? This results from practical considerations, as Bach had to account for the top note of D on the harpsichord of the time. He therefore tended to transpose down by one tone when replacing the violin with a harpsichord as the solo instrument.

BWV1054 spells out the D Major triad as an ascending three-chord motif at the outset, which recurs as an organising principle, while the similarly exuberant finale is phrased in 29

時巴赫尚未搬到萊比錫，器樂創作上相對 自由，且他的贊助人信奉新教，偏向清簡 的教會音樂。 例如 D 大調協奏曲（BWV1054）實際上是 E 大調小提琴協奏曲（BWV1042）的改編 作品（該曲可能寫於科騰）。但為何調性不 同？這其實是出於實際需要。由於當時鍵 琴的最高音是 D，巴赫將曲調下移一個全 音，讓鍵琴取代小提琴成為獨奏樂器。

a catchy dance metre. The slow movement (“Adagio e piano sempre”) is, by contrast, a profound lament in B minor.

All of the harpsichord concertos are designed as variants on this three-movement pattern of two faster paced, lively outer movements that frame a slow, aria-like movement.

Deeply influenced by the model found in his contemporary Antonio Vivaldi’s Venetian concertos—some of which he also transcribed directly—Bach also makes ingenious use of the principle of ritornello that characterises the Italian concertos. This is a device involving the recurrence (“return”) of a main theme stated by the ensemble to structure the musical narrative.

Meanwhile, the soloist undertakes excursions to explore different ideas and keys.

The sources for the Concerto in F minor (BWV1056) are thought to be a lost violin concerto (for the outer movements) and an oboe concerto (for the Largo), a work to which Bach also turned when writing one of his cantatas. This slow movement has moreover been recognised as similar to the corresponding movement of a concerto by Telemann (a friend of Bach’s who had been favoured for his post at Leipzig, but turned it down).

齊默曼咖啡館 Café Zimmermann, c. 1720

BWV1054以一個上升的 D 大調三和弦動機 開場，並有計劃地重複出現以強調主題。 充滿活力的終曲則以逗人歡喜的舞蹈節奏 呈現。相比之下，「 持續輕柔的慢板 」則是 一首意境深遠的 B 小調哀歌。

Still another violin concerto lies behind the Concerto in G minor, BWV1058: the Violin Concerto in A minor, BWV1041 (which could have been written during several different periods of Bach’s career—even in Leipzig). As usual, he transposed the key down by one step.

The harpsichord soloist is also given a larger role compared to that of the violinist, as Bach needed to find a new sonic balance between solo instrument and ensemble. BWV1058 may have been the first in another series of six harpsichord concertos, but Bach abandoned continuation of that project, leaving posterity with the set of six comprised by BWV10521057 plus this seventh concerto.

這 些 鍵 琴 協 奏 曲 都 遵 循 三 樂 章 結 構 —— 首尾兩個節奏較快、活潑的樂章包圍着緩 慢、如詠嘆調般的第二樂章。巴赫深受同 時代作曲家韋華第在威尼斯時創作的協奏 曲影響，除了直接改編，他還巧妙地運用 The sources for the Concerto in E Major, 了意大利協奏曲的回奏曲式。這是一種音 BWV1053, and the Concerto in A Major, BWV1055, remain unknown, though there is no 樂敘事的結構：合奏反覆重現（「 回歸 」） lack of theories: possibly an oboe d’amore for 主 旋 律， 而 獨 奏 則 在 不 同 的 段 落 進 行 探 both or even an organ concerto for BWV1053 索，拓展樂思和調性。 and a piece for solo keyboard in the case of the F 小調協奏曲（BWV1056）的素材相信源 自一首已失傳的小提琴協奏曲（用於首尾

first movement of BWV1055.

The most famous of all of Bach’s harpsichord 31

樂章）和一首雙簧管協奏曲（用於廣板） ， 巴赫在創作一部清唱劇時也借鑒了這首作 品。此外，這個慢樂章被認為與泰利曼的一 首協奏曲中的對應樂章相似。泰利曼是巴赫 的朋友，原本應擔任萊比錫音樂總監，但他 婉拒了這個職位，才由巴赫接任。 G 小調協奏曲（BWV1058）的基底則是 A 小 調小提琴協奏曲（BWV1041） ，該曲可能在 巴赫職業生涯的不同時期創作，包括萊比錫 時期。如同其他作品，他將調性降低了一個 全音。與小提琴獨奏相比，巴赫突出了鍵琴 獨奏的重要性，以調整獨奏和合奏之間的聲 音平衡。BWV1058可能是另一組六首鍵琴 協奏曲系列的第一首，但巴赫沒有完成這個 宏圖，留傳後世的只有 BWV1052-1057六 首協奏曲加上這第七首。 E 大 調 協 奏 曲（BWV1053）和 A 大 調 協 奏 曲作品（BWV1055）的源頭不明，儘管不 乏理論：兩首可能為柔音雙簧管而寫，又或 BWV1053是一首管風琴協奏曲，BWV1055 的第一樂章則可能是一首鍵盤獨奏曲。 整場節目的壓軸是巴赫最著名的 D 小調協 奏 曲（BWV1052） ， 部 分 見 於1734年 的 手 稿，該曲可能改編自巴赫早期用於聖詠清唱 劇的音樂。然而，這首協奏曲的具體來源仍 是個謎。儘管長期以來人們認為它源自一首 小提琴協奏曲，但巴赫專家克里斯托夫．沃 爾夫提出，這首協奏曲和 BWV1053可能都 源自失傳的管風琴協奏曲。D 小調協奏曲在 十九世紀特別受巴赫專家們歡迎，孟德爾 頌、布拉姆斯等人都積極演奏，令使用鋼琴 來演奏巴赫的鍵盤協奏曲變得普及。

concertos is the one that closes our programme. The Concerto in D minor, BWV1052, partially exists in an earlier manuscript from 1734 and may recycle earlier music that Bach also used for his sacred cantatas. But, again, the source concerto is a tantalising mystery—long thought with certainty to have been a violin concerto, the actual source might be another non-extant organ concerto. (Bach expert Christoph Wolff argues that both this concerto and BWV1053 originated from lost organ concertos.) The D minor concerto became particularly popular among 19th-century Bach aficionados. The efforts of Mendelssohn, Brahms and others to share this music with audiences popularised the association of Bach’s keyboard concertos with the piano.

The ritornello idea is easy to follow here: listen to how deftly Bach weaves the soloist into the ensemble in the passages in which the group restates the theme. The finale is conceived on a comparable scale, while the Adagio offers a deeply affecting variant on the Baroque form of the chaconne , with the opening ritornello continually repeated in the bass as a foundation for the soloist’s songful ornamentations.

Bach’s keyboard concertos overall have a special historical importance, according to Wolff, due to their role in shaping the origins of the keyboard concerto, “a form which was to be taken up above all by Bach’s sons so that in Germany, until about 1750, it remained the exclusive preserve of the Bach family”.

Text: Thomas May

回奏曲式在這首協奏曲中尤為明顯：巴赫巧 妙地將獨奏融入合奏，而樂團則不斷重覆主 題。終曲的規模與第一樂章相當，「 慢板 」 深刻感人，變奏源自巴羅克風格的夏康舞 曲，主題在低音部反覆出現，為獨奏如歌的 裝飾音奠定基礎。 沃爾夫認為，巴赫的鍵盤協奏曲具有特殊的 歷史意義，它們為鍵盤協奏曲的發展奠定了 原型。「 這種曲式最終由巴赫的兒子們發揚 光大，因此在德國，直到1750年左右，它 仍然是巴赫家族的專利。」 撰文：湯馬士．梅 33

安德拉斯．席夫 跨越時代的音樂巨人

András Schiff: a Musical Giant Across the Generations 被譽為當代「 最具洞察力的鍵盤大師之一 」 的安德拉斯．席夫身兼多職，既是舉世知名 的鋼琴家暨指揮家，同時也是教師及講師。 2014年，他獲英女王伊莉莎伯二世封為爵 士，以表揚他對音樂的貢獻。席夫在樂壇的 成名之路並非一帆風順，但他仍孜孜不倦地 追求崇高的藝術境界。

World-renowned pianist, conductor, teacher and lecturer Sir András Schiff is “one of the most penetratingly serious masters of the keyboard” today. Knighted by Queen Elizabeth II for his services to music in 2014, Schiff has worked tirelessly to achieve greatness, yet his musical path to prominence has been an arduous one, to say the least.

© KAJIMOTO

席夫於1953年出生在布達佩斯一個富裕的 猶太家庭，但二次大戰的殘酷幾乎摧毀了他 整個家庭。儘管家族慘劇為他留下不可磨滅 的傷痕，席夫仍表示他有一個正常而美好的 童年。 席夫從未視自己為神童，甚至表示兒時更喜歡 踢足球。他為當今許多神童的境遇感到惋惜， 認為「 每個神童背後，都有一對仁慈但可怕 的雙親，不自覺地摧毀這些孩子的童年。」 34

Schiff was born into a wealthy Jewish family in Budapest in 1953, after the disaster of World War II had caused huge damage to his family. Despite the deep emotional scars left by this tragedy, Schiff recalls having a normal and beautiful childhood.

Schiff never considered himself a child prodigy, saying that he preferred to play football. He still pities many of today’s prodigies, as “behind every single one of them are very benevolent but terrible parents, who are destroying these children”.

沒有人強迫席夫走上音樂之路，但他經常隨 母親出席音樂會，欣賞鋼琴大師斯維亞托斯 拉夫．里克特及亞瑟．魯賓斯坦的演出。這 些美好的童年回憶與體驗塑造了他的青少年 時代，也讓他的藝術個性漸漸成形。 由於自小聆聽大師的演奏，席夫堅信現場音 樂的重要性。他熱愛與他人分享音樂，認為 音樂會是一個由作曲家、表演者與聽眾三方 組成的互動社群。巴赫、海頓、莫扎特、舒 伯特、舒曼和巴托克作品全集，以至精心編 排的專場系列，至今仍是他的演奏重點。 隨着席夫的鋼琴造詣日益精進，他鍛鍊出爐 火純青的鍵盤控制能力。他能靈巧地協調雙 手，演奏出清晰通透的對位旋律。席夫亦能 敏銳地理解樂句，精確地表達強弱對比，並 適時加入戲劇效果，奏出深刻明確的音樂。 在東歐的成長歲月裏，席夫與觀眾建立了良 好的默契。但隨着時代變遷，這種互動方 式也產生了顯著變化。他寫道：「 現今的聽 眾缺乏自己的想法 ……他們對新音樂一無 所知，也無法區分優秀、中等和差勁的演 奏。」對席夫而言，沒有專門知識的觀眾當 然也能欣賞古典音樂；但若能用心鑽研，對 鑑賞古典音樂必有裨益。

Nobody forced Schiff into music, but his mother often took him to concerts to hear virtuoso pianists Sviatoslav Richter and Arthur Rubinstein. These beautiful childhood memories and experiences shaped his adolescence and helped form his artistic personality.

Listening to pianistic greats at an early age also strengthened his belief in live music. Schiff loves to share art with others and, for him, live performances establish a three-way community involving the composer, performer and the listener. Cycles and carefully planned series of Bach, Haydn, Mozart, Schubert, Schumann and Bartók, the core of his repertoire, continue to form an important part of his activities.

As Schiff continued to grow as a pianist and interpreter, he developed an astonishing control of the keyboard. Penetrating clarity of counterpoint and a masterful control of balance in both hands produced deeper and more decisive interpretations.

Paired with a keen intelligence in terms of phrasing, Schiff now tenderly shapes his music with an acute understanding of contrast and dramatic weight.

Schiff developed his rapport with audiences during his formative years in Eastern Europe. That interaction, however, has changed significantly over the years. As he writes: “The average listener of today has hardly the faintest idea… He neither knows anything about new music, nor can he differentiate between outstanding, moderately good and poor performances.” For Schiff, Classical music can be appreciated without specialist knowledge, but that appreciation greatly benefits from focused study and discernment.

過去四十年，席夫不斷拓展他的曲目。他堅 信，演奏者必須仔細研究樂曲及手稿，才能 透徹理解曲意，並傳達給觀眾。他解釋道： 「 只有這樣，我才能更深入了解作曲過程， Schiff built up his repertoire over the course of four decades. He strongly believes that in order 以及作曲家身處的情感狀態。」 在第53屆香港藝術節，席夫將與他親自挑 選的安德烈．巴爾卡室樂團合作，演出兩場 專場音樂會，分別向莫扎特與巴赫致敬。 撰文 : 斐德龍博士 中譯 : 鄭曉彤 原文刊載於2025年1月香港藝術節之線上雜 誌 《 News & Features 》

to make a piece of Classical music transparent in the mind of the interpreter and understandable for the audience, the interpreter must intensely study the piece and the manuscript. “Only in that way,” Schiff explains, “can I understand more about compositional processes and the emotional situation of the composer.”

For his two performances at the 2025 Hong Kong Arts Festival, Schiff joins forces with his own personally selected chamber orchestra, Capella Andrea Barca, in two programmes, one entirely dedicated to the music of Mozart and another to Bach.

Text: Georg Predota Chinese translation: Eos Cheng This article was originally published on the HKAF's News & Features website in January 2025 35

安德拉斯．席夫爵士與安德烈．巴爾卡室樂團 Sir András Schiff and Cappella Andrea Barca 指揮及鋼琴 安德拉斯．席夫爵士 Conductor and Piano Sir András Schiff 第一小提琴 First Violin Erich Höbarth Concertmaster Kathrin Rabus Florence Cooke Susanne Mathé Erika Tóth Zoltán Tuska Jiři Panocha Davide Dalpiaz 第二小提琴 Second Violin Kjell Arne Jorgensen Principal Ulrike-Anima Mathé Stefano Mollo Regina Florey Julian Milone Armin Brunner Pavel Zejfart Eva Szabó 中提琴 Viola Hariolf Schlichtig Principal Alexander Besa Iris Juda Annette Isserlis Miroslav Sehnoutka Alessandro D’ Amico

低音大提琴 Double Bass Christian Sutter Principal Brita Bürgschwendtner 長笛 Flute Wally Hase Principal Gerhard Mair 雙簧管 Oboe Louise Pellerin Principal Reinhold Malzer 單簧管 Clarinet Riccardo Crocilla Principal Toshiko Sakakibara 巴松管 Bassoon Miriam Kofler Principal Christoph Hipper 圓號 French Horn Marie-Luise Neunecker Principal Adrian Diaz Martinez 小號 Trumpet Mark Calder Principal Simon Gabriel 定音鼓 Timpani Stefan Gawlick

大提琴 Cello Christoph Richter Principal Xenia Jankovic Anne-Sophie Basset Andrew Skidmore

37

鳴謝 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:

贊助舍計劃會員 Patron's Club Members

鉑金會員 Platinum Member 嘉里控股有限公司 Kerry Holdings Limited

黃金會員 Gold Members 怡和集團 The Jardine Matheson Group 上海商業銀行有限公司 Shanghai Commercial Bank Limited

純銀會員 Silver Member 太古地產 Swire Properties

香港藝術節2024慈善晚宴之贊助人 Sponsors of the Hong Kong Arts Festival 2024 Gala Dinner 鑽石席 – 宴桌 Diamond Table Sponsors 查懋成先生 Mr Victor Cha 呂耀東先生 Mr Francis Lui 何超盈博士 Dr Sabrina Ho 鑽石席 – 宴位 Diamond Seat Sponsors 無名氏 Anonymous 黃金席 – 宴桌 Gold Table Sponsors 無名氏 Anonymous 鄭阮培恩女士 Mrs Betty Yuen Cheng

鄭慧恩小姐及友人 Ms Vena Cheng and friends 馮愉敏先生 Mr Michael Fung 莫慶雄醫生 Dr Mok Hing Hung 摩根大通私人銀行 ( 香港 ) J.P. Morgan Private Bank (HK) 呂元祥博士及夫人 Dr & Mrs Ronald Lu 文肇偉先生 Mr Sebastian Man 文藝女士 Ms Wen Yi Wendy 黃金席 – 宴位 Gold Seat Sponsors 許鴻光先生Mr Patrick Hui Hung Kwong 梁婉玲博士Dr Elina Leung

其他支持機構 Other Supporters 荷蘭表演藝術基金 Performing Arts Fund NL

實物支持機構 In-Kind Supporters 半島酒店 The Peninsula Hotel Limited

通利琴行 Tom Lee Music

藝術節捐助計劃 Festival Donation Scheme 鉑金捐款者 PLATINUM DONORS HK$140,000或以上 OR ABOVE Chung Mei Industries Limited

鑽石捐款者 DIAMOND DONORS HK$70,000 - HK$139,999 無名氏 Anonymous 包陪慧女士 Ms Doreen Pao 上海商業銀行 Shanghai Commercial Bank Limited 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 無名氏 Anonymous 陳瑤華小姐 Ms Eva Chan Nathan Road Investment Limited Ms. Candice Leung Karen Lin Arthur Mui Ms Wendy Nam Mrs. Purviz R. Shroff, MH and Late Mr. Rusy M. Shroff, BBS, MBE Dr Stephen Suen 陳智文先生 Mr Stephen Tan 太古基金 The Swire Group Charitable Trust

黃金捐款者 GOLD DONORS HK$12,000 - HK$29,999 無名氏(2) Anonymous (2) Dr Chow Yat Ngok, York David and Monse Eldon Mr Jeffrey Chan and Mrs Helen Chan 何子建夫婦 Mr & Mrs HO Che Kin Sophia Kao The Elementary Charitable Foundation 曹延洲醫生夫婦 Dr & Mrs TSAO Yen-Chow 曹小玲醫生 Dr Sabrina TSAO Mr & Mrs YS Wong 純銀捐款者 SILVER DONORS HK$6,000 - HK$11,999 無名氏 (2) Anonymous(2) 李允丰醫生 Dr Keith Hariman Ho Man Fung Edith 練紹良先生夫人 Mr & Mrs David S L Lin Michael Mak Mrs Schmitt Ling Jane Ray So Wang Family Foundation 黃奕鑑先生 Mr Wong Yick Kam Ms Wu Tseng Helen Ms Isabel Yiu 姚曼儀 Enoch Yiu

藝術節捐助計劃（續）Festival Donation Scheme (Con't) 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 無名氏 (8) Anonymous (8) Richard ARBLASTER Mrs Anson Chan Bethan and Tim Clark CHEUNG Shuk Mei Cora Flavia & Gary MA 麥志端小姐 Ms Mak Chi Tuen Jennie

Shai Joory José Manuel Sevilla & Julie Bisaillon TAM Ching Yee Christine TONG Wong Kam Ming Chris Yang Rubi Ruby Cecilia Yeung Zhu Yuying

學生票捐助計劃 Student Ticket Scheme 鉑金捐款者 PLATINUM DONORS HK$140,000或以上 OR ABOVE 無名氏 Anonymous 馬振玉慈善基金會有限公司 CYMA Charity Fund Limited The Lanson Foundation

鑽石捐款者 DIAMOND DONORS HK$70,000 - HK$139,999 Mrs. Purviz R. Shroff, MH and Late Mr. Rusy M. Shroff, BBS, MBE 田家炳基金會 Tin Ka Ping Foundation 芝蘭基金會 Zhilan Foundation 陳德鏗先生 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 無名氏 Anonymous Ms Cheng Wai Ching Margaret Dr Stephen Suen 黃金捐款者 GOLD DONORS HK$12,000 - HK$29,999 陳求德醫生夫婦 Dr & Mrs Chan Kow Tak 天智合規顧問有限公司 CompliancePlus Consulting Limited See Yuen CHUNG Kenneth Lau & Anna Ang C H Mak 陳智文先生 Mr Stephen Tan Mr Allan Yu 純銀捐款者 SILVER DONORS HK$6,000 - HK$11,999 無名氏 (2) Anonymous (2) Mr and Mrs Herbert Au-Yeung

新作捐助計劃 New Works Scheme 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 Nathan Road Investment Limited 黃金捐款者 GOLD DONORS HK$12,000 - HK$29,999 劉仰澤 Lau Yeung Chak 凌霄志醫生 Dr Tony Ling 純銀捐款者 SILVER DONORS HK$6,000 - HK$11,999 MDB&StarB Chan

Dr. Cindy Chan CHIANG Grace Mrs Margaret Hamilton 李允丰醫生 Dr Keith Hariman S Hon 麥禮和醫生 Dr Mak Lai Wo Karen and Vernon Moore Ms Teresa Pong 曹延洲醫生夫婦 Dr & Mrs TSAO Yen-Chow 徐伯鳴、黃碧如 Chui Pak Ming Norman, Wong Pie Yue Cleresa Anna W.Y. Chan and Henry N.C. Wong Ms Wu Tseng Helen 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 無名氏 (3) Anonymous (3) 區燊耀先生 Mr Au Son Yiu Biz Office Limited Carthy Limited 陳允彤醫生 Dr Chan Wan Tung D. Chang Cheung Kit Fung Community Partner Foundation Limited 李鈞榮博士 Dr Eddy Li Ms Janice Ritchie Alan and Penny Smith Savita Leung Lian Crystal Rhinestone Dr Xina Lo YIM Chui Chu 殷和順先生及劉善萍女仕

青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 無名氏 (2) Anonymous (2) D. Chang CHANG Shen Ms CHIU Shui Man Tabitha W W Y Ho Dr Alfred Lau Mr LEE Ming Wai Joannes 李芸輝博士 Dr LEE Wan Fai Walter

網上藝術教育捐助計劃 Digital Arts Education Scheme

青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 無名氏 Anonymous

HKCT ABRSM Alumni Association

香港藝術節基金會贊助人 Hong Kong Arts Festival Foundation Patrons 首席創始贊助人 Lead Founding Patrons 陳俊豪先生 Mr Thomas Chan

黃廷方慈善基金 Ng Teng Fong Charitable Foundation 電訊盈科 PCCW 九龍倉集團 The Wharf Group 主要創始贊助人 Major Founding Patrons

萬通保險國際有限公司 YF Life Insurance International Ltd 眾安銀行 ZA BANK 創始贊助人 Founding Patrons

陳煒文博士 , JP Dr Raymond Chan, JP 丹斯里拿督邱達昌 Tan Sri Dato' David Chiu 曹其鋒先生 Mr Silas Chou 霍建寧先生及霍何綺華女士 Mr and Mrs Canning and Eliza Fok 馮氏基金有限公司 E.M. Fung Foundation Limited 何超瓊女士 , SBS, JP Ms Pansy Ho, SBS, JP 科勁國際（控股）有限公司 King's Flair International (Holdings) Limited 梁婉玲博士 Dr Elina Leung 孫漢明博士 Dr Stephen Suen 包陪麗女士 , BBS 及渡伸一郎先生 Ms Cissy Pao, BBS and Mr Shinichiro Watari

支持及協助 SUPPORT AND CO-OPERATION Agnes Chu Vocal Studio 教育局藝術教育組 Arts Education Section, Education Bureau 網上售票平台 Art-mate 香港展能藝術會 Arts with the Disabled Association Hong Kong AS Production Co., Limited 亞洲文化協會香港分會 Asian Cultural Council Hong Kong 香港愉景灣酒店 Auberge Discovery Bay Hong Kong 奧地利駐港總領事館 Austrian Consulate General Hong Kong Backstage Music Studio Ballet Blanc 卓藝舞蹈學院 Balletbean Dance Academy BRICK LANE 英國駐香港總領事館 British Consulate General Hong Kong 百老匯院線 Broadway Circuit CAMPSITE 思藝舞蹈中心 CB Dance Studio 中英劇團 Chung Ying Theatre Company 城市當代舞蹈團 City Contemporary Dance Company Cloverland Music and Arts Centre Limited 阿根廷駐香港總領事館 Consulate General of Argentina in Hong Kong 比利時駐香港總領事館 Consulate General of Belgium in Hong Kong 加拿大駐香港及澳門總領事館 Consulate General of Canada in Hong Kong and Macao 法國駐港澳總領事館 Consulate General of France in Hong Kong & Macau 愛爾蘭駐香港總領事館 Consulate General of Ireland in Hong Kong 意大利駐香港總領事館 Consulate General of Italy Hong Kong 日本國駐香港總領事館 Consulate-General of Japan in Hong Kong 馬來西亞駐香港總領事館 Consulate General of Malaysia in Hong Kong 西班牙駐港總領事館 Consulate General of Spain in Hong Kong 瑞士駐香港總領事館 Consulate General of Switzerland in Hong Kong 捷克共和國駐港總領事館 Consulate General of the Czech Republic 荷蘭駐港總領事館 Consulate General of the Kingdom of Netherlands in Hong Kong and Macau 大韓民國駐香港總領事館 Consulate General of the Republic of Korea in Hong Kong 新加坡駐香港總領事館 Consulate General of the Republic of Singapore in Hong Kong. 俄羅斯聯邦駐香港總領事館 Consulate General of the Russian Federation in Hong Kong 美國駐香港及澳門總領事館 Consulate General of the United States, Hong Kong and Macau 創藝舞蹈學院 Creation Dancing Academy 寶貝芭蕾舞學校 Dance with Me Ballet Academy Edmond Cheng's Music Center Ltd. 誠品書店 eslite bookstore FOSSA.ART Studio 德國駐香港總領事館 German Consulate General Hong Kong 纋雅芭蕾舞學校Glamor Ballet School Glenda Allen Dance Academy 六國酒店 Gloucester Luk Kwok Hong Kong 香港君悅酒店 Grand Hyatt Hong Kong 廣州市唄壳文化發展有限公司 Guangzhou Beike Culture Development Co. Ltd. 香港藝術中心 Hong Kong Arts Centre 香港中樂團 Hong Kong Chinese Orchestra 香港大會堂 Hong Kong City Hall 香港文化中心 Hong Kong Cultural Centre 香港文化博物館 Hong Kong Heritage Museum 香港藝術館 Hong Kong Museum of Art 香港話劇團 Hong Kong Repertory Theatre 香港小交響樂團 Hong Kong Sinfonietta 香港旅遊發展局 Hong Kong Tourism Board 摩洛哥駐香港名譽領事館 Honorary Consulate of Morocco in Hong Kong 可允芭蕾 Howan Ballet 入境事務處 Immigration Department 敲擊樂藝術中心 Initial-P Music Ltd

益普索 IPSOS 王仁曼芭蕾舞學校 Jean M. Wong School of Ballet 高山劇場 Ko Shan Theatre 葵青劇院 Kwai Tsing Theatre 勞工處 Labour Department 康樂及文化事務署 Leisure and Cultural Services Department 牧羊少年與他的浮萍 Lemna of the Alchemist 陳綺婷舞蹈及藝術學院 Les Danseurs Dance Academy 曾眉芭蕾舞學校 Le Studio Ballet Maxibit HK/China MOViE MOViE Ms Grace Li Munchkinlands Company 迷音樂 Musikholic 南蓮園池 Nan Lian Garden 北區大會堂 North District Town Hall 柏斯琴行 Parsons Music Limited Performing Arts Fund NL 迷離科技有限公司 Practical Magic and Innovation 犇華企業服務有限公司 Primasia Corporate Services Limited 舍區 Quarryside RED ZHU 富豪九龍酒店 Regal Kowloon Hotel 富豪東方酒店 Regal Oriental Hotel 黃日芝芭蕾舞學校 Regine Wong School of Ballet 倫敦皇家歌劇院及芭蕾舞團館藏 Royal Opera and Ballet Collections 皇家太平洋酒店 Royal Pacific Hotel 沙田大會堂 Sha Tin Town Hall 上環文娛中心 Sheung Wan Civic Centre Southgate Design 春天芭蕾舞學校 Springtide Ballet School 大館—古蹟及藝術館 Tai Kwun — Centre for Heritage and Arts 台灣蘇富比國際房地產 Taiwan Sotheby's International Realty 駐香港臺北經濟文化辦事處 Taipei Economic and Cultural Office in Hong Kong 藝林文具印刷有限公司 The Artland Co. Ltd. 瑞典駐香港及澳門總領事館 The Consulate General of Sweden in Hong Kong and Macau 灣景國際 The Harbourview 香港演藝學院 The Hong Kong Academy for Performing Arts 音樂學院 School of Music 表演場地管理部 Venue Performance Unit 場地技術部 Venue Technical Unit 香港兒童合唱團 The Hong Kong Children's Choir 香港管弦樂團 The Hong Kong Philharmonic Orchestra 加拿大國家芭蕾舞團 The National Ballet of Canada 香港半島酒店 The Peninsula Hong Kong 港青—香港基督教青年會 The Salisbury – YMCA of Hong Kong 荃灣大會堂 Tsuen Wan Town Hall 屯門大會堂 Tuen Mun Town Hall 東華三院東蒲 TWGHs TungPo 郭慧芸芭蕾舞學校 Vivian Kwok School of Ballet 西九文化區管理局 West Kowloon Cultural District Authority Wewow House 艾希妮控股有限公司 X Social Group Holdings Limited 高木 Yakitori Takagi 元朗劇院 Yuen Long Theatre

電話 TEL （852）2824 3555 傳真 FAX （852）2824 3798、 （852）2824 3722 電子郵箱 Email afgen@hkaf.org 節目查詢熱線 （852）2824 2430 Programme Enquiry Hotline 地址 ADDRESS 香港灣仔港灣道二號十二字樓1205室 Room 1205, 12/F,2 Harbour Road, Wan Chai, Hong Kong

贊助人

李家超先生 , GBM SBS PDSM PMSM

PATRON

The Hon. John KC Lee, GBM SBS PDSM PMSM

永遠名譽會長

邵逸夫爵士（1907-2014）

HONORARY LIFE PRESIDENT

The Hon. Sir Run Run Shaw, GBM CBE（1907-2014）

執行委員會 主席 副主席 義務司庫 委員

節目委員會 主席 委員

財務委員會 主席 委員 發展委員會 委員

盧景文教授 文肇偉先生 范高廉先生 鄭惠貞女士 馮愉敏先生 何苗春暉女士 薛文熹先生 譚榮邦先生 姚潔莉女士 楊 光先生 譚榮邦先生 白諾信教授 羅志力先生 毛俊輝教授 約瑟・施力先生 + 姚 珏女士 范高廉先生 鄭惠貞女士 梁國輝先生 張詩樂先生 馮愉敏先生 馮穎詩女士 梁嘉彰女士 龐心怡女士 孫林宣雅女士 文 藝女士

EXECUTIVE COMMITTEE Chairman Vice-Chairman Honorary Treasurer Members

PROGRAMME COMMITTEE Chairman Members

FINANCE COMMITTEE Chairman Members

Prof. Lo Kingman, SBS MBE JP Mr Sebastian Shiu-wai Man Mr Colin Farrell Ms Margaret Cheng, JP Mr Michael Fung Ms Joanna Hotung Mr Hugh Simon Mr Tam Wingpong, SBS Ms Miriam Yao Mr Sunny Yeung Mr Tam Wingpong, SBS Prof. Giorgio Biancorosso Mr Peter C L Lo Prof. Fredric Mao, BBS Mr Joseph Seelig, OBE + Ms Jue Yao, SBS JP Mr Colin Farrell Ms Margaret Cheng, JP Mr Nelson Leong

DEVELOPMENT COMMITTEE Members Mr Carey Cheung Mr Michael Fung Ms Ophelia Fung Ms Catherine Leung Ms Samanta Sum-yee Pong Mrs Helen Lin Sun Ms Yi Wen

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

ADVISORS

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

名譽法律顧問

甘乃迪女士 （美博香港律師事務所）

HONORARY SOLICITOR

Ms Gabriela Kennedy, Mayer Brown Hong Kong LLP

核數師

羅兵咸永道會計師事務所

AUDITOR

PricewaterhouseCoopers

+ 榮譽節目顧問 Honorary Programme Advisor

職員 行政總監 行政總監助理 節目 節目總監 副節目總監 高級節目經理 節目經理 節目統籌 節目主任 製作助理 節目助理 物流 物流及接待經理

STAFF 余潔儀 何丹蓉 梁掌瑋、蘇國雲 李冠輝 蘇雪凌、游慧姿 * 鄭佩群 *、趙蔚霖 *、廖國穎 *、 馬筠婷 * 容諾行 * 周 翹 *、鍾曉晴 * 陳娟瑜 # 黃明儀 # 金學忠 *

技術 製作經理 副製作經理

梁雅芝 * 陳梓衡 *

出版 編輯經理 英文編輯 副編輯

Executive Director Assistant to Executive Director PROGRAMME Programme Directors Associate Programme Director Senior Programme Managers Programme Managers Programme Coordinator Programme Officers Production Assistant Programme Assistant LOGISTICS Logistics Manager

Flora Yu Connie Ho Grace Lang, So Kwok-wan Kenneth Lee Shirley So, Janet Yau* Cathy Cheng*, Crystal Chiu*, Sophie Liao*, Katie Ma* Ryan Yung* Nicole Chow*, Dorothy Chung* Alice Chan# Melissa Wong# Elvis King*

陳詠恩 * Adam Wright* 陳劭儀 *、楊紫媛 *

TECHNICAL Production Manager Deputy Production Manager PUBLICATIONS Editorial Manager English Editor Associate Editors

Eugene Chan* Adam Wright* Shao yi Chan*, Trista Yeung*

外展 外展經理 外展統籌 外展主任 外展助理

林嘉敏 * 李幸凝 *、鄧芷蔚 *、黃思婷 * 陳沅渟 *、趙家琳 * 郭曉潼 *、汪意玲 *

OUTREACH Outreach Manager Outreach Coordinators Outreach Officers Outreach Assistants

Carman Lam* Giselle Li*, Tina Tang*, Ariel Wong* Olivia Chan*, Raven Chiu* Angel Kwok*, Elaine Wong*

市場推廣 市場總監 副市場總監 市場經理 副市場項目經理 副市場經理 市場統籌 市場主任 市場助理

鄭尚榮 盧伯全 陳綺紅 *、鄭曉恩 *、張予心 * 李穎軒 *、譚懿諾 * 曾諾怡 * 盧之愷 * 梁喬正 * 陳慧琳 #

票務 高級市場經理（票務） 梁彩雲 票務助理 蔡嘉熹 *

MARKETING Marketing Director Associate Marketing Director Marketing Managers Deputy Project Managers - Marketing Deputy Marketing Manager Marketing Coordinator Marketing Officer Marketing Assistant TICKETING Senior Marketing Manager (Ticketing) Ticketing Assistant

Shirley Leung* Jacob Chan*

Katy Cheng Eugene Lo Annie Chan*, Vicki Cheng*, Stephanie Cheung* Hill Li*, Hades Tam* Margaret Tsang* Lettie Lo* Isaac Leung* Kelly Chan# Eppie Leung Heidi Choi*

發展 發展總監 特別發展協理 高級發展經理 發展經理 助理發展經理 發展助理

簡潤如 蘇啟泰 * 譚樂瑤 葉巧儀 *、黃珮茵 * 黃堅詠 * 葉涴喬 *

DEVELOPMENT Development Director Special Development Associate Senior Development Manager Development Managers Assistant Development Manager Development Assistant

Brenda Kan Alex So* Lorna Tam Evelyn Ip*, Janice Wong* Angela Wong* Jeria Yip*

行政事務 財務總監

鄺敬婷

CORPORATE SERVICES Finance Director

Teresa Kwong

會計 會計經理 會計及行政助理

杜詩麗 * 麥婕妤 *

ACCOUNTS Account Manager Accounting & Administrative Assistant

Connie To* Charmaine Mak*

人力資源及行政 人力資源及行政經理 接待員 / 初級秘書 助理

楊美君 * 李美娟 黃國愛

HR & ADMINISTRATION HR and Admin Manager Receptionist/Junior Secretary General Assistant

Janet Yeung* Virginia Li Bonia Wong

資訊科技 資訊科技經理

陳啟明 *

INFORMATION TECHNOLOGY Information Technology Manager

Derek Chan*

無限亮 項目總監 節目及外展經理 助理節目及外展經理

錢 佑* 鍾美琼 *、高君 *、吳卓恩 * 潘詠汶 *

節目及外展統籌 市場經理 副市場經理 助理製作經理 高級會計主任

張沚鈴 * 黃嘉欣 * 陳佩鈴 *、吳雪琼 * 鄭家裕 * 鍾巧明 *

NO LIMITS Project Director Programme and Outreach Managers Assistant Programme and Outreach Manager Programme and Outreach Coordinator Marketing Manager Deputy Marketing Managers Assistant Production Manager Senior Accounting Officer

Eddy Zee* Becky Chung*, Tiffany Ko*, Frieda Ng* Jasmine Poon* Cheung Chi-ling* Carly Wong* Gina Chan*, King Ng* Dick Cheng* Catherine Chung*

藝術家統籌經理 藝術家統籌

朱芷慧* 張晞琳*、莊唯*、向怡君*、何敬堯*、梁頌怡*、盧悅穎*、Giacomo Matelloni*、彭慧雯*、曾婷欣*、胡肇婷*、 楊嘉嘉*、翁蒨懃* 製作主任 王子蕙* 技術統籌 張詠宜*、范文恩*、李浩賢*、彭家達*、曾以德* Head of Artist Coordinators Eleanor Chu* Artist Coordinators Haynes Cheung*, Viola Chong*, Cassandra Heung*, Kelvin Ho*, Kitty Leung*, Joyce Lo*, Giacomo Matelloni*, Jan Pang*, Renee Tsang*, Blanche Wu*, Jiajia Yang*, Bonnie Yung* Production Officer Anissa Wong* Technical Coordinators Jess Cheung*, Yan Fan*, Lawrence Lee*, Pang Ka-tat*, Joyi Tsang* *合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order # 藝術人才見習配對計劃2023/24 及2024/25 由香港藝術發展局資助 # 2023/24 and 2024/25 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2025年2月更新 Updated February 2025