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2.8.2019 (星期五 Fri) 8pm

3-4.8.2019

(星期六至日 Sat-Sun) 3pm & 8pm

香港大會堂音樂廳 HK City Hall Concert Hall 獨家贊助 Exclusive Sponsor

香港小交響樂團由香港特別行政區政府資助 Hong Kong Sinfonietta is financially supported by the Government of the Hong Kong Special Administrative Region

香港小交響樂團為香港大會堂場地伙伴 Hong Kong Sinfonietta is the Venue Partner of the Hong Kong City Hall


麥兜.最最最靚豬腩肉 McDull.my very very very best 音樂總監/指揮 Music Director/Conductor

動畫製作 Animation Production

葉詠詩 Yip Wing-sie

Lunchtime Production Limited

概念/導演 Concept/Co-directors

合作機構 In collaboration with

謝立文及麥家碧 Brian Tse & Alice Mak

春田花花教育基金有限公司 Chun Tian Hua Hua Foundation Ltd

鋼琴 Piano

李嘉齡 Colleen Lee

麥兜 McDull

(駐團藝術家 HKS Artist Associate 2010/2011)

(駐團藝術家 HKS Artist Associate 2019/2020)

節目

莫扎特/伍卓賢編

《土耳其進行曲》

林姆斯基-高沙可夫

《沙皇薩爾丹》:野蜂飛舞

貝多芬

A大調第七交響曲,作品92:第二樂章

莫扎特

D大調第26鋼琴協奏曲,K537, 「加冕」:第一樂章 (影像製作:景三、XDBX) -中場休息15分鐘-

穆索斯基/拉威爾配器

《圖畫展覽會》 :未出殼小雞的芭蕾舞

孟德爾遜

《仲夏夜之夢》,作品61:諧謔曲

布拉姆斯

D大調第二交響曲,作品73:第三樂章

葛利格

《皮爾.金》組曲:山魔王的殿堂

艾爾加

《愛之祝福》

柴可夫斯基

《胡桃夾子》組曲:糖梅仙子舞曲

貝納德

《冬日仙境》

華格納

《女武神》 :女武神之騎

葛利格

《輓歌兩首》 :最後的春季

史密塔納

《我的祖國》 :伏爾塔瓦河

場地規則 House Rules 各位觀眾 Dear Patrons: 為了令大家對今次演出留下美好印象,我們希望各位切勿在場內攝影、錄音或錄影,亦請勿吸煙或飲食。在節目進行前,請關掉 手提電話、其他響鬧及發光的裝置。多謝各位合作。 In order to make this performance a pleasant experience for the artists and other members of the audience, please refrain from recording, filming, taking photographs, and also from smoking, eating or drinking in the auditorium. Please ensure that your mobile phones and any other sound and light emitting devices are switched off before the performance. Thank you for your kind co-operation.

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Programme

Mozart/Ng Cheuk-yin arr

Turkish March

Rimsky-Korsakov

The Tale of Tsar Saltan: Flight of the Bumblebee

Beethoven

Symphony No 7 in A, Op 92: II Allegretto

Mozart

Piano Concerto No 26 in D, K537, “Coronation”: I Allegro (Visual support: Kingsan & XDBX) – 15-minute intermission –

Mussorgsky/Ravel orch

Pictures at an Exhibition: Ballet of the Unhatched Chicks

Mendelssohn

A Midsummer Night’s Dream, Op 61: Scherzo

Brahms

Symphony No 2 in D, Op 73: III Allegretto grazioso

Grieg

Peer Gynt Suite: In the Hall of the Mountain King

Elgar

Salut d’Amour

Tchaikovsky

The Nutcracker Suite: Dance of the Sugar-Plum Fairy

Felix Bernard

Winter Wonderland

Wagner

Die Walküre: Ride of the Valkyries

Grieg

Two Elegiac Melodies: Last Spring

Smetana

My Fatherland: The Moldau 香港小交響樂團 Hong Kong Sinfonietta | 問卷調查 Audience Survey 感謝您蒞臨欣賞香港小交響樂團的演出,現誠邀您提供對是次音樂會的意見。請登入 網頁或於前台索取並填妥問卷,將有機會獲得 2019 年 8 月 31 日「拉赫曼尼諾夫第三 鋼琴協奏曲」音樂會門票2張。 Thanks for coming to our concert! We would love to have your feedback. Please complete our questionnaire online or at the reception for a chance to win 2 tickets to “Great Piano Concertos: Denis Kozhukhin Plays Rachmaninov” on 31 August 2019.

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香港小交響樂團 Hong Kong Sinfonietta 音樂總監 Music Director: 葉詠詩 YIP Wing-sie 首席客席指揮 Principal Guest Conductor: 柏鵬 Christoph POPPEN

香港小交響樂團是香港的旗艦樂團之一。樂團與音 樂總監葉詠詩一直致力拉近古典音樂與普羅大眾間 的距離,銳意「培育文化新一代」,並以富創意的 節目及充滿熱忱的演奏見稱。 自 1999 年起,香港小交響樂團經常與國際知名音 樂家及藝團合作,包括亞殊堅納西、杜明高、傅 聰、譚盾、霍活特、巴伐洛堤、彭德雷茨基、蘇嘉 文、馬林斯基大劇院芭蕾舞團、莫斯科大劇院芭蕾 舞團、英國皇家芭蕾舞團、英國國家芭蕾舞團、美 國芭蕾舞劇院、紐約市芭蕾舞團、斯圖加特芭蕾舞 團及翩娜.包殊烏珀塔爾舞蹈劇場等。樂團亦經常 應邀與本地藝術節及藝團合作,如香港藝術節、法 國五月、香港芭蕾舞團及香港歌劇院等。樂團於 2018 年舉辦第一屆香港國際指揮大賽,吸引了 310位來自49個國家和地區的參賽者。 樂團全年無休,每樂季演出逾 100 場次,自 2009 年起是香港大會堂的場地伙伴。除了傳統的管弦樂 章外,樂團每年均委約作曲家為樂團譜新曲,亦銳 意與不同界別的藝術家製作嶄新的跨界節目,自 2006 年起更舉辦「駐團藝術家」計劃,由音樂總 監親自邀請本地藝術家與樂團緊密合作及交流,培 育新一代藝術家之餘更為古典音樂創造新的可能 性。樂團灌錄過多套唱片,收錄不少華人作曲家的 優秀作品;由DECCA發行的三輯《就是古典音樂》 系列,均獲白金及金唱片佳績。最新雙 CD《一屋 寶貝音樂廳》於2018年7月由DECCA出版。 4

樂團深明培育下一代的重要性,針對不同年齡的觀 眾,舉辦多套別樹一格的普及音樂會。《我的音樂 日記》、《古典音樂速成》、《古典音樂知多少》和 《我個名叫麥兜兜.古典音樂小計劃》等節目,創 辦至今深受歡迎,大大拓展古典音樂觀眾的層面。 另外,樂團經常在音樂廳以外的場地舉行室樂及跨 界音樂會,為觀眾提供更多節目選擇。 除本地演出外,樂團常應邀作客海外,包括:美國 紐約林肯中心羅斯劇院、加拿大多個以出色音效著 稱的音樂廳;南美洲的巴西、阿根廷及烏拉圭;在 歐洲計有法國的多個著名音樂節如拉羅克.昂迪榮 國際鋼琴音樂節和法國蒙頓音樂節、德國東弗里斯 蘭「浪潮」音樂節、波蘭貝多芬復活節音樂節、意 大利的米凱朗傑利國際音樂節和維琴察音樂節、葡 萄牙馬爾旺國際音樂節、立陶宛的兩個音樂節、瑞 士蘇黎世、日內瓦和弗里堡;北京第二屆中國交響 樂之春(國家大劇院)、中國上海國際藝術節(世 博會「香港活動周」閉幕節目)、上海之春國際音 樂節、韓國統營國際音樂節、新加坡、台灣、日本 長野、新潟和金澤等,並五度獲邀參與東京 《 》音樂祭演出。今年9月樂團將再度出訪 日本及台灣。


Hong Kong Sinfonietta is one of Hong Kong’s flagship orchestras. With conductor Yip Wing-sie as Music Director, the orchestra has brought music closer to the community, and has achieved significant recognition locally and internationally for its passionate performances and innovative programming. Since 1999, Hong Kong Sinfonietta has collaborated with an illustrious array of international musicians and groups, including Vladimir Ashkenazy, Plácido Domingo, Fou Ts’ong, Christopher Hogwood, Luciano Pavarotti, Krzysztof Penderecki, Pinchas Zukerman, Mariinsky Ballet, Bolshoi Ballet, The Royal Ballet, English National Ballet, American Ballet Theatre, New York City Ballet, Stuttgart Ballet and Tanztheater Wuppertal Pina Bausch. The orchestra has also been a regular participant at all the major festivals in Hong Kong including the Hong Kong Arts Festival, Le French May and festivals presented by the Hong Kong Government. It also partners regularly with Hong Kong Ballet and Opera Hong Kong in their staged productions. In 2018, the orchestra organised the 1st Hong Kong International Conducting Competition, which attracted 310 applications from 49 countries/regions. The orchestra performs year-round with over 100 performances a season and has been the Venue Partner of the Hong Kong City Hall since 2009. Apart from standard orchestral repertoire, Hong Kong Sinfonietta, as an avid believer of keeping music alive and contemporary, commissions and performs new works every year and ventures into crossover concerts both at the City Hall and at the residency at ArtisTree. Launched in 2006, the HKS Artist Associate scheme provides a platform for intensive collaboration with local artists from different arts disciplines to expand the horizon of classical music. The orchestra’s discography includes CDs of works by Chinese composers on HUGO, and three double-CD albums This is Classical Music on DECCA which have been

awarded Platinum and Gold Records. Its newest album, The Passage Beyond in Concert by Leon Ko, was released on DECCA in July 2018. Hong Kong Sinfonietta has also pioneered speciallydesigned concert series for different audiences and age groups, including Good Music for Babies, Good Music for Kids, Know Your Classical Music, Shortcut to Classical Music and HKS McDull Music Project. Since 2010, Hong Kong Sinfonietta’s chamber music concerts have continued to break down barriers between music and audience as we perform at unconventional spaces. On tour, Hong Kong Sinfonietta has been invited to perform in North America in Canada and New York City; in Brazil, Argentina and Uruguay in South America; in Europe at the prestigious Festival International de Piano La Roque d’Anthéron, Festival de Musique Menton, Saint-Riquier Festival, Les Flâneries Musicales d’Été de Reims and Festival Les Nuits Romantiques in France, in Germany at Gezeitenkonzerte Ostfriesland, at Beethoven Easter Festival in Poland, in Switzerland at Tonhalle Zürich, Geneva Victoria Hall and Fribourg, Festival Pianistico Internazionale Arturo Benedetti Michelangeli and Settimane Musicali al Teatro Olimpico in Italy, in Portugal at the Marvão International Music Festival, and in Lithuania; in China at the Shanghai Spring International Music Festival and China Shanghai International Arts Festival (Expo 2010 Shanghai), in Beijing at the National Centre for the Performing Arts; in Japan at La Folle Journée in Tokyo and Niigata, Nagano and Kanazawa; in Korea at the Tongyeong International Music Festival and in Singapore at the Esplanade, and in Taiwan. In 2019, the orchestra will return to Japan and perform at Asia Orchestra Week, and give two concerts in Taiwan. 香港小交響樂團有限公司是註冊之慈善團體。 The Hong Kong Sinfonietta Limited is a registered charity. 香港灣仔譚臣道 98 號運盛大廈 3樓 3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong 電話 Tel : (852) 2836 3336 電郵 Email: enquiries@hksinfonietta.org 網址 Website: www.HKSL.org

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音樂總監/指揮 Music Director/Conductor

© YVONNE CHAN

葉詠詩 Yip Wing-sie

亞洲樂壇備受尊崇的指揮家葉詠詩,於 2002 年起

葉詠詩繼 2004 年帶領香港小交響樂團代表中國參

出任香港小交響樂團音樂總監。

加「中國在法國」文化年的成功演出後,經常獲邀

葉詠詩在1985年贏得法國貝桑松第 35屆國際青年 指揮大賽冠軍及「金豎琴」獎,並在 1988 年獲第 八屆東京國際指揮比賽獎項。她曾先後出任香港大 學的學院藝術家、新加坡國立大學楊秀桃音樂學院

阿根廷、烏拉圭及台灣,以及法國、德國、波蘭、 瑞士、意大利、葡萄牙、日本、韓國和立陶宛的 音樂節。

王鼎昌傑出客座教授、廣州交響樂團的首席指揮和

生於廣州,香港長大的葉詠詩,憑香港皇家賽馬會

音樂總監及香港管弦樂團的駐團指揮。

音樂基金獎學金遠赴倫敦皇家音樂學院攻讀;後於

葉詠詩經常獲邀擔任世界各地樂團的客席指揮,曾 合作的包括中國中央樂團、中國國家交響樂團、上 海交響樂團、首爾愛樂樂團、大阪管弦樂團、新日 本愛樂交響樂團、札幌、讀賣、台灣、布里斯本、 墨爾本、昆士蘭等交響樂團及新西蘭的奧克蘭愛樂 樂團等。在歐洲,她曾與法國圖盧茲國家樂團、貝 桑松室樂團、波蘭華沙愛樂樂團、西班牙特納里夫 島交響樂團、捷克科希策省樂團合作演出。此外, 她亦曾率領廣州交響樂團於國際知名的維也納音樂 協會會堂(黃金大廳)演出及參與北京國際音樂 節。葉詠詩曾與多位國際知名的獨奏家合作,包括 杜美、傅聰、明茨、普爾曼、穆特及蘇嘉文等;近 年曾指揮的歌劇包括香港小交響樂團伴奏的《詩人 李白》及台灣愛樂的《畫魂》。 6

赴世界各地演出,當中包括美國、加拿大、巴西、

美國印第安納大學取得小提琴及指揮碩士學位。 1986和1992年夏季,她分別獲得哥士域斯基獎學 金及小澤征爾獎學金前往鄧肯活音樂中心研習指 揮。指導過她的指揮大師包括狄瑪爾、伯恩斯坦、 小澤征爾、米亞及艾德敦。葉詠詩於 2007 年獲法 國「藝術及文學騎士勳章」,2010年獲英國皇家音 樂學院頒授院士榮銜(FRCM), 2013 年獲香港各 界婦女聯合協進會頒發「香港六藝卓越女性」獎及 由香港政府授勳銅紫荊星章。 2015 年,她獲法國 政府頒發「國家榮譽騎士勳章」,表揚她在音樂界 的傑出成就。


A highly respected and influential figure in Asia’s

As Music Director of Hong Kong Sinfonietta, Yip

orchestral music scene, Yip Wing-sie has been the

has taken the orchestra on tour in recent years to

Music Director of Hong Kong Sinfonietta since

France, Germany, Switzerland, Italy, Poland,

2002. Positions she has previously held include

Portugal, Lithuania, Canada, the USA, Japan,

Principal Conductor and later Music Director of

Korea, Beijing, Shanghai, Taiwan, and in South

Guangzhou Symphony Orchestra and Resident

America in Argentina, Brazil and Uruguay.

Conductor of Hong Kong Philharmonic Orchestra.

Born in Guangzhou and brought up in Hong Kong,

Winner of the First Prize as well as “LYRE d’OR” in

Yip graduated from the Royal College of Music in

the 35th Concours International de Jeunes Chefs

London and the Indiana University at Bloomington,

d’Orchestre de Besançon, France in 1985 and a

USA, where she obtained her master’s degree in

prizewinner in the 8th Tokyo International

violin performance and conducting. As the winner

Conducting Competition in 1988, Yip is in great

of the Koussevitsky Scholarship and the Seiji Ozawa

demand as a guest conductor in Asia. Orchestras

Fellowship Award, Yip also attended the

she has conducted include the Central

conducting seminar and fellowship programmes at

Philharmonic Orchestra of China, China National

the Tanglewood Music Center. Her mentors

Symphony Orchestra, Shanghai Symphony

included great maestros such as Norman Del Mar,

Orchestra, Seoul Philharmonic, Osaka Philharmonic,

Leonard Bernstein, Seiji Ozawa, Gustav Meier and

New Japan Philharmonic, Tokyo Mozart Players, the

David Atherton.

symphony orchestras of Sapporo, Yomiuri, Taiwan, Tasmania, Melbourne and Queensland as well as the Auckland Philharmonia of New Zealand. In Europe, Yip’s engagements have included concerts with the Orchestre National du Capitol de Toulouse and the Chambre Orchestre de Besançon in France, Warsaw Philharmonic in Poland, Spain’s Tenerife Symphony Orchestra and the Czech State Orchestra of Košice. She has also conducted at prestigious venues and festivals such as the Vienna Musikverein (Grossersaal), Beijing Music Festival, Fukuoka’s Asian Month Festival in Japan, Hong Kong Arts Festival and Macao International Music Festival. Yip has collaborated with such renowned artists as Augustin Dumay, Fou Ts’ong, Shlomo Mintz, Anne-Sophie Mutter, Itzhak Perlman and

Accolades Yip has received internationally include “Chevalier de l’Ordre National du Mérite” bestowed by the French Government (2015), “Chevalier dans l’Ordre des Arts et des Lettres” by the Ministry of Culture and Communication of France, Fellow of the Royal College of Music (FRCM), and she was also named the Ong Teng Cheong Distinguished Visiting Professor at the Yong Siew Toh Conservatory of Music, National University of Singapore. In Hong Kong, she was awarded “Hong Kong Women of Excellence in the Six Arts Award” by the Hong Kong Federation of Women and the Bronze Bauhinia Star (BBS) by the Hong Kong Government, and was University Artist at The University of Hong Kong (2011- 2012).

Pinchas Zukerman. Operas she has conducted include Guo Wen-jin’s Poet Li Bai and the world première of La Peintre with Taiwan Philharmonic.

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駐團藝術家HKS Artist Associate 2010/2011 | 鋼琴 Piano

李嘉齡 Colleen Lee 李嘉齡亦為多個大型音樂節的常客,曾參與的音樂 節包括波蘭蕭邦國際音樂節、格但斯克音樂節、意 大利阿西西音樂節、德國邁森鋼琴音樂節、紐約國 際鍵盤音樂節、鮑登國際音樂節、芬蘭埃斯波音樂 節等。她於第 42 屆香港藝術節中為動畫《魔法鋼 琴與蕭邦短篇》作現場演奏,廣受各界好評。李嘉 齡亦曾兩度受邀於維也納及香港演出「貝多芬鋼琴 奏鳴曲馬拉松」。她又於2018年上海音樂學院當代 音樂周中以獨奏者身份與香港創樂團同台演出。 李嘉齡熱愛室樂,經常於室樂音樂會中演出,她曾 與多位享譽國際的音樂家合作,包括小提琴家寧 峰、姜東錫、大提琴家李垂誼、米勒索特、克亞尼 瑟夫以及上海弦樂四重奏。李嘉齡亦為 2018 年成 立的香港電台室樂演奏家成員。 李嘉齡生於香港,四歲開始學習鋼琴,於香港演藝 學院就讀期間隨黃懿倫學習,後負笈德國漢諾威音 樂及戲劇學院深造,師事瓦迪。她獲得的獎項包 括:第三屆德國賽樂爾國際鋼琴比賽冠軍、 2003 年麥肯齊藝術家成就獎、第 15 屆意大利國際協奏 曲比賽季軍及樂評和觀眾獎,亦是第一屆香港國際 鋼琴比賽、樂府國際音樂大獎、真娜.巴侯雅國際 鋼琴大賽、仙台國際音樂比賽以及第 16 屆西班牙 桑坦德國際鋼琴比賽等項目的獎項得主。 李嘉齡自2005年獲得波蘭第15屆蕭邦國際鋼琴大 賽第六名後,便正式踏上國際舞台。她頻繁的演奏 足跡遍及歐亞及北美各地,除獨奏演出外,亦經常

李嘉齡推出過的專輯包括由蕭邦學會發行的蕭邦全 集、史卡拉蒂奏鳴曲全集,以及與香港小交響樂團 合作的《就是古典音樂3》 。

與世界知名的樂團合作獻演,包括以色列愛樂樂

李嘉齡曾獲民政事務局局長頒發嘉許狀,以及獲頒

團、華沙愛樂樂團、西班牙加利西雅皇家愛樂樂

行政長官社區服務獎狀和香港藝術發展局藝術新秀

團、日本仙台交響樂團、中國愛樂樂團、廣州交響

獎,以表彰她在音樂領域的傑出成就及在推廣藝術

樂團、武漢交響樂團、上海交響樂團、香港小交響

文化方面的超卓貢獻。

樂團及香港管弦樂團等。2010/2011樂季她獲香港 小交響樂團邀請出任駐團藝術家,亦曾隨樂團遠赴 南美、意大利及台灣巡演。本樂季重點演出包括與 歷圖指揮的倫敦交響樂團合作獻演。 8

李嘉齡現為香港教育大學的榮譽駐校藝術家,並任 教於香港演藝學院及香港浸會大學。


Since winning the 6th Prize at the 15th

Born in Hong Kong, Lee started her piano lesson

International Frederic Chopin Piano Competition,

at the age of four. Subsequently she was trained

Colleen Lee has performed extensively throughout

at the Hong Kong Academy for Performing Arts

Asia, Europe and North America in solo recitals and

(HKAPA) under Eleanor Wong and at the

with orchestras such as the Israel Philharmonic

Hochschule für Musik, Theater und Median in

Orchestra, Warsaw Philharmonic Orchestra, Galacia

Hannover with Arie Vardi. Prizes she won includes

Royal Philharmonic Orchestra, Sendai Philharmonic

First Prize at the 3rd Seiler International Piano

Orchestra, China Philharmonic Orchestra,

Competition in Kitzingen, Germany, the 2003

Guangzhou Symphony Orchestra, Wuhan

Dorothy Mackenzie Artist Recognition Award,

Philharmonic Orchestra, Shanghai Symphony

Third Place and Critic and Audience Prizes at the

Orchestra, Hong Kong Sinfonietta and Hong Kong

15th International Competition for Piano and

Philharmonic, among others. Lee was the Artist

Orchestra in Cantú, Italy, prize winner of the 1st

Associate of Hong Kong Sinfonietta in 2010/2011,

Hong Kong International Piano Competition, the

and has toured with the orchestra in South

Pro Musicis International Award, Gina Bachauer

America, Italy and Taiwan. Upcoming highlights

International Artist Competition Award, Sendai

include her début with London Symphony

International Music Competition award, and was

Orchestra under Simon Rattle.

Laureate of the 16th Santander International Piano

She has also been a featured artist at several

Competition in Spain.

international music festivals including the

Her discography includes an all Chopin album

International Chopin Festival in Duszniki and

recorded on the Pleyel Piano released by the

Gdansk in Poland, Assisi International Piano Festival

Fryderyk Chopin Institute, and a complete Scarlatti

in Italy, Meissen Pianoforte Festival in Germany,

Sonatas album by Naxos. She was also featured on

International Keyboard Festival in New York,

the Hong Kong Sinfonietta DECCA album This is

Bowdoin International Music Festival and Musicus

Classical Music 3.

Fest in Espoo, Finland. Her performance of the “Magic Piano and Chopin Shorts” animation series at the 42nd Hong Kong Arts Festival had garnered rave review. She was invited to perform twice in the “Beethoven Piano Sonatas Marathon” in Vienna and Hong Kong. She appeared as soloist with the Hong Kong New Music Ensemble in the 2018 Shanghai New Music Week. As an enthusiastic chamber musician Lee frequently appears in chamber music concerts and has also collaborated with world famous instrumentalists

In recognition of her outstanding achievements in music and in the promotion of arts and culture, she has been awarded Certificate of Commendation by the Secretary of Home Affairs, Commendation for Community Service by the Hong Kong Government and Young Artist Award by the Hong Kong Arts Development Council. Currently Lee is the Honorary-Artist-in-Residence of The Education University of Hong Kong and on piano faculty of HKAPA and Hong Kong Baptist University.

including violinists Ning Feng amd Kang Dong-suk, cellists Trey Lee, Daniel Müller-Schott and Alexander Kniazev, and the Shanghai Quartet. She is also a member of the RTHK Chamber Soloists which was formed in 2018. 9


駐團藝術家HKS Artist Associate 2019/2020

麥兜 McDull

10

麥兜是香港創作的卡通人物,由謝立文創作,麥家

Children’s Film Festival, Canada; “Best Feature

碧繪畫。自 2001 年《麥兜故事》起,麥兜惹笑又

Film” of the Hong Kong Film Critics Society; and

感人的故事被多次改編成動畫電影,且屢獲國際動

three “Best Animation Feature” awards at the

畫大獎,包括法國安鍚國際動畫影展 「最佳動畫

Golden Horse Award, Taiwan.

長片大獎」、南韓首爾國際動畫節「最佳動畫長

Ever since its inception, McDull movies have been

片」、加拿大蒙特利爾國際兒童電影節「評審團大

tightly associated with classical music, often as

獎最佳長片」、香港電影評論學會「最佳電影」,以

background music which was sometimes

及三度獲得台灣金馬獎「最佳動畫長片」等。

complemented by lyrics in Cantonese which evolved

麥兜電影的一大特色,是大量採用古典音樂作為配

into some surprisingly singable melodies (!),

樂及改編歌曲,當中以莫扎特《土耳其進行曲》改

the most memorable being the song The Best Pork

成的「仲有最靚豬腩肉」尤其家傳戶曉。除電影

Belly which takes its melody from Mozart’s Piano

外,麥兜參與的文教宣傳片,以至商業廣告,古典

Sonata Rondo Alla Turca. With classical music,

音樂都是當中重要元素。於是,孟德爾遜與冷氣

McDull has been actively contributing to

機,巴赫與升降機,德伏扎克與床褥⋯⋯都莫名其

commercial publicity as well as educational and

妙地扣在一起。

public notices! As a result, Felix Mendelssohn

自 2006 年,麥兜獲香港小交響樂團邀請舉辦了多

(the composer) is now associated with an

場音樂會 —《動物嘉年華》變成了《茶餐廳嘉年

air-conditioner, JS Bach for the correct use of the

華》, 《伏爾塔瓦河》變成《小便歷險記》,馬勒遇

elevator, and more personally, Smetana’s “The

上林布蘭,華格納碰著屎撈人⋯⋯背後理念跟以往

Moldau” and Wagner’s Ride of the Valkyries with

一樣,希望觀眾,尤其是小朋友觀眾,可以先脫離

McDull’s daily sanitary activities...

既定成見,先忘記要交音樂會報告,安心做一隻小

Since 2006, McDull has been joining hands with

豬,讓古典音樂原始而多面的力量,開啟自己的想

the Hong Kong Sinfonietta to present “music

像世界。

projects” which come in the form of concerts with

Created by Brian Tse and Alice Mak, McDull is a

original animation. The Carnival of the Animals

thoroughbred Hong Kong cartoon character. Since

becomes The Carnival of a Hong Kong Cafe, The

The Story of McDull in 2001, the sometimes silly

Moldau becomes The Story of Water (with a

but always moving stories of this piggy have been

difference); Mahler is juxtaposed with Rembrandt

turned into various feature length animations and

while Wagner accompanies the exciting

have also received multiple awards at international

underground journey of Excreman… The thinking

film festivals including: “Grand Prix (Feature Film)”

behind these concerts is the hope that, our

at Festival International du Film d’Animation

audience, especially our younger generation, can

d’Annecy, France; “Official Competition Grand

be free from mundane daily constraints and be as

Prize (Feature Film)” at Seoul International Cartoon

jolly as McDull and his friends. We believe that the

and Animation Festival, South Korea; “Special Jury

power of classical music can open up everyone’s

Prize – Best Feature Film” at Montreal International

imaginary world.


11


註冊非牟利團體

基金宗旨: 推動創意、藝術及文化教育,鼓勵小朋友對優 質藝術文化的追求,達至美好的全人發展。 春田花花教育基金部分支持項目:

我個名叫麥兜兜.古典音樂小計劃 (合作單位:香港小交響樂團 ) 結合麥兜的動畫及古典音樂,以啟發小朋友的想像力為中心,讓觀眾 一邊欣賞著名的交響樂曲,一邊發掘音樂想像的無限可能性。

春田花花動畫工作坊 (合作單位:香港藝術中心、信和集團) 透過欣賞、遊戲和創作,讓小朋友們對動畫藝術及動畫製作原 理有更深入的認識和興趣,共有兩千多名小學生參與並舉辦小 學生動畫創作比賽,得獎隊伍獲邀到日本考察當地動畫文化。

「大角咀麥太」社會企業 (合作單位:東華三院賽馬會大角咀綜合服務中心 ) 以麥太於大角咀為子女積極奮發的故事,發展主題甜品店支持本地婦女培訓 計劃社會企業。

「敬老護腦」小冊子 (合作單位:賽馬會耆智園 ) 以麥兜的插畫細說一段護老小故事,印刷《敬老護腦》小冊子免費 派發予公眾人士,希望藉此提昇大眾對敬老及護腦的訊息。

撒瑪利亞防止自殺會慈善跑 (合作機構:撒瑪利亞防止自殺會) 麥兜出任活動大使,藉活動希望大眾打破社會冷漠,多向身邊人表達關 心,並鼓勵受情緒困擾者勇於傾訴求助。


OUR PART低碳漫畫總動員 (合作單位:華誼兄弟、聯合國開發計劃署) 為內地環保手冊創作麥兜環保漫畫,首批印製10萬冊,免費派發 至中國北京中小學,倡導綠色低碳生活。

香港賽馬會 x 麥兜呈獻:快樂低碳 (合作單位:香港賽馬會慈善信託基金 ) 以環保低碳為題材,設計並製作一系列通識教材、動畫短片,讓大眾 可由淺入深輕鬆了解。同時亦舉辦了環保主題公園創作比賽,讓同學 在創作時,可好好消化環保與我們日常生活的緊密關係。

『愛.女孩』行動 (合作單位:國際培幼會 ) 麥嘜麥兜出任『愛.女孩』行動大使,關心世界各地貧苦女孩,鼓勵平等 就學機會,免受性別歧視。

奧比斯蒙眼午餐 (合作單位:奧比斯) 為活動設計插畫及眼罩,讓參與學童親身體驗黑暗生活,喚起大眾對失明 人士的關懷。

其他支持項目

「健康飲食在校園」運動——給爸媽的信(合作單位:衛生署) 為「給爸媽的信」加插漫畫,漫畫角色使健康飲食的訊息更具吸引力, 提高學童及其家長對健康飲食的關注。

「讀寫障礙的歡樂世界」漫畫設計比賽(合作單位:香港特殊學習障礙協會 ) 參與策劃並設計麥嘜、麥兜與他的朋友的插畫作為計劃的主題漫畫, 推動社會大眾認識並關注特殊學習障礙學童。

香港童聲合唱團周年音樂會(合作單位:香港童聲合唱團) 特別設計插畫支持音樂會,為音樂會增添光采。

運動、健康與科學匯展(合作單位:CASS香港中華科學與社會協進會 ) 麥兜介紹運動的書簽,派發給市民大眾。

理大校友綠化香港種植活動(合作單位:香港理工大學、康樂及文化事務署) 麥嘜出任活動大使,鼓勵大眾愛護這個家,和他一起種花綠化香港。

耆樂餅義賣籌款活動(合作單位:基督教靈實協會) 為耆樂餅設計插畫及包裝;同時宣傳有關義賣活動,為靈實協會籌募長者服務的經費。


客席樂團首席 Guest Concertmaster

劉芳蕾 Liu Fang-lei Liu Fang-lei studied at the Middle School Affiliated to the Shanghai Conservatory of Music, Hochschule für Musik Hanns Eisler Berlin, and Universität der Künste Berlin and her teachers included Zhou Mingen, Kolja Blacher and Mark Gothoni respectively. In 2014/2015, she was an Artist in Residence at the Queen Elisabeth Music Chapel in Belgium under the direction of Augustin Dumay. She was a scholar of the Menuhin “Live Music Now” and “Villa Musica” Rheinland-Pfalz foundations, as well as a major prizewinner at the Harbin International Music Competition in 2018, the “Ton und Erklärung” Competition in 2016, and the Ibolyka-Gyarfas Violin Competition in 2013. Liu has performed as a soloist with the Deutsches 劉芳蕾曾就讀於上海音樂學院附中、柏林艾斯勒音

Symphonie-Orchester Berlin, Magdeburgische

樂學院及柏林藝術大學,師從周銘恩、巴列夏及高

Philharmonie, Pforzheim Chamber Orchestra,

道尼,並於2014/2015年度擔任比利時伊利沙伯皇

Orchestre Philharmonique du Maroc, Shenzhen

后音樂學院之常駐藝術家,師從杜美。她曾獲曼奴

Symphony Orchestra, Harbin Symphony Orchestra

軒「Live Music Now」及德國萊茵蘭.普法爾茨 「Villa Musica」基金會頒發獎學金,並於2018年哈 爾濱國際音樂大賽小提琴組、 2016 年德國文化部 國際小提琴比賽及 2013 年柏林艾斯勒音樂學院和 藝術大學小提琴比賽中獲獎。

having performed on invitation at the SchleswigHolstein Musik Festival in Germany, Pacific Music Festival in Japan, Menuhin Festival in Switzerland, Aurora Music Festival in Sweden, Encounter of

劉芳蕾曾以獨奏家身份與柏林德意志交響樂團、

Music and Academia of Santander in Spain, and the

馬格德堡愛樂、西南德普福爾茲海姆室樂團、摩洛

Savonlinna Festival in Finland. In 2015/2016, she

哥愛樂樂團、深圳交響樂團、哈爾濱交響樂團等演

was invited on tour by the European Network of

出,並獲邀於各大音樂節表演,包括德國石勒蘇益

Opera Academies, performing at prestigious

格-荷爾斯泰因音樂節、日本太平洋音樂節、瑞士

locations such as the Palais Garnier, Grand Theatre

曼奴軒音樂節、瑞典極光音樂節、西班牙桑坦德音

Warsaw, and Grande Auditório Gulbenkian. As a

樂節、芬蘭薩翁林納音樂節等。她在2015/2016年

chamber musician, Liu has worked intensively with

樂季受歐洲歌劇聯會邀請參與巡迴演出,足跡遍佈

renowned artists and ensembles such as Christoph

巴黎歌劇院、華沙大劇院、里斯本古本克安音樂廳

Eschenbach, Nobuko Imai, and the Tokyo String

等地點。她曾多次與艾遜巴赫、今井信子、東京

Quartet. She currently holds a teaching position at

弦樂四重奏等著名演奏家及組合演奏室樂,現於天 津音樂學院管弦系任教。 14

etc, while being no stranger to music festivals,

the Tianjin Conservatory of Music.


節目介紹 莫扎特(1756–1791) 伍卓賢編(1977 年生)

《土耳其進行曲》 奧地利作曲家莫扎特在 1783 年搬到維也納居住。 不久他就受到奧地利皇的委約,寫一部叫做《後宮 誘逃》(Die Entführung aus dem Serail)的歌劇, 作品的背景就發生在土耳其。莫扎特在劇中用上了 很多別具一格的敲擊樂,它們就叫做「土耳其軍 樂」,因為土耳其人在作戰時會敲奏類似的東西。 同期,莫扎特亦撰寫了他的A大調鋼琴奏鳴曲,但 它卻因其為人熟悉的終樂章「土耳其迴旋曲」 (Rondo alla Turca)聞名。它採用的正是《後宮誘 逃》中的一段旋律,你可以聽到利用鋼琴彈奏出來 的敲擊效果。相信伍卓賢在改編時會用上管弦樂隊 中的敲擊樂部。

貝多芬(1770–1827) 選自 A大調第七交響曲,

作品92 II 小快板

在麥兜努力避開野蜂嗡嗡聲的兩年後,他迎來《麥 兜超級音樂記憶法》,當中他觀眾帶來了貝多芬第 七交響曲中的第二樂章。明年就是貝多芬誕辰 250 週年的紀念了,全球都會為之瘋狂。而我們則在這 ���一���。 第七交響曲於1813年12月首演,第二樂章是「慢」 樂章,但這小快板聽起來並不那麼慢。開頭的和弦 由雙簧管、巴松管和圓號奏出,之後大家可以馬上 隨著長-短-短-長-長的節奏一起拍手和哼著調子。 它就像一首舞曲,與單簧管和巴松管較為流轉的旋 律形成對比。留意聽結尾的部份,它和開首一模一

林姆斯基-高沙可夫(1844–1908)

樣,用了同樣的和弦,然後漸漸減弱。

選自《沙皇薩爾丹》 :

麥兜歌詞見第18-19頁

野蜂飛舞

你記得在 2007 年的第二場麥兜音樂會中,曾被不 停的嗡嗡聲困擾嗎?那就是我們的下一首音樂:林 姆斯基-高沙可夫著名的《野蜂飛舞》。它原本出自 一套歌劇,在 1900 年 11 月 3 日於俄國首都莫斯科 的索羅多尼可夫劇院(Solodovnikov Theatre)首 演。歌劇有一個又長又大氣的名字:《沙皇薩爾 丹、他著名而英勇的兒子薩坦洛維奇王子,以及美 麗的天鵝公主的故事》。劇本根據俄國最偉大的詩 人普希金的神話故事改編。 樂曲中的野蜂是王子的化身。他的皇后母親被兩個 邪惡的嬸母在沙皇面前誣告,說她生下了一個魔 鬼,於是他和皇后都被驅逐出皇宮。他們被釘在一 個���,��大�,卻奇�地生還。王子��了 一隻被襲擊的天鵝,天鵝因此為他創造了一個魔法 王國,並把他變成一隻野蜂,可以飛回父皇的皇 宮。這段故事就由林姆斯基-高沙可夫的音樂作伴 奏。飛快的樂音,簡直就像野蜂的嗡嗡聲。大家會 很高興地聽到,化身成野蜂的王子,正在以牙還 牙,蟄刺他兩個邪惡的嬸母! 16


莫扎特(1756–1791) 選自 D大調第26鋼琴協奏曲,

K537,「加冕」 I 快板

我們以莫扎特的作品來結束上半場。讓我們一起歡

後,才真正和某些節慶扯上關係。利奧波德二世在

迎鋼琴家李嘉齡!

法蘭克福獲加冕為羅馬帝國君主,為了引起他的注

莫扎特創作了 27 首鋼琴協奏曲。他既是一位鋼琴 家,也是一位作曲家。在這些協奏曲中,他的兩種 身份合二為一。尤其在維也納,當他成為了自由身 音樂家之後。他通過教學、作曲和演出來謀生。五 年之間,他就撰寫了 15部鋼琴協奏曲:1782年三 首; 1784 年有驚人的六首, 1785 年和 1786 年各

意,莫扎特在1790年10月15日於法蘭克福市劇院 舉行了一場音樂會,彈奏了兩首協奏曲,第一首是 F 大調第 19 協奏曲(K459),第二首就是 D 大調這 一首,因此它又有另一個名字叫做「加冕」。但他 此行的目的卻落空了,利奧波德二世根本沒到場。 不過,這作品卻是大受歡迎。

有三首。他的再下一首協奏曲則隔了一年才出現:

第一樂章充滿了天真爛漫的活潑情調,儘管在發展

他在1788年2月24日,才把D大調協奏曲(K537)

部,樂隊和節奏堅定的鋼琴之間的應對,以及華采

加進他的主題目錄。我們不知道他創作的目的何

段之後那段簡短而強有力的尾聲,都不乏粗獷的

在,也不知道何時首演。 D 大調協奏曲面世兩年

味道。 17


摘自貝多芬第七交響曲(第二樂章) 小快板

18


摘自貝多芬第七交響曲(第二樂章) 小快板

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穆索斯基(1839–1881)/ 拉威爾(1875-1937)配器 選自《圖畫展覽會》 :

未出殼小雞的芭蕾舞 這段音樂我們曾在2012和2014年麥兜的《感人至 深小聖誕》聽過, 2017 年在麥兜的《音樂��的 圖畫》音樂會聽過全首作品。它取自俄國作曲家穆 索斯基的鋼琴曲《圖畫展覽會》,作品是為紀念去 世的畫家朋友赫特曼(Victor Hartmann)而寫 的。穆索斯基用音樂描繪了赫特曼去世後一年舉行 的紀念他的畫展。他在 400 幅展品中選了 10 幅畫 作,以一個「漫步」主題把一幅幅畫作連接起來。 差不多50年後,拉威爾在1922年應俄羅斯指揮哥 士域斯基(Serge Koussevitzky)邀請,將它改編 為管弦樂。 我們聽的「未出殼小雞的芭蕾舞」,是原曲中的第 五幅圖畫。這原本是「一幅用來裝飾芭蕾舞劇《托 里 路 比 》( T r i l b i , 1 8 7 1 ) 場 景 的 小 型 畫 作 , 劇中來自俄羅斯皇家芭蕾舞學院的兒童裹在蛋殼一 �的戲��,�著������的�子」。樂曲的 調子相當輕快,樂隊生動地模仿了兒童們在模仿的 小雞。

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孟德爾遜(1809–1847) 選自《仲夏夜之夢》 ,作品61 諧謔曲

接下來這首音樂也是麥兜的摯愛。它來自一部話 劇,而不是圖畫。在 2011 年的《麥兜.一起看天 看海看星星》音樂會和 2013 年的《麥兜.感人至 深小故事》音樂會中,我們都聽過這首音樂了。 莎士比亞的《仲夏夜之夢》,故事背景設在一個奇 妙夜晚的雅典近郊,情人們離離合合,受到神仙 之王奧伯倫(Oberon)和他愛惡作劇的助手帕克 (Puck)的擺弄。帕克給了織工波頓(Bottom)一 隻驢子的頭,而奧伯農的皇后泰妲尼亞(Titania) 卻與他墮入愛河! 德國作曲家孟德爾遜為《仲夏夜之夢》創作序曲 時,只有17歲。話劇在1827年4月29日首演。16 年後,普魯士國王威廉四世要求他為此劇配樂,他 因而再為這套戲劇創作了 12 首配樂,包括人盡皆 知的「婚禮進行曲」。新的劇作在 1843 年 10 月 14 日於波茨坦新皇宮舉行首演。著名的 G 小調諧謔 曲,出現在第��之�,場景��到���,�有 精靈的味道。它就像一首小型交響曲的一個樂章, 在呈現部有兩個主題(由啁啾的木管樂展開,八度 的弦樂再嘎嘎地將音量減輕,隨後木管樂重現,音 量再次加強),經過發展部到再現部,由始至終都 展現了孟德爾遜飄逸的創作風格。


布拉姆斯(1833–1897)

葛利格(1843–1907)

選自 D大調第二交響曲,

選自《皮爾.金》組曲:

作品73

山魔王的殿堂

III 優雅的小快板

我們向北走,由湖邊度假轉向山林中。挪威劇作家

之後的三首作品都在 2013 年麥兜的《感人至深小

易卜生(Henrik Ibsen)主動邀請葛利格為他的

故事》音樂會中出現過。布拉姆斯像孟德爾遜一

「詩劇」《皮爾.金》譜曲。葛利格寫了 32 段音

樣,也是德國的作曲家。但他較為長壽,而且花了

樂,後來將之改編成兩套組曲,就是這兩套組曲和

超過 20 年才完成他的第一交響曲。他的第二交響

他的鋼琴協奏曲,使他得以名揚世界。

曲則寫得相對輕鬆。 1877 年的夏秋之際,他在奧

故事描述了自命不凡而任性的皮爾的歷險:他離棄

地利卡林西亞(Carinthia)湖區寧靜的小鎮珀特沙

了深愛他的女孩索爾維格(Solveig),不斷追求其

赫(Pörtschach)度假時完成了這首作品。作曲家

他女子,包括特魯爾王(巨怪)的女兒。取自第二

的朋友比爾羅特(Theodore Billroth)記述:「歡

幕末尾的最後一章「山魔王的殿堂」,唯一的主題

快而輕鬆的情調貫串了全曲,它具備了所有完美的

動機不斷透過樂隊(原本是合唱)在音域、音量和

特點,自然地流露出明澈而溫暖的思想和感情。」

緊張度方面擴展,由巴松管代表巨怪的咒語和他們

在 G �調的第三樂章�,三拍子和二拍子相�交

對人們的恐嚇。葛利格指示這段樂曲「必須靜悄悄

替。樂章是變奏和迴旋曲的結合。樂章在雙簧管和

地開始,並逐漸變得越來越不安。巨怪的孩子必須

弦樂的撥奏中,以 3/4 拍開始。「優雅的小快板」

聚集在一起,一直留在山魔王面前,直至他發出雷

主題重複了兩次,每次中間都隔著「不太匆忙的急

鳴般的怒吼!」最後以重複而狂怒的和弦收結。

板」。第一次主題巧妙地轉化成 2/4 拍,第二次則 從第一主題中抽取其中一個附帶的樂念,以 3/8 拍 來演繹,整個樂章的配器顯得相當細緻,結句同樣 也是靜悄悄的。

艾爾加(1857–1934)

《愛之祝福》 這首來自英國的醉人音樂,由英國作曲家艾爾加創 作。艾爾加最有名的作品應是《威風凜凜進行曲》 (Pomp and Circumstance),但他也有不少可愛的 小曲。《愛之祝福》這首小品創作於他成名前,原 本是一首鋼琴獨奏,作於 1888 年 7 月,是為他心 儀的女子雅麗絲.羅拔士(Alice Roberts)而寫 的。結果此曲果然奏效,為艾爾加贏得美人歸,兩 人在 1888 年 9 月 22 日訂婚。後來曲名改為法文 Salut d’Amour ,一時傳遍各地。先後有小提琴、 鋼琴,以及今晚音樂會選用的管弦樂版。 重複的主題與起伏的伴奏簡潔流暢,第二主題更為 醉人,木管承擔了部份旋律,最後雙簧管和圓號先 後將第一主題減慢,樂曲結尾是柔潤的和弦。

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柴可夫斯基(1840–1893) 選自《胡桃夾子》組曲:

糖梅仙子舞曲 現在才是八月,對麥兜提起聖誕節似乎有點奇怪。 但他肯定很喜歡這個節日。2012和2014年我們就 在《感人至深小聖誕》音樂會中和他一起慶祝佳 節。以下三首作品就會讓他想起當時的情形。 沒有節目比柴可夫斯基最後的芭蕾舞劇《胡桃夾子》 更有聖誕氣氛。舞劇根據德國作家霍夫曼(ETA Hoffmann)的故事改編,場景設在聖誕節。克拉 娜的教父道斯邁爾(Drosselmeyer)在聖誕節給了 她一把胡桃夾子。她睡著時,夢見胡桃夾子和老鼠 兵團作戰。她極力保護胡桃夾子,接著它竟變成一 位帥氣的王子。他帶著克拉娜踏上魔法旅程,穿過 ��雪來到糖果王國。在那�,糖梅仙子�他們� 起了連串別具一格的舞蹈。

《冬日仙境》 《冬日仙境》是一首著名的美國聖誕歌,1934年由 鋼琴家/作曲家貝納德撰寫,史密夫填詞。它是聖 誕電影音樂中不可或缺的一首作品,每段歌詞最後 一句長-短-長的節奏相當輕快。但有趣的是,曲中 並沒有一句提及聖誕,只有雪人和雪球以及假日來 到小鎮演出的馬戲團。 歌曲的歡樂快調背後卻有傷感的一面:填詞人當時 正在賓夕凡尼亞州斯克蘭頓市(Scranton)的西山 療養院治療結核病,他想起在家鄉洪斯代爾 (Honesdale)的中央公園,孩童在玩雪和砌雪人的 情景。歌曲的第一次錄音由祖伊.納殊(Joey Nash) 和 李 察 謙 伯 樂 隊 ( Richard Himber Orchestra)負責,倫巴度(Guy Lombardo)在 1934 年 12 月進行了第二次錄音,而史密夫則有幸 活到這時。歌曲總共被灌錄超過150次,安德魯絲

「糖梅仙子舞曲」採用了鋼片琴這種樂器,柴可夫

姊妹(Andrews Sisters)、尊尼.默瑟(Johnny

斯基深知這定會令聽眾耳目一新。他寫道:「我在

Mercer)和佩里.高莫(Perry Como)的版本也許

巴黎發現了一種新的樂器,它介乎小型鋼琴和鐘琴

是最成功的。

之間,聲音美妙得超凡脫俗。我想把這種樂器帶進 芭蕾舞中。它叫做穆斯特爾鋼片琴(Celesta Mustel),售價1200法郎。你只能從它的發明者, 巴黎的奧古斯特.穆斯特爾(Auguste Mustel)那 兒買到。我想訂購一架,直接把它寄回聖彼得堡; 但我們必須保密,否則我恐怕林姆斯基-高沙可夫 和格拉祖洛夫(Glazunov)會知道它,並搶先在我 之前就用它來營造新效果。我預期可從這種新樂器 得到驚人的效果。」不用說,正是鋼片琴讓糖梅仙 子一曲顯得格外別緻。 22

貝納德(1897–1944)


華格納(1813–1883) 選自 《女武神》 :女武神之騎

第二首也就是作品 33 的第二首,原本簡單地稱為 「 春季」。但葛利格後來將之改稱為「最後的春 季」,並要求指揮不能將標題視為對春天美好景色

現在是麥兜起飛的時間了!即使麥兜知道自己不是

的召喚。因此,當詩人描述春日生機勃勃的情景

一匹馬,但接下來幾分鐘我們要把他想像成一匹帶

時,他也擔心自己的死亡,唯恐這是他有生以來見

翅的飛馬,因為他要加入女武神的行列了。女武神

到的最後的春季。葛利格對每段歌詞作了微妙的調

(Valkyrie ,德語 die Walküre)是九位騎馬的女性

配,在最後兩段,他把每個弦樂部拆開,逐一帶出

武士,在戰場上收拾英雄的屍體,把它們帶回北歐

不同的段落,由四把高音小提琴往下移,漸漸構築

維京眾神的家鄉瓦爾哈拉(Valhalla)。雖然不算特

起美妙動人的效果。

別有聖誕氣氛,但想像一下若女武神能幫助聖誕老 人送禮物,或許聖誕老人可以早些放工呢! 《女武神》是華格納的四部系列歌劇《尼伯龍的指 環》(The Ring of the Nibelung)中的第二部,而 且其實只是指其中一位女武神布倫希特 (Brünnhilde),她是神王沃旦(Wotan)與土地女 神所生的長女,她和她的八個妹妹都是女武神。第

史密塔納(1824–1884) 選自 《我的祖國》 :

伏爾塔瓦河

三幕開始時,布倫希特已和父親反目,她的八位妹

我們以 2006 年首場麥兜音樂會的終曲來結束今天

妹正飛去找她。這也許是華格納最著名的單曲,宏

的音樂會,這首作品在2007年也再度演奏。

偉而令人興奮。樂手要演奏的音符難以想像的又快

伏爾塔瓦河(Vltava,德文是 Die Moldau)是波希

又多。麥兜已經一直在練習了,但仍搞得一團糟。

米亞(現為捷克主要部份之一)最重要的河流,它

因此他決定把工作留給專業樂手,他只戴著一頂帶

流經捷克首都布拉格。捷克作曲家史密塔納的這首

翅膀的帽子,擺擺姿態,而自負的女武神當然也少

作品描寫了伏爾塔瓦河以及沿著河流欣賞到的風景

不了這頂帽子......

和事物。這是他撰寫的六首交響詩《我的祖國》中 的第二首,在1874年11月18日完成。 樂曲僅由兩支長笛展開,代表伏爾塔瓦河的兩個支

葛利格(1843–1907) 選自 《輓歌兩首》 :

最後的春季 冬天之後是什麼?春天!恰好,另一首由挪威作曲 家葛利格創作的作品,也出現在前年聖誕音樂會的

流,當兩條河流匯合時,樂隊就加進來了。當中有 不少插曲:叢林中的狩獵場景,一場婚禮,河水流 經更廣闊的沼澤,然後到了晚上,史密塔納喚起了 林中仙子與水仙子,以及往昔武士們的輝煌歷史。 隨著河流穿過聖約翰的急灘,變得越來越繁密,最 後壯觀地穿越布拉格,消失在遠處。

女武神一曲之後。葛利格正好來自維京人的家鄉,

麥兜,這是你的「最最最靚豬腩肉」音樂會的尾聲

也就是華格納《指環》系列�描寫的神�地�。他

了。下次我們再為你找來一些新的作品吧。

根據韋恩葉(Aasmund Olavson Vinje)的詩歌撰 寫了12首歌曲,在1880年以作品33的編號出版。 這些歌曲大都充滿愁思,他後來選了其中兩首改編 給弦樂團,在同一年恰如其份地以《輓歌兩首》的 標題出版。

英文節目介紹:Nick Breckenfield 英國作家 Nick Breckenfield 專門撰寫節目介紹, 曾任whatsonwhen.com的古典音樂及歌劇版編輯13年, 現於支持青年音樂家的博萊蒂-布托妮信托基金會工作。

中文翻譯:行之

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Programme Notes Hello McDull. How are you? I cannot quite believe it but it has been 13 years since you first teamed up with the Hong Kong Sinfonietta and Yip Wing-sie for some musical adventures. How time flies – and they say that pigs cannot fly! So here we are back again and it is time to revisit some of the greatest hits we have all enjoyed the most over those years. And there is one piece we have not heard in your concerts before, but for it we welcome back our HKS Artist Associate (2010-2011), the wonderful pianist Colleen Lee, who joined you in 2014. We will start the concert with an arrangement by Ng Cheuk-yin, your favourite Hong Kong musician and the first HKS Artist Associate (2006-2008). He was there with you – along with Wing-sie and the orchestra – right from the very beginning back in July 2006, when four of his arrangements were played! We will return to one of the pieces we heard in that first concert at the very end.

Wolfgang Amadeus Mozart (1756–1791) Arranged by Ng Cheuk-yin (born 1977)

Turkish March Austrian composer Mozart had not long settled in Vienna when, in 1783, the Emperor commissioned him to write an opera in German (rather than Italian) called Die Entführung aus dem Serail, which means “the escape from the harem”. It is set in Turkey and Mozart revelled in using lots of percussion which technically is called “Janissary percussion” – referring to the military instruments the Turks used in battle. At about the same time, Mozart was composing a piano sonata in A, which is best known by the nickname for its final movement, Rondo alla Turca. It uses one of the tunes from the opera and you can hear the percussion effects even in the piano original. I am sure Ng Cheuk-yin uses the orchestra’s percussion department in his orchestral arrangement.

Nikolai Rimsky-Korsakov (1844–1908) From The Tale of Tsar

Saltan: Flight of the Bumblebee

Do you remember McDull that in your second concert, in 2007, you were annoyed by a constant buzzing? Well that was our next piece of music: Rimsky-Korsakov’s famous piece “Flight of the Bumblebee”, which started life as part of an opera, premiered in the Russian capital Moscow on 3 November 1900 at the Solodovnikov Theatre. The opera had a grand and long title: The Tale of Tsar Saltan, of His Son the Famous And Mighty Hero Prince Gvidon Saltanovich; and of the Beautiful Swan Princess and was based on a mythical story by Russia’s greatest poet, Pushkin. The bee in question is young Prince Gvidon in disguise. He and his mother, the Tsarina, have been banished from the Tsar’s court by two evil aunts who had persuaded the Tsar that his wife has given birth to a monster. Nailed into a barrel and cast into the sea, they miraculously survive. Our prince rescues a swan from attack, and it

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creates a magic kingdom for him and also turns him into the bee so he can fly to his father’s court, accompanied by Rimsky-Korsakov’s fizzing score. It is so fast that the instruments sound just like the buzzing of a bee. You will be happy to hear that the Prince, still in his bee disguise, pays his two evil aunts back by stinging them!

Ludwig van Beethoven (1770–1827) From Symphony No 7 in

Op 92

A,

II Allegretto

Two years after trying to avoid that buzzing bee, McDull, you were fighting, dancing and hiccoughing in McDull’s “super musical memory strategies”. And one of the pieces you “danced” to was the second movement of Beethoven’s Seventh Symphony. Next year the world will go Beethoven mad as it will be the 250th anniversary of the famous German composer’s birth. So we are celebrating a bit early. The Seventh Symphony was premiered in December 1813. The second movement is the “slow” movement, though it does not sound that slow, marked Allegretto (“moderately fast”). You can sing or clap the constant rhythmic pulse long–short-short–long–long (or “dah, da-da, dah, dah”) heard immediately after the opening chord on oboes, bassoons and horns. It is like the steps for a dance, contrasting with the clarinets and bassoons’ more flowing melody that follows. Listen closely at the end, as the movement finishes exactly as it began, with the very same opening chord, again dying away. 26

Wolfgang Amadeus Mozart (1756–1791) From Piano Concerto No 26

in D, K537, “Coronation” I Allegro

We are back with Mozart to end the first half, with a piece that you have not heard McDull.But you have heard our soloist, so welcome back Colleen Lee! Mozart composed 27 piano concertos. He was a pianist as well as a composer and in these works his two musical worlds came together, especially in Vienna as a freelancer, making his own way by teaching, composing and – of course – playing. In just five years he composed 15 piano concertos: three in 1782; an astonishing six in 1784 and three apiece in 1785 and 1786. There was a gap of a year before his next one: the D major Concerto K537 (No 26) which he finished on 24 February 1788. We do not know why he wrote it, or when it was first performed, but it gets its grand nickname “Coronation” because of events two years later. Mozart, in Frankfurt for the celebrations of Leopold II’s coronation as Holy Roman Emperor, gave a concert at the City Theatre, on 15 October 1790, performing two concertos: the F major, K459 (No 19) and D major, K537. Even though, unfortunately, the Emperor did not attend, that is how this concerto got its nickname and it remained one of Mozart’s most popular. There is a jaunty carefree jollity about the first movement, although not without a strident development with the orchestra answering the piano’s determined rhythms, and a forceful (short) coda after the solo cadenza.


Modest Mussorgsky (1839–1881) Orchestrated by Maurice Ravel (1875–1937)

Pictures at an Exhibition: Ballet of the Unhatched Chicks

From

You must like our next piece, McDull, as this is the fourth time you have heard it! In 2017 at your Pictures at a Concert we heard the whole piece this little bit is from, by Russian composer Mussorgsky: Pictures at an Exhibition. Inspired by a real exhibition, in 1874, of works by Victor Hartmann (who had died the previous year), Mussorgsky chose just 10 out of the 400 exhibits on display to re-imagine in music, as a musical tribute to his late friend, using a promenade theme to indicate the move from one picture to the next. Nearly 50 years later, in 1922, Ravel famously orchestrated it at the request of Russian conductor Serge Koussevitzky. We hear the fifth of Mussorgsky’s pictures, the “Ballet of the Unhatched Chicks” described as “a little picture for the setting of a picturesque scene in the ballet Trilbi (1871), where the children from the Imperial Russian Ballet School were enclosed in egg-shell costumes, wearing helmets in the form of canaries’ beaks”. It is fast and light footed, with the orchestra clearly imitating the chicks the children are meant to be imitating.

Felix Mendelssohn Bartholdy (1809–1847) From A Midsummer Night’s

Dream, Op 61 Scherzo

Now for another of your favourite pieces, McDull. It is based on a play rather than a picture and we heard it in both your 2011 Stargazing by the Sea and 2013 Sentimental Little Stories concerts. William Shakespeare’s A Midsummer Night’s Dream is about a magical night near Athens when lovers fall in and out of love, mainly at the behest of King of the Fairies Oberon and his mischievous helper Puck. Add to this the weaver Bottom who Puck plays a trick on by giving him a donkey’s head, whereupon Oberon’s queen, Titania, falls in love with him! As a 17-year-old German composer Mendelssohn’s Overture to A Midsummer Night’s Dream was premiered on 29 April 1827. 16 years later, Friedrich William IV of Prussia commissioned Mendelssohn to compose incidental music for a full stage production of the play at Potsdam’s New Palace on 14 October 1843. Mendelssohn composed 12 new pieces, including the famous “Wedding March” and, as a prelude to Act II, the Scherzo, just as the action moves into the forest. Distinctly elf-like, there are two different themes (chirpy wind to open, then octave strings chugging away before rising in pitch to allow the wind back in), introduced and then developed before returning at the end, all in Mendelssohn’s unmistakable gossamer style. The G minor key tinges the music with a bit of mystery.

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Johannes Brahms (1833–1897) From Symphony No 2

Op 73

in D,

III Allegretto grazioso

Our next three pieces were also heard in your Sentimental Little Stories concert in 2013. Brahms, like Mendelssohn, was a German composer, but he lived almost into old age, which was just as well as it took him nearly 25 years to write his First Symphony. But his Second followed the very next year, composed on an idyllic summer holiday in 1877 at Austria’s Carinthian lakeside resort of Pörtschach. Brahms’ friend Theodore Billroth wrote: “A happy, cheerful mood permeates the whole work. It bears all the marks of perfection, of the effortless flow of limpid thought and warm feeling.” The third movement playfully pitches two beats against three beats. It is a dance in G major, scored for just wind, horn and strings. Brahms combines variation and rondo form – the first changing the theme, but the second always bringing it back to the start. The main theme (in three beats), has the lilting oboe accompanied by pizzicato (“plucked”) strings, and this Allegretto grazioso theme is repeated twice separated by two slightly faster “episodes”. The first episode transforms the main theme into two beats, while the second develops a subsidiary idea in three beats. Delicately scored, it ends quietly. 28

Edvard Grieg (1843–1907) From Peer Gynt Suite:

In the Hall of the Mountain King From an idyllic lake-side holiday to the mountains, and we move north to meet Norwegian composer Edvard Grieg. Like Mendelssohn, Grieg became associated with a playwright, although his was living at the same time – Henrik Ibsen. It was Ibsen himself who asked Grieg to compose incidental music to his “dramatic poem” Peer Gynt, and Grieg obliged with 32 pieces. He made two suites from this music which, with his Piano Concerto, made his name across the world. The story tells the adventures of the arrogant and capricious Peer: his desertion of Solveig (who loves him) and his many short-lived amorous pursuits, including that of the Troll King's daughter. That is where we join him in the famous piece “In the Hall of the Mountain King”. Grieg repeats a single idea across the whole orchestra (and, in the original play, choir too), starting on grumbling bassoons, ideal for the grotesque threats and incantations of the trolls. Grieg pointed out that the music “must start quietly and steadily become more agitated. The troll children must thus gather and remain in position in front of the Mountain King, until he shouts in a thunderous voice”. It ends in frenzied, repeated chords.


Edward Elgar (1857–1934)

Salut d’Amour Much calmer is this lovely little interlude by British composer Edward Elgar, perhaps best known for his Pomp and Circumstance marches. But he also composed some delightful miniatures. This one was originally composed as a piano solo, in 1888, long before he was famous. He called it Liebesgrüss (Love’s Greeting) and it was a present for the girl he loved, Alice Roberts. It had the desired effect with Alice, as by 22 September 1888 Elgar was engaged to her. It was then that the piece was re-titled in French, Salut d’Amour, becoming a great success, especially in the arrangements made by Elgar for violin, first with piano and then, as tonight, with orchestra. There is an effortless simplicity to the repeated theme over a gentle undulating accompaniment. A second subject is more rapt, allowing the wind to take some of the burden of the melody. Eventually oboe, then horn, slows the first theme down and gentle chords bring Salut d’Amour to a close.

Pyotr Ilyich Tchaikovsky (1840–1893) From The Nutcracker Suite:

Dance of the Sugar-Plum Fairy

Now McDull, I know it might seem a bit odd in the middle of August to mention Christmas, but I know how you love the festive season. In both 2012 and 2014 we celebrated your Sentimental Little Christmas and we have got another three pieces to remind you. There is nothing more Christmassy than Tchaikovsky’s last ballet, The Nutcracker, based on a story by German author ETA Hoffmann, which is set at Christmas, when Clara is given a nutcracker for Christmas by her Godfather Drosselmeyer, and she falls asleep only to dream of its battle with an army of mice. She defends the nutcracker which then turns into a handsome prince who whisks her away on a magical journey through a seasonal snow-storm to the Kingdom of Sweets where the Sugar Plum Fairy entertains them with a series of character dances. We hear the “Dance of the Sugar Plum Fairy” which requires an instrument Tchaikovsky knew would astound his audiences: the celesta. He wrote: “I have discovered a new orchestral instrument in Paris, somewhere between a small piano and a glockenspiel, with a divinely beautiful tone. I want to introduce this instrument into the ballet. It is called the Celesta Mustel and costs 1200fr. You can only buy it from the inventor, Auguste Mustel, in Paris. I want to order one – send it direct to Petersburg; but no-one there must know about it. I am afraid that Rimsky-Korsakov and Glazunov might hear of it and make use of the new effect before I can. I expect a colossal effect from this new instrument.” Needless to say it is the celesta that characterises the Sugar Plum Fairy.

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Felix Bernard (1897–1944)

Winter Wonderland (Walkin’ in a) Winter Wonderland is a famous American popular Christmas song, penned in 1934 by pianist-composer Felix Bernard and lyricist Richard Smith (1901–1935). While an essential part of any Christmas soundtrack, with its jaunty long-short-long-short rhythm to the final line of every verse, interestingly it never mentions Christmas, only snowmen and snowbells and the holiday circus coming to town. The happy nature of the song has a sad side: the lyricist was undergoing treatment for tuberculosis at the West Mountain Sanatorium in Scranton, Pennsylvania, when he remembered seeing children playing in the snow and building a snowman in Central Park of his home-town of Honesdale. He lived to see the success of its second recording, by Guy Lombardo in December 1934 (the first recording had been by Joey Nash and the Richard Himber Orchestra), since when it has been recorded over 150 times, perhaps most successfully by the Andrews Sisters, Johnny Mercer and Perry Como.

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Richard Wagner (1813–1883) From Die Walküre: Ride

the Valkyries

of

Right, time for McDull to fly! Even McDull knows he is not a horse, but just for the next few minutes we have to imagine him as a winged horse, because he is going to join the Valkyries – nine female warriors on horseback rescuing heroes’ bodies after they have fallen in battle and taking them back to Valhalla, the home of the Norse gods of the Vikings. Not particularly Christmassy, but think how much help the Valkyries could give Santa Claus in delivering his presents! Die Walküre (The Valkyrie) is the title of Richard Wagner’s second opera in his epic four-part Der Ring des Nibelungen (The Ring of the Nibelung) and actually refers to just one of the female warriors, Brünnhilde. It is her eight sisters that, at the beginning of the third act, that are flying to find their sister, who has fallen out with their father, the god Wotan. Probably his most famous single piece, this is Wagner at his grandest and most exciting. Spare a thought for the players who have lots of notes to negotiate very quickly. McDull has been practising but gets all his digits in a muddle, so he decided to leave it to the professionals instead, while he just poses in a winged helmet, which no self-respecting Valkyrie is without...


Edvard Grieg (1843–1907) From Two Elegiac

Last Spring

Melodies:

What comes after winter? Spring! Appropriately, in another piece by Norwegian composer Edvard Grieg – who came from the original home of the mythology that Wagner used for his Ring Cycle: the land of the Vikings – this next piece also followed the Valkyries in the Christmas concert the year before. Grieg wrote 12 songs to poems by Aasmund Olavson Vinje published as his Op 33 in 1880. Most of these are sad and sorrowful, and such a description certainly fits the two he chose to arrange for string orchestra and publish as his Two Elegiac Melodies that same year. The second string pieces was based on Op 33’s second song, originally simply called “Spring”, but Grieg later changed it to “Last Spring”, remarking that that conductors should not take the title as an evocation of the beauty of Spring. So, while the poet talks of the beauty of the rejuvenating season, he is also aware of his own mortality and fears that this will be the last spring he will live to see. Grieg subtly changes his treatment of each verse and, in the final of the two verses, he divides each string section and introduces separate parts one-by-one, from four high violin parts downwards, gradually building up a wonderfully touching effect.

Bedřich Smetana (1824–1884) From My Fatherland:

The Moldau

We end by returning to McDull’s first-ever concert back in 2006 for a piece that was repeated the very next year. And having stopped McDull flying we are now seeing how far he will float! In Czech composer Smetana’s masterly tone-poem – we follow the river Vltava (in German, Die Moldau) from its source through the Bohemian countryside until it flows majestically through the Czech capital Prague. This is the second in a series of six orchestral tone-poems in which Smetana celebrated his native country and history, called Má Vlast (My Fatherland). He finished “The Moldau” on 18 November 1874. Starting with just two flutes – the two tributaries – the orchestra only joins in when the streams combine. There are various episodes: a hunting scene in the woods, a wedding scene the water passes in broader meadow and then, at night, Smetana evokes wood and water nymphs as well as knightly splendour of yesteryear. The music becomes more hectic as the river passes St John’s rapids, before it flows majestically through Prague and disappears into the distance. Well McDull, that is the end of your very, very, very best concert. We will have to find some new tunes for you next time.

© Nick Breckenfield, 2019 British programme-note writer Nick Breckenfield was the Classical Music and Opera Editor for whatsonwhen.com for 13 years and now works for the Borletti-Buitoni Trust which awards young classical music artists

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香港小交響樂團 Hong Kong Sinfonietta 音樂總監 Music Director

葉詠詩 YIP Wing-sie 首席客席指揮 Principal Guest Conductor

柏鵬 Christoph POPPEN 駐團藝術家 HKS Artist Associates

麥兜 McDull (2019-2020)

高世章 Leon KO (2018-2019)

陳慶恩 CHAN Hing-yan (2016-2018)

石家豪 Wilson SHIEH (2015-2016)

朱�� CHU Pak-him (2014-2015)

麥淑賢 MAK Su-yin (2014-2015)

羅詠媞 Wendy LAW (2013-2014)

盧思泓 LOO Sze-wang (2012-2013)

伍宇烈 Yuri NG (2011-2013)

李嘉齡 Colleen LEE (2010-2011)

黎志華 Jason LAI (2009-2011)

楊嘉輝 Samson YOUNG (2008-2009)

伍卓賢 NG Cheuk-yin (2006-2008)

● 首席 Principal ▼ 助理首席 Assistant Principal

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小提琴 Violin 格德霍特(休假) 樂團首席

李海南 第二小提琴首席

蔡路 第二小提琴助理首席

蔡柏沂 陳劭楠 周止善 ���子 賈舒晨 金仁善 顧洛臻 羅莎莉 呂灝然 羅蔚敏 彭曉筠 潘迦薇 陽旻佑 楊宇思 葉紹羲

James CUDDEFORD (on leave) Concertmaster

LE Hoai-nam

Second Violin Principal

TSAI Loo

Second Violin Assistant Principal

CAI Pak-yi CHAN Shaw-nan Sharon Kiann CHOW Eiko HOSAKA JIA Shu-chen KIM In-sun John KRUER Sally LAW Ambrose LUI LUO Wei-min PANG Hiu-wan POON Ka-mei Camille YANG Min-yu YANG Yu-si YIP Siu-hay

中提琴 Viola ● 陳子信 ▼ 劉琛彥 卞思琦 陳敏聰 錢江 顏星安

Elvis CHAN LAU Sum-yin Christina BEAN Ringo CHAN CHIN Kong NGAN Sing-on

大提琴 Cello ● 張培節 ▼ 貝樂安 何國芝 朴詩媛 葉俊禧

CHANG Pei-chieh Laurent PERRIN HO Kwok-chee Karey PARK Si-won YIP Chun-hei Eric

低音大提琴 Double Bass Masami NAGAI ● 永井雅美 Santiago COSTA MARTÍNEZ ▼ 柯斯達 HUANG Tun-pin 黃敦品

Notes 1. Guest Concertmaster: 2. Freelance Musicians: Violin 小提琴 Viola 中提琴 Cello 大提琴 Double Bass 低音大提琴 Flute 長笛 Oboe 雙簧管 Clarinet 單簧管 Trumpet 小號 Percussion 敲擊樂

長笛 Flute ● 洪健鈞 上杉晃代

HUNG Chien-chun Akiyo UESUGI

雙簧管 Oboe ● 朴玟映 福原真美

PARK Min-young Mami FUKUHARA

單簧管 Clarinet ● 方曉佳 陳秋媛

FONG Hiu-kai Johnny CHEN Chiu-yuan

巴松管 Bassoon ● 秦慶生 田口美奈子

CHIN Hing-sang Minako TAGUCHI

圓號 Horn ● 包文慶 東出真澄 岑慶璋 關山明

PAW Man-hing Hermann Masumi HIGASHIDE SHUM Hing-cheung Benny KWAN

小號 Trumpet ● 黃山 文曦

HUANG Shan MAN Hay

長號 Trombone Christopher RODGERS ● 羅澤基 CHAN Hok-yin 陳學賢 低音長號 Bass Trombone KONG Tze-man Jason 江子文 大號 Tuba ● 林榮燦

LAM Wing-tsan

定音鼓 Timpani ● 村本曉洋

Akihiro MURAMOTO

敲擊樂 Percussion CHAU Chin-tung ● 周展彤 小山理惠子 Rieko KOYAMA 豎琴 Harp ● 黃士倫

Ann HUANG

鍵琴 Keyboard ● 朱偉恆

Alan CHU

LIU Fang-lei (劉芳蕾) Samuel AU (區駿熙), CHIK Yiu-ting (戚耀庭), CHUA Vince Eliezer N. (蔡君賢), YEUNG Kin-man Sunny (楊健文) Cecilia HO (何永妍), Otto KWAN (關統洋) Cecilia Chan (陳希琳), CHENG Yan-ho (鄭恩浩), JIM Wai-man (詹蔚雯) CHAN Ping-chi (陳秉智), Dominic LAW (羅浩鏘) Brian CHAN (陳子俊) Tinny CHEUNG (張天懿) FUNG Chi-hang Eric (馮智恆) CHAN Kin-sing Kinson (陳健勝) Kwan Hoi-yee Kathleen (關凱儀)


香港小交響樂團有限公司 Hong Kong Sinfonietta Limited 監察委員會

Board of Governors

榮譽監察委員

Honorary Governors

陳鋈鋆先生(主席)

Mr Y K CHAN (Chairman)

金董建平女士

Mrs Alice KING

潘燊昌博士(司庫)

Dr Patrick S C POON (Treasurer)

施永青先生

Mr SHIH Wing-ching

蔡加敏女士

Ms Carmen CHOI

楊雪姬女士

Ms Serena YANG

周莉莉女士

Ms Lily CHOW

鍾思源醫生

Dr CHUNG See-yuen

鍾陳碧璋女士

Mrs Shirley CHUNG

義務公司秘書

Honorary Company Secretary

黃智成先生

Mr Chester HOANG

卓佳登捷時有限公司

Tricor Tengis Limited

翟紹唐先生

Mr JAT Sew-tong Dr SHIH Tai-Cho Louis

義務骨科專科醫生

Honorary Orthopaedic Surgeon

史泰祖醫生

Dr Dan HOOLEY

謝智剛教授

Prof C K Michael TSE

傅偉俊醫生

楊偉添先生

Mr Patrick YEUNG

阮偉文博士

Dr Andrew S YUEN

樂團行政 Administration 行政總裁 Chief Executive Officer 楊惠惠 Margaret YANG 總經理 General Manager 李浩儀 LEE Ho-yee 行政秘書 Executive Assistant to CEO 何淑娟 Rose HO 會計經理 Accounting Manager 李靄玲 Judith LEE 辦公室助理 Office Assistant 楊瑞遠 YANG Jui-yuan

樂團事務及節目 Orchestra & Programme 樂團經理 Orchestra Manager 陳成美 Marylu CHAN 節目經理 Programme Manager 丘靄雪 YAU Oi-suet Icy 節目經理 Project Manager 黃紫菱 Athena WONG

市場推廣及發展 Marketing & Development

樂團事務主任 Orchestra Officer 黎希潼 Carvina LAI

高級市場及業務拓展經理 Senior Marketing & Development Manager 莫皓明 Amanda MOK

特別節目統籌 Special Projects Adminstrator 柯玉嬌 Noel QUAH

市場及業務拓展經理 Marketing & Development Manager 何珮鈴 Pauline HO 市場及業務拓展主任 Marketing & Development Officer 柯娉庭 Pantane OR 藝術行政主任 Arts Administration Officers 袁穎芝 Christine YUEN 張穎康 Michael CHEUNG 林海欣 Hayley LAM

譜務 Librarian 梁騫仁 Austin LEUNG 製作經理 Production Manager 陳冠宏 Eddie CHAN 舞台經理 Stage Manager 楊植生 Bobby YEUNG 當代音樂研究 Contemporary Music Research 鄺展維 Charles KWONG

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麥兜McDull (駐團藝術家HKS Artist Associate 2019/2020)

凡捐款HK$1,000或以上即可獲贈 限量編號版「麥兜學指揮」公仔一個(限量1,000個),送完即止! Receive one of the 1,000 hand-numbered Limited Edition Conductor McDull when you donate HK$1,000 or above!


特別為香港小交響樂團20歲生日 度身訂造,不另作發售,極具收藏價值

限量1,000個的「麥兜學指揮」公仔由 麥家碧女士親手編號,獨一無二

This Limited Edition McDull was specially made to celebrate Hong Kong Sinfonietta’s 20th birthday. It is not for sale and not available anywhere else! All 1,000 pcs of McDull are hand-numbered by Alice Mak, the co-creator of McDull

This Limited Edition McDull represents the beautiful collaborative efforts over the years, made possible by the support of all of you who believe in investing in a cultural tomorrow through Good Music!

立即捐款 DONATE NOW: www.HKSL.org/donation

香港小交響樂團

或填妥第39頁的捐款表格 or fill in the donation form on P.39


支持我們 How to SUPPORT ? 單次捐款或每月捐助 Make a one-off or monthly donation! • 捐款HK$100或以上可憑收據申請扣稅 • 樂團會在一年內舉辦的主要音樂會的場刊中,鳴謝HK$1,000或以上的捐款。 捐助人更可獲得限量編號版「麥兜學指揮」公仔一個(本樂季限定,送完即止)。 • Donations of HK$100 or above are tax deductible with a receipt • Donations of HK$1,000 or above will be acknowledged in house programmes of major ticketed Hong Kong Sinfonietta concerts for one year. As a token of thanks, you will also receive a hand-numbered special Limited Edition Conductor McDull plush (only for this season, while stocks last).

DOUBLE YOUR GIFT! 香港小交響樂團是香港政府認可的藝術發展配對資助計劃藝團之一, 這樂季籌募的捐款將獲一對一配對資助。 Hong Kong Sinfonietta is in the Hong Kong Government’s Art Development Matching Grants Scheme.

您的每 HK$1 捐款會變成 HK$2! Every dollar you donate to us will be DOUBLED!

其他支持方法 (例如商業贊助或廣告形式) For other forms of support (e.g. corporate sponsorship or advertising) 歡迎致電 call us at (852) 2836 3336 或 or 電郵至 email us at fundraising@hksinfonietta.org to discuss.

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SUPPORT NOW AND HELP US GO FURTHER!


捐款表格 Donation Form 捐款HK$1,000或以上即可獲贈限量版「麥兜學指揮」公仔一個! Receive a Limited Edition Conductor McDull when you donate HK$1,000 or above!

我樂意支持香港小交響樂團培育文化新一代,現捐助: I would like to SUPPORT the Hong Kong Sinfonietta with: $

以支持樂團的日常經費 for its General Fund

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□ 無需寄贈「麥兜學指揮」公仔,謝謝 Thank you, but I do not need a Conductor McDull for my donation □ 無需捐款收據,以節省樂團行政開支 To save administration cost, please do not send me a receipt 我亦同意參加香港政府的藝術發展配對資助計劃,配對我的捐款。 I also agree to my donation being matched by the Government's Art Development Matching Grants Scheme. •

捐款HK$100或以上可憑收據申請扣稅 (每月捐款的收據將於 2020 年4月發出)。 Donations of HK$100 or above are tax deductible with a receipt (Annual receipt for monthly donations will be issued in April 2020)

樂團會在一年內舉辦的主要音樂會的場刊中,鳴謝HK$1,000或以上的捐款 Annual donations of HK$1,000 or above will be acknowledged in house programmes of major ticketed Hong Kong Sinfonietta concerts for one year

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香港灣仔譚臣道98號運盛大廈3樓 3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong fundraising@hksinfonietta.org (852) 2783 9819

如選擇每月定期信用卡捐款 For monthly credit card donation: 本人授權香港小交響樂團有限公司由本人之信用卡賬戶內每月定期扣除上述之帳款,直至本人另行通 知為止。本人同意此授權書於本人之信用卡有效期後及獲續發新卡時繼續生效,並無需另寫授權書。 (如需要取消或更改本授權書,請於取消或更改生效日期十個工作天前通知香港小交響樂團有限公 司。) I hereby authorize the bank to debit my credit card account to make a monthly donation of the above stated amount to the Hong Kong Sinfonietta Limited until further notice. I agree the validity of this agreement will continue before or after the expiry date of my credit card account. Cancellation or variation of this authorization shall be given to the Hong Kong Sinfonietta Limited ten working days prior to the date on which such cancellation or variation is to take effect.

閣下提供的個人資料,香港小交響樂團有限公司將絕對保密,只用作郵寄收據及其他通訊之用。有關其他贊助及捐款查詢,請電郵至 fundraising@hksinfonietta.org 或致電(852) 2836 3336。Your personal data will be treated as strictly confidential and will be used for issuing official receipts and other communication purposes only. If you have any questions or comments, contact us at (852) 2836 3336 or fundraising@hksinfonietta.org.

39


謝謝!Thank You Partners! 2019/2020 樂季贊助機構 Sponsors of the 2019/2020 Season 主要贊助機構 Major Sponsors

商業機構贊助計劃 Corporate Members 白金會員 Platinum Member

金會員 Gold Member

銀會員 Silver Member

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謝謝!Thank You! 香港小交響樂團對以下的捐款者及機構致以衷心謝意。 Thank you to the following donors and organisations who have supported us with a donation in the past year.

STARplus Donors (HK$30,000 to HK$99,999)

贊助人及捐款者 Patrons & Donors MegaSTAR Patrons (>HK$500,000)

• 陳鋈鋆先生 Mr Chan Yuk-kwan • 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon • 施永青基金有限公司 Shih Wing Ching Foundation Limited • Ms Serena Yang SuperSTAR Patrons (HK$100,000 to HK$499,999)

• 亞洲保險有限公司 Asia Insurance Co Ltd • 史泰祖醫生 Dr Shih Tai Cho Louis • 冼為堅基金有限公司 Sin Wai Kin Foundation

STAR Donors (HK$10,000 to HK$29,999) • Prof Anthony Chan

• Mrs Adeline Lui

• 陳真光醫生 Dr Jane C K Chan • 莫扎特迷 Mozart’s Fan • 陳文偉博士 Dr Chan Man-wai • Dr Yvonne Ou • 周愛琳醫生 Dr Irene Chau • 張黎慧文 Vivian W M Cheung • Dr Vivian Cheung

• Poon Shing Chi and Liao E Wen • 孫永輝及施熙德伉儷 Edith and Stephen Sun

• 鍾思源醫生 Dr Chung See Yuen

• Dr Alfred Tam

• The Fan Family Charitable Trust • Mr Eugene Fung

• 曹延洲教授 Prof Tsao Yen Chow

• 關卓然先生 Mr William Kwan Cheuk Yin

• 謝智剛教授 Prof C K Michael Tse

• Mr Allan Leung

• 多位無名氏 Anonymous

• Mr and Mrs Robert Tang

• • • • • • • • • • • • •

北山堂基金 Bei Shan Tang Foundation 陳嘉何醫生夫人 Dr & Mrs Chan Ka Ho 陳求德醫生 Dr Chan Kow Tak Lowell and Phyllis Chang Chiu Music Fund Mr Chester Hoang 郭立成律師 Mr Chris Kok Dr Paul Lam Mr Tony Ma Ruth & Sidney 楊偉添先生 Mr Patrick Yeung Ms Yip Wing-sie 多位無名氏 Anonymous

Donors (HK$1,000 to HK$9,999) • • • • • • • • • • • • • • • • • • • • •

BELIEVING MUSIC CAN In Memory of Birdie 加拿大琴行 Canada Piano Co Ms Cynthia Chan Dr Eugene Chan Jonman, Monika & Joel Chan Family In memory of Ms Mariette Mimi Chan 陳燕婷 張綺華小姐 Ms Helen Cheung Kenyon & Leonard Chow Miss Pollyanna Chung Ms Suzanna Chung In memory of Esther 馮新健先生 Mr John Sun-kin Fung 興升投資有限公司 Mrs Amanda Lam Ho Mr Ambrose Ho Ms Rose Hofmann Mr Sung Chak Kyle Lee Ms Sheryl Lee 大通會計事務所 Masterpoint Professional Ltd • Mrs Jiyoung Moon • 吳志強先生

• 吳思博先生及蕭泳欣女士 Winny & Nigel Ng • 魏玉華小姐 Miss Winnie Ngai • Mr Ngan Hin-kay, John • Mr Robert Shum • John & Anthea Strickland • 德仔 Sir • Ms Elsie Tam • TOKIN Hong Kong Ltd • 曾作強先生 Mr Henry Tsang • Mr Paul Tsang • 曾健鵬先生夫人 Mr & Mrs Paul Tsang • Ms Twinkle Star • 王欣浩醫生及吳嘉汶律師 Dr Alan Wong & Ms Rendy Ng • Ms E Wong • 忻偉高先生 • Ms Lynn Yau • Mrs Lisa Yeung • Ms Cindy Yu • 首領兄弟姊妹 • 多位無名氏 Anonymous

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學生票資助計劃 Student Ticket Scheme Donors Diamond Donors (>HK$100,000)

• 鍾陳碧璋女士 Mrs Shirley Chung • 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon • 芝蘭基金會 Zhilan Foundation Jade Donors (HK$50,000 to HK$99,999)

• CLP Holdings Limited Ruby Donors (HK$30,000 to HK$49,999)

• 亞洲保險有限公司 Asia Insurance Co Ltd • 鍾思源醫生 Dr Chung See Yuen

Pearl Donors (HK$10,000 to HK$29,999) • Mr Iain Bruce • Prof Anthony Chan • 周愛琳醫生 Dr Irene Chau • 張德賢博士伉儷 Dr & Mrs Douglas Cheung • 張�昌博士 Dr Thomas H C Cheung, MH • Ms Bebe Pui Ying Chu • 林定國先生夫人 Mr and Mrs Lam Ting Kwok Paul • 吳思博先生及蕭泳欣女士 Winny & Nigel Ng • 彭嘉碧女士 Ms Rotina Pang • 施永青基金有限公司 Shih Wing Ching Foundation Limited • 孫永輝及施熙德伉儷 Edith and Stephen Sun • 謝智剛教授 Prof C K Michael Tse • Ms Jenny Wan • Ms Cindy Yu • 多位無名氏 Anonymous

Patrons of 2018/2019 Fundraising Concert “Muss Es Sein? Music is Giving” (in alphabetical order)

• 陳鋈鋆先生Mr Chan Yuk-kwan • 周莉莉女士 Ms Lily Chow • Ms Lisa Chow • 鍾思源醫生 Dr Chung See Yuen • 鍾陳碧璋女士 Mrs Shirley Chung • Mr Chester Hoang • 翟紹唐先生 Mr Jat Sew-tong • 史泰祖醫生 Dr Shih Tai Cho Louis • 施永青基金有限公司 Shih Wing Ching Foundation Limited • 謝智剛教授 Prof Michael Tse • 阮偉文博士 Dr Andrew S Yuen • 多位無名氏 Anonymous

Opal Donors (HK$1,000 to HK$9,999) • • • • • • • •

Alisan Fine Arts 壹頤 Amelie and Angus BELIEVING MUSIC CAN Jonman, Monika & Joel Chan Family Mr Chan Kwan Ho Cordelia Chan Mr Philip Lawrence Choy Miss Pollyanna Chung

Premium Friends • 張�昌博士 Dr Thomas H C Cheung, MH

• • • • • • • • •

許雅詩女士 Ms Hui Ngar Sze Luca, Caterina, Maurien, Joseph Jacobelli 紀念劉葉珍女士 李樹榮博士 Dr Ernest Lee Mr Lee Wai Ho 陸文靜小姐 Ms Anna, Man Ching Luk Mr Tony Ma 吳榮奎先生 Mr Ng Wing Fui Nicholas Mr Mitsuhiro Osada

• Association Culturelle France Hong Kong Ltd

• 周莉莉女士 Ms Lily Chow

• CASH音樂基金 CASH Music Fund

• 李韶博士伉儷 Dr Lee Shiu & Dr Jennie Lee

• 法國駐港澳總領事館 Consulat Général de France à Hong Kong et Macao

• 冼為堅博士 Dr David Sin Wai-kin • 唐柏泉醫生 Dr Patrick Tong • 謝智剛教授 Prof C K Michael Tse • 多位無名氏 Anonymous

• 德國駐港總領事館 German Consulate General Hong Kong • 香港歌德學院 Goethe-Institut Hongkong • 匈牙利駐港總領事館 Consulate General of Hungary in Hong Kong • 日本駐港總領事館 Consulate General of Japan in Hong Kong • 韓國駐港總領事館 Consulate General of the Republic of Korea in Hong Kong

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Mrs Janet Smith Mr Tin Hing Sin 曾健鵬先生夫人 Mr & Mrs Paul Tsang Ms TT Tsui 忻偉高先生 Ms Alice Yeung Lai Fong Ms Cindy Yu 多位無名氏 Anonymous

感謝以下各機構對香港小交響樂團一直的支持! Thank you to the following parties for their continued support!

• 馮元志先生 Mr Louis Fung

• 潘燊昌博士及夫人 Dr & Mrs Patrick Poon

• • • • • • • •

• 民政事務局 Home Affairs Bureau • 康樂及文化事務署 Leisure and Cultural Services Department • 邁騰路通有限公司 Maestro GT Limited • 荷蘭駐香港及澳門總領事館 Consulate General of the Kingdom of the Netherlands in Hong Kong & Macao • 香港電台 Radio Television Hong Kong • 西班牙駐港總領事館 Consulate General of Spain in Hong Kong • 通利琴行 Tom Lee Music Co Ltd


1st Prize, Music Critics’ Prize & Audience Prize Joseph Joachim International Violin Competition 2009 (at the age of 16)

“Heartfelt and expressive.” MusicWeb International

“With appealing musicality and an unfailingly sweet tone.” © YUJI HORI

The Salt Lake Tribune

小提琴 Violin

三浦文彰 Fumiaki Miura

© KINGA KARPATI

節目Programme

帕努夫尼克 貝多芬 布拉姆斯 Panufnik Beethoven Brahms

《搖籃曲》(亞洲首演) D大調小提琴協奏曲,作品61 D大調第二交響曲,作品73 Lullaby (Asian première) Violin Concerto in D, Op 61 Symphony No 2 in D, Op 73

指揮 Conductor

倫茨 Dawid Runtz

7.9.2019 (星期六 Sat) 8pm

香港大會堂音樂廳 HK City Hall Concert Hall

門票:城市售票網 Tickets at URBTIX

香港小交響樂團由香港特別行政區政府資助 Hong Kong Sinfonietta is financially supported by the Government of the Hong Kong Special Administrative Region 香港小交響樂團為香港大會堂場地伙伴 Hong Kong Sinfonietta is the Venue Partner of the Hong Kong City Hall

$420 $280 $160


Profile for Hong Kong Sinfonietta Limited

House Prog: McDull . my very very very best (2-4.8.2019)  

House Prog: McDull . my very very very best (2-4.8.2019)  

Profile for hksl

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