小提琴 Violin
© YUJI HORI
三浦文彰 Fumiaki Miura
7.9.2019 © KINGA KARPATI
(星期六 Sat) 8pm
香港大會堂音樂廳 HK City Hall Concert Hall 指揮 Conductor
倫茨 Dawid Runtz 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
《最愛小提琴》 ：貝多芬小提琴協奏曲 Great Violin Concertos: Fumiaki Miura Plays Beethoven 指揮 Conductor
小提琴 Violin
倫茨 Dawid Runtz
三浦文彰 Fumiaki Miura*
節目
帕努夫尼克
《搖籃曲》（亞洲首演） D大調小提琴協奏曲，作品61
貝多芬
從容的快板 小廣板－ 迴旋曲：快板 －中場休息15分鐘－
布拉姆斯
D大調第二交響曲，作品73 從容的快板 不太慢的慢板－相同速度但優雅地 優雅的小快板（像小行板的）－不太匆忙的急板－原速 精神奕奕的快板
Programme
Panufnik
Lullaby (Asian première)
Beethoven
Violin Concerto in D, Op 61 Allegro ma non troppo Larghetto – Rondo: Allegro
– 15-minute intermission –
Brahms
Symphony No 2 in D, Op 73 Allegro non troppo Adagio no troppo – l’istesso tempo ma grazioso Allegretto grazioso (quasi andantino) – Presto ma non assai – Tempo 1 Allegretto con spirito
* 原定獨奏家庄司紗矢香因私人理由未能到港演出。 Due to personal reasons, violinist Sayaka Shoji was not able to come to Hong Kong.
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9月21日「小城大兵的故事－魔鬼回歸」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 “A Solider’s Story 5.0: The Devil Returns” on 21 September 2019.
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.
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。
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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》及《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。今年樂團將再度出訪日 本及台灣。 樂團音樂總監葉詠詩享譽亞洲樂壇， 2010 年獲英 國皇家音樂學院頒授院士榮銜（FRCM）。她曾獲 法國貝桑松第 35 屆國際青年指揮家大賽冠軍和 「金豎琴」獎、哥士域斯基獎學金、小澤征爾獎學 金以及第八屆東京國際指揮大賽獎項，並曾隨小 澤征爾、伯恩斯坦、米亞、羅徹迪霍斯基及狄瑪 爾等大師學藝。
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. Music Director Yip Wing-sie, one of Asia’s most respected conductors, was the winner of the First Prize and LYRE d’OR in the 35th Concours International de Jeunes Chefs d’Orchestre de Besançon, the Koussevitsky Scholarship, the Seiji Ozawa Fellowship Award and a prizewinner in the 8th Tokyo International Conducting Competition. She has studied with Seiji Ozawa, Leonard Bernstein, Gustav Meier, Gennady Rozhdestvensky and Norman Del Mar. 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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指揮 Conductor
© KINGA KARPATI
倫茨 Dawid Runtz
現任波蘭皇家歌劇院首席指揮的倫茨，為 2018 年
指揮以外，倫茨也是位出色的作曲家， 2010 年憑
舉行的第一屆香港國際指揮大賽季軍及觀眾大獎得
室樂作品《演化》奪得華沙青年作曲家大賽冠軍。
主，也是該次比賽中最年輕的參賽者。他曾獲
翌年，他長笛獨奏《隨想曲》也於意大利舉行的國
2016 年舉行的第六屆盧托斯瓦夫斯基指揮大賽亞
際青年作曲家大賽獲獎。
軍； 2013 年於弗羅茨瓦夫舉行，為指揮學生而設 的科比薛斯基國家大賽的亞軍及特別大獎； 2014 年獲邀代表波蘭參加第一屆年輕指揮家論壇； 2017年獲格杰夫邀請於太平洋音樂節中指揮。 倫茨於蕭邦音樂大學修讀交響樂及歌劇指揮，師從 域茲，是該大學有史以來第二位指揮獲頒極優等 獎。2016年首次與華沙愛樂合作，2017年成該樂 團的助理指揮。倫茨是入選穆堤意大利歌劇學院的 四位指揮之一。曾參加潘努拉、卡斯普契克的大師 班，以及於 2018 年彭德雷茨基音樂節開幕音樂 會，指揮華沙愛樂演出，慶祝大師 85 歲生辰，亦 與華沙小交響樂團於立陶宛巡演，慶祝波蘭獨立 100周年。 4
Currently Principal Conductor of Polish Royal Opera in Warsaw, Dawid Runtz won the Third Prize and Audience Prize at the 1st Hong Kong International Conducting Competition in 2018 as the youngest conductor of the competition. He was also the Second Prize winner at the 6th Witold Conducting Competition in 2016, and the Second Prize and Special Prize winner at the 1st Adam Kopyciński National Competition for Conducting Students in in 2013. He was invited to represent Poland in the 1st International Forum of Young Conductors in Zielona Gora in 2014, and was invited by Valery Gergiev to conduct at the Pacific Music Festival 2017.
In addition to his achievements as a conductor, Runtz is also a successful composer. He won First Prize at the 2010 National Competition for Young Composers in Warsaw with Evolution, his composition for chamber orchestra. In the following year, he won a prize at the International Young Composers Competition Euritmia in Italy for his composition Capriccio for solo flute.
Runtz studied symphony and opera conducting at Fryderyk Chopin University of Music under the tutelage of Antoni Wit, and was the second conductor in the history of the University to receive the Magna cum Laude Medal. He made his début with the Warsaw Philharmonic Orchestra in 2016, and was appointed Assistant Conductor of the orchestra in 2017. Runtz was among four conductors selected to participate in the Riccardo Muti Italian Opera Academy, and participated in masterclasses with Jorma Panula, Jacek Kaspszyk, and with Daniele Gatti with Royal Concertgebouw Orchestra. He conducted the opening concert of Krzysztof Penderecki Festival 2018 with Warsaw Philharmonic in celebration of the composer’s 85th birthday, and toured Lithuania with Sinfonia Varsovia as part of the 100th Anniversary of the Independence of Republic of Poland.
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小提琴 violin
三浦文彰 Fumiaki Miura 合作過的指揮有格杰夫、蘇嘉文、佩特連科、彭德 雷茨基、費杜塞耶夫、胡薩、華倫格林、 連杜、費沙及帕亞雷等。 三浦文彰於2018/2019樂季的重點演出包括與格杰 夫指揮的馬林斯基樂團和杜達美指揮的洛杉磯愛樂 的合作，以及與 NHK 交響樂團、日本愛樂交響樂 團和東京都交響樂團演出。此外，他亦於三得利音 樂廳舉辦了「ARK Classics ：三浦文彰與友人」室 樂音樂節，又與鋼琴家瓦爾瓦拉於 2019 年 5 月到 西班牙巡演。 三浦文彰亦經常受邀於世界各地的音樂節中獻演， 包括宮崎國際音樂節、拉維尼亞音樂節、「拉克林 與友人」音樂節、石勒蘇益格-荷爾斯泰因音樂 節、法國蒙頓音樂節、瑞士格施塔德曼奴軒音樂 節。合作過的音樂家包括麥斯基、泰狄恩、蘇嘉 文、拉克林、巴舒密、
及包爾等。他又
曾於多個著名的音樂廳中作獨奏演出，如巴黎羅浮 宮、香榭麗舍劇院及倫敦域摩堂。
© YUJI HORI
三浦文彰與鋼琴家葛藍共同灌錄的首張專輯收錄了 兩首浦羅哥菲夫的小提琴奏鳴曲，已於 2011 年發 行。 2015 年推出的第二張專輯則是與連杜指揮下 的柏林德意志交響樂團合作錄製，收錄了孟德爾遜 三浦文彰早於 2009 年已在漢諾威約阿希姆國際小 提琴比賽中橫掃多個獎項，並成為該比賽史上最年 輕的冠軍得主和贏得最多獎項的參賽者（樂評家大 獎及觀眾大獎），指揮蘇嘉文亦稱許他為「優秀的 小提琴家」及「聰穎且真誠的音樂家」。 三浦文彰曾與多個知名樂團合作演出，包括馬林斯 基樂團、英國皇家愛樂樂團、皇家利物浦愛樂樂 團、漢諾威 NDR 電台愛樂、漢堡 NDR 交響樂團、 斯圖加特 SWR 電台交響樂團、瑞士巴塞爾交響樂 團、維也納室樂團、布拉格愛樂、莫斯科廣播交響 樂團、加拿大國家藝術中心樂團、洛桑室樂團、 華沙愛樂、猶他交響樂團、日本愛樂交響樂團等。 6
及柴可夫斯基的小提琴協奏曲作品。 三浦文彰 1993 年生於東京，在桐朋學園大學就讀 期間隨德永二男習琴，其後轉赴維也納進修，師事 維爾尼科夫，並於奧地利維也納音樂學院就讀期間 隨拉克林學習。三浦文彰自 2009 年開始接受蘇嘉 文的指導，並為三浦文彰的職業生涯提供指引。 三浦文彰演奏用的是 1704 年史特拉名琴，由宗次 基金會借出。
Praised by Pinchas Zukerman as a “great violinist”
Miura has been invited to several international
and “an intelligent and sincere musician”, Fumiaki
music festivals such as Miyazaki International
Miura was awarded First Prize at the prestigious
Music, Ravinia Festival, Julian Rachlin and Friends,
Joseph Joachim International Violin Competition
Schleswig-Holstein Musik Festival, Festival de
Hannover 2009, where he was not only the
Musique de Menton and Menuhin Festival Gstaad
youngest winner, but also the most awarded
and has played with artists including Mischa
violinist at this competition, including both the
Maisky, Torleif Thedéen, Pinchas Zukerman, Julian
Music Critics’ Prize and Audience Prize.
Rachlin, Yuri Bashmet, Nobuyuki Tsujii or Lawrence
Miura has collaborated with the most prestigious
Power. As a recitalist, he has performed at world-
orchestras including Mariinsky Orchestra, Royal
renowned concert halls, including the Louvre and
Philharmonic
Théâtre des Champs-Élysées in Paris and Wigmore
Orchestra,
Royal
Liverpool
Philharmonic Orchestra, NDR Radiophilharmonie
Hall in London.
Hannover, NDR Sinfonieorchester Hamburg, Radio-
Miura’s first album featuring Prokofiev’s two violin
Sinfonieorchester
SWR,
sonatas with pianist Itamar Golan was released by
Sinfonieorchester Basel, Vienna Chamber
Sony Japan in 2011. His second album featuring
Orchestra, Prague Philharmonia, Tchaikovsky
Mendelssohn & Tchaikovsky violin concertos with
Symphony Orchestra, Canada’s National Arts
Deutsches Symphonie-Orchester Berlin and Hannu
Centre Orchestra, Orchestre de Chambre de
Lintu was released by Avex-Classics label in 2015.
Stuttgart
des
Lausanne, Warsaw Philharmonic, Utah Symphony and Japan Philharmonic, among others. He has played under the baton of conductors such as Valery Gergiev, Pinchas Zukerman, Vasily Petrenko, Krzysztof Penderecki, Vladimir Fedoseyev, Jakub Hrůša, Christopher Warren-Green, Hannu Lintu, Thierry Fischer and Rafael Payare. Highlights of the 2018/2019 season included performances with Mariinsky Orchestra and Valery Gergiev, Los Angeles Philharmonic and Gustavo
Born in Tokyo in 1993, Miura studied with Tsugio Tokunaga at Toho Gakuen School of Music and later moved to Vienna to continue his studies with Pavel
Vernikov
and
Julian
Rachlin
at
Konservatorium Wien Privatuniversität. He has been mentored by Pinchas Zukerman since 2009, who has guided him in his professional career. Miura performs on the Antonio Stradivarius 1704 violin “Viotti” kindly loaned to him by the Munetsugu Foundation.
Dudamel, NHK Symphony Orchestra, Japan Philharmonic and Tokyo Metropolitan Symphony Orchestra, among others. In addition, he presented his own chamber music festival ARK Classics: Fumiaki Miura and Friends at the Suntory Hall, and went on tour to Spain together with pianist Varvara in May 2019. 7
節目介紹 布拉姆斯在貝多芬去世後六年出生，而帕努夫尼克則在布拉姆斯去世後17年出生。他們各自代 表了一個音樂時代：貝多芬是古典主義最高峰時期的代表；布拉姆斯是屬於 19 世紀的浪漫主 義；而帕努夫尼克則是20世紀五花八門的音樂風格的代表之一。 他們三位都是重要的交響曲作曲家：帕努夫尼克創作的交響曲數目是三者之冠，總共寫了 10 首。貝多芬雖然開始創作第 10 首，但並沒有將之完成，因此他只有九首，而布拉姆斯則有 四首。 貝多芬最後的第九交響曲（不用說還有他之前的八首傑作），因為極為成功，因此對布拉姆斯 形成了很大的壓力。人們經常說，因為擔心被拿來跟貝多芬比較，所以布拉姆斯掙扎了20年才 寫出他第一首交響曲（1876）。這是一首極為嚴肅的作品，刻苦經營且令人敬佩。第二交響曲 的產生就相對輕鬆得多。1877年的夏秋之際，布拉姆斯正在奧地利卡林西亞（Carinthia）湖區 寧靜的小鎮珀特沙赫（Pörtschach）度假。隨後的兩個夏天，他又回到這個啟發靈感的小鎮， 撰寫了小提琴協奏曲和G大調小提琴奏鳴曲等作品。 像布拉姆斯所有的管弦樂作品一樣，第二交響曲也是為音樂而音樂，並沒有甚麼特別的標題。 這方面他是貝多芬真正的繼承者，此後便沒有作曲家像他那樣，在此範疇內獲得更大的成就。 他對於歌劇不感興趣，也與較他年長的同輩作曲家華格納不同：布拉姆斯的作品是純粹的 音樂，不需要音樂以外的元素協助，而第二交響曲則是他最偉大的作品之一。 如果說貝多芬的小提琴協奏曲和布拉姆斯的第二交響曲都是充滿陽光氣息的音樂，開場的作品 則作於較黑暗的時代。波蘭出生的帕努夫尼克在二次大戰時，在他的出生地華沙渡過了暗無天 日的歲月。他的《搖籃曲》作於戰爭結束的兩年後，距今已有 70 年，而且首次在亞洲演奏。 作品在某些方面頗為甜美，但四分一音（quartertones）的運用和閃爍、經常變換的效果， 卻在一定程度上反映了時代的不安。此曲作於倫敦，10年後，帕努夫尼克在當地定居，成為了 英國公民，以作曲家的身份開始了新生活。
10
帕努夫尼克（1914–1991）
《搖籃曲》（亞洲首演） 帕努夫尼克出生於波蘭，是同輩作曲家盧托斯瓦夫 斯基（
）的好友。他們在戰時
一起合作，組成了鋼琴二重奏。之後四年半的時
「這一基本的旋律在越來越稠密的和聲結構背 後時而變得模糊不清，或許就像晚空中緩緩飄 動的雲朵，有時露出有時又遮蓋月亮的輪廓。 《搖籃曲》從頭到尾的聲量都極輕，而且必定 要以人們最溫情的表達方式來演繹。」 作品的結構相當迷人，每一小節在某一特定的時刻
間，他們不僅在首都的咖啡館演奏，而且冒著生命
都可以變成以下四種拍子記號的其中一種： 2/2 、
危險，暗中協助波蘭的反抗軍。他們一起創作了
4/4 、 3/2 或 6/4（事實上在整首作品中，同一小節
200首作品，作為演奏之用，但只有盧托斯瓦夫斯
也可包含這四種拍子記號，視乎是哪一個樂部）。
基的《帕格尼尼主題變奏曲》在 1944 年的華沙起
4/4 拍的豎琴是最為穩定的，通常在小節的第一拍
義中保存下來。帕努夫尼克的父親是一位小提琴工
休止，由小提琴（第一然後是第七小提琴）、中提
匠，母親則是小提琴手。戰前他在華沙音樂學院隨
琴和大提琴獨奏依次柔和地奏出的主題，也是如
西科爾斯基（Kasimierz Sikorski）學習作曲，後來
此。但安靜而始終移動的伴奏，則因為節奏及和聲
先後在維也納音樂學院和巴黎隨懷格拿（Felix
的關係而經常變換。帕努夫尼克詳細的樂譜充斥著
Weingartner）和高貝爾（Philippe Gaubert）學習
四分一音，營造出閃爍的效果，將搖籃曲主題包裹
指揮。後來他到了倫敦，但戰時卻回到波蘭。
在其中，就像披上了一層音樂的薄紗，甚有迷人的
戰後一切都要重新開始，而帕努夫尼克的音樂事業
魅力。繼小提琴之後，中提琴和大提琴陸續加入，
與盧托斯瓦夫斯基往不同的路徑開展。他先後在卡
最後是低音大提琴，音調越來越低，直至豎琴奏出
托維茲（Katowice）和華沙擔任指揮， 1957 年為
固定的律動之後，音樂靜止了七個小節。接著每種
抗議政治迫害離開波蘭，到倫敦定居。他繼續以指
樂器都極力要表現自己，或往上衝，或向下沉，一
揮為業，1957至1959年出任伯明翰市交響樂團的
起來到最後的和弦。
指揮，但後來決定專注於作曲。 1961 年他入籍英 國， 1991 年（即去世那一年）受封為爵士。他創 作了 10 首交響曲，只有最後兩首有號數，早期的 都有特別的標題。
此樂曲的樂隊編制 弦樂：小提琴 (12)、中提琴 (6)、大提琴 (6)、低音大提琴 (5) 豎琴
帕努夫尼克在 1947 年造訪倫敦時創作了《搖籃 曲》，又在 1955 年進行修改。樂隊的配置有豎琴 （兩架，但他也容許只用一架）和29把弦樂（12把 小提琴，中提琴和大提琴各六把、低音大提琴五 把）。他撰寫的作品介紹說： 「這首作品是根據三個構思來寫的： (1) 有律動的節奏，由豎琴奏出； (2) 由交織的弦樂不斷產生的格外細緻的和 聲結構，每位樂手都是獨立的樂部，採用 四分一音演奏；及 (3) 重 複 的 、 用 近 乎 五 聲 音 階 而 寫 的 旋 律 （與一首波蘭民謠甚有關連） ，由小提琴、 中提琴和大提琴逐一奏出。 11
貝多芬（1770–1827）
D大調小提琴協奏曲， 作品61 從容的快板 小廣板 — 迴旋曲：快板
管樂的主題。華彩段（當貝多芬將之改為鋼琴時， 有時加上定音鼓）結束時樂隊把握機會，將向上攀 升的主題再次奏出，最後由獨奏者總結全篇。 相比起來，小廣板顯得寧靜而肅穆，很少移離該樂 章的主調G大調。主題由八個小節組成（頭兩個小 節可視作引子），開始時以極柔弱的音色奏出。獨 奏者在主題之上加上裝飾，重複四次後引出第二主
貝多芬的小提琴協奏曲完成於 1806 年，之前他對
題。完結前樂隊忽然來了一下轉調，帶出該樂章的
這種體裁已作過一些嘗試。 10 年前他開始了一個
華彩段。緊隨其後的是充滿神采、略為幽默的海頓
C 大調第一樂章的創作；後來於 1803 及 1805 年創
式終曲。
作的兩首《浪漫曲》，很可能開始動筆時的原意是
但當中也不乏嚴謹，例如在圓號的跳音陪伴下，
完成那首協奏曲。雖然現在只有部份草稿留存下
獨奏者奏出第一個插曲似的主題，還有一個小調的
來，但從中已可看出貝多芬對小提琴的潛能別具慧
段落，由巴松管和獨奏者作美妙的對答。迴旋曲主
眼（他在波恩的時候就拉奏過小提琴）。
題第三次出現之後，便是雙簧管和獨奏者之間的交
至 1806 年，貝多芬才再次執筆撰寫小提琴協奏
談。華彩段甫奏畢，樂隊便像蓄勢多時的洪水一樣
曲，那年他正同時創作他的第四交響曲、第四鋼琴
一湧而出，向這首偉大作品的結句作出強力的
協奏曲和幾首「拉蘇莫夫斯基」（Razumovsky）弦
衝刺。
樂四重奏。小提琴協奏曲在 1806 年 12 月 23 日首 演，由維也納劇院樂團的小提琴首席克萊曼特 （Franz Clement）擔任獨奏。但奇怪的是，當時的 第一樂章卻和其餘兩個樂章分開演奏，中間不但有 中場休息，而且還插入了其他節目，包括克萊曼特 用來娛樂觀眾、把小提琴倒過來拉的小曲！ 像往常一樣，貝多芬很遲才完成全曲，而似乎有些 獨奏部份克萊曼特是即場視奏的。由於這些緣故， 此曲要過了一段時間、經過多位聲名顯赫的音樂家 的大力揄揚，才成為公認的偉大作品。當中包括著 名匈牙利小提琴家約阿希姆（Joseph Joachim）及 布拉姆斯和柴可夫斯基 — 二人都特別選擇以D大 調撰寫他們自己的小提琴協奏曲。貝多芬自己則曾 把協奏曲改編給鋼琴，甚至來到現代俄羅斯鋼琴家 兼指揮柏尼夫（Mikhail Pletnev）在不久前更把它 改編給單簧管，這些都有助提高此曲的名聲。 綿長、抒情而引人入勝的第一樂章以四下定音鼓的 輕擊開始，其他重要的組成部份還包括：緊隨定音 鼓之後出現、由木管樂吹出的圓轉的主題；以及向 上攀升的獨奏主題，每次出現時都先以大調、後以 小調奏出。像傳統的協奏曲那樣，該樂章有很長的 一段樂隊前奏，獨奏出現的時候以上升琶音承接木 12
此樂曲的樂隊編制 弦樂： 第一及第二小提琴、中提琴、大提琴、低音大提琴 木管樂： 長笛 (1) 、雙簧管 (2)、單簧管 (2)、巴松管 (2) 銅管樂： 圓號 (2)、小號 (2) 定音鼓 獨奏小提琴
布拉姆斯（1833–1897）
D大調第二交響曲，作品73 從容的快板 不太慢的慢板 — 相同速度但優雅地 優雅的小快板（像小行板的）— 不太匆忙的急板 — 原速 精神奕奕的快板
第二交響曲充滿了夏天陽光燦爛的氣息，而且帶點 德伏扎克式的抒情，這在布拉姆斯其他的作品是難 得一見的。有人更稱這是他繼劃時代的第一交響曲 之後所作的「田園」交響曲，就像貝多芬在其巨作 「命運」交響曲之後所寫的「田園」交響曲一樣。 第二交響曲在1877年12月30日於維也納由李希特 （Hans Richter）指揮首演。作曲家的朋友比爾羅特 （Theodore Billroth）在同一個月寫道：「歡快而輕
樂章不乏沉鬱和剛強的意緒，尤其是到了中段高潮 的時候。最後三連音漸漸消失，由像脈動一樣的圓 號和定音鼓收結全章。 G大調的第三樂章�，三拍子和二拍子再度��。 樂章是變奏和迴旋曲的結合，代替了從前莫扎特和 海頓在交響曲慣用的小步舞曲，以及後來貝多芬和 華格納作品中的諧謔曲。樂章在雙簧管和弦樂的撥 奏中，以 3/4 拍開始。「優雅的小快板」主題重複 了兩次，每次中間都隔著「不太匆忙的急板」。第 一次主題巧妙地轉化成 2/4 拍（與柴可夫斯基的曲 型十分相似），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，彷彿有點蘇格蘭 音樂的影子。小號、長號、大號和定音鼓全都缺 席，因此整個樂章的配器顯得相當細緻，結句同樣 也是靜悄悄的。
鬆的情調貫串了全曲，它具備了所有完美的特點，
神采飛揚的終曲以輕聲（sotto voce）的弦樂及柔
自然地流露出明澈而溫暖的思想和感情。」
和的木管獨奏開始。但其後情緒忽然來個大轉變，
創作技巧上看來，此曲開頭的大提琴和低音大提琴 樂句（D—升C—D）是每個樂章的基調（有時半音 向上升而非向下調） ，但感覺天衣無縫，樂音的起伏 毫無斧鑿痕。布拉姆斯一如既往地喜歡讓聽眾感到 節奏的失衡。三連音與二連音的對碰，主題在起拍 的開始（這是他的良師舒曼喜用的手法）和情調的 轉換等，無不玄妙入神。儘管布拉姆斯等待了相當 長的時間才著手創作交響曲，這些都證明了他到底 是一位作曲大師，只要他動筆，創作就必成佳品。
樂隊全體強力地奏出了主題：興高采烈和燦爛輝煌 畢竟是整個樂章的特徵。第二主題出現時，氣氛稍 為舒緩，弦樂的音色溫暖怡人，節奏慢得恰到好 處。樂章的點點滴滴，都讓人回味無窮。如果你聽 過馬勒的第一交響曲，你�會記得在第一樂章�的 下行四度，這�布拉姆斯則用它來�伏情緒。基於 馬勒的交響曲與布拉姆斯這首作品只相距八年，或 許馬勒腦海中一直銘記著這個下行四度。切分8分 音符與三連音的對踫，是布拉姆斯式的風格之一， 結尾粗獷的音階和璀璨的銅管樂結句則加強了交響
首三個樂章都以三拍子的感覺為主，使作品帶點維
曲最後的和弦。沒有比這更為暖心的音樂了，但願
也納圓舞曲和奧地利的鄉村舞曲「連德勒」舞曲的
所有夏天都像布拉姆斯在1877年度過的那個一樣
味道。第一樂章雖然開頭節奏舒緩，第一和第二主
美好。
題都相當祥和而充滿詩意，但卻非完全明朗如夏日 的陽光。長號和大號（該樂器在第一交響曲的終樂 章才出現）像給大地籠罩了一層陰影，發展部則有 像狂風式的段落。其後簡短的再現部和歡快的尾聲 在奇妙的圓號獨奏引導下，在一片啁啾的木管樂和 弦樂撥奏中結束了這個樂章。 主要建基於 B 大調的第二樂章慢板，以 4/4 拍開
此樂曲的樂隊編制 弦樂： 第一及第二小提琴、中提琴、大提琴、低音大提琴 木管樂： 長笛 (2) 、雙簧管 (2)、單簧管 (2)、巴松管 (2) 銅管樂： 圓號 (4)、小號 (2) 、長號 (3) 、大號 (1) 定音鼓
英文節目介紹：Nick Breckenfield
優雅的第二主題雖然以相同的速度演奏，卻用了富
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。
三連音的感覺的 12/8 拍。像第一樂章一樣，這個
中文翻譯：行之
始，弦樂的主題緩緩下降，而巴松管則向上攀升。
13
Programme Notes Brahms was born just six years after the death of Beethoven, while Andrzej Panufnik was born just 17 years after the death of Brahms. They each represent a different era of music: Beethoven the magnificent climax of the classical era; Brahms the romantic 19th century; and Panufnik the divergence of musical styles in the 20th century. All three of them were major symphonists: Panufnik winning the “numbers” race, having completed 10 symphonies. Beethoven started a tenth, but never completed it, so his tally is nine and Brahms came in with four. But it was the very success of Beethoven’s ninth and last symphony (let alone his eight earlier symphonies) that provided a stumbling block for Brahms. Fear of comparison to Beethoven is the oft-stated cause of Brahms’ 20-year struggle to produce his First Symphony (1876): awesome and tormented in conception, a very serious work. Conversely, his Second Symphony was dispatched with alarming ease the following summer and autumn while he was holidaying at the peaceful Carinthian lakeside resort of Pörtschach, Austria. He was to return for the following two summers and again found it conducive to composition with the Violin Concerto (like Beethoven’s in the key of D major) and the G major Violin Sonata just two more of the works he wrote there. Like all Brahms’ orchestral works it is music for music’s sake, there is no suggestion of programmatic influences. In this sense he was the true successor to Beethoven, and no composer since has achieved such outstanding success within these given parameters. He was not interested in opera or in the line taken by his older contemporary Wagner: Brahms’ music is total music with no need for extra-musical references, and this work is one of his greatest. If Beethoven’s Violin Concerto and, particularly, Brahms’ Second Symphony are particularly sunny works, then our opening work – here receiving its Asian première, over 70 years since its composition – comes from darker times. Polish-born Panufnik spent the dark days of the Second World War in his native Warsaw. Two years after the War he composed his Lullaby – sweet in one sense, but clothed in quartertones and a shimmering, shifting effect that gives some sense of the disquiet of its times. Panufnik wrote it in London where – a decade later – he would settle, taking British citizenship and making a new life as a composer.
Andrzej Panufnik (1914–1991) Lullaby (Asian première)
14
Born in Poland and both a contemporary and friend of fellow-composer Witold , Andrzej Panufnik teamed up with during the War and formed a piano duet. For four and a half years they played not only in the capital’s cafés, but also – more dangerously aiding the resistance – for underground meetings. Together they composed over 200 works to play,
but only ’s Variations on a Theme of Paganini survived the 1944 Warsaw Uprising. Before the war – the son of a violin maker father and violinist mother – Panufnik had gone on from studying composition under Kasimierz Sikorski at Warsaw Conservatoire to study conducting first at Vienna’s Academy of Music under Felix Weingartner and then in Paris under Philippe Gaubert. He ended up in London, but as War was declared he returned to Poland.
Having to start again after the War, Panufnik’s career diverged from ’s; following conducting jobs in both Katowice and then Warsaw, in 1957 Panufnik left Poland in protest against political repression and settled in Britain. He continued to conduct – between 1957 and 1959 he was conductor of the City of Birmingham Symphony Orchestra – but then decided to concentrate solely on composition. He became a British citizen in 1961 and was knighted in 1991, the year of his death. He composed 10 symphonies (only the last two were “numbered” – the earlier ones were given specific titles. Panufnik composed – Lullaby while visiting London in 1947, revising it in 1955. It is scored for harp (two, although he sanctions the use of just one) and 29 strings (12 violins, six each of violas and cellos, and five double basses) and he left his own programme note: “This piece is composed on three plans:
the bar, and the theme – gently intoned by solo violin (first, then seventh), solo viola and finally solo cello – is similarly so. But the hushed, ever-moving accompaniment is not only shifting because of its rhythms but also in harmony: Panufnik’s detailed score is littered with quarter tones, creating a shimmering edifice that clothes the lullaby theme as if behind a musical gauze, to magical effect. With viola following the violins, then with cellos added and finally double basses, the trajectory is a lowering of pitch until the harps – after their regular pulse – fall silent for seven bars then strive for independence from each other by one essaying an upward run, the other a downward run to the final chord.
Instrumentation of this work Strings: violins (12), violas (6), cellos (6), double basses (5) Harp
(1) Pulsating rhythm, played by harps; (2) Ultra-delicate harmonic textures created by constantly interweaving strings, each player with his own independent part, using quarter tones; and (3) Repetitions of the almost pentatonic melodic line (closely related to a Polish folk song) by violin, viola and cello, one by one. “This basic melodic line from time-to-time becomes obscured behind the increasingly dense harmonic textures which are perhaps like clouds moving very slowly across a night sky, sometimes exposing and sometimes covering the outline of the moon. The Lullaby throughout is pianissimo, and has to be performed with much human warmth of expression.” Fascinatingly constructed, each bar at any one time can be one of four time signatures: 2/2, 4/4, 3/2 or 6/4 (indeed across the whole score the same bar can be all four of those time signatures depending on which instrumental part). The harps are steadiest, in 4/4, usually resting on the first beat of
Ludwig van Beethoven (1770–1827)
Violin Concerto in D, Op 61 Allegro ma non troppo Larghetto – Rondo: Allegro
The Violin Concerto dates from 1806, although it was not the first attempt Beethoven at composing a concerto for the instrument. A decade before he had made some headway of an opening movement in C major, and it may be that the two Romances (1803 and 1805) were in part attempts to complete this embryonic concerto. Only part of the score is extant, but it testifies to Beethoven’s unerring eye for the instrument’s possibilities (remember he did play the violin in Bonn). Beethoven returned to the form in late 1806, the same year as the Fourth Symphony, the Fourth Piano Concerto as well as the “Razumovsky” Quartets. It was given its première on 23 December that year by the soloist for whom it was written: 15
Franz Clement, principal violinist of Theater an der Wien. Curiously – and completely contrary to modern practice – the first movement was separated from the last two not only by the interval but also by other pieces of music, including Clement’s party piece, playing the violin upside down. As usual, Beethoven had been somewhat late in the day in the composition and it seems that Clement was sight-reading at least some of the solo part at that first performance. Given those constraints it is not that surprising that it took a while to find its central place in the repertoire, but with Joseph Joachim championing its cause, both Brahms and Tchaikovsky wrote their concertos for the instrument in the same key of D – what better compliment? No doubt to spread its currency further, Beethoven himself transcribed it for piano, while in modern times Russian pianist and conductor Mikhail Pletnev has also transcribed it for clarinet. The extended first movement starts quietly with four timpani beats, the rhythmic germ that pervades the whole musical argument. The other constituent parts are the quiet meandering wind theme that immediately follows the timpani, and a rising theme which each time is heard first in the major and then in the minor. Following convention there is a long orchestral introduction before the soloist enters with a rising arpeggio in octaves to take up the meandering wind theme. A cadenza towards the end (sometimes with timpani, added when Beethoven transcribed it for piano) is followed by the orchestra reintroducing the rising theme for the last time, before the soloist has the last word. The Larghetto by comparison is still and serene, rarely moving away from its central key of G, and founded on an eight-bar theme (with two-bar introduction) played pianissimo at the very start. The soloist embellishes the theme, until the fourth repetition when it introduces the second theme. Towards the end an almost angry orchestral change of key leads to a further cadenza which takes us straight into the Haydn-esque Finale, full of spirit and gleeful humour. 16
This does not mean seriousness is dispensed with altogether: note the Finale’s first episodic theme announced by the soloist over staccato horn accompaniment, and the minor episode, with lovely writing for the bassoon in conversation with the soloist. The third appearance of the Rondo theme leads to a dialogue between oboe and solo violin, before a final cadenza opens the floodgates for an exciting and justly climactic ending to this great work.
Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flute (1), oboes (2), clarinets (2), bassoons (2) Brass: horns (2), trumpets (2) Timpani Solo violin
Johannes Brahms (1833–1897)
Symphony No 2 in D, Op 73 Allegro non troppo Adagio no troppo – l’istesso tempo ma grazioso Allegretto grazioso (quasi andantino) – Presto ma non assai – Tempo 1 Allegretto con spirito
Brahms’ Second Symphony literally glows with the summer sun, and has an almost Dvořákian lyricism, largely underplayed in his other symphonies. It has even been suggested that this is Brahms’ Pastoral symphony following his epic First, like Beethoven’s own Pastoral followed his titanic and fateful Fifth. The first performance, in Vienna, took place on 30 December 1877 under Hans Richter. That same month 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.” From a technical point of view, the opening cello and bass phrase (D–C-sharp–D) becomes the germ for each of the movements (sometimes with the semitone turn moving up rather than down) but the inspiration is seamless and there is no feeling of
artifice in the ebb and flow of the music. As ever with Brahms, he delights in slightly off-balancing the listener. Here triplets play against duplets, themes are started on off-beats (a favourite trick of his mentor Robert Schumann) and mood changes are handled with great skill and subtlety proving that, however long it took Brahms to feel at home with symphonic form, he was a master when he finally put pen to manuscript paper. With the first three movements revelling in triple time, the work very much has the feeling of a homage to the Viennese waltz or Austrian Ländler but, despite the relaxed opening with both first and second subjects calm and lyrical, the first movement is not totally bathed in sunshine. Trombones and tuba (in the First Symphony held in check until the Finale) cast shadows over the landscape and there are some powerful, stormy passages in the development, before the shortened recapitulation and the delightful coda, introduced by a magical horn solo, with chirpy wind and pizzicato strings to close. The Adagio, richly conceived in B major, starts in 4/4 (a low descending string theme with rising bassoon counterpoint) but the second subject (ma grazioso), although at the same tempo, is in 12/8, triplet-based yet again. As in the first movement, power and more serious feelings are always nearby, building to a magnificent climax in the middle. Eventually the triplets disappear, leaving pulsing horn and timpani to close the movement. Brahms’ playful combination of triple and duple times is again to the fore in the third movement. In G major, this is a combination of variation and rondo form, and takes the place of the earlier symphonic minuets (Mozart and Haydn) and later scherzos (Beethoven and Bruckner). Opening in 3/4, with oboe over pizzicato strings, the main Allegretto grazioso theme is repeated twice with two sections separating each, both marked Presto ma non assai. The first of these is the main theme skilfully transmuted into 2/4 time (with more than a reminiscence of Tchaikovsky); the second takes a subsidiary idea from the first theme and treats it in 3/8 time (is there a Scottish resonance here?).
Trumpets, trombones, tuba and timpani are omitted entirely and the whole movement is delicately scored, once again ending quietly. The spirited Finale starts quietly, with sotto voce strings and gentle wind solos. But Brahms is lulling us into a false sense of security. Suddenly the theme is played with full force – high-spirited energy and brilliance being the movement’s hallmarks. A slight relaxing in pace ushers in the second subject, warmly resonant for strings, which is well worth slowing down for. For those that know Mahler’s First Symphony, you can find the falling fourths he uses in his opening movement, here used by Brahms in a moment of calm repose. Given that Mahler’s symphony postdates Brahms’ by only eight years, perhaps Mahler had Brahms’ falling fourths etched in his brain. Typically Brahmsian are both the syncopated play of quavers against triplets and the closing strident scales and blazing full brass peroration that underpin the symphony’s final chords. There is no other music as genuinely heart-warming as this. If only all summers could be as good as the one Brahms obviously had in 1877.
Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flutes (2), oboes (2), clarinets (2), bassoons (2) Brass: horns (4), trumpets (2), trombones (3), tuba (1) Timpani
© 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
小提琴 Violin 格德霍特 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
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 Freelance Musicians: Violin 小提琴 Viola 中提琴 Cello 大提琴 Double Bass 低音大提琴 Flute 長笛
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James CUDDEFORD
長笛 Flute 上杉晃代
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
Samuel AU (區駿熙), CHIK Yiu-ting (戚耀庭), CHUA Vince Eliezer N. (蔡君賢), WEI Ning-yi (魏宁一) Cecilia HO (何永妍), Otto KWAN (關統洋), TANG Wing-shuen Rebecca (鄧詠旋) Cecilia CHAN (陳希琳), CHENG Yan-ho (鄭恩浩), Shelagh HEATH (洪韋嘉儀) CHAN Chun Michael (陳駿), CHAN Ping-chi (陳秉智) Brian CHAN (陳子俊)
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 陳祈信 Samuel CHAN 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. 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
$
以支持樂團的學生票計劃 for its Student Ticket Scheme
• 您可憑收據申請扣稅 (需捐款HK$100或以上。如需要捐款收據，請填上「✓」號□) • 樂團會在一年內舉辦的音樂會的場刊中，鳴謝您的捐款 (需捐款HK$1,000或以上至其中一個類別) Your donation will be: • tax deductible with a receipt (for donations of HK$100 or above, please tick if you need a receipt □) • acknowledged in the Hong Kong Sinfonietta publications for a year (for donations of HK$1,000 or above to either category)
□ 無需寄贈「麥兜學指揮」公仔，謝謝 □ 無需捐款收據，以節省樂團行政開支
I do not wish to receive the McDull plush for this donation 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.
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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.
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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
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
STAR Donors (HK$10,000 to HK$29,999) • Prof Anthony Chan • 陳真光醫生 Dr Jane C K Chan
• 鍾思源醫生 Dr Chung See Yuen
• Mrs Adeline Lui
• Mr and Mrs Robert Tang
• 莫扎特迷 Mozart’s Fan • Dr Yvonne Ou
• 曹延洲教授 Prof Tsao Yen Chow
• 高世章先生 Mr Leon Ko
• Poon Shing Chi and Liao E Wen
• 謝智剛教授 Prof C K Michael Tse
• 關卓然先生 Mr William Kwan Cheuk Yin
• 孫永輝及施熙德伉儷 Edith and Stephen Sun
• 多位無名氏 Anonymous
• Mr Allan Leung
• Dr Alfred Tam
• 陳文偉博士 Dr Chan Man-wai • The Fan Family Charitable Trust • Mr Eugene Fung • 周愛琳醫生 Dr Irene Chau • 張黎慧文 Vivian W M Cheung • Dr Vivian Cheung
Donors (HK$1,000 to HK$9,999) • • • • • • • • • • • • • • • • • •
壹頤 Amelie and Angus BELIEVING MUSIC CAN In Memory of Birdie 加拿大琴行 Canada Piano Co Mr Barry Chan Ms Cynthia Chan Dr Eugene Chan Jonman, Monika & Joel Chan Family Mr Peter Chan Miss Chan Yin Fei Joyce 陳燕婷 Mr Chen Chih Neng Mr Cheng Yue Hang 張綺華小姐 Ms Helen Cheung Mr Chong Chin Kin Kenyon & Leonard Chow Ms Martina Choy Dr Chung Ka Leung
• • • • • • • • • • • • • • • • • •
Miss Pollyanna Chung Ms Suzanna Chung Miss Chung Yi Ling Miss Stephanie Clark Composerchan In memory of Esther Miss Fung Cheuk Yan 馮新健先生 Mr John Sun-kin Fung 興升投資有限公司 Ms Mikubo Hiromi Mrs Amanda Lam Ho Mr Ambrose Ho Miss Ho Yan Yan Ms Rose Hofmann Ms Claire Huang Mr Keith Ko Ms Grace Lau Mr Sung Chak Kyle Lee
• • • • • • • • • • • • • • • • •
Miss Sandra W M Lee Ms Sheryl Lee Ms Florence Leung Ms Leung Si Yin Seaze Mr Stewart Leung Mr Lui Wai Ho Mr Loo Sze Wang 馬鳳庸女士 Mr Bernard Man 大通會計事務所 Masterpoint Professional Ltd Mrs Jiyoung Moon 吳志強先生 Miss Ng Chun Wing 吳思博先生及蕭泳欣女士 Winny & Nigel Ng Mr Ngan Hin-kay, John Niccoloo Strings Mr Robert Shum
• • • • • • • • • • • • • • • • • •
John & Anthea Strickland Ms Grace Sun 德仔 Sir Ms Elsie Tam 曾作強先生 Mr Henry Tsang Mr Paul Tsang 曾健鵬先生夫人 Mr & Mrs Paul Tsang Ms E Wong Mr Wong Kin Lun 忻偉高先生 Ms Joanne Yau Ms Lynn Yau Mrs Lisa Yeung Mr Ito Yoshihisa 楊嘉輝先生 Mr Samson Young 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 BELIEVING MUSIC CAN Jonman, Monika & Joel Chan Family Mr Chan Kwan Ho Cordelia Chan Ms Josephine Cheng 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 Ms Lee On Ki 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
• 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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Mr Mitsuhiro Osada 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
Co-Presenter
“They play not just in three individual parts but more importantly, in three dimensions.” – The Australian
Works by Beethoven, Rachmaninov and Tchaikovsky
Alexander Sitkovetsky violin Isang Enders cello Wu Qian piano
THE
SITKOVETSKY TRIO
薛高維茨基三重奏
14 NOV 2019 Thursday 8pm
Premiere Performances of Hong Kong is financiall y supported by the Art Development Matching Grants Scheme of the Government of the Hong Kong Special Administrative Region
Concert Hall, Hong Kong City Hall 香港大會堂音樂廳 $480 / $300 / $200 / $100
飛躍演奏香港獲香港特別行政區政府「藝術發展配對資助計劃」的資助 Hong Kong Sinfonietta is financiall y supported by the Government of the Hong Kong Special Administrative Region 香港小交響樂團由香港特別行政區政府資助 Hong Kong Sinfonietta is the Venue Partner of the Hong Kong City Hall
香港小交響樂團為香港大會堂場地伙伴
Tickets available at 購買門票
Supporter
Partner
Collaborators
PR Partner
and
www.pphk.org www.urbtix.hk
The content of these programmes does not reflect the views of the Government of the Hong Kong Special Administrative Region 節目內容並不反映香港特別行政區政府的意見