© BÉA CRUVEILLER

Colleen Lee

8.11.2020 (星期日 Sun) 4pm

香港大會堂音樂廳 HK City Hall Concert Hall

James Cuddeford

Le Hoai-nam

© YVONNE CHAN

柏斯卡爾 Aurélien Pascal

© YVONNE CHAN

© YVONNE CHAN

大提琴 Cello

Elvis Chan

鋼琴 Piano

李嘉齡 Colleen Lee (駐團藝術家 HKS Artist Associate 2010/2011) 小提琴 Violin

格德霍特 James Cuddeford 李海南 Le Hoai-nam 中提琴 Viola

陳子信 Elvis Chan 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

節目更改 Change of Programme 因受到疫情影響，原定於12月4至6日舉行 之節目《阿飛正轉》現告取消，敬請留意。

© YVONNE CHAN

The original scheduled programme “Pica Pica Choose” (4 – 6 Dec) is cancelled due to the pandemic.

4.12.2020 星期五 Fri 7:30pm

5-6.12.2020 星期六及日 Sat & Sun 3pm

香港大會堂音樂廳 Hong Kong City Hall Concert Hall

樂團現場演奏《圖畫展覽會》 以及馬勒、巴赫等著名作曲家 的精選樂章，配以精彩動畫 片段，與大小朋友一起穿梭 音樂與名畫的奇妙世界﹗

葉詠詩 Yip Wing-sie 概念／導演 Concept/Co-directors

謝立文及麥家碧 Brian Tse & Alice Mak 聲音演出 Voice Artist

伍宇烈 Yuri Ng

$420 $280 $160 粵語演出 In Cantonese 適合六歲或以上大小朋友 For ages 6+

桂冠音樂總監/指揮 Music Director Emeritus/Conductor

(駐團藝術家 HKS Artist Associate 2011-2013) 動畫製作 Animation Production

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

Lunchtime Production Limited 合作機構 In collaboration with

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

柏斯卡爾室樂聚 Chamber Music with Aurélien Pascal 節目

海頓

降E小調第41鋼琴三重奏，Hob XV:31，「雅各之夢」 如歌的行板 快板 李嘉齡（鋼琴）• 格德霍特（小提琴）• 柏斯卡爾（大提琴）

德布西

G小調小提琴及鋼琴奏鳴曲 活潑的快板 間奏曲：奇幻而輕巧的 終曲：非常活潑的 格德霍特（小提琴）• 李嘉齡（鋼琴）

德布西

D小調大提琴及鋼琴奏鳴曲 序曲：緩慢、持續而甚為果斷的 小夜曲：適度的活潑 終曲：活潑、輕巧而緊張的 柏斯卡爾（大提琴）• 李嘉齡（鋼琴）

舒曼

降E大調鋼琴五重奏，作品44 輝煌的快板 以進行曲的形式：略為寬廣的 諧謔曲：甚為活潑的 不太快的快板 李嘉齡（鋼琴）• 格德霍特、李海南（小提琴）• 陳子信（中提琴）• 柏斯卡爾（大提琴）

Programme

Haydn

Piano Trio No 41 in E-flat minor, Hob XV:31, “Jacob's Dream” Andante cantabile Allegro Colleen Lee (piano) • James Cuddeford (violin) • Aurélien Pascal (cello)

Debussy

Sonata for Violin & Piano in G minor Allegro vivo Intermède: Fantasque et léger Finale: Très animé James Cuddeford (violin) • Colleen Lee (piano)

Debussy

Sonata for Cello & Piano in D minor Prologue: Lent, sostenuto e molto risoluto Sérénade: Modérément animé Finale: Animé, léger et nerveux Aurélien Pascal (cello) • Colleen Lee (piano)

Schumann

Piano Quintet in E-flat, Op 44 Allegro brillante In modo d’una marcia: Un poco largamente Scherzo: Molto vivace Allegro ma non troppo Colleen Lee (piano) • James Cuddeford, Le Hoai-nam (violin) Elvis Chan (viola) • Aurélien Pascal (cello)

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 桂冠音樂總監 Music Director Emeritus: 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。銳意「培

樂團深明培育下一代的重要性，針對不同年齡的觀

育文化新一代」，並以富創意的節目及充滿熱忱的

眾，舉辦多套別樹一格的普及音樂會。《我的音樂

演奏見稱。

日記》及《古典音樂速成》、《古典音樂知多少》

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

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。

舞團、英國皇家芭蕾舞團、英國國家芭蕾舞團、美

除本地演出外，樂團常應邀作客海外，包括：美國

國芭蕾舞劇院、紐約市芭蕾舞團、斯圖加特芭蕾舞

紐約林肯中心羅斯劇院、加拿大多個以出色音效著

團及翩娜．包殊烏珀塔爾舞蹈劇場等。樂團亦經常

稱的音樂廳；南美洲的巴西、阿根廷及烏拉圭；在

應邀與本地藝術節及藝團合作，如香港藝術節、法

歐洲計有法國的拉羅克．昂迪榮國際鋼琴音樂節、

國五月、香港芭蕾舞團及香港歌劇院等。樂團於

法國蒙頓音樂節、德國東弗里斯蘭「浪潮」音樂

2018 年舉辦第一屆香港國際指揮大賽，吸引了

節、波蘭貝多芬復活節音樂節、意大利的米凱朗傑

310位來自49個國家和地區的參賽者。

利國際音樂節和維琴察音樂節、葡萄牙馬爾旺國際

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

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和《我個名叫麥兜兜．古典音樂小計劃》等節目，

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。

性。樂團灌錄過多套唱片，收錄不少華人作曲家的

樂團由 2002 年起由著名指揮葉詠詩擔任音樂總

優秀作品；由DECCA發行的三輯《就是古典音樂》

監，期間致力推動本地古典音樂發展，拉近音樂與

系列，均獲白金及金唱片佳績。最新雙 CD《一屋

普羅大眾的距離。葉詠詩於今年五月起轉任桂冠音

寶貝音樂廳》於2018年由DECCA出版。

樂總監，在樂團委任新總監前，她將與首席客席指 揮柏鵬一起負責藝術發展事宜。

One of Hong Kong’s flagship orchestras, Hong Kong Sinfonietta has brought music closer to the community, and achieved significant local and international recognition for its passionate performances and innovative programing. 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 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, Short-cut 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 Tokyo Opera City, 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 at National Concert Hall Taipei and National Taichung Theater. Hong Kong Sinfonietta has thrived under the direction of Music Director Yip Wing-sie – one of Asia’s most respected conductors – since 2002. Starting from May 2020, she will take on the new role of Music Director Emeritus. She and Principal Guest Conductor Christoph Poppen will be responsible for the artistic development of the orchestra before the next Music Director is appointed.

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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大提琴 Cello

柏斯卡爾 Aurélien Pascal 柏斯卡爾演出頻繁，在2018/2019樂季除了與席夫 等音樂家於柏林音樂廳合奏，還亮相於布魯塞爾中 央美術館、波恩貝多芬音樂廳及芬蘭國際大提琴藝 術節，又再次於梅克倫堡-前波莫瑞音樂節的音樂 會中獻藝，並在巴黎嘉沃音樂廳舉辦首場獨奏會。 此外，他又與科隆室樂團、梅斯國家樂團、布列塔 尼樂團及杜埃上法蘭西大區樂團演奏協奏曲。 柏斯卡爾的身影亦常見於各大國際音樂節，包括費 比爾音樂節、科爾馬國際音樂節、普拉德音樂節、 埃爾毛城堡音樂節、波恩貝多芬音樂節、蘭斯夏季 音樂節、法國南特及日本《

》音樂祭、蒙

彼利埃法國電台音樂節及埃維昂音樂節，合作過的 音樂家包括帕胡德、席夫、柯列斯尼科夫、尚尼 現年25歲的法國大提琴家柏斯卡爾於國際樂壇炙手 可熱，以其精湛的技藝及懾人的舞台魅力迷倒無數 樂迷，備受各界推崇。他為多項國際音樂大賽的獎 項得主，包括 2013 年國際保羅大提琴大賽亞軍， 且囊括 2014 年費爾曼國際大提琴比賽冠軍、觀眾 獎以及托赫大提琴協奏曲最佳演繹獎三項大獎，並 在2013年獲頒法國Adami古典新秀獎。他在2017 年獲得伊利沙伯皇后比賽第四名，為該屆最年輕的

重奏。柏斯卡爾又與拉．馬爾卡和佩特洛娃組成弦 樂三重奏演奏室樂。他自2015年於梅克倫堡-前波 莫瑞音樂節獲得觀眾獎後，更成為該音樂節的演出 常客。柏斯卡爾又於柏林音樂廳、阿姆斯特丹音樂 廳、羅浮宮音樂廳、奧賽博物館和巴黎城市劇院及 日本諾亞方舟音樂廳等場地演出過多場音樂會。

決賽入圍者，在同輩音樂家中尤為出類拔萃。

柏斯卡爾為巴黎大眾銀行及科拉基金會的獎學金得

柏斯卡爾曾以獨奏者身份與多個樂團於歐洲演出，

主， 2015 年加入支持年青音樂家的奧芬基金會，

合作過的樂團有莫斯科柴可夫斯基交響樂團、德意

並為該會與葛瑞菲斯指揮的慕尼黑室樂團合作灌錄

志電台交響樂團、紐倫堡交響樂團、波茨坦室樂

但齊的協奏曲，收入 2018 年推出的專輯之中，同

團、塔皮奧拉小交響樂團、盧瓦爾國家樂團、蒙地

時收錄作品包括：與丹尼斯．柏斯卡爾及盧賽夫合

卡羅愛樂樂團及巴塞隆拿交響樂團等。他曾與多位

奏的拉威爾三重奏，以及與杜美、杜馬克及西爾瓦

知名指揮合作，包括杜美、費杜塞耶夫、史托加

演奏的布拉姆斯弦樂六重奏。最新的唱片於 2019

德、羅菲、柏鵬、舒爾特、卡慕等。

年發行，收錄了杜南憶的匈牙利牧歌及高大宜的大

他亦經常獲邀到亞洲演出，並與廣島交響樂團、關

4

埃、金鎮秀、杜美、特茲拉夫及莫迪里亞尼弦樂四

提琴奏鳴曲。

西愛樂樂團及仙台愛樂樂團同台。柏斯卡爾與香港

1994 年出生、長於音樂世家的柏斯卡爾畢業於巴

小交響樂團更是多次合作，除了在香港演出，亦於

黎國家高等音樂暨舞蹈學院，期間受教於穆勒，又

2017 年隨樂團到歐洲巡演。最近他更與瓦格指揮

曾多次在大提琴巨擎史塔克的大師班上接受其指

的臺北市立交響樂團、費海爾指揮的外西凡尼亞國

導。他現於克龍貝格學院隨海爾梅森及霍夫曼習

家愛樂樂團、以及卡慕指揮的蘇黎世室樂團及杭州

琴，演奏時使用的是 1850 年由阿道夫．甘德所製

愛樂樂團首度合作演出。

的名琴。

At only 25 years of age, French cellist Aurélien

Cologne Chamber Orchestra, Orchestre National

Pascal is attracting international attention for his

de Metz, Orchestre de Bretagne and Orchestre de

“unparalleled virtuosity and intuitive musicality”

Douai Région Hauts-de-France.

(The Strad). He has won several prestigious

As a recitalist, Pascal has performed at prestigious

international competitions, including Second Prize at the 2013 International Paulo Competition, as well as the Grand Prix, Prix du Public, and Best Performance of a Toch Concerto at the 2014 Emanuel Feuermann Competition. His recent successes, including placing fourth at the 2017 Queen Elisabeth Competition where he was the youngest finalist, confirm that he is one of the most brilliant representatives of his generation. Prior to this, he was the Adami Révélation Classique in 2013.

festivals such as Verbier, Colmar, Prades, Schloss Elmau, Beethovenfest in Bonn, Flâneries de Reims, La Folle Journée de Nantes and Japan, Festival de Radio France et Montpellier and Rencontres Musicales d'Évian, with partners such as Emmanuel Pahud, András Schiff, Pavel Kolesnikov, Rémi Geniet, Ben Kim, Augustin Dumay, Christian Tetzlaff and the Modigliani Quartet. He also forms a string trio with Adrien La Marca and Liya Petrova. Since being awarded the Audience Prize at the Mecklenburg-Vorpommern Festival in 2015, he has

Pascal regularly performs as a soloist with major

been a regular invitee to the festival, and has

orchestras throughout Europe, notably with the

performed on stages including the Berlin

Tchaikovsky Symphony Orchestra in Moscow,

Konzerthaus, Amsterdam Muziekgebouw, the

Deutsche Radio Philharmonie, Nuremberg

Auditoriums of the Musée du Louvre and Musée

Symphony Orchestra, Kammerakademie Potsdam,

d’Orsay, Théâtre de la Ville in Paris and the ARK

Tapiola Sinfonietta, Orchestre National des Pays de

NOVA/Lucerne Festival mobile concert hall in Japan.

la Loire, Monte-Carlo Philharmonic Orchestra and

A laureate of the Banque Populaire and Colas

Barcelona Symphony Orchestra, alongside conductors such as Augustin Dumay, Vladimir Fedoseyev, John Storgårds, Pascal Rophé, Christoph Poppen, Clemens Schuldt and Okko Kamu.

foundations, Pascal joined the Orpheum Foundation’s support program for young soloists in 2015, which invited him – following his début with Vladimir Fedoseyev at the Tonhalle in Zurich – to

Frequently invited to Asia, he has played with the

record Franz Danzi's concerto with the Munich

Hiroshima Symphony Orchestra, Kansai and Sendai

Chamber Orchestra and Howard Griffiths for Sony

Philharmonic Orchestras, and Hong Kong

Classical. This disc, released in 2018, added to a

Sinfonietta, with which he has performed several

discography that includes the Ravel Trio with Denis

times both in Hong Kong and on their European

Pascal and Svetlin Roussev, as well as the Brahms

tour in 2017. He recently made his débuts with the

Sextet with Augustin Dumay, Henri Demarquette

Taipei Symphony Orchestra and Gilbert Varga, the

and Miguel da Silva. His latest CD, released in

Filarmonica de Stat Transilvania alongside Andrei

spring 2019, includes Dohnányi’s Ruralia Hungarica

Feher, as well as the Zurich Chamber Orchestra and

and Kodály's Cello Sonata Op 8.

Hangzhou Philharmonic Orchestra conducted by

Born in 1994 into a family of musicians, Pascal

Okko Kamu.

studied at the Conservatoire National Supérieur de

The 2018/2019 season brought Pascal to the

Musique et de Danse de Paris with Philippe Müller

Konzerthaus Berlin alongside András Schiff, BOZAR

and benefited from masterclasses with the

in Brussels, Beethovenhaus Bonn and CelloFest in

legendary János Starker in Paris, Basel and

Finland. He returned to the Mecklenburg-

Bloomington. He currently studies with Frans

Vorpommern Festival to give several concerts, and

Helmerson and Gary Hoffman at the Kronberg

gave his first solo recital at the Salle Gaveau in

Academy in Germany, and plays a French cello by

Paris. He has performed in concerto with the

Charles-Adolphe Gand from 1850.

5

鋼琴 Piano

李嘉齡 Colleen Lee 駐團藝術家 HKS Artist Associate 2010/2011 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。 剛過去樂季重點演出包括與歷圖指揮的倫敦交響樂 團合作獻演。 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、真娜．巴侯雅國際鋼琴大賽、樂府國際 李嘉齡自2005年獲得波蘭第15屆蕭邦國際鋼琴大

音樂大獎、仙台國際音樂比賽以及第 16 屆西班牙

賽第六名後，便正式踏上國際舞台。她頻繁的演奏

桑坦德國際鋼琴比賽等項目的獎項得主。

足跡遍及歐亞及北美各地，除獨奏演出外，亦經常 與世界知名的樂團合作獻演，包括以色列愛樂、華 沙愛樂、西班牙加利西雅皇家愛樂、日本仙台愛樂 管弦樂團、中國愛樂、廣州交響樂團、武漢愛樂樂

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》 。

團、上海交響樂團、香港小交響樂團及香港管弦樂

李嘉齡曾獲民政事務局局長頒發嘉許狀，以及獲頒

團等。2010/2011樂季她獲香港小交響樂團邀請出

行政長官社區服務獎狀和香港藝術發展局藝術新秀

任駐團藝術家，亦曾隨樂團遠赴南美、意大利及台

獎，以表彰她在音樂領域的傑出成就及在推廣藝術

灣巡演。

文化方面的超卓貢獻。

李嘉齡亦為多個大型音樂節的常客，曾參與的音樂

李嘉齡現為香港教育大學的榮譽駐校藝術家，並任

節包括波蘭蕭邦國際音樂節、格但斯克音樂節、意

教於香港演藝學院及香港浸會大學。

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

6

李嘉齡推出過的專輯包括由蕭邦學會發行的蕭邦全

Since winning the 6th Prize at the 15th

Quartet. She is also a member of the RTHK

International Frederic Chopin Piano Competition,

Chamber Soloists which was formed in 2018.

Colleen Lee has performed extensively throughout Asia, Europe and North America in solo recitals and with orchestras such as the Israel Philharmonic Orchestra, Warsaw Philharmonic Orchestra, Galacia Royal Philharmonic Orchestra, Sendai Philharmonic Orchestra, China Philharmonic Orchestra, Guangzhou Symphony Orchestra, Wuhan Philharmonic Orchestra, Shanghai Symphony Orchestra, Hong Kong Sinfonietta and Hong Kong Philharmonic, among others. Lee was the Artist Associate of Hong Kong Sinfonietta in 2010/2011, and has toured with the orchestra in South America, Italy and Taiwan.

Born in Hong Kong, Lee started her piano lessons at the age of four. Subsequently she was trained at the Hong Kong Academy for Performing Arts (HKAPA) under Eleanor Wong and at the Hochschule für Musik, Theater und Medien in Hannover with Arie Vardi. She won the First Prize at the 3rd Seiler International Piano Competition in Kitzingen, Germany, the 2003 Dorothy Mackenzie Artist Recognition Award, Third Place and Critic and Audience Prizes at the 15th International Competition for Piano and Orchestra in Cantú, Italy, and was a prize winner at the 1st Hong Kong International Piano Competition, the Pro Musicis

She has also been a featured artist at several

International Award, Gina Bachauer International

international music festivals including the

Artist Competition, Sendai International Music

International Chopin Festival in Duszniki and

Competition, and the 16th Santander International

Gdansk in Poland, Assisi International Piano Festival

Piano Competition in Spain.

in Italy, Meissen Pianoforte Festival in Germany, International Keyboard Festival in New York, Bowdoin International Music Festival and Musicus 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. Last season she made her début with London Symphony Orchestra under Simon Rattle. As an enthusiastic chamber musician, Lee frequently appears in chamber music concerts and has also collaborated with world famous instrumentalists including violinists Ning Feng amd Kang Dong-suk, cellists Trey Lee, Daniel Müller-

Her discography includes an all-Chopin album recorded on the Pleyel Piano released by the Fryderyk Chopin Institute, and a complete Scarlatti Sonatas album by Naxos. She was also featured on the Hong Kong Sinfonietta DECCA album This is Classical Music 3. 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 the piano faculty of HKAPA and Hong Kong Baptist University.

Schott and Alexander Kniazev, and the Shanghai 7

節目介紹 海頓（1732–1809）

德布西（1862–1918）

降 E 小調第 41 鋼琴三重奏， Hob XV:31，「雅各之夢」

G小調小提琴及鋼琴奏鳴曲

如歌的行板 快板

海頓的 45 首鋼琴三重奏大多創作於後期。 10 首在 第二次造訪倫敦期間完成（1794 年 2 月至 1795 年 8 月），最後五首則在回到維也納後竣稿：其中兩 首單獨成篇的三重奏在該地出版，三首則是在 1797年於倫敦出版。 降E小調鋼琴三重奏（霍伯肯 [Hoboken] 的編號是 第31首，蘭頓 [Landon] 的編號則是第41首）直到 1803 年才出版，題獻人是鋼琴家庫爾茲博克 （Magdalena von Kurzböck）。第二樂章在1794年 （海頓回到倫敦之前）首先完成，看來是為捉弄一

活潑的快板 間奏曲：奇幻而輕巧的 終曲：非常活潑的

D小調大提琴及鋼琴奏鳴曲 序曲：緩慢、持續而甚為果斷的 小夜曲：適度的活潑 終曲：活潑、輕巧而緊張的

我們來到離上首作品120年後的法國，德布西在較 後期才開始創作奏鳴曲。他原本要寫一套六首為不 同樂器創作的奏鳴曲，但他只完成了三首，包括一 首大提琴及鋼琴奏鳴曲、一首長笛、中提琴和豎琴 奏鳴曲以及一首小提琴及鋼琴奏鳴曲（他的絕筆之 作）。事實上，德布西在 1917 年 5 月 5 日於巴黎嘉 沃音樂廳（Salle Gaveau）舉行的最後一次公開演

位德國小提琴家而作。他和海頓在倫敦認識，造詣

出，就是與普雷（Gaston Poulet）首演他的小提琴

上未能完滿地應付最高的音域。海頓在這首快板中

及鋼琴奏鳴曲。

寫了一串上行高音，似乎對這位小提琴家有所調 侃，並曾將此曲形容為「雅各之夢」（《聖經》中的

作品經過了一段很不安穩的醞釀期，反映德布西因 第一次世界大戰和健康問題而情緒低落的狀況。

雅各在夢中看到了一把天梯），後來此別名從手稿

1916年10月17日他寫道：「我為小提琴和鋼琴奏

中刪除。

鳴曲的最後一樂章找到了（創作）靈感⋯⋯可惜，

第一樂章在 1795 年補寫，那是海頓唯一的降 E 小

第一和第二樂章受到阻延⋯⋯我對自己很了解，你

調樂章。在這首緩緩的迴旋變奏曲中，插曲首先柔

可以肯定我不會對這兩個樂章死纏爛打。」五個月

和地打斷降 E 大調，然後令人意外地出現了 B 大 調，小提琴在主題重現時更為獨立。最後的樂章包 含了一系列重複的舞曲段落，顯得意氣風發，在小 提琴帶領下，發展出上行的炫人樂段，以考驗那位 第一小提琴手的技巧⋯⋯

後，在 1917 年 2 月，首先完成的卻是首兩個樂 章，他反而掙扎於第三樂章。事實上他再次開始寫 第三樂章的時候，又對之前的想法作了修改，以致 延後了他原本計劃在 3 月 26 日舉行的第一次閉門 視奏。 這首奏鳴曲並不太按照通常「快 – 慢 – 快」的樂章 結構模式，因為每個樂章的節奏都有頗大的變化。 第一樂章開始時是「活潑的快板」，但感覺上並不 那麼快，而且直到中段，速度才確定下來，而旋律 也以新的E大調穩定了片刻。第二樂章開始雖然是 「奇幻而輕巧的」，後來卻發展成為步態舞般的諧謔 曲，小提琴則短暫採用了撥弦，然後搖擺於這兩種 明顯不同的情調之間。最後一個樂章回到第一樂章

8

兩拍對三拍的沉迷之中，迂迴曲折，起伏不定，最

中彈奏鋼琴的部份，孟德爾遜因而接過鋼琴彈奏的

後才出奇地衝向簡略的結尾。

任務（由於他對第三樂章第二個中段提出建議，舒

大提琴及鋼琴奏鳴曲創作於1915年7月尾至8月初

曼後來轉而撰寫了降 A 小調的無窮動）。但可能舒

之間，德布西再次擔任首演的鋼琴家，和他合作的

伯特對他的啟發更大，尤其是其《鱒魚》（Trout）

是薩爾蒙（Joseph Salmon） 。這是一首微型作品，

五重奏那種無拘無束的感覺，在整首作品中都有所

序曲變得有點躁動後減慢速度，結尾和開始時一

體現。只是舒曼保留了一般的弦樂四重奏加上鋼琴

樣，只是音量極輕。撥弦帶引下的小夜曲直接進入

的結構，而不像舒伯特那樣，用一把低音大提琴代

了終樂章，由此對獨奏者的技巧要求也越來越高，

替其中一把小提琴。

包括跳弓（spiccato）和接近指板拉奏的弓法 （flautando）、假泛音和表情滑音（portamenti）。 輕快的開首與緩慢而採用遠系樂調的中段形成對

不用說，這是一首非常活潑的作品。隨著開首「輝 煌的快板」光華四射的迸發，大提琴響亮地奏起了

比。表意記號（很特別地）是「陰沉的」，但幸好

第二主題（及後加入了中提琴），樂章也由喜悅進

它只維持了 11 小節，然後回到穩定的快步，結尾

而變得興奮。第二樂章開首緩慢而清脆的進行曲和

再減慢下來。

首樂章形成對比，但也透過鋼琴激情的三連音而達 到一個高潮（速度沒有增加，聽起來卻快了），然 後中提琴再次帶出進行曲的主題，樂章也如開首一

舒曼（1810–1856）

降E大調鋼琴五重奏，作品44 輝煌的快板 以進行曲的形式：略為寬廣的 諧謔曲：甚為活潑的 不太快的快板

樣結束。諧謔曲經過開頭陡急的上升和下降，急速 地前衝，彷彿樂器之間在進行競賽。突然G小調的 第一個中段帶來了一片祥和，鋼琴伴奏像水波輕漾 （這令我們想起舒曼第二交響曲的終樂章）。舒曼在 此引用了克拉娜的《浪漫曲》，之前他在其《即興 曲》（作品 5）中已引用過一次，而這次他在終樂 章�又採用了一段。諧謔曲重奏一�之後，出現了

舒曼令人振奮的鋼琴五重奏肯定是室樂（或是所有

「新的」嘎嘎的 A 小調第二中段，它似乎提速了，

音樂）之中最熱情洋溢和沸騰的作品。它寫於舒曼

又是另一輪的競賽。然後諧謔曲最後一次響起，直

神奇的 1842 年，那是他室樂作品創作最豐盛的一

到戲劇性的尾聲忽然停頓下來。終樂章是舒曼對位

年。之前的 1840 年是他的歌曲創作年（那一年他

絕技的範例之一，它採用了C小調這一關係小調，

贏了與克拉娜父親的官司，最終能與摯愛的克拉娜

以令人難忘的疾刺般的主題展開，在樂章中間發展

共偕連理，由此激發了他的創作熱情）。1841則是

成賦格主題。舒曼在結尾用雙重賦格的手法回顧了

他的管弦樂音樂年（1943年他又轉而專注於合唱曲

第一和終樂章的主題，在奔放和絢麗的氣氛中結束

的創作）。

了這首對比鮮明的作品。

這首鋼琴五重奏是一種新的樂種，後來布拉姆斯、 德伏扎克、弗朗克、佛瑞、艾爾加和蕭斯達高維契 都有創作。它撰寫於 1842 年 9 月和 10 月，在舒曼 7月完成的三首弦樂四重奏（作品41）之後。舒曼 在上半年先後研習莫扎特、貝多芬和海頓的弦樂四 重奏，進展顯然頗順利。他把五重奏題獻給克拉 娜，雖然她當時健康欠佳，無法在 1842 年 12 月 6 日於當地的朋友福格特（Voigts）家中舉行的首演

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

9

Programme Notes Joseph Haydn (1732–1809)

Claude Debussy (1862–1918)

Piano Trio No 41 in E-flat minor, Hob XV:31, “Jacob’s Dream”

Sonata for Violin & Piano in G minor

Andante cantabile Allegro

Most of Haydn’s 45 piano trios date from late in his career. 10 date from his second visit to London (February 1794 to August 1795), topped by a final five back in Vienna: two stand alone works were published there, and three were published back in London in 1797. The E-flat minor Piano Trio (No 31 in Hoboken’s tally, No 41 in H C Robbins Landon’s ordering) was not published until 1803, when it was dedicated to pianist Magdalena von Kurzböck. The second movement was composed first in 1794 (before he went back to London), and seemingly was something of a joke piece for a German violinist that Haydn knew in London, whose virtuoso expertise did not extend that well into the highest register. Haydn teased him in this Allegro with a sequence of high ascending scales, hence his own description (later removed from the manuscript) of “Jacob’s Dream” when our Biblical hero saw a heavenly ladder. The first movement, added in 1795, is Haydn’s only movement in E-flat minor – a slow rondo-variation where episodes gently interrupt first in E-flat major, and then surprisingly B major, and where the violin attains some greater independence in the return of the theme. The final movement includes a great number of repeated sections presenting a dance, with a distinctive swagger, led by the violin for which Haydn develops the upward flourishes that were set to test that first violinist…

10

Allegro vivo Intermède: Fantasque et léger Finale: Très animé

Sonata for Cello & Piano in D minor Prologue: Lent, sostenuto e molto risoluto Sérénade: Modérément animé Finale: Animé, léger et nerveux

Moving to France and turning the clock forward 120 years, meet Debussy, who belatedly came to the sonata genre. His three late works were to be part of a set of six sonatas “for diverse instruments”, but only the sonatas for cello and piano, a sonata for flute, viola and harp, and finally violin and piano (his very last work) were completed. Indeed Debussy’s last public performance, on 5 May 1917 at Paris’ Salle Gaveau, was playing alongside Gaston Poulet in the Violin Sonata’s première. The work had a rather unsettled gestation, mirroring Debussy’s dispirited attitude in the face of not only the First World War but also ill health. On 17 October 1916 he wrote that “I found the germ of the last movement of the violin and piano sonata... Unfortunately, the first and second movements are holding back... Knowing myself as I do, you may be sure that I shall not force them to endure my unpleasant company.” Five months later, in February 1917, it was the first two movements that had been completed, and he was struggling with the third. Indeed he started again on the third movement, before returning to and revising his first thoughts, all of which delayed his first proposed private read-through, originally scheduled for 26 March.

The Sonata does not easily fit an expected fast–slow–fast movement structure, as each movement veers quite considerably in tempo. The first movement is marked to start Allegro vivo, but it does not feel that fast and it really only settles in the central section which reaches a melodic stability for a while (in a new key, E major). The second movement, although starting “fantastic and light”, develops into a cakewalk-like Scherzo, with pizzicato (plucked) violin for a time and then oscillates between these two distinct moods, while the final movement returns to the first’s preoccupation of pitching two beats against three beats, as it twists and turns, ebbs and flows until the final dash for the curiously curtailed ending. The Cello Sonata was composed in late July and early August 1915 and Debussy again was the original pianist at the première, partnering Joseph Salmon. It is a diminutive work, with the Prologue becoming somewhat agitated before eventually slowing to end as it had begun, although now pianissimo. The pizzicato-led Sérénade leads directly into the Finale with evermore demands on the soloist’s technique, including spiccato and flautando bowing, false harmonics and portamenti; its opening jauntiness contrasted with a distant-key Lento central section, marked (notably) “morbid” but, thankfully, lasting barely 11 bars, before regaining its fleet-footed surety, until a slowing at the very end.

Robert Schumann (1810–1856)

Piano Quintet in E-flat, Op 44 Allegro brillante In modo d’una marcia: Un poco largamente Scherzo: Molto vivace Allegro ma non troppo

Surely the most ebullient and effervescent piece of chamber music (if not all music), Schumann’s irrepressible Piano Quintet comes from that miraculous year of 1842, his year of chamber music, which followed his year of song in 1840 (the year of his eventual marriage, having won a court case against her father, to his beloved Clara Wieck, which unleashed a torrent of compositional fervour), and a year of orchestral music in 1841 (choral music would follow in 1843). The Piano Quintet – a novelty later followed by Brahms, Dvoř ák, Franck, Fauré, Elgar and Shostakovich – was composed in September and October 1842, following Schumann’s three String Quartets, Op 41 finished that July. He had spent the first part of the year studying Mozart’s, then Beethoven’s and finally Haydn’s string quartets and was obviously on a roll. The Quintet is dedicated to Clara, although she was unwell and unable to play the piano in the domestic première of the piece, at the house of friends, the Voigts, on 6 December 1842), so Mendelssohn substituted (and on the strength of his comments about the second Trio of the third movement, Schumann composed the A-flat minor moto perpetuo instead). But perhaps Schubert is the most pertinent inspiration, particularly the Trout Quintet in the carefree spirit of the whole work, though Schumann kept to the normal string quartet with piano, rather than dropping a violin for double bass as Schubert had done.

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This is such vivacious music that little needs to be said about it. Following the opening burst of radiance of the Allegro brillante, the cello sonorously announces the second theme (joined by the viola) and the movement swings with joy and excitement. There is contrast with the slow, brittle march that opens the second movement, but that too rises amidst the fervour of piano triplets to a climax (not increasing in speed but sounding faster) before the viola reintroduces the march theme, and the movement ends as it began. The Scherzo, via the opening steep ascent and descent, rushes headlong as if the instruments were in a race. Suddenly the G minor first Trio brings calm, with rippling piano accompaniment (reminiscent of Schumann’s Second Symphony Finale). Here Schumann actually quotes a Romance by Clara he had already used for his Op 5 Impromptu, and he uses a snatch in the Finale. In bursts the Scherzo again, while the “new” chugging second Trio (in A minor) seems to increase the speed: another leg of the race. The Scherzo returns a final time, before a dramatic coda plunges to a full stop. The Finale is one of Schumann’s contrapuntal tours-de-force. It starts with a memorable stabbing theme in the relative minor (C minor) which in the middle of the movement becomes a fugue theme. At the end Schumann uses themes from the first and final movements in a double fugue to round off a work full of contrast, élan and éclat.

© Nick Breckenfield, 2020 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 桂冠音樂總監 Music Director Emeritus: 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

鄺展維 Charles KWONG

小提琴 Violin 格德霍特 樂團首席

(2020-2021)

金仁善

麥兜 McDull

李海南

(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)

署理助理樂團首席 第二小提琴首席

蔡路（休假） 第二小提琴助理首席

蔡柏沂 陳劭楠 周止善 ���子（休假） 賈舒晨 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 中提琴 Viola ● 陳子信 ▼ 劉琛彥 卞思琦 陳敏聰 顏星安 ★ 龍君蔚 ★ 鄧詠旋 大提琴 Cello ● 張培節 ▼ 貝樂安 何國芝 李恩率 朴詩媛 葉俊禧

長笛 Flute 上杉晃代

Akiyo UESUGI

KIM In-sun

雙簧管 Oboe 福原真美

Mami FUKUHARA

LE Hoai-nam

單簧管 Clarinet ● 方曉佳 陳秋媛

FONG Hiu-kai Johnny CHEN Chiu-yuan

CAI Pak-yi CHAN Shaw-nan Sharon Kiann CHOW Eiko HOSAKA (On Leave) JIA Shu-chen 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

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 ★ 陳珈文

PAW Man-hing Hermann Masumi HIGASHIDE SHUM Hing-cheung CHAN Kar-man Cheryl

小號 Trumpet ● 黃山 文曦

HUANG Shan MAN Hay

長號 Trombone ● 羅澤基 陳學賢

Christopher RODGERS CHAN Hok-yin

Elvis CHAN LAU Sum-yin Christina BEAN Ringo CHAN NGAN Sing-on LUNG Kwan-wai Kenny TANG Wing-Shuen Rebecca

低音長號 Bass Trombone 江子文 KONG Tze-man Jason

James CUDDEFORD Concertmaster

Acting Assistant Concertmaster Principal Second Violin

TSAI Loo (On Leave)

Assistant Principal Second Violin

CHANG Pei-chieh Laurent PERRIN HO Kwok-chee Karey LEE Eun-sol 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

大號 Tuba ● 林榮燦

LAM Wing-tsan

定音鼓 Timpani ● 村本曉洋

Akihiro MURAMOTO

敲擊樂 Percussion ● 周展彤 小山理惠子

CHAU Chin-tung Rieko KOYAMA

豎琴 Harp ● 黃士倫

Ann HUANG

鍵琴 Keyboard ● 朱偉恆

Alan CHU

● 首席 Principal ▼ 助理首席 Assistant Principal ★ Orchestral Associate

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謝謝！Thank You Partners! 2020/2021 樂季贊助機構 Sponsors of the 2020/2021 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. 贊助人及捐款者 Patrons & Donors

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

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)

• 周莉莉女士 Ms Lily Chow • 翟紹唐先生 Mr Jat Sew Tong • 冼為堅基金有限公司 Sin Wai Kin Foundation

亞洲保險有限公司 Asia Insurance Co Ltd 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 鍾陳碧璋女士 Mrs Shirley Chung Ms Cadence Hsiung 關卓然先生 Mr William Kwan Cheuk Yin Ruth & Sidney Dr & Mrs Patrick Tong 多位無名氏 Anonymous

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

• 高靜芝女士 Ms Sophia Kao

• Dr Yvonne Ou

• 陳真光醫生 Dr Jane C K Chan

• Miss Sandra W M Lee

• Poon Shing Chi and Liao E Wen

• 張綺年醫生 Dr Vivian Cheung

• Mr Allan Leung

• Mr Douglas Clark

• 莫扎特迷 Mozart’s Fan

• 孫永輝施熙德伉儷 Edith and Stephen Sun

• Mr Eugene Fung

• Nathaniel Foundation Limited

• 曹延洲教授 Prof Tsao Yen Chow

• 馮海莉女士 Ms Sabrina H Fung

• 吳思博先生及蕭詠欣女士 Winny and Nigel Ng

• 多位無名氏 Anonymous

• BELIEVING MUSIC CAN

• 鍾寶圈小姐 Miss Pollyanna Chung

• 吳志強先生

• 加拿大琴行 Canada Piano Co

• 鍾穎彤小姐 Miss Chung Wing Tung

• Mrs Florence Ng

• Miss Priscilla Castro

• In memory of Esther

• 吳天天先生 Mr Ng Tin Tin Timothy

• Ms Cynthia Chan

• Ms Roselanie Ho

• 魏嘉珩女士 Ms Ngai Kar Hang

• Jonman, Monika & Joel Chan Family

• 何偉兒先生 Mr Ho Wai Yee

• Mr John Ngan

• 陳昌奇先生 Mr Kelvin Chan

• Ms Hung Ying Kwan

• 戚世遠先生 Mr Qi Shiyuan

• Mr Chan King Fung Thomas Adam

• Mr Ralph Ingersoll

• John & Anthea Strickland

• In memory of Ms Mariette Mimi Chan

• 郭立成律師 Mr Chris Kok

• Ms Elsie Tam

• Ms Joyce Kwock

• 唐��小姐 Ms I Shyan Tng

• 陳素卿女士 Ms Chan So Hing

• Miss M Kwok

• 曾作強先生 Mr Henry Tsang

• Miss Chan Yin Fei Joyce

• Ms Betsy Lai

• Mr Paul Tsang

• 陳燕婷

• 劉慧詩女士 Mrs Lau Wai Sze

• 徐穎儀小姐 Miss Hailey Wing Yee Tsui

• 陳騰龍先生

• Mr Sung Chak Kyle Lee

• Ms TT Tsui

• Ms Catherine Chau

• Mr Sheung Lee

• Ms Kate Westbrook

• Mr Douglas Cheng

• Mr Lee Wai Ho

• Mr Peterson Wong

• 鄭錦德先生 Mr Cheng Kam Tak

• Ms Florence Leung

• Ms Carolina Yip

• Ms Amy Cheung

• Dr Xina Lo

• Ms Anka Yuen

• 蔡靄兒小姐 Miss Joycelyn Choi

• Mr Dechathorn Nawakanon

• 多位無名氏 Anonymous

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

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

Jade Donors (HK$50,000 to HK$99,999)

• 翟紹唐先生 Mr Jat Sew Tong

• CLP Holdings Limited • 鍾陳碧璋女士 Mrs Shirley Chung

• 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon

Ruby Donors (HK$30,000 to HK$49,999)

• 芝蘭基金會 Zhilan Foundation

• 鍾思源醫生 Dr Chung See Yuen • 多位無名氏 Anonymous

Pearl Donors (HK$10,000 to HK$29,999) • 亞洲保險有限公司 Asia Insurance Co Ltd

• Mr Lawrence J Y Lam

• 陳德茂教授 Prof Chan Tak Mao Daniel

• 林定國先生夫人 Mr and Mrs Lam Ting Kwok Paul

• 張德賢博士伉儷 Dr & Mrs Douglas Cheung

• Prof Gabriel Leung

• 張�昌博士 Dr Thomas H C Cheung, MH

• PLC. Foundation

• 趙俊良先生 Mr Chiu Chun Leong David

• 孫永輝施熙德伉儷 Edith and Stephen Sun

• Miss Charlotte O Y Lam

• 多位無名氏 Anonymous

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

• • • • • • •

Caterina, Luca & Joseph Jacobelli 郭立成律師 Mr Chris Kok 紀念劉葉珍女士 Mr Sheung Lee Mr Lee Wai Ho 廖炳輝醫生 Dr Liu Bing Fai 莫心柔及莫心維 Josephine Mok & Esther Mok • 吳天天先生 Mr Ng Tin Tin Timothy • 吳思博先生及蕭詠欣女士 Winny and Nigel Ng

BELIEVING MUSIC CAN Mr Iain Bruce Mrs Charlene Chan Jonman, Monika & Joel Chan Family Mr Chan Kwan Ho Miss Chan Yin Fei Joyce 鄭可傑先生 Mr Cheng Ho Kit 兜仔先生 Mr Dullchai Ms Agnes Hui Mr Ralph Ingersoll

Premium Friends • 張�昌博士 Dr Thomas H C Cheung, MH • 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon • 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

• • • • • • • • • •

魏玉華小姐 Miss Winnie Ngai 蘇國輝教授 Prof So Kwok Fai Mr Robert Ching Tang Mr Wong Kai Chun 黃乃禧先生 Mr Wong Nai Hay Mr Marcus Woo Ms Yeung Lai Fong Alice Mr Tyson Yeung 布甸狗與馬卡龍 Pom Pom Purin & Macaron 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! • • • • • • • • • • • • • • •

Association Culturelle France Hong Kong Ltd CASH音樂基金 CASH Music Fund 法國駐港澳總領事館 Consulat Général de France à Hong Kong et Macao 德國駐港總領事館 German Consulate General Hong Kong 香港歌德學院 Goethe-Institut Hongkong 民政事務局 Home Affairs Bureau 日本駐港總領事館 Consulate General of Japan in Hong Kong 光華新聞文化中心 Kwang Hwa Information and Culture Center 康樂及文化事務署 Leisure and Cultural Services Department 邁騰路通有限公司 Maestro GT Limited Mr Ozawa Kazuo 香港電台 Radio Television Hong Kong 瑞士駐港總領事館 Consulate General of Switzerland in Hong Kong 通利琴行 Tom Lee Music Co Ltd Mr Jiři Votruba

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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

周莉莉女士

Ms Lily CHOW

楊雪姬女士

Ms Serena YANG

鍾思源醫生

Dr CHUNG See-yuen

鍾陳碧璋女士

Mrs Shirley CHUNG

何汝祥醫生

Dr HO Yu-cheung

義務公司秘書

Honorary Company Secretary

陳智文先生

Mr Stephen TAN

謝智剛教授

Prof C K Michael TSE

阮偉文博士

Dr Andrew S YUEN

Tricor Corporate Secretary Limited 義務骨科專科醫生

Honorary Orthopaedic Surgeon

傅偉俊醫生

Dr Dan HOOLEY

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

樂團事務及節目 Orchestra & Programme 樂團經理 Orchestra Manager 陳成美 Marylu CHAN

會計經理 Accounting Manager 李靄玲 Judith LEE

節目經理 Programme Manager 丘靄雪 YAU Oi-suet Icy

行政助理 Office Adminstrator 楊瑞遠 YANG Jui-yuan

節目經理 Project Manager 黃紫菱 Athena WONG 助理樂團經理 Assistant Orchestra Manager 黎希潼 Carvina LAI

市場推廣及發展 Marketing & Development 高級市場及業務拓展經理 Senior Marketing & Development Manager 莫皓明 Amanda MOK 市場及業務拓展經理 Marketing & Development Manager 何珮鈴 Pauline HO 助理市場經理 Assistant Marketing Manager 袁穎芝 Christine YUEN 市場及業務拓展主任 Marketing & Development Officer 柯娉庭 Pantane OR

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藝術行政主任 Arts Administration Officers 林海欣 Hayley LAM 孫名雪 Michelle SUEN 馮碧琪 Betty FUNG

特別節目統籌 Special Projects Adminstrator 柯玉嬌 Noel QUAH 製作經理 Production Manager 陳冠宏 Eddie CHAN 當代音樂研究 Contemporary Music Research 鄺展維 Charles KWONG