10.7.2021 (星期六 Sat) 7:30pm
香港大會堂音樂廳 HK City Hall Concert Hall
桂冠音樂總監/指揮/主持 Music Director Emeritus/Conductor/Presenter
© YVONNE CHAN
葉詠詩 Yip Wing-sie
大提琴 Cello
張培節 Chang Pei-chieh* 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
31.7.2021 (星期六 Sat) 7:30pm
香港大會堂音樂廳 HK City Hall Concert Hall
© YVONNE CHAN
$400 $260 $150
小提琴/領奏 Violin/Director
格德霍特 James Cuddeford 長笛 Flute
史德琳 Megan Sterling* * 承蒙香港管弦樂團允許參與演出 With kind permission of the Hong Kong Philharmonic
節目Programme
韋華第 莫扎特 海頓 帕特 巴赫 Vivaldi Mozart Haydn Arvo Pärt Bach
D大調雙小提琴協奏曲，RV512（長笛及小提琴版本） C大調長笛與樂隊行板，K315 (285e) D大調第六交響曲，Hob I:6， 「晨」 《巴-赫意象》（1964/1973） B小調第二管弦組曲，BWV1067 Concerto in D for 2 Violins, RV512 (Adapted for Flute & Violin) Andante for Flute & Orchestra in C, K315 (285e) Symphony No 6 in D, Hob I:6, “Le Matin” Collage On B-A-C-H (1964/1973) Orchestral Suite No 2 in B minor, BWV1067
門票：城市售票網 Tickets at URBTIX 信用卡購票 Credit Card Booking: 2111 5999 | www.URBTIX.hk 門票查詢 Ticketing Enquiries: 3761 6661 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
柴可夫斯基名曲知多少 Know your FAVOURITE tunes...by Tchaikovsky! 桂冠音樂總監/指揮/主持 Music Director Emeritus/Conductor/Presenter
大提琴 Cello
葉詠詩 Yip Wing-sie
張培節 Chang Pei-chieh
節目
柴可夫斯基
《睡美人》組曲，作品66a: 圓舞曲
《天鵝湖》組曲，作品20a: 第二幕場景 小天鵝之舞 那不勒斯舞曲
《胡桃夾子》組曲，作品71a: 糖梅仙子舞曲 蘆笛舞曲 俄羅斯舞曲 花之圓舞曲
《如歌的行板》 －中場休息15分鐘－
柴可夫斯基
C大調弦樂小夜曲，作品48: I II
小奏鳴曲式的小品（選段） 圓舞曲
《羅密歐與茱麗葉》幻想序曲（選段） E小調第五交響曲，作品64: II
如歌的行板，稍為自由的（選段）
B小調第六交響曲，作品74， 「悲愴」 ： I
楊嘉輝
慢板－不太快的快板（選段）
《消音狀況#22：消音的柴可夫斯基第五交響曲》(2018): IV 終曲：莊嚴的行板－活潑的快板（選段）
柴可夫斯基
E小調第五交響曲，作品64： IV 終曲：莊嚴的行板－活潑的快板
香港小交響樂團 Hong Kong Sinfonietta 問卷調查 Audience Survey
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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，將有機會獲得精美紀念品一份。 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 a limited edition gift.
Programme
Tchaikovsky
The Sleeping Beauty Suite, Op 66a: Waltz
Swan Lake Suite, Op 20a: Scene from Act II Dance of the Little Swans Neapolitan Dance
The Nutcracker Suite, Op 71a: Dance of the Sugar-Plum Fairy Dance of the Mirlitons Russian Dance Waltz of the Flowers (excerpt)
Andante Cantabile – 15-minute intermission –
Tchaikovsky
Serenade for Strings in C, Op 48: I II
Pezzo in Forma di Sonatina (excerpt) Waltz
Romeo & Juliet Fantasy Overture (excerpt) Symphony No 5 in E minor, Op 64: II
Andante cantabile, con alcuna licenza (excerpt)
Symphony No 6 in B minor, Op 74, “Pathétique”: I
Samson Young
Adagio – Allegro non troppo (excerpt)
Muted Situation #22: Muted Tchaikovsky’s 5th (2018): IV Finale: Andante maestoso – Allegro vivace (excerpt)
Tchaikovsky
Symphony No 5 in E minor, Op 64: IV Finale: Andante maestoso – Allegro vivace
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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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 「培育文化新一代」，並以富創意的節目及充滿熱忱
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《Tiny Galaxy Concerts》 ，在香港別具特色的地點拍 攝，讓觀眾漫遊古典音樂小宇宙。
的演奏稱譽本地及海外樂壇。
樂團自 2006 年起舉辦「駐團藝術家」計劃，邀請
自 1999 年起，香港小交響樂團經常與國際知名音
本地不同界別的藝術家與樂團緊密合作及交流，培
樂家及藝團合作，包括阿爾斯達德、法蘭、格林高
育新一代藝術家之餘更為古典音樂創造新的可能
特、赫姆森、麥米蘭、納卡里亞科夫、彭德雷茨
性。樂團灌錄過多套唱片，收錄不少華人作曲家的
基、凱拉斯、塞伊、馬林斯基大劇院芭蕾舞團、莫
優秀作品；由DECCA發行的三輯《就是古典音樂》
斯科大劇院芭蕾舞團、英國皇家芭蕾舞團、英國國
系列，均獲白金及金唱片佳績。雙 CD《一屋寶貝
家芭蕾舞團、美國芭蕾舞劇院、紐約市芭蕾舞團、
音樂廳》於2018年由DECCA出版。
斯圖加特芭蕾舞團及翩娜．包殊烏珀塔爾舞蹈劇場
樂團經常應邀作客海外，包括：美國紐約林肯中心
等。樂團亦經常應邀與本地藝術節及藝團合作，
羅斯劇院、加拿大多個以出色音效著稱的音樂廳；
如香港藝術節、法國五月、香港芭蕾舞團及香港歌
南美洲的巴西、阿根廷及烏拉圭；在歐洲計有法國
劇院等。 2018 年舉辦第一屆香港國際指揮大賽，
的拉羅克．昂迪榮國際鋼琴音樂節和蒙頓音樂節
吸引了310位來自49個國家及地區的參賽者。
等、德國東弗里斯蘭「浪潮」音樂節、波蘭貝多芬
香港小交響樂團自 2009 年起為香港大會堂的場地
復活節音樂節、意大利的米凱朗傑利國際音樂節和
伙伴，每樂季演出逾100場次。除了傳統的管弦樂
維琴察音樂節、葡萄牙馬爾旺國際音樂節、立陶宛
章外，樂團每年均委約作曲家為樂團譜新曲，並銳
的兩個音樂節、瑞士蘇黎世、日內瓦和弗里堡；北
意與不同界別的藝術家製作嶄新的跨界節目，
京第二屆中國交響樂之春（國家大劇院）、中國上
於2020年更躍進大銀幕，推出音樂電影《Back On
海國際藝術節（世博會「香港活動周」閉幕節
Stage》及《Back On Stage II (Quarantined!)》，
目）、韓國統營國際音樂節、新加坡、台灣、日本
大獲好評並數度加場。樂團深明培育下一代的重要
東京、金澤、長野、新潟和郡山等，並五度獲邀參
性，針對不同年齡的觀眾，舉辦多套別樹一格的普
與東京《
及音樂會，包括《寶寶愛音樂》、《幼兒愛音樂》、
樂團2002年至2020年由著名指揮葉詠詩擔任音樂
《古典音樂速成》、《古典音樂知多少》和《我個名
總監，期間致力推動本地古典音樂發展，拉近音樂
叫麥兜兜．古典音樂小計劃》等節目，又經常在音
與普羅大眾的距離。作為樂團的桂冠音樂總監，她
樂廳以外的場地舉行室樂及跨界音樂會，大大拓展
將會在樂團委任新總監前，與首席客席指揮柏鵬一
古典音樂觀眾的層面。近期推出的網上室樂系列
起負責樂團藝術發展事宜。
》音樂祭演出。
One of Hong Kong’s flagship orchestras, Hong Kong Sinfonietta has achieved significant local and international recognition for its passionate performances and innovative programming which have brought music closer to the community. Since 1999, Hong Kong Sinfonietta has collaborated with an illustrious array of international musicians and groups, including in recent years Nicolas Altstaedt, Vilde Frang, Ilya Gringolts, Martin Helmchen, James MacMillan, Sergei Nakariakov, Krzysztof Penderecki, JeanGuihen Queyras, Fazıl Say, Mariinsky Ballet, Bolshoi Ballet, The Royal Ballet, English National Ballet, American Ballet Theatre, New York City Ballet, Stuttgart Ballet and Tanztheater Wuppertal Pina Bausch. A regular participant at all the major festivals in Hong Kong including the Hong Kong Arts Festival and Le French May, the orchestra 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. As an avid believer of keeping music alive and contemporary, Hong Kong Sinfonietta – the Venue Partner of the Hong Kong City Hall since 2009 – performs year-round with over 100 performances a season, presenting not only standard orchestral repertoire but also newly commissioned works, as well as specially-designed 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. The orchestra also frequently ventures into crossover initiatives, recently receiving wide acclaim for its groundbreaking concert films Back On Stage and Back On Stage II (Quarantined!) which landed in the cinemas and on other popular platforms. The orchestra also continues to break down barriers between music and audience with free chamber concerts held regularly at Hong Kong City Hall and beyond, recently presenting the Tiny Galaxy Concerts online series featuring performances recorded at unconventional and fascinating locations of Hong Kong.
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. In 2018, The Passage Beyond in Concert by Leon Ko, was released on DECCA. 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 prestigious festivals in France including Festival International de Piano La Roque d’Anthéron and Festival de Musique Menton, in Germany at Gezeitenkonzerte Ostfriesland, at Beethoven Easter Festival in Poland, in Switzerland at Tonhalle Zürich, Geneva Victoria Hall and Fribourg, at festivals in Italy including the Michelangeli Festival, in Portugal at the Marvão International Music Festival, and in Lithuania; in China at China Shanghai International Arts Festival (Expo 2010), in Beijing at the National Centre for the Performing Arts; in Japan at Tokyo Opera City, La Folle Journée in Tokyo and Niigata, Nagano, Kanazawa and Koriyama; 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. Having taken on the new role of Music Director Emeritus since May 2020, she and Principal Guest Conductor Christoph Poppen are 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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桂冠音樂總監/指揮 Music Director Emeritus/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
年曾指揮的歌劇包括香港小交響樂團伴奏的《詩人
出任香港小交響樂團音樂總監， 2020 年 4 月底卸
李白》、香港藝術節兒童歌劇《愛麗絲夢遊仙境》
任，轉任桂冠音樂總監。
及台灣愛樂的《畫魂》。
葉詠詩在1985年贏得法國貝桑松第 35屆國際青年
葉詠詩繼 2004 年帶領香港小交響樂團代表中國參
指揮大賽冠軍及「金豎琴」獎，並在 1988 年獲第
加「中國在法國」文化年的成功演出後，經常獲邀
八屆東京國際指揮比賽獎項。她曾先後出任香港大
赴世界各地演出，當中包括美國、加拿大、巴西、
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、
王鼎昌傑出客座教授、廣州交響樂團的首席指揮和
意大利、葡萄牙、日本、韓國和立陶宛的音樂節。
音樂總監及香港管弦樂團的駐團指揮。
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生於廣州，香港長大的葉詠詩，憑香港皇家賽馬會
葉詠詩經常獲邀擔任世界各地樂團的客席指揮，曾
音樂基金獎學金遠赴倫敦皇家音樂學院攻讀；後於
合作的包括中國中央樂團、中國國家交響樂團、上
美國印第安納大學取得小提琴及指揮碩士學位。
海交響樂團、首爾愛樂樂團、大阪管弦樂團、新日
1986和1992年夏季，她分別獲得哥士域斯基獎學
本愛樂交響樂團、札幌、讀賣、台灣、布里斯本、
金及小澤征爾獎學金前往鄧肯活音樂中心研習指
墨爾本、昆士蘭等交響樂團及新西蘭的奧克蘭愛樂
揮。指導過她的指揮大師包括狄瑪爾、伯恩斯坦、
樂團等。在歐洲，她曾與法國圖盧茲國家樂團、貝
小澤征爾、米亞及艾德敦。葉詠詩於 2007 年獲法
桑松室樂團、波蘭華沙愛樂樂團、西班牙特納里夫
國「藝術及文學騎士勳章」，2010年獲英國皇家音
島交響樂團、捷克科希策省樂團合作演出。此外，
樂學院頒授院士榮銜（FRCM）， 2013 年獲香港各
她亦曾率領廣州交響樂團於國際知名的維也納音樂
界婦女聯合協進會頒發「香港六藝卓越女性」獎及
協會會堂（黃金大廳）演出及參與北京國際音樂
由香港政府授勳銅紫荊星章。 2015 年，她獲法國
節。葉詠詩曾與多位國際知名的獨奏家合作，包括
政府頒發「國家榮譽騎士勳章」，表揚她在音樂界
杜美、傅聰、明茨、普爾曼、穆特及蘇嘉文等；近
的傑出成就。
A highly respected and influential figure in Asia’s orchestral music scene, Yip Wing-sie shifted from being the Music Director of Hong Kong Sinfonietta – a position which she had held since 2002 – to Music Director Emeritus in May 2020. Other positions she had previously held include Principal Conductor and later Music Director of Guangzhou Symphony Orchestra and Resident Conductor of Hong Kong Philharmonic Orchestra. Winner of the First Prize as well as “Lyre d’Or” in the 35th Concours International de Jeunes Chefs d’Orchestre de Besançon, France in 1985 and a prizewinner in the 8th Tokyo International Conducting Competition in 1988, Yip is in great demand as a guest conductor in Asia. Orchestras she has conducted include the Central Philharmonic Orchestra of China, China National Symphony Orchestra, Shanghai Symphony Orchestra, Seoul Philharmonic, Osaka Philharmonic, New Japan Philharmonic, Tokyo Mozart Players, the 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 Pinchas Zukerman. Operas she has conducted include Guo Wen-jin’s Poet Li Bai and the world premières of Pierangelo Valtinoni’s opera for children Alice in Wonderland, and La Peintre with Taiwan Philharmonic.
As Music Director of Hong Kong Sinfonietta, Yip has taken the orchestra on tour in recent years to France, Germany, Switzerland, Italy, Poland, Portugal, Lithuania, Canada, the USA, Japan, Korea, Beijing, Shanghai, Taiwan, and in South America in Argentina, Brazil and Uruguay. Born in Guangzhou and brought up in Hong Kong, Yip graduated from the Royal College of Music in London and the Indiana University at Bloomington, USA, where she obtained her Master’s Degree in violin performance and conducting. As the winner of the Koussevitsky Scholarship and the Seiji Ozawa Fellowship Award, Yip also attended the conducting seminar and fellowship programmes at the Tanglewood Music Center. Her mentors included great maestros such as Norman Del Mar, Leonard Bernstein, Seiji Ozawa, Gustav Meier and David Atherton. 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).
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大提琴 Cello
張培節 Chang Pei-chieh
© YVONNE CHAN
Currently Principal Cello of Hong Kong Sinfonietta, Chang Pei-chieh was born in Kaohsiung, Taiwan. She graduated from the National Taiwan Normal University and holds a Master’s Degree in cello performance from the New England Conservatory of Music. She has also played in the masterclasses of Anssi Karttunen, Lynn Harrell, Yo-Yo Ma, Jian Wang, Suren Bagratuni and Laurence Lesser. In 2007, she attended the Tanglewood Festival under full scholarship, where she performed with the Boston Symphony Orchestra.
張培節生於台灣高雄市，現為香港小交響樂團大提 琴首席。她畢業於國立台灣師範大學，後獲獎學金 赴美國新英格蘭音樂學院深造，取得大提琴演奏碩 士學位；亦曾參與卡爾圖寧、夏里奧、馬友友、王 健及巴格拉圖尼的大師班。2007年獲全額獎學金參 與鄧肯活音樂節，並參加波士頓交響樂團的演出。 張培節為多個獨奏及室樂比賽的冠軍得主，包括加 拿大/台灣弦樂四重奏大賽、國立台灣師範大學協 奏曲比賽、台灣傑出年輕音樂家協奏曲比賽及國立 台灣藝術大學音樂比賽等。張培節並多次以獨奏家 身份與國立台灣師範大學交響樂團、高雄市交響樂 團及香港小交響樂團演出。她曾代表台灣在紐約林 肯中心演奏，其充滿生命力與溫暖的琴聲獲得高度 評價。 2005 年她與幾位音樂家組織台灣第一個大提琴四 重奏「Cello4」，首次公演的現場錄音及後發行成 唱片，獲頒台灣第 17 屆金曲獎傳統暨藝術類最佳 演奏獎。「Cello4」至力推廣大提琴重奏音樂，除 了定期演出之外，該團已發行三張專輯。 張培節的樂團演奏經驗豐富，曾與台北世紀交響樂 團、台北市立交響樂團、香港愛樂、美國新世界交 響樂團、波士頓愛樂、波士頓交響樂團演出。張培 節是一個多樣且活躍的音樂家，曲目涵蓋巴羅克至 現代作品，表演遍及歐、美及亞洲各地。 8
Chang was the winner of many competitions including the Canada-Taiwan String Quartet Competition, National Taiwan Normal University Concerto Competition, Taiwan Outstanding Youth Musician Series for Concerto and Taiwan Academy of Arts Music Competition. She has featured as a soloist with the National Taiwan Normal University Symphony Orchestra, Kaohsiung Symphony Orchestra and Hong Kong Sinfonietta. As a participant of the “2002 Young Voice from Taiwan” programme, she represented Taiwan in a concert at Lincoln Center’s Alice Tully Hall, winning praises for her energetic and vibrant performance. Chang was a founding member of “Cello4” – the first cello quartet in Taiwan, and the CD of its début concert won a Golden Melody Award. The group has so far released three CD albums. Chang has performed with many orchestras around the world, such as New World Symphony, Boston Philharmonic, Boston Symphony Orchestra, Taipei Century Symphony Orchestra and Taipei Symphony Orchestra. In 2007, she played with the Hong Kong Philharmonic under its Orchestral Fellowship Scheme. Chang’s versatility has been showcased in her solo performances with Hong Kong Sinfonietta and in chamber concerts, playing a wide range of works from Baroque to contemporary.
藝術家 Artist / 駐團藝術家HKS Artist Associate 2008/2009
楊嘉輝 Samson Young Born in 1979 in Hong Kong, multi-disciplinary artist
Samson
Young
works
in
sound,
performance, video, and installation. He graduated with a PhD in Music Composition from Princeton University in 2013. In 2017, he represented Hong Kong at the 57th Venice Biennale. Other solo projects include De Appel, Amsterdam; Kunsthalle Düsseldorf; Talbot Rice Gallery, Edinburgh; Smart Museum of Art, Chicago; Centre for Contemporary Chinese Art, © FRITZ BECK
Manchester; M+ Pavilion, Hong Kong; Mori Art
跨媒介藝術家楊嘉輝於 1979 年在香港出生，從事 聲音、演出、錄像和裝置等藝術創作。 2013 年於 普林斯頓大學取得作曲博士學位。2008-2009年間 出任香港小交響樂團駐團藝術家。 2017 年代表香 港參與第 57 屆威尼斯雙年展。他曾於不同的世界 著名場地舉辦個人展覽，包括荷蘭阿姆斯特丹蘋果 藝術畫廊、德國杜塞爾多夫美術館、英國愛丁堡塔 爾伯特萊斯畫廊、美國芝加哥斯馬特美術館、英國 曼徹斯特華人當代藝術中心、香港 M+博物館、日 本東京森美術館、京都建仁寺兩足院、澳洲墨爾砵 蒙納許大學美術館等。聯展舉辦場地包括紐約古根
Museum, Tokyo; Ryosoku-in at Kenninji Temple, Kyoto; and Monash University Museum of Art, Melbourne, among others. Selected group exhibitions include Solomon R Guggenheim Museum, New York; Gropius Bau, Berlin; Performa 19, New York; Biennale of Sydney; Shanghai Biennale; National Museum of Art, Osaka; National Museum of Modern and Contemporary Art, Seoul; Ars Electronica Center, Linz; and documenta 14 Radio, among others. He was named Artist Associate by Hong Kong Sinfonietta in 2008-2009, and in 2020, he was awarded the inaugural Uli Sigg Prize.
漢美術館、柏林格羅皮烏斯博物館、紐約Performa 19 雙年展、悉尼雙年展、上海雙年展、大阪國立 國際美術館、首爾國立現代美術館、林茲電子藝術 中心、德國第 14 屆卡塞爾文獻展電台廣播項目 等。2020年楊嘉輝奪得首屆希克獎。
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節目介紹 柴可夫斯基（1840–1893） 啊，柴可夫斯基！世上最著名的作曲家之一， 比起一些靠少數名曲聞名於世的作曲家， 柴可夫斯基的眾多作品都膾炙人口，例如三 部知名的芭蕾舞音樂（稍後我們就會聽到）、 史詩式交響曲（六部有編號的，和一部根據 拜倫的詩篇《曼弗雷德》而寫的標題音樂）， 耳熟能詳的協奏曲 — 尤其是小提琴和第一鋼 琴協奏曲，又或許是他的歌劇《尤金．奧涅 金》（Eugene Onegin），不用說，還有著名 的、獨立成篇的序曲如《羅密歐與茱麗葉》 和《1812》。 為甚麼他那麼受歡迎呢？因為柴可夫斯基總 是能夠寫出優美的旋律。事實上，儘管他也 要努力才能寫出好旋律，他似乎寫不出差劣 的調子。而他也醉心於舞台藝術，包括芭蕾 舞和歌劇。
非常芭蕾！
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名芭蕾舞劇最常見的版本，其音樂的次序是 在作曲家去世後重新編排，並非其原意。今 晚演奏的段落由第二幕開始，故事描述齊格 飛王子在黃昏出外打獵的時候，看到一群天 鵝變成了美女。他和天鵝公主奧杰塔相戀， 奧杰塔告訴他，原來她們都受了她的後母和 邪惡的羅特巴爾德的惡咒，白天會變成天 鵝，晚上才回復人身。之後悲劇接踵而來， 但我們先和齊格飛一起，窺探天鵝初次回復 人身的情形。 第二幕開場，著名的「天鵝舞」一曲首度登 場。描寫天鵝的旋律首先由雙簧管奏出，豎 琴和弦樂伴奏。接著強力的樂隊齊奏把旋律 接過，再漸漸減弱。劇情描述在黃昏的山 上，王子在泛起粼粼波光的湖上看到了那些 天鵝。之後的場景有一系列的「天鵝舞」，我 們會聽到第四段，一般被稱為「小天鵝之 舞」，開頭由唧唧的巴松管和雙簧管奏出升 F 小調著名的主題，跟著由弦樂接過，然後兩 組樂器再互相交替。
他的第一部芭蕾舞音樂是《天鵝湖》，但我們 最後的選段來自第三幕，王子在宮庭正舉行 先從他第二部芭蕾舞音樂中最著名的選段開 一場舞會，他理論上要從六位公主中選出他 始，那就是《睡美人》中的「圓舞曲」。《睡 的新娘。但羅特巴爾德卻臨時要黑天鵝奧吉 美人》在 1890 年 1 月 15 日於聖彼得堡的皇家 莉亞假扮奧杰塔，因此多了一位。在第四幕 劇院首演，由佩蒂巴（Marius Petipa）編舞， 悲劇發生前，舞會跳出了五段民俗舞，當中 劇院總監弗謝沃洛吉斯基（Ivan Vsevolozhsky） 包括那不勒斯舞，由短號的獨奏帶領，配上 設計服裝，故事根據佩羅的童話故事《睡美 吱吱的管樂，舞曲分為兩部，最後尾聲以急 人》改編，描述奧羅拉公主被針刺了姆指一 板終結。 下，中了咒語後，在森林中沉睡了 100 年。 柴可夫斯基最後一部芭蕾舞作品《胡桃夾 最後幸得王子拯救。我們選取的段落來自舞 子 》， 與 他 的 最 後 一 部 歌 劇 《 約 蘭 達 》 劇開始不久，讓奧羅拉與追求者會面的舞會 （Iolanta）一起在1892年 12 月 18 日於著名的 場景。那是一首熱情的圓舞曲，有迴旋的引 聖彼得堡馬林斯基劇院（Mariinsky Theatre） 子和輝煌的銅管樂插段，引起了人們許多期 首演。《胡桃夾子》是聖誕節的特備節目， 盼。一下突如其來的靜止後，木管展開了咯 背景也設於聖誕節。它根據霍夫曼（E T A 咯的節奏，讓弦樂奏起了史上最著名的圓舞 Hoffmann）的故事改編，述說士兵形狀的胡 曲旋律之一。 桃夾子在晚上活起來，為了拯救女孩克拉娜 1877年3月4日，《天鵝湖》在莫斯科首演， （Clara）和老鼠兵團作戰，並把她帶到魔術王 但觀眾反應不佳。而如今這套極受歡迎的著 �，在那�他們受到歡迎，觀�了一系列特
色舞蹈。柴可夫斯基後來把這些舞蹈音樂編 成組曲，它們甚至比芭蕾舞版本還要著名。 我們聽四個選段，由「糖梅仙子舞曲」開始 （雙人舞的下半部，先由奧爾傑特王子跳出塔 蘭泰拉舞）。此曲有一段著名的鋼片琴音樂， 柴可夫斯基在巴黎發現了這種樂器，但他希 望將此事保密，已求取得先聲奪人的效果。 之後的「蘆笛舞曲」柔情似水，重複採用小 號樂句的中段較為嚴肅。接著是具有科薩克 粗獷風格的「俄羅斯舞曲」，以傳統的「特里 巴克」（Trepak）舞曲為藍本。結束組曲的是 抒情的「花之圓舞曲」，由華麗的和弦與豎琴 華采段帶出，越攀越高，然後又越降越低， 最後在嘎嚓嘎嚓的伴奏下，圓號柔和地奏起 了圓舞曲的主題。 中場休息前我們介紹一位獨奏家出場，同時 也獻上今晚兩首柴可夫斯基室樂作品的第一 首。《如歌的行板》其實取自柴可夫斯基第 一弦樂四重奏的慢樂章，他親自把它改編給 大提琴和弦樂。那是 1888 年他為大提琴家布 蘭度科夫（Anatoly Brandukov）撰寫的三首 作品中的第一首。四重奏於 1871 年 3 月 28 日 在莫斯科舉行的一場柴可夫斯基自己安排的 作品音樂會中首演。這是俄羅斯其中一首備 受注目的早期弦樂四重奏，獻給他的朋友和 植物學教授拉欽斯基（Sergei Alexandrovich Rachinsky）。由於大受歡迎，慢樂章很快被改 編給獨奏樂器，首先是奧爾（Leopold Auer） 的小提琴和鋼琴版本，其他版本還包括柴可 夫斯基自己的大提琴和弦樂版本。 1876年12月有一場這首四重奏的演奏會，柴 可夫斯基憶述道：「當坐在我身旁的托爾斯 泰，聽著我的第一四重奏的行板流下眼淚 時，我一生或許都未受過這樣的恭維，而身 為作曲家我也從未有過如此的自豪感。」 （David Brown, Tchaikovsky: To the Crisis 1840 – 1878 Vol 1; Victor Gollancz, 1978年，頁216） 在《如歌的行板》中，柴可夫斯基採用了民
謠「坐在長椅上的凡尼亞」，是他在 1869 年 夏天於卡緬卡（Kamenka ，他的家族在該處 有一座莊園）採風時收集的一首民謠。在改 編版中，醇和的大提琴很自然地接過了原來 四重奏由四個樂手重複拉奏的大部份獨奏線 條，優美而迷人地展開。 柴可夫斯基在 1880 年只花了兩個星期，便創 作了 C 大調弦樂小夜曲（同年他又撰寫了 《1812 序曲》、《意大利隨想曲》及《羅密歐 與茱麗葉》）。關於此曲，他在寫信給贊助人 梅克夫人（Nadezhda von Meck）時說道： 「《小夜曲》是為了回應內心的一股衝動而作 的。它從感覺那��得��，而�，我希 望，有真正的價值。像往常一樣，在撰寫那 些最美妙的樂段時我都想起了你，而想到它 們將會讓你產生和我一樣的感覺時，我便感 到相當欣慰。」在 12 月 3 日造訪莫斯科音樂 學院時，柴可夫斯基出乎意料地聽到了學院 樂隊即興為他演繹此曲。此曲要到1881年10 月30日才在聖彼得堡舉行正式的首演。 柴可夫斯基寫道，小夜曲「可視為對我所傾 慕的莫扎特的致敬，它是對其風格的刻意模 仿，如果人們覺得我很體面地達成了自己的 理想，我會認為自己很幸運。」我們聽的是 緩慢的引子：這是純粹的具有俄國抒情性的 柴可夫斯基。弦樂融為一體，除了上行的 16 分音符，濃鬱的和弦消消地逝去。接下來的 圓舞曲情調舒緩、旋律優美，與維也納的圓 舞曲大王所作的不遑多讓。 柴可夫斯基的《羅密歐與茱麗葉》幻想序曲可 追溯至 1869 年，作曲家巴拉基列夫（Mily Balakirev）不斷游說柴可夫斯基用這部莎士比 亞名著來創作一套交響樂作品。柴可夫斯基立 定決心創作後，六星期就完成了這套作品，但 巴拉基列夫卻不太滿意，1870年3月16日的首 演也算不上成功。同年夏天，柴可夫斯基作了 修改，依然把作品題獻給巴拉基列夫。可是約 10年之後他又將之重新改寫。這最終版本便是 現在廣受喜愛及歡迎的版本。
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雖然並不明顯跟隨莎士比亞這部經典悲劇的 故事脈絡，柴可夫斯基仍喚起了劇中的緊張 情緒。我們聽的是序曲的中間選段，它涵蓋 了故事最重要的元素：敵對的家族由不安的B 小調「嚴謹的快板」所代表，由帶刺的切分 和弦呈現；然後是降 D 大調著名的愛情主 題，獨奏的英國管和中提琴由富有節奏感的 圓號所支持，而華麗的調子隨後由長笛獨奏 接過，仍由圓號伴奏。
兒籌款的音樂會上，也是由作曲家親自指 揮。翌日，柴可夫斯基準備把總譜拿給出版 商，臨出門時問他的弟弟穆迪斯特（Modest） 有沒有更好的標題。他說就用「悲愴」 （Pathétique）如何，柴可夫斯基便將它加到 首頁上面。
接下來演奏是交響曲，其中我們選來柴可夫 斯基最後兩部作品，分別於1888年及1893年 創作。當時，他開始從事指揮的工作，或許 因此激發他在第四交響曲面世的 10 年後，撰 寫其第五交響曲。他寫信給梅克夫人說： 「現在交響曲已差不多完成了，我可以說，謝 天謝地，它並不比另一首（第四交響曲） 差。」第五交響曲在 1888 年 11 月 5 日由柴可 夫斯基親自在聖彼得堡指揮首演。
的力量，長笛與小提琴重現傷感的主題，在 樂章的結尾，銅管的合奏在下行的撥弦音階 襯托下，像葬禮的行列一樣漸行漸遠。
我們會聽到第二樂章的開首部份「如歌的行 板，稍為自由的」— 低音的弦樂和輕細而亮 麗的和弦，接下來是 D 大調圓號堂皇而蜿蜒 的獨奏。然後是單簧管的應對，再轉入雙簧 管稍快的段落。其後的單簧管和巴松管的樂 音顯得較為強而有力。 在 1893 年創作第六交響曲期間，柴可夫斯基 在寫給姪兒的信中談到這首作品，講述它可 能會有一個標題，然而這個「標題對所有人 來說將會是一個謎 — 讓他們去猜吧，這首交 響曲就只叫做『有標題的第六交響曲』。它充 滿了主觀的情感，而且樂音每每在我內心深 處泛起，令我低泣不已。我在家中聚精會神 地把它寫下來，它的情感是如此的熾烈，我 的進度也相當快，不用四天時間就把第一樂 章完成了，其他樂章的大綱也已在我腦海之 中形成。」 這首交響曲的首演在 1893 年 10 月 28 日舉 行，是在聖彼得堡一場替藝術家的遺孀和孤 12
這確是一首與絕望和挫敗有關的交響曲， 第一樂章開頭與結尾的調子都甚為深沉。 我們聽結尾部份，主體快板充滿想望和情感
我們以柴可夫斯基第五交響曲的終樂章兩個 不同的版本來結束這場音樂會。首先會聽正 常的管弦樂版本片段，然後是楊嘉輝（1979 年生）對該篇作品的重新想像，那就是他的 得獎作品《消音狀況 #22 ：消音的柴可夫斯 基第五交響曲》，當中你會看到樂手和指揮演 繹了所有的動作，但卻聽不到「音樂的前 景」。據作曲家說，「音樂的前景」換言之就 是音調的部分。如果你熟悉這首作品，憑指 揮和樂手的動作，你可能會知道演奏到那 �。但��我們將����「消音現場」， 「聽」和「看」主旋律以外的其他聲部如何突 現，然後在結尾部份我們再「遠觀」樂隊熾 熱的色彩。在「消音的時刻」，你仍然會聽到 ���樣的聲音 — �管和銅管樂���的� 啪聲和消音弦樂的嗖嗖聲，當然還有樂譜的 翻頁聲。或許，你甚至可以重新看見音樂家 們的身體。
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
Programme Notes Pyotr Ilyich Tchaikovsky (1840–1893) Ah, Tchaikovsky! One of the world’s most famous composers – and one of only a handful who are known for more than just a select few works. You may know him from his three wonderful ballet scores (we will hear from all three shortly), his epic symphonies (there are six numbered ones and a programmatic one called Manfred after Lord Byron’s poem); his ever-popular concertos – particularly for violin and the first for piano; or his opera Eugene Onegin. Let alone such famous stand-alone overtures, like Romeo and Juliet and 1812. Why is he so popular? Well, Tchaikovsky was a man who could write good melodies. And he was mad about the theatre, both ballet and opera.
Balletmania! His first ballet was Swan Lake, but we will start with perhaps the most famous excerpt from his middle ballet, the “Waltz” from The Sleeping Beauty. Premiered at St Petersburg’s Imperial Theatre on 15 January 1890, with choreography by Marius Petipa and costumes by the Theatre’s director Ivan Vsevolozhsky, it follows Charles Perrault’s fairy tale about Princess Aurora who is poisoned by a prick to her thumb and put to sleep for 100 years in the centre of an impenetrable forest, but then thankfully is rescued by a prince. Our excerpt comes from the ball scene near the beginning where Aurora meets prospective suitors: a fullblooded Waltz, with its swirling introduction and brilliant brass interjections whipping up expectations. Suddenly there is silence
before winds start a clucking rhythm for the strings to start one of the most famous waltzes ever written… Tchaikovsky’s first ballet, Swan Lake, was not a success when it was premiered in Moscow on 4 March 1877, and the famous and now ever-popular version we see most often today was not as Tchaikovsky intended, with the music reordered after his death. Our excerpts tonight start in the second act, which is set on Swan Lake, as Prince Siegfried, while out hunting at dusk, stumbles a flock of swans turning into maidens. Odette, the swan princess with whom he falls in love, tells him that her evil stepmother and magician Rothbart have put a spell on her and her companions, meaning that they can only resume human form during the night. Tragedy ensues, but we join Siegfried as he first spies the swans in their original human form for the first time. The opening music from Act II introduces the famous swan melody on the oboe, over harp and string accompaniment, before being taken by the whole orchestra in fortissimo, depicting the mountain landscape at dusk, with the Prince watching the swans on the shimmering lake, then dying away. From the ensuing extended set of dances for the swans, we hear the fourth, commonly called the “Dance of the Little Swans”, which opens on chirpy bassoons and oboes in F-sharp minor, with the strings taking over the famous theme, passing it to and fro. Our final excerpt is from Act III, at the castle ball where Siegfried is meant to choose from one of six princesses to be his bride. A seventh is announced – Odile, who Rothbart has disguised as Odette. Before the final 13
tragedy of the fourth act, the ball continues with a sequence of five national dances, the penultimate one of which is the “Neapolitan Dance”. Led by the solo trumpet, later with chirruping wind interjections, the dance is in two parts, the final one ever more frenetic. Tchaikovsky’s last foray into ballet was premiered as part of a double bill with his last opera, Iolanta, on 18 December 1892 at St Petersburg’s famous Mariinsky Theatre. The Nutcracker – a favourite treat around Christmas time (when it is set) – is based on E T A Hoffmann’s tale about a toy nutcracker in the shape of a soldier which comes alive at night to fight the army of mice and rescue the girl, Clara, and whisks her off to a magic kingdom, where they are entertained by a series of “character” dances. These became even more famous beyond the ballet stage in the suite that Tchaikovsky extracted from the score. We hear four extracts, starting with “Dance of the Sugar-Plum Fairy” (the second half of a pas de deux, prefaced by a tarantella danced by Prince Orgeat). The sugar-plum fairy is evoked, famously, by the tinkling celesta which Tchaikovsky had discovered in Paris and wanted it to be kept a secret to achieve maximum effect for the first audiences. The “Dance of the Mirlitons” (reed pipes), as lyrical as gently moving water, has a sterner middle section using repeated trumpet figures. Next comes the burly Cossack-ness of the “Russian Dance”, under the traditional name of Trepak, before an excerpt from the piece Tchaikovsky chose to close his suite, the effortlessly lyrical “Waltz of the Flowers”, heralded by gorgeous chords and a harp cadenza, rising higher and higher then falling again and again, before 14
the horns gently intone the waltz theme over chugging accompaniment. To end the first half we introduce a soloist, but also offer the first of two nods to Tchaikovsky’s chamber music, because Andante Cantabile is Tchaikovsky’s own arrangement for cello and strings of the slow movement of his First String Quartet; one of three he made in 1888 for cellist Anatoly Brandukov. The Quartet – premiered at an allTchaikovsky concert he himself arranged in Moscow on 28 March 1871 – was one of the first Russian string quartets of any note, dedicated to his friend and professor of botany, Sergei Alexandrovich Rachinsky. Such was its success that the slow movement rapidly became transcribed for solo instruments, firstly Leopold Auer’s violin and piano version, then others, including Tchaikovsky’s own for cello and strings. At a performance of the quartet in December 1876 Tchaikovsky remembered, “perhaps I was never so flattered in my life, nor was my pride as a composer so stirred as when Leo Tolstoy, sitting beside me listening to the Andante of my First Quartet, dissolved in tears” (David Brown, Tchaikovsky: To the Crisis 1840 – 1878 Vol 1; Victor Gollancz, 1978, p216). Tchaikovsky used a folk song, “Sidel Vanya”, as the basis for Andante Cantabile. He had collected it at Kamenka (where his family had an estate) during the summer of 1869. Not surprisingly, in this arrangement the mellow cello takes the lion’s share of the original quartet’s solo lines shared between the four players in the slow repetitions of the theme, unfurling both gracefully and beguilingly. Also close to Tchaikovsky’s chamber music is his Serenade for Strings in C, Op 48,
composed, very quickly in just a couple of weeks, in 1880 (the year of his 1812 Overture, Capriccio Italien and the final version of Romeo and Juliet). To his benefactress, Nadezhda von Meck, Tchaikovsky wrote “The Serenade was composed in response to an inner drive. It is warmed by feeling and is – I hope – of real worth. As always, I was thinking of you while working on the passages that turned out best, and it delights me to think that they will awaken in you the same feelings that they did in me”. He was surprised by an impromptu performance of the work by Moscow Conservatoire’s student orchestra on 3 December that year, although its official première only followed, in St Petersburg, on 30 October 1881. Tchaikovsky wrote that the Serenade “can be seen as a tribute to my admiration for Mozart. It is an intentional imitation of his style, and I will consider myself fortunate if it is thought that I may have made a fairly decent approach to my ideal.” We hear the slow introduction: pure Tchaikovsky in its Russian lyricism, the strings acting as one, apart from the semiquaver rising figures, with the lush chords dying quietly away. The ensuing “Waltz” is as soothing and melodious as anything the Waltz Kings of Vienna could come up with. Tchaikovsky’s Romeo and Juliet Fantasy Overture originally dates from 1869, when he was given the idea by Mily Balakirev, who kept pestering him about it. When he got down to it, Tchaikovsky completed it in six weeks, but Balakirev was not best pleased and the première on 16 March 1870 was not a major success. That summer Tchaikovsky revised the score, dedicating it to Balakirev, but also revised a decade later, with the final version we know and love dating from 1880.
While not explicitly following Shakespeare’s timeless tale of the star-crossed lovers, Tchaikovsky thrillingly evokes this drama. We hear an excerpt from the middle of the overture, encapsulating the extremes of the story: the feuding families in the thrusting Allegro giusto in B minor (Balakirev’s favourite key), complete with syncopated stabbing chords; and then the famous D-flat love theme, where the solo English horn and violas are accompanied by pulsing horn calls, with the gorgeous tune later taken by the solo flute, still underpinned by the horns. So, to the symphonies, with excerpts from his last two, dating from 1888 and 1893. By now he had also taken up conducting which might have spurred him on in writing his Fifth Symphony after a ten-year gap since his Fourth. He wrote to von Meck, “Now that the symphony is about to be finished I may say that, thanks be to God, it is not inferior to the other one [i.e. No 4].” Tchaikovsky himself conducted the première in St Petersburg on 5 November 1888. We hear the opening of second movement – Andante cantabile, con alcuna licenza – where low strings, with sonorous slow piano chords, gently prepare the way for a gorgeous, meandering D major horn solo, later counterbalanced first by the clarinet and then, in a slightly faster section, by the oboe, before mournful phrases for clarinet and bassoon. In 1893 Tchaikovsky wrote to his nephew about his Sixth Symphony and how it would have a programme “but a programme of a kind that will remain an enigma to all – let them guess, but the symphony will just be called ‘Programme Symphony No 6’. It is permeated with subjective feeling and, quite 15
often while composing it in my mind, I wept copiously. At home I settled down to the sketches, and the work went with such ardour and at such speed that in less than four days I had completely finished the first movement and clearly outlined the remaining movements in my head.”
colour. During the “muted moments” you will be able to hear other sounds – woodwind and brass instruments’ keys clacking and whooshing of muted strings, let alone the page turns. You may even start to see the bodies of the musicians.
Again Tchaikovsky conducted the première, at a St Petersburg benefit concert for artists’ widows and orphans, on 28 October 1893. The following day, packing the score for his publisher, Tchaikovsky asked his brother, Modest, for suggestions for a better title for the work. He answered “Pathétique”, which Tchaikovsky added to the title page. Certainly, from the outset it is a symphony of despair and defeat, the first movement opening and closing in sombre mood. We hear the final section, the vehemence of the central Allegro spent, with flutes and violins reintroducing the pathos of the opening, before a brass chorale. over a descending pizzicato scale, like a funeral cortège, brings the movement to a hushed, uncertain close. To end, we have two versions of part of the Finale to Tchaikovsky’s Fifth Symphony. We will hear it in full orchestral guise, but also as re-imagined by Samson Young (born 1979), in his award-winning piece Muted Situation #22: Muted Tchaikovsky’s 5th, where you see the orchestra and conductor going through all the motions but do not hear the “foreground”, according to the artist, or in other words, the pitches of the musical notes they usually create. If you know the work well you will know exactly where you are by the gestures of the conductor and players, but tonight we will zoom into the cacophony of a muted soundscape, then zoom out to end in an orchestral blaze of 16
© Nick Breckenfield, 2021 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
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
(2020-2022)
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 保��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（休假） 田口美奈子
CHIN Hing-sang (On Leave) 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
Notes 1. Guest Principal Flute 客席長笛首席 – Megan STERLING (史德琳) (with kind permission of the Hong Kong Philharmonic) 2. Guest Principal Oboe 客席雙簧管首席 – YAU Ka-kei (邱嘉祺) 3. Guest Principal Bassoon 客席巴松管首席 – LIU Tung-bo (廖冬保) 4. Freelance Musicians: Violin 小提琴：Alvin CHAN ( 陳樹泉), CHUA Vince Eliezer N. ( 蔡君賢), Flute 長笛：HUI Wing-hang Bob (許榮鏗) Mark HUI (許榮臻), LOUIE Lai-lai (雷麗麗), WEI Ning-yi (魏宁一), Oboe 雙簧管：WAN Lok-yu Cecilia (溫樂愉) WONG Chun-hong John (黃俊匡) Clarinet 單簧管：NG Lai-man Stephenie (吳麗文) Viola 中提琴：Cecilia HO (何永妍) Trumpet 小號：Danilo DELFIN (丹尼路), Vincent YIM (嚴澤宇) Cello 大提琴：Bernard CHAN (陳駿軒), Cecilia CHAN (陳希琳) Percussion 敲擊樂：Mandy LO (勞善雯) Double Bass 低音大提琴：LEE Shing-chun David (李鋮浚), Harty TAM (譚泳佳)
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施永青先生
Mr SHIH Wing-ching
鍾思源醫生（司庫）
Dr CHUNG See-yuen (Treasurer)
楊雪姬女士
Ms Serena YANG
周莉莉女士
Ms Lily CHOW
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
劉文文女士
Ms LAU Man-man Lisa
陳智文先生
Mr Stephen TAN
徐行悅醫生
Dr Michelle TSUI
黃偉雄先生
Mr Addy W H WONG
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
行政統籌 Administrative Coordinator 柯玉嬌 Noel QUAH
節目經理 Project Manager 黃紫菱 Athena WONG
行政助理 Office Administrator 楊瑞遠 YANG Jui-yuan
助理樂團經理 Assistant Orchestra Manager 黎希潼 Carvina LAI 譜務 Librarian 黃 軒 Bruce WONG
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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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 藝術行政主任 Arts Administration Officers 林海欣 Hayley LAM 馮碧琪 Betty FUNG 羅希寧 Kening LAW
© YVONNE CHAN
16.7.2021 星期五 Fri 7:30pm
17-18.7.2021 星期六及日 Sat & Sun 3pm
香港大會堂音樂廳 Hong Kong City Hall Concert Hall
巴赫的音樂變成線條與方塊，法國名畫家 筆下的塞納河變成拉威爾的音樂⋯⋯ 麥兜與您穿梭音樂與圖畫的世界， 一起聽出圖畫，看見音樂 ! From Rembrandt, Rousseau and Seurat to Mussorgsky’s Pictures at an Exhibition, Prokofiev’s Romeo & Juliet, Bach and Mahler – see how McDull and his friends hear the beauty in the pictures and see the colours in music!
粵語演出 In Cantonese 適合六歲或以上大小朋友 For ages 6+
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
(駐團藝術家 HKS Artist Associate 2011-2013)
$450 $320 $180* 部分座位視線受阻 Some seats may have restricted view*
桂冠音樂總監/指揮 Music Director Emeritus/Conductor
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
動畫製作 Animation Production
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