House Prog: Reflections on Refractions (16-17.9.2022)

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Joint Celebration Concert of Hong Kong City Hall 60th Anniversary & Hong Kong Arts Festival 50th Anniversary 香港大會堂 60 周年及香港藝術節 50 周年 聯合誌慶音樂會 HONG KONG SINFONIETTA SPECIAL COMMISSIONED CONCERT 16 & 17 SEP 2022 8pm (五 Fri & 六 Sat) 香港大會堂音樂 廳 HK City Hall Concert Hall © Leo Hon-wai Yuen
「音樂中的中流砥柱……無愧於香港的『旗艦樂團』稱號!」 《文匯報》 香港小交響樂團 香港大會堂場地伙伴(2009 年至今) Hong Kong Sinfonietta, Venue Partner of Hong Kong City Hall since 2009
2 獻辭 香港大會堂於一九六二年落成啟用,是全港首個專為普羅大眾而興建的多用途文娛中心,也是本 地文化藝術發展的奠基之石。 大會堂鑽禧紀念,標誌 着 一甲子以來政府發展文化服務的豐碩成果。大會堂啟用之初,規模有 限。六十年來耕耘不輟,播下的種子早已茁壯成長,亭亭如蓋。目前,康樂及文化事務署設有 16 個專業表演場地、 14 間博物館、 70 間固定圖書館及 12 間流動圖書館,為公眾提供多元化的 文化服務,滋養市民的精神生活。中環海旁的香港大會堂,正是如今全港文化設施的本源與起點。 自二零零九年康文署推出場地伙伴計劃以來,大會堂一直與香港小交響樂團和香港話劇團結成場 地伙伴。我們合作無間,攜手作出創新的嘗試,致力擴大觀眾層面。今晚,香港小交響樂團為慶 祝香港大會堂六十周年及香港藝術節五十周年呈獻聯合誌慶音樂會「影幻形光」,正好讓我們透 過小交的精彩演出,見證場地與藝團伙伴合作的美滿成果。 六十年來,數之不盡的精彩節目在大會堂上演,一輩又一輩的藝術家綻放光芒,一代又一代的觀 眾擊 節歎賞,在此留下珍貴的回憶。今年五月,古物事務監督根據《古物及古蹟條例》將大會堂 列為法定古蹟,肯定大會堂歷史與社會價值以及對香港文化發展的重要性。欣逢香港大會堂鑽禧 紀念,我謹向文化藝術工作者以及一直鼎力支持大會堂的市民,致以衷心謝意。展望未來,康文 署會秉持「歷久‧嘗新」的精神,與時俱進,讓市民大眾的文化生活更添繽紛。 最後,謹祝音樂會演出圓滿成功,並祝大家有一個愉快難忘的晚上 。 康樂及文化事務署署長劉明光

Inaugurated in 1962, the Hong Kong City Hall is the first multi-purpose cultural complex ever built for the community, and a cornerstone for cultural and arts development in Hong Kong.

The Diamond Jubilee of the City Hall marks the tremendous achievement of the government in cultural development. Beginning with a humble start, the City Hall delivered its cultural service on a limited scale. After six decades of strenuous efforts, this tiny seed planted has grown into a majestic tree. From there, 16 professional performing venues, 14 museums, 70 static libraries and 12 mobile libraries sprouted, providing diverse cultural services to enrich the life of the community under the Leisure and Cultural Services Department. Indeed, all cultural facilities across the territory began here at the Central waterfront where the prestigious City Hall stands. Hong Kong Sinfonietta and Hong Kong Repertory Theatre have been the venue partners of the City Hall since the Venue Partnership Scheme was launched in 2009. We have been working closely together to stimulate innovations for a wider audience base. This evening Hong Kong Sinfonietta will present Reflections on Refractions as the Joint Celebration Concert of Hong Kong City Hall 60th Anniversary and Hong Kong Arts Festival 50th Anniversary. This marvellous performance will be a testament to the fruitful collaboration between the venue and its partners.

Over the past 60 years, a myriad of brilliant programmes were presented at the City Hall. It is a place bursting with stunning performances and rapturousapplause, a place brimming with fond memories cherished by generations and generations of performers and audience. In May 2022, the Antiquities Authority declared the City Hall as a monument under the Antiquities and Monuments Ordinance, affirming its historical and social value and importance to the cultural development of Hong Kong. In celebration of the Diamond Jubilee of the Hong Kong City Hall, I would like to express my heartfelt gratitude to cultural and arts practitioners and the public for their continued support. Looking ahead, we will continue our efforts in “Refine/d Classic” and move with the times to enliven the cultural life of the community.

Last but not least, may I wish the concert a resounding success and the audience an enjoyable and unforgettable evening.

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The Hong Kong Arts Festival marks a significant milestone this year. Thank you for joining us in celebrating its 50th edition. Though the pandemic continues to present challenges and has prompted us to be extra-nimble in our response this year, the Festival’s determination to bring you some of the best in performing arts from across the world remains unabated.

The prevailing conditions made travel difficult and the HKAF once again adapted. Though the fifth wave of the pandemic forced venues to close, the Festival still managed to present an excellent world-class line-up online and will present some of the programmes it couldn’t show, on a deferred schedule later this year. The Hong Kong Arts Festival remains “Connected” – to the world and to its audiences –bringing a range of programmes, including theatre, dance, opera and music. We are convinced that great art, in whatever form, is a tonic and we hope to provide many memorable moments in this landmark year.

I would like to take this opportunity to thank all those who make the Festival possible. These include the HKSAR Government’s Leisure and Cultural Services Department, which provides an annual subvention; the Hong Kong Jockey Club Charities Trust, a long-time supporter of the HKAF; and corporate sponsors, charitable foundations and individual donors, for their generous support. Sincere thanks also to all the participating artists, who have brought such joy to Hong Kong audiences, during these times, the difficulties of the pandemic notwithstanding.

I hope you will enjoy today’s performance and many others at this year’s Festival as we enter our next 50 years.

4 今年是香港藝術節 50 周年,感謝你與我們一同 見證這重要里程碑。疫情持續帶來挑戰,促使我 們迅速應變,而藝術節仍努力不懈為觀眾帶來海 外與本地的出色表演。 國際交通早前尚未完全復甦,表演場地亦因第五 波疫情而暫時關閉,香港藝術節遂作出相應調 整,以線上形式呈獻一系列世界級精采表演,並 安排部分現場節目延期至下半年上演。今年的主 題「繫」,更是突出香港藝術節如何透過戲劇、 舞蹈、歌劇和音樂等節目,跟世界保持聯繫,同 時也跟觀眾保持聯繫。我們深信優秀的藝術,不 論以何種形式,都能療癒人心。衷心希望我們能 為你在這重要的一年,帶來許多難忘時光。 我由衷感謝香港特別行政區政府透過康樂及文化 事務署提供年度撥款,以及香港賽馬會慈善信託 基金持續並堅定地支持我們,也感謝眾多企業贊 助商、慈善基金會以至個人捐助者,對我們作 出的慷慨支持。我亦要感謝一眾富有才華的藝術 家,在種種挑戰下仍然傾力演出,在疫情期間繼 續為香港觀眾帶來啟發和歡樂。 期望今天的表演乃至今屆藝術節的其他節目,都 能讓你樂在其中。藝術節的下一個 50 年,再將 會為你帶來更多精采時刻。 查懋成 香港藝術節主席

Together with the entire Festival team, I would like to warmly welcome you to this performance at the 50th Hong Kong Arts Festival.

We have had to surmount significant challenges, not least the recent fifth wave of the pandemic to bring you this programme. But we are motivated by the idea of staying connected: to each other, to the artists who enrich our lives, and to the great works that open up the imagination to exhilarating possibilities while reminding us of our shared humanity.

I hope that you will enjoy this and many other programmes in this Festival. I am particularly excited about the possibilities that Arts x Tech offer, and hope that you will share this journey of exploration with us. Look out also for ancillary PLUS programmes and events, which are curated to connect us with major events in the city and to enrich the Festival experience.

Circumstances have forced us to adapt this year, and some in-venue performances have had to be rescheduled, giving us an extended period in the year which marks our 50th Anniversary, 30 years of Young Friends, and of course the 25th Anniversary of the establishment of the Hong Kong SAR. We are honoured that a number of signature Festival programmes have been selected for inclusion in the 25th Anniversary events.

In this and in many other ways, the Festival has been a part of the Hong Kong story over the past 50 years. We will continue in this role in the years to come, and we sincerely hope that you will continue to stay connected with us long into the future. We will endeavour to work hard to be deserving of your company.

5 歡迎閣下觀賞這場第 50 屆藝術節的演出,我連 同藝術節團隊向您致以衷心感謝。 我們不得不克服各種挑戰,特別是第五波疫情, 才得以為您帶來這齣節目。我們團隊的動力來自 「保持連繫」這份信念:包括我們之間的連繫, 以及我們與一眾藝術家的連繫。再者,我們也繼 續深信藝術作品能夠帶來想像力,並啟發我們對 人生有更深入了解。 希望這齣節目以至今屆的其他藝術節節目都能讓 你樂在其中。今屆令我特別鼓舞的是一系列與藝 術科技相關的節目,期待你與我們一同探索當中 的可能性。此外,也敬請留意我們的「加料節目」 活動,豐富大家對節目的體驗,亦令觀眾與藝術 家的連繫更緊密。 由於疫情關係,今屆部分現場演出須改期至下半 年舉行,成為藝術節 50 周年的延續篇,與迎來 30 周年的「青少年之友」同賀重要里程碑。此外, 今年亦是香港特別行政區成立 25 周年,藝術節 的部分重點節目被選入 25 周年慶祝活動,為此 我們深感榮幸。 在過去 50 年,藝術節一直是香港歷史的一部份, 見證了不少改變,並全力促進藝術發展及文化交 流。往後我們將繼續擔當這角色,衷心期望你與 我們一直攜手步向更長遠的未來。我們將竭盡所 能,繼續努力。 何嘉坤 香港藝術節行政總監
6 光影背後 Reflecting on the Refractions

When we were asked to create a programme to celebrate the three birthdays, we thought of it as a special commission. We love a good collaboration and we take a huge interest in broadening conventional perspectives. So we talked to Charles (Kwong) and Yuri (Ng), both brilliant artists whom we knew well, to see whether there was chemistry. Yuri brought with him the additional force of the City Contemporary Dance Company behind him. Dance in a concert hall. What a bonus.

In full reflective nature, we thought of how the City Hall Concert Hall, the only proper concert hall for music which has endured the wind and rain for 60 years –how this space is still functioning today, daily, with the structures from the 1960’s, in spite of all its "ailments" and inadequacies, as endearing as they may be. City Hall has recently been endowed the status of a listed “monument”. While it has been confirmed as precious and irremovable, we owe it a major check-up and overhaul – at least to upgrade the basics, so that it will still be standing tall with our favourite memories of the past 60 years.

The refractions of the sound waves in the concert hall have made it one of the best spaces in Hong Kong to perform and to listen to classical music – be it music from a smaller ensemble or a symphony orchestra. For decades, it has made performers from all over, as well as concert-goers content and satisfied. As the world grows smaller and the arts develop, more and more outside of the musical realm have been using the stage, adding to the burden of the aged structure.

If our reflections on the refractions are on the right track, we hope that the City Hall will live on as it should, providing the best space for the recreation of sound from old and new masters alike, taking on the challenges, artistic and beyond, for the next 60 years.

Venue Partner of Hong Kong City Hall (since 2009)

7 香港小交響樂團一直熱愛跟不同的創作人合作,致力擴 闊 傳統的觀賞準則 ( 角度 ) 。當我們知道要為今年香港的三個 重要周年紀念構思一個節目時,就想到要作一次別具意義 的委約。於是,我們找來兩位卓越的藝術家、與我們合作 無間的好友伍宇烈及鄺展維聚首一起,看看會產生甚麼化 學作用。其後,身為城市當代舞蹈團藝術總監的伍宇烈更 帶來舞團精英助陣,為我們在音樂廳中起舞。 回望我們 1962 年建成的香港大會堂,經歷了 60 年風吹雨 打,依然是香港島上唯一屹立不搖地運作的正式音樂演奏 場地,聲光之間為香港樂迷帶來一場場難忘的音樂會。最 近,香港大會堂更被評為法定古蹟。此舉固然證明了它的 可貴及不可取代,但同時也提醒我們要好好保護這值得珍 重的建築物,提升它的基本設施,讓它 昂 首於過去 60 年給 我們的美好回憶。 香港大會堂音樂廳的音效令它成為香港演奏及欣賞古典音 樂——不管是室樂還是管弦樂——的最佳場地之一。過去數 十年,其音效均受到遠道而來的各地藝術家及樂迷讚賞, 回味不已。然而,當代世界顯得越來越「小」而藝術發展 則越來越多元,香港大會堂音樂廳成為了更多不同藝術媒 介的舞台,因而更急需加強其設施,迎向不同藝術媒介的 要求。 我們預祝香港大會堂會在未來 60 年,一如既往地為不同年 代大師的作品提供最佳的演出空間,讓他們的音樂能在最 一流的聲效下重現,也繼續勇於面對不管是藝術上、建築 上還是其他的挑戰,繼續是代表香港的文化地標。 香港小交響樂團 香港大會堂場地伙伴( 2009 年至今)
8 桂冠音樂總監 / 指揮 Music Director Emeritus / Conductor 葉詠詩 Yip Wing-sie 小提琴 / 領奏 Violin / Director * 格德霍特 James Cuddeford 作曲家 Composer 鄺展維 Charles Kwong (駐團藝術家 HKS Artist Associate 2020-2022) 創作團隊 @CCDC Creative Team 編舞 / 舞台及服裝概念 Choreographer / Stage & Costume Concept 伍宇烈 Yuri Ng (駐團藝術家 HKS Artist Associate 2011-2013) 創作舞者 Dance Artists 黃狄文 Dominic Wong 龐智筠 Noel Pong 黃振邦 Bruce Wong 柯志輝 Felix Ke 藝術統籌 Artistic Coordinator 梁曉端 Melissa Leung 燈光設計 Lighting Designer 羅文偉 Lawmanray 技術統籌 Technical Coordinators 霍樹榮 Fok Shu-wing 王銘聰 Wong Ming-chung
9 節目 (合作夥伴:城市當代舞蹈團) 鄺展維 《 AtLasT》( 2021-2022)(世界首演) 為分散並流動的樂隊而寫 由香港小交響樂團委約 巴赫 G 大調第三勃蘭登堡協奏曲, BWV1048 * [ 快板 ]- 慢板- 快板 -中場休息 20 分鐘- 史達拉汶斯基 《火鳥》組曲 (1919 年版本) 引子- 火鳥與她的舞蹈- 火鳥變奏 公主們的環形舞 魔王之地獄舞- 搖籃曲- 終曲 Programme (in collaboration with City Contemporary Dance Company) Charles Kwong AtLasT (2021-2022) (world première) for Spatialised and Mobilised Orchestra Commissioned by Hong Kong Sinfonietta Bach Brandenburg Concerto No 3 in G, BWV1048 * [Allegro] –Adagio Allegro – 20-minute intermission –Stravinsky The Firebird Suite (1919 version) Introduction –The Firebird and Her Dance –Variation of the Firebird The Princess’ Round Dance Infernal Dance of King Kashchei –Berceuse –Finale 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. 香港小交響樂團問卷調查 Hong Kong Sinfonietta 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.
10 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的演奏稱譽本地及海外樂壇。 自 1999 年起,與香港小交響樂團合作過的國際知名音樂家及藝團包 括阿爾斯達德、法蘭、格林高特、赫姆森、麥米蘭、納卡里亞科夫、 彭德雷茨基、凱拉斯、塞伊、薛高維茨基、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。樂團亦經常應邀與香港藝術 節、法國五月、香港芭蕾舞團等合作。 樂團自 2009 年起為香港大會堂的場地伙伴,除了傳統的管弦樂章, 樂團於過去 20 年,委約本地及海外作曲家創作超過 70 首作品。樂 團並於 2006 年起舉辦「駐團藝術家」計劃,培育新一代本地藝術家 之餘更為古典音樂創造新的可能性。樂團又與不同界別的藝術家製作 了不少大獲好評的跨界節目,包括《士兵的故事》、《一屋寶貝音 樂廳》和《阿飛正轉》等。 2020 年推出音樂會電影系列《 Back On Stage 》,成為首個躍進戲院的本地樂團。 2021 年,樂團與 MOViE MOViE 聯合呈獻「 Life is Art 盛夏藝術祭」電影節,帶來音樂新看法。 而針對不同觀眾的多套普及音樂會,包括《寶寶 / 幼兒愛音樂》、 《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,以及近年推出的網上室樂系列,於深水 埗 別具 特色的旅舍拍攝的《 Tiny Galaxy Concerts 》,亦為古典音樂注入 新色彩。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。 雙 CD 《一屋寶貝音樂廳》於 2018 年由 DECCA 出版。 香港小交響樂團 HONG KONG SINFONIETTA 桂冠音樂總監: 葉詠詩 首席客席指揮: 柏鵬 Music Director Emeritus: YIP Wing-sie Principal Guest Conductor: Christoph POPPEN 樂團經常應邀作客海外,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 歐洲計有法國的拉羅克.昂迪榮國際鋼琴音樂節和蒙頓音樂節等、德 國東弗里斯蘭「浪潮」音樂節、波蘭貝多芬復活節音樂節、意大利布 雷西亞及貝爾加莫國際音樂節、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;北京中國交響樂之春(國 家大劇院)、中國上海國際藝術節 / 世博會、日本《熱狂の日》音樂 祭及亞洲交響樂團音樂節、韓國統營國際音樂節、新加坡、台灣巡演 等。 2018 年舉辦第一屆香港國際指揮大賽,參賽者來自 49 個國家 及地區,成功吸引國際目光。 樂團 2002 年至 2020 年由著名指揮家葉詠詩擔任音樂總監,期間致 力推動本地古典音樂發展。葉詠詩現為樂團的桂冠音樂總監,她會 在樂團委任新總監前,與首席客席指揮柏鵬一起負責樂團藝術發展 事宜。 香港小交響樂團有限公司為註冊之慈善團體 辦事處 香港灣仔譚臣道 98 號運盛大廈 3 樓 電話: (852) 2836 3336 傳真: (852) 2783 9819 電郵: enquiries@hksinfonietta.org 網址: www.HKSL.org

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, Jean-Guihen Queyras, Fazıl Say, Dmitry Sitkovetsky, 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 French May Arts Festival, the orchestra also partners regularly with Hong Kong Ballet in their staged productions.

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 more than 70 newly commissioned works over the past 20 years, as well as launching in 2006 the HKS Artist Associate scheme, which provides a platform for intensive collaboration with local artists from different arts disciplines to expand the horizon of classical music. The orchestra has enjoyed many triumphs with cross-genre productions such as A Soldier’s Story, The Passage Beyond in Concert and Pica Pica Choose, which melded dance and theatre with music to wide critical acclaim. It also became the first local orchestra to appear on the cinema screen in 2020 with its groundbreaking Back On Stage concert film series, and in 2021 further ventured into the cinematic world by co-curating the “Life is Art” film festival with MOViE MOViE.

Always breaking down barriers between music and the general audience, Hong Kong Sinfonietta holds specially-designed concert series for different audiences and age groups, including Good Music for Babies/Kids, Know Your Classical Music, Short-cut to Classical Music and HKS McDull Music Project, and recently filmed the Tiny Galaxy Concerts online series featuring chamber music performances

recorded at a fascinating hostel in Hong Kong. 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.

Thriving on its strong local roots combined with an ambitious international vision, Hong Kong Sinfonietta has been invited to perform on tour 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 Festival Pianistico Internazionale di Brescia e Bergamo, 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 La Folle Journée and Asia Orchestra Week; in Korea at the Tongyeong International Music Festival and in Singapore at the Esplanade, and at National Concert Hall Taipei and National Taichung Theater. In 2018, the orchestra organised the 1st Hong Kong International Conducting Competition, which attracted 310 applications from 49 countries/regions.

Hong Kong Sinfonietta has gone from strength to strength 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.

The Hong Kong Sinfonietta Limited is a registered charity.

Administration office

3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong

Tel: (852) 2836 3336 Fax: (852) 2783 9819

Email: enquiries@hksinfonietta.org Website: www.HKSL.org

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12 亞洲樂壇備受尊崇的指揮家葉詠詩,於 2002 年起出任香港小交響 樂團音樂總監, 2020 年 4 月底卸任,轉任桂冠音樂總監。 葉詠詩在 1985 年贏得法國貝桑松第 35 屆國際青年指揮大賽冠軍 及「金豎琴」獎,並在 1988 年獲第八屆東京國際指揮比賽獎項。 她曾先後出任香港大學的學院藝術家、新加坡國立大學楊秀桃音樂 學院王鼎昌傑出客座教授、廣州交響樂團的首席指揮和音樂總監及 香港管弦樂團的駐團指揮。 葉詠詩經常獲邀擔任世界各地樂團的客席指揮,曾合作的包括中國 中央樂團、中國國家交響樂團、上海交響樂團、首爾愛樂樂團、大 阪管弦樂團、新日本愛樂交響樂團、札幌、讀賣、台灣、布里斯本、 墨爾本、昆士蘭等交響樂團及新西蘭的奧克蘭愛樂樂團等。在歐洲, 她曾與法國圖盧茲國家樂團、貝桑松室樂團、波蘭華沙愛樂樂團、 西班牙特納里夫島交響樂團、捷克科希策省樂團合作演出。此外, 她亦曾率領廣州交響樂團於國際知名的維也納音樂協會會堂(黃金 大廳)演出及參與北京國際音樂節。葉詠詩曾與多位國際知名的獨 奏家合作,包括杜美、傅聰、明茨、普爾曼、穆特及蘇嘉文等;近 年曾指揮的歌劇包括香港小交響樂團伴奏的《詩人李白》、香港藝 術節兒童歌劇《愛麗絲夢遊仙境》及台灣愛樂的《畫魂》。 葉詠詩繼 2004 年帶領香港小交響樂團代表中國參加「中國在法國」 文化年的成功演出後,經常獲邀赴世界各地演出,當中包括美國、 加拿大、巴西、阿根廷、烏拉圭及台灣,以及法國、德國、瑞士 、 波蘭、意大利、葡萄牙、日本、韓國和立陶宛的音樂節。 生於廣州,香港長大的葉詠詩,憑香港皇家賽馬會音樂基金獎學金 遠赴倫敦皇家音樂學院攻讀;後於美國印第安納大學取得小提琴及 指揮碩士學位。 1986 和 1992 年夏季,她分別獲得哥士域斯基獎學 金及小澤征爾獎學金前往鄧肯活音樂中心研習指揮。指導過她的指 揮大師包括狄瑪爾、伯恩斯坦、小澤征爾、米亞及艾德敦。葉詠詩 於 2007 年獲法國「藝術及文學騎士勳章」, 2010 年獲英國皇家音 樂學院頒授院士榮銜( FRCM ), 2013 年獲香港各界婦女聯合協進會 頒發「香港六藝卓越女性」獎及由香港政府授勳銅紫荊星章。 2015 年,她獲法國政府頒發「國家榮譽騎士勳章」,表揚她在音樂界的 傑出成就。 葉詠詩 Yip Wing-sie 桂冠音樂總監 / 指揮 Music Director Emeritus / Conductor ©Yuen Hon-wai

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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14 現任香港小交響樂團樂團首席的格德霍特生於澳洲布里斯本,七歲 開始學習音樂, 12 歲獲全額獎學金入讀英國曼奴軒音樂學校,並 先後入讀皇家北部音樂學院及曼徹斯特大學,師隨曼奴軒學習小提 琴,並隨施托克豪森及庫爾塔克學習作曲。此外,格德霍特是多個 重要獎項得主,包括 1996 年荷蘭查爾斯.赫南國際室樂大賽首獎。 格德霍特經常以獨奏家及室樂演奏家身份在世界各地演出,曾於多 個著名國際音樂節及音樂廳亮相。他曾與多個樂團合作,包括瑞士 利斯室樂團、 BBC 蘇格蘭國家樂團、德國耶拿愛樂樂團、昆士蘭交 響樂團、阿得萊德交響樂團、塔斯曼尼亞交響樂團及香港小交響樂 團等,亦曾與李爾、羅森、科瓦切維奇、奧蒂斯、哥連斯、曼奴軒、 朱仁拿、威斯帕維及戴柏圖合作演奏室樂。 格德霍特是當代音樂的出色詮釋者,曾首演多首當代作品,包括庫 爾塔克、伯特威斯爾和斯莫利等的小提琴作品。他也是一位作曲家, 15 歲參加 BBC 青年作曲家大賽,成為最年輕的一位晉身決賽的參 賽者,翌年獲昆士蘭愛樂樂團委約創作及首演他第一首正式的管弦 作品。格德霍特的作品亦曾被澳洲弦樂四重奏、納殊樂團和澳洲新 生代樂團等在歐美及亞洲等地演奏、錄音和廣播。格德霍特的作品 由澳洲音樂中心代理。 格德霍特於 1998 年加入澳洲弦樂四重奏,之後擔任葛蘭傑弦樂四 重奏及悉尼獨奏家樂團的小提琴手,並曾獲澳洲、日本及歐洲等地 的樂團邀請擔任小提琴獨奏及領奏。他曾於阿得萊德大學艾爾德音 樂學院和澳洲音樂學院任教,亦於世界各地舉辦大師班,並曾為 ABC Classics 、 Tall Poppies 和 Melba 灌錄唱片。他使用的是 1769 年格里安諾名琴。 格德霍特 James Cuddeford 樂團首席 / 小提琴 / 領奏 Concertmaster / Violin / Director ©Yuen Hon-wai

Currently Concertmaster of the Hong Kong Sinfonietta, James Cuddeford has emerged as one of Australia’s leading musicians. After commencing his musical studies at age seven, he won a full scholarship at age 12 to study at the Yehudi Menuhin School in England. He continued his studies in performance at the Royal Northern College of Music and composition at the University of Manchester. His principal teachers were Yehudi Menuhin in violin, and Karlheinz Stockhausen and György Kurtág in composition. He has won prizes in a series of important competitions including the first prize in the 1996 Charles Hennen International Competition in Holland.

Cuddeford has performed extensively around the world as both soloist and chamber musician. He has frequently appeared at major international festivals in many of the world’s most prestigious halls. As a chamber musician, James has collaborated with artists such as John Lill, Charles Rosen, Stephen Kovacevich, Cristina Ortiz, Michael Collins, Heinz Holliger, Yehudi Menuhin, Bruno Giuranna, Pieter Wispelwey and Michel Dalberto. He has performed concertos with orchestras including the Camerata Lysy Switzerland, BBC Scottish National, Hong Kong Sinfonietta, Jena Philharmonic Germany, Queensland, Adelaide and Tasmanian Symphony Orchestras.

As a highly active and renowned interpreter of contemporary music, Cuddeford has worked with and premiered the music of many of the most important composers of our time, including violin works by Brett Dean, György Kurtág, Roger Smalley and Harrison Birtwistle. At age 15, he was the youngest finalist in the BBC Young Composer of the Year, and the following year the Queensland Philharmonic Orchestra commissioned and premiered his first major orchestral work. His compositions have also been performed, recorded and broadcast in Europe, North America and Asia by groups such as the Nash Ensemble, Australian String Quartet, Ensemble Offspring and Psappha Ensemble. His music is represented by the Australian Music Centre.

Cuddeford joined the internationally acclaimed Australian String Quartet in 1998, and has directed from the violin many orchestras in Australia, Japan and Europe. He lectured in violin at both the Elder Conservatorium and the Australian Institute of Music, and has given masterclasses at many major institutions around the world. He has recorded for ABC Classics, Tall Poppies, Melba Recordings and Toccata Classics and plays on a violin made by Nicolò Gagliano in 1769.

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16 作曲家鄺展維現居香港,創作集中於管弦樂、為不同音樂文化的音 樂家而寫的室樂作品、場域特定音樂、以及離開演奏廳範式的跨領 域作品。將音樂視為一種體驗處境,鄺展維的作品常探討時間與空 間透過聲音與聆聽所揭示的感官性、不同演奏法在並置中的折衷、 場域特定性、以至曲式及樂種的展現性。 鄺展維的音樂作品曾於柏林超聲波當代音樂節、日本武生國際音樂 節、瑞士提契諾音樂節、 ManiFeste、法國拉羅克 · 昂迪榮國際鋼琴 音樂節、葡萄牙馬爾旺國際音樂節、香港藝術節,以及歐亞等地多 個著名國際及音樂節演出。曾演出其作品的著名樂團及音樂家包括 倫敦愛樂樂團、法國現代樂集、法國電台愛樂、香港小交響樂團、 德國 ensemble recherche、斯圖加特創聲獨唱團、米蘭大學管弦樂 團、意大利 Divertimento 現代室樂團、澳洲 Ensemble Offspring、 香港創樂團、美國 Eastman BroadBand、長笛演奏家卡魯利、小提 琴演奏家康克爾、尺八大師田 嶋 直士、直笛演奏家鈴木俊哉、以及 指揮家格連拿、柏鵬、葉詠詩及范拿特等。 近年委約鄺展維創作的藝術機構包括德國 ensemble recherche、琉 森音樂節、武生國際音樂節、香港小交響樂團、大館當代美術館、 香港創樂團及香港藝術節等。鄺展維於 2014 年首次獲香港小交響 樂團委約,自此與香港小交響樂團展開了緊密而豐碩的合作,包括 於 2020 至 2022 兩個樂季間擔任樂團之駐團藝術家,多年間迄今 累積了六首管弦樂委約與及三首室樂委約,由樂團於本地及海外巡 演中發表。此外,他亦於 2015 年起為香港小交響樂團擔任當代音 樂研究,參與樂團有關當代曲目及委約的策劃。 而 2020 至 2022 年間,鄺展維獲 ensemble recherche 邀請,在樂 團對士紳化作研究對象的製作「 the new recherche」中參與構思及 創作,並為此譜寫了委約室樂作品《 Migrating Tracks》,由樂團於 柏林、慕尼黑及弗賴堡作演出。鄺展維於 2022 年獲委約為格連拿 所領導的倫敦愛樂樂團譜寫管弦樂新作《緣起》,慶祝香港大會堂 落成 60 周年。 鄺展維近年對音樂之場域特定性與跨界性的探索,亦使他領導了數 個在香港的大型製作。 2018 至 2019 年他為香港創樂團策劃「聽得 見的城市」,並為此計劃創作了一系列共六首於非音樂會場地演出 的場域特定音樂作品《亞特拉斯》。及後兩年他繼續發展出另外兩 鄺展維 Charles Kwong 作曲家 / 駐團藝術家 2020-2022 Composer / HKS Artist Associate 2020-2022 部場域特定作品,分別為 2020 年由香港創樂團委約於香港動植物公 園演出的《栩栩如生》,以及 2021 年由大館當代美術館委約的《安 魂曲》。為深化此方向之研究,鄺展維曾於 2020 年分別獲邀參與蘇 黎世和大館當代美術館的藝術家駐留計劃。 鄺展維 1985 年生於香港,早年於香港中文大學及倫敦大學國王學院 修讀音樂,於英國約克大學在冼密古指導下鑽研作曲,並於 2013 年 獲頒授博士學位。他近年獲得細川俊夫多次教導,並參加費利戴、蘭 沙及比安茨等作曲家之大師班,從中獲重要啟迪。 鄺展維是藝術創作及協作平台——廿一檔之聯合創辦人兼藝術總監。

Hong Kong composer Charles Kwong has a diverse portfolio of creative output ranging from orchestral music, chamber works for instruments across different musical cultures, site-specific compositions, to transdisciplinary works which depart from the paradigm of concert music. His works often emphasise the sensuality of time and space as revealed by the act of listening, the eclecticism of performance practices in their juxtapositions, and the performativity of musical forms and genres.

Distinguished groups and musicians around the world that have performed Kwong’s music include London Philharmonic Orchestra, Ensemble Intercontemporain, Orchestre Philharmonique de Radio France, Orchestra UniMi, Neue Vocalsolisten Stuttgart, Divertimento Ensemble, Ensemble Offspring, Edward Gardner, Christoph Poppen, Mario Caroli, Jeanne-Marie Conquer, Tadashi Tajima and Tosiya Suzuki, among others. He recently received a commission from the Lucerne Festival, and his works have been featured in other prestigious festivals such as Ultraschall Festival, Takefu International Music Festival, Festival International de Piano La Roque d'Anthéron, Marvão International Music Festival, ManiFeste and Hong Kong Arts Festival.

In 2022, Kwong’s Lullabies was performed by London Philharmonic Orchestra under the baton of Edward Gardner, in celebration of the 60th anniversary of the Hong Kong City Hall. In 2020-2022, he was engaged by ensemble recherche for the collaborative project “the new recherche” which deals with the subject of gentrification, for which he wrote Migrating Tracks, subsequently performed in Berlin, Munich and Freiburg. In 2020, he took artist residencies at the Zurich University of the Arts and at the Tai Kwun Contemporary Artists' Studio.

Kwong has enjoyed a long and fruitful relationship with Hong Kong Sinfonietta since 2014 which resulted in nine commissions showcased both locally and globally in the orchestra’s overseas tours. He was appointed their Artist Associate from 2020-2022 in addition to his work on contemporary music research and

programming for the orchestra since 2015. He is Co-founder and Artistic Director of PROJECT21st, and his interest in site specificity and transdisciplinarity of music in recent years have led him to leadership roles in several grand scale productions in Hong Kong. He was the curator of Hong Kong New Music Ensemble’s Our Audible City (2018-2019), for which he wrote Atlas, a series of site-specific works tailored for non-concert-hall spaces in Hong Kong. His research in the site-specificity of music subsequently led to the conception of Requiem (2020-2021) commissioned by Tai Kwun Contemporary, and Lifelike (2021), commissioned for the Art Promotion Office’s Hi! Flora Fauna series.

Born in 1985, Kwong studied music at The Chinese University of Hong Kong and King’s College London, before earning his doctorate in Composition from The University of York in 2013 under the supervision of Thomas Simaku. Over the years, his artistic development has benefitted significantly through tutelages and masterclasses by Toshio Hosokawa, Francesco Filidei, Mauro Lanza and Oscar Bianchi, among others.

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City Contemporary Dance Company (CCDC), the flagship of modern dance in Hong Kong, undertakes to blaze the path of contemporary dance scene with extraordinary performances representing contemporary Hong Kong culture. Founded by Willy Tsao in 1979 and directed by Yuri Ng, CCDC has presented more than 200 highly-acclaimed original works by leading choreographers, such as Tsao, Helen Lai, Mui Cheuk-yin, Pun Siu-fai and Ng, and innovative collaborations with artists from other media. Curated by CCDC, “Jumping Frames – Hong Kong International Movementimage Festival” (formerly known as “Jumping Frames International Dance Video Festival”) and “City Contemporary Dance Festival” pioneer the reimagining of the possibilities of modern dance in Asia.

CCDC is renowned for translating the vigour and creativity of Hong Kong’s multifaceted culture. Since 1980, the Company has accepted 273 overseas invitations to represent Hong Kong in performance at the world’s foremost dance stages and festivals in over 30 major cities: including New York, Los Angeles, Washington DC, Montreal, London, Paris, Lyon, Rome, Florence, Rovereto, Oslo, Berlin, Munich, Stuttgart, Copenhagen, Prague, Sydney, Brisbane, Darwin, Tokyo, Niigata, Seoul, Busan, Daegu, Singapore, Manila, Kuala Lumpur, Beijing, Shanghai, Urumqi, Xining, Taipei, Mumbai, Delhi, Karmiel, Tel Aviv, St Petersburg and Moscow.

With full commitment to education and development, CCDC offers 40 outreach performances each year and various highly popular dance courses to local community, benefiting more than 40,000 audience members. As a catalyst to contemporary dance development in Hong Kong and China, CCDC has supported emerging modern dance troupes through the China Dance Development Programme since 1998, and co-presented influential modern dance festivals in the Mainland to inspire dance artists. Opened in 2004, the CCDC Dance Centre continues to nurture young artists, students and local communities and sustains the artistic pursuit of contemporary dance in Hong Kong.

19 城市當代舞蹈團是香港首個全職專業現代舞團,以體現香港當代文化 為宗旨,編創風格鮮明的作品,刻劃當代舞蹈發展軌跡。舞團早於 1979 年由曹誠淵創立,現由香港資深舞蹈家伍宇烈擔任藝術總監, 43 年來已積累超過 200 齣本土編舞家的完整舞碼,包括曹誠淵、 黎海寧、梅卓燕、潘少輝及伍宇烈等人作品,也經常與其他媒介的藝 術家跨界合作。由舞團創辦的跳「跳格 香港國際舞蹈影像節」(前 稱「跳格國際舞蹈影像節」)以及「城市當代舞蹈節」,致力在亞洲 開拓舞蹈新想像,展現香港的多元魅力。 自 1980 年以來,舞團開展頻繁的國際文化交流活動,先後代表香港 踏足美洲、歐洲、澳洲及亞洲共 30 多個主要城市,包括紐約、洛杉 磯、華盛頓、三藩市、蒙特利爾、倫敦、巴黎、里昂、羅馬、佛羅倫斯、 羅韋雷托、奧斯陸、柏林、慕尼黑、斯圖加特、哥本哈根、布拉格、 悉尼、布里斯本、達爾文、東京、新潟、首爾、釜山、大邱、新加坡、 馬尼拉、吉隆坡、北京、上海、烏魯木齊、西寧、台北、孟買、德里、 卡米爾、特拉維夫、聖彼德堡及莫斯科等地,進行了 273 場海外演出, 備受國際藝壇重視。 舞團積極投入本地舞蹈教育工作,每年提供 40 多場的外展表演和不 同類型的舞蹈訓練,涵蓋現代舞、芭蕾舞、爵士舞及中國舞等,受眾 超過四萬人。配合「立足香港、匯聚華人菁英、創造當代中國舞蹈」 的藝術路線,舞團由 1998 年起推展「中國舞蹈發展計劃」,支援國 內正在萌芽的現代舞團體,並曾參與策劃及合辦內地多個極具影響力 的現代舞節,為新晉舞蹈家開拓創作視野。 CCDC 舞蹈中心於 2004 年成立,承接一貫的舞蹈教育、舞蹈外展計劃、社區表演及藝術推廣 等工作,繼續孕育香港當代舞蹈的創作力。 城市當代舞蹈團 CITY CONTEMPORARY DANCE COMPANY
20 伍宇烈,現任城市當代舞蹈團藝術總監。香港本地土生土長的資深 舞蹈家,涉獵芭蕾舞、當代舞、戲劇、古典音樂及無伴奏合唱,以 至舞台佈景及服裝設計等範疇。伍宇烈六歲起隨王仁曼女士學習古 典芭蕾舞,其後獲 獎 學金前往加拿大及英國深造。 1983 年贏 取英 國珍妮特國際芭蕾舞比賽金 獎 ,同年加入加拿大國家芭蕾舞團為職 業舞蹈員。 1993 年回港發展 獎 ,並與 CCDC 開始建立深厚淵源。 過往曾多次與 CCDC 合作,於《單吊‧西‧遊記》( 1993 )任編舞、 佈景及服裝設計;《更衣記》( 1995 )及《硬銷》( 2008 )任編舞;《男 生》( 1996 )、《糊塗爆竹賀新年》( 1997 )任編舞及服裝設計;《季 節性效應》( 2008 )、《舞!舞?舞⋯⋯》( 2009 )、《城市封神》( 2011 ) 任舞台/佈景及服裝設計;《香‧夭》( 2018 )任編舞、佈景及服裝 設計;於 2021 年正式擔任藝術總監。 伍宇烈於 1997 年獲香港藝術家聯盟頒發「藝術家年—編舞」; 1998 年憑舞蹈作品《男生》獲法國 Bagnolet 編舞 獎。 2006 年, 伍宇烈於珍妮特國際芭蕾舞比賽編創的兩支獨舞 獲 收編為英國皇家 芭蕾舞學院課程內容。 2008 年憑與香港小交響樂團合作 的 《士兵 的故事》獲香港舞蹈年獎、 2012 年香港舞蹈年獎中獲得「傑出成 就獎」,並於 2013 年獲香港藝術發展局頒發「年度最佳藝術家獎(舞 蹈)」,2019 年憑《香‧夭》奪得香港舞蹈年獎「傑出編舞」及「傑 出大型場地舞蹈製作」。 伍宇烈現時亦為一舖清唱藝術顧問, 2011-2013 年為香港小交響樂 團駐團藝術家,期間為樂團創作及演出了兩套《芭蕾音樂知多少》, 以及《如夢逝水年華》和《拉威爾 1875 vs 拉威爾 2012 》等作品, 為古典音樂會帶來種種視覺驚喜。 伍宇烈 Yuri Ng 編舞 / 舞台及服裝概念 / 駐團藝術家 2011-2013 / 藝術總監 @CCDC Choreographer / Stage & Costume Concept HKS Artist Associate (2011-2013) / Artistic Director@CCDC ©Yuen Hon-wai

Born in Hong Kong and an experienced dance artist, Yuri Ng has been involved with ballet, contemporary dance, drama, classical music and a cappella, as well as stage setting and costume design. He began classical ballet training with Jean Wong at the age of six, going on to win scholarships to study in Canada and the United Kingdom. He was awarded the Adeline Genée Gold Medal from the Royal Academy of Dancing (RAD) in 1983 before joining The National Ballet of Canada as a dancer.

After his return to Hong Kong in 1993, Ng established a strong connection with CCDC with whom he worked on many performances, including A Game of (1993) as choreographer and set and costume designer; The Second Shirt Skirt Show (1995) and Love On Sale (2008) as choreographer; le beau (1996) and The Firecracker (1997) as choreographer and costume designer. He contributed to Seasonal Syndromes (2008), Very Dance (2009) and The Legend and The Hero (2011) as stage/set and costume designer, and to Requiem HK (2018) as choreographer, set and costume designer.

Ng received the Artist of the Year Award for Choreographer from Hong Kong Artists’ Guild in 1997 and in 1998, and was awarded the Prix d’ Auteur at the 6th Rencontres Chorégraphiques Internationales de Seine-St-Denis (Bagnolet) for his choreography of Boy Story . His two solo pieces choreographed for Genée International Ballet Competition in 2006 have been adopted into the RAD syllabus. His choreography of A Soldier’s Story , in collaboration with Hong Kong Sinfonietta, received the Hong Kong Dance Award in 2008. He won the Distinguished Achievement Award at the Hong Kong Dance Awards 2012 and award for Best Artist (Dance) from the Hong Kong Arts Development Council in 2013. He also won Outstanding Choreography and Outstanding Large Venue Production for Requiem HK at the Hong Kong Dance Awards 2019.

Currently Artistic Director of CCDC and Artistic Advisor of Yat Po Singers, Ng was Hong Kong Sinfonietta’s Artist Associate from 2011-2013 and has created several crossover productions including La Valse Remembered, Ravel The Time Traveller and Know Your Ballet Music

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Dominic Wong joined CCDC in 1996 after graduating from The Hong Kong Academy for Performing Arts, and was promoted to Associate Artistic Director in 2016. Acclaimed for being innovative and diverse, his choreographic works include The Legend and The Hero (2011), Blind Chance (2012), Second Thoughts (2014), Travelogue (2016), The Little Prince (2017), Day After Day in Season(s) (2018), musical Matteo Ricci (2019) and The Odyssey of Little Dragon (2019).

Wong’s works have been presented at the Beijing Dance Festival and Guangdong Dance Festival. He received the Outstanding Performance by a Male Dancer award twice at the Hong Kong Dance Awards for his performance in Plaza X (2001) and The Comedy of K (2013). His Xtremely Four Seasons and What’s Next were named “Best Dances of the Year” by South China Morning Post, while Travelogue received the Outstanding Medium Venue Production award at Hong Kong Dance Awards in 2017.

22 黃狄文 1996 年畢業於香港演藝學院,及後加入城市當代舞蹈團, 2016 年擢升為副藝術總監。黃狄文的編舞風格勇於突破,題材新 穎多變。作品包括:《城市封神》( 2011 )、《別有洞天》( 2012 )、 《思纏想後》( 2014 )、《拼途》( 2016 )、《小王子》( 2017 )、《易 季》之〈尋常〉( 2018 )、音樂劇《利瑪竇》( 2019 )及《小龍三次方》 ( 2019 )。 黃狄文的作品多次獲邀於北京舞蹈雙週及廣東現代舞週上演。他於 2001 年及 2013 年分別憑《 Plaza X 與異變街道》及《畸人說夢》 的演出獲頒香港舞蹈年獎「最值得表揚男舞蹈員」。 2008 年及 2009 年分別憑《忽然四季》及《下一秒》獲《南華早報》評選為「全 年最佳舞蹈」。作品《拼途》於 2017 年獲頒香港舞蹈年獎「傑出 中型場地舞蹈製作」。 黃狄文 Dominic Wong 創作舞者 / 副藝術總監 @CCDC Dance Artist / Associate Artistic Director@CCDC
©Yuen Hon-wai

A homegrown choreographer celebrated for combining elements of dance and drama, Noel Pong joined CCDC in 1997 after graduating from The Hong Kong Academy for Performing Arts with First Class Honours in Modern Dance, and was promoted to Artist in Residence in 2019.

Pong’s first choreographic work for CCDC, Rainy Days and Mondays…, was restaged at the 3rd Guangdong Modern Dance Festival and Dance Trinity in the Hong Kong Dance Festival 2006. Her other choreographic works include Crime Scene (2009), Fairy Tales – To Be Continued (2010), Off Screen (2011), The Buying Game (2013), The Buying Game 2.0 (2014), Happy Birthday? (2015), Leaving & Living in She Says, He Talks (2016), Nuts’hell in Come Across (2019), Joyeux Noël (2020) and De-islandsation (2021).

Pong is regarded as one of “Hong Kong’s most promising choreographers” by South China Morning Post, which selected her Crime Scene as one of the “Best Dances” in 2009. Her Off Screen received the Outstanding Choreography award at the Hong Kong Dance Awards in 2012, while Happy Birthday? was selected as “Best Dance Show” at The Hecklers by HKELD. She has also been invited to restage several works at the Guangdong Modern Dance Festival, and she was a mentor of Plastic Surgery (2014), one of the productions from CCDC Dance Centre’s REAL Showcase series. She is also the co-founder of Zero Zero Ensemble.

23 龐智筠, 1997 年以一級榮譽畢業於香港演藝學院現代舞系,同年 加入城市當代舞蹈團, 2019 年擢升為駐團藝術家。龐智筠是土生 土長的編舞家,作品風格大多結合舞蹈及戲劇元素。 首部作品《星期一(雨)》( 2006 )首演後獲邀於第三屆廣東現代舞 週及 2006 香港舞蹈節《輪舞曲》中上演,於 2008 年獲「跳格國 際舞蹈錄像節」委約創作同名舞蹈錄像。其他編舞作品包括:《案 發現場》( 2009 )、《童話故事未團圓結局》( 2010 )、《全院滿 座》( 2011 )、《購人心弦》( 2013 )、《購人心弦 2.0 》( 2014 )、《生 日快樂?》( 2015 )、《她說/他說》之〈客廳〉( 2016 )、《不期而遇》 之〈固步自瘋〉( 2019 )、《聖誕快樂》( 2020 )及《島.聚》( 2021 )等。 龐智筠被《南華早報》譽為最有前途的香港編舞之一。她於 2009 年憑《案發現場》獲《南華早報》選為「全年最佳舞蹈」、 2012 年 憑《全院滿座》榮獲香港舞蹈年獎「最值得表揚編舞」、 2015 年 憑《生日快樂 ? 》榮獲英語藝術活動資訊網站 HKELD 舉辦的 The Hecklers 「最佳舞蹈演出」( Best Dance Show )獎項,其作品亦曾 多次獲邀到廣東現代舞週演出。 2014 年,龐智筠亦為 CCDC 舞蹈 中心的「真演出」系列之《整容》擔任指導導師。她亦是 00 合創 辦成員之一。 龐智筠 Noel Pong 創作舞者 / 駐團藝術家 @CCDC Dance Artist / Artist in Residence@CCDC
©Yuen Hon-wai

Bruce Wong graduated in Contemporary Dance from The Hong Kong Academy for Performing Arts, where he was a recipient of numerous scholarships and was selected for overseas tours several times. In 1998, he took part in the American Dance Festival under an Asian Cultural Council fellowship. After graduating in 2000, he joined CCDC as Dancer. In 2009, he left to study for a master’s degree at Hollins University in the USA on The Hong Kong Jockey Club Scholarship. A year later, he was among the several young dancers chosen for the prestigious Rolex Mentor and Protégé Arts Initiative. He returned to CCDC in 2012 and was promoted to Rehearsal Master in 2019.

Wong’s choreographic works include The Legend and The Hero in 2011, Dress Me Down in Strip Teaser in 2012, Re/dis-connect in It’s My Turn in 2013, How to Become… in Eureka in 2015, Why Not Kill Us All… in 2017, The Odyssey of Little Dragon in 2019 (Co-choreographer), Stay/Away in 2019 (with Frankie Ho), A Lover's Concerto in 2020 and Listen Carefully in Days are Numbered in 2021. Of all, Why Not Kill Us All… and Days are Numbered received the Outstanding Medium Venue Production award at the Hong Kong Dance Awards 2018 and 2022 respectively.

Wong is also passionate about the martial arts, having been crowned champion at the Hong Kong Open Wushu Championships in the Baguazhang and Neijia Quan categories.

24 黃振邦畢業於香港演藝學院現代舞系。在校期間曾多次獲獎學金及 代表學院到外地演出及交流,並於 1998 年獲亞洲文化協會獎學金 到美國參加「美國舞蹈節」。 2000 年畢業後隨即加入城市當代舞 蹈團至 2009 年,及後獲香港賽馬會音樂及舞蹈信託基金獎學金到 美國霍林斯大學修讀碩士課程,並於 2010 年入選「勞力士創藝推 薦資助計劃」年青舞蹈家的入圍名單。他於 2012 年重返城市當代 舞蹈團, 2019 年晉升為排練指導。 黃振邦的編舞作品包括:《城市封神》( 2011 )、《脫衣秀 2012 》 之〈溫柔無用〉( 2012 )、《逆.轉》之〈舌尖上的靈魂〉( 2013 )、《發 現號》之〈 是如何鍊成的?〉( 2015 )、《恐.集》( 2017 )、《小 龍三次方》( 2019 )任聯合編舞、《 Stay/Away 》與何靜茹聯合編舞 ( 2019 )、《雙雙》( 2020 ),及《 42 .36 .42 》之〈餘音裊裊〉( 2021 )。 當中,《恐.集》及《 42 36 42 》曾分別於 2018 年及 2022 年 獲頒香港舞蹈年獎「傑出中型場地舞蹈製作」。 黃振邦亦熱愛武術,並於 2006 年獲第二屆全港公開中國傳統武術 比賽男子內家拳組冠軍,及男子成人組八卦掌冠軍。 黃振邦 Bruce Wong 創作舞者 / 排練指導 @CCDC Dance Artist / Rehearsal Master@CCDC
©Yuen Hon-wai

Felix Ke graduated in Contemporary Dance from The Hong Kong Academy for Performing Arts and obtained a Master of Fine Arts from Taipei University of the Arts. He was a Resident Artist with Unlock Dancing Plaza and a dancer with WCDance, before joining CCDC in 2017 and becoming a Senior Dance Artist in 2022.

Ke has worked with renowned choreographers such as Zhang Xiaoxiong, Yang Ming-lung and Heather Myers. In addition to working with local production and overseas tours, he has created his own choreographic works including V in 2015, Last body in 2016, Finding Uncertain , White Noise in 2018 (a Hong Kong Arts Festival commissioned work), Ongoing in 2020 and The Prospective Potential Dangers Concerning Dancing Safety in 2021.

25 柯志輝畢業於香港演藝學院舞蹈學院,主修當代舞,其後到台灣臺 北藝術大學舞蹈研究所深造。他曾先後加入不加鎖舞踊館及林文中 舞團,於 2017 年加入城市當代舞蹈團, 2022 年晉升為資深舞蹈藝 術家。 柯志輝曾參與多個著名編舞家作品,包括張曉雄的《拉赫馬尼諾夫 隨想》、楊銘隆的《無名》, Heather Myers (荷蘭) 的《 Prospect 》 等。除積極參與舞團的本地製作及海外巡演之外,亦曾發表多個編 舞作品,包括:《 V 》( 2015)、《二延體》之〈身體之後〉( 2016)、 《 Finding Uncertain 》、香港藝術節委約作品〈白噪音〉( 2018)、《流 轉 思浪潮》之〈不息〉( 2020)及《前瞻性舞蹈安全隱患》( 2021)。 柯志輝 Felix Ke 創作舞者 / 資深舞蹈藝術家 @CCDC Dance Artist / Senior Dance Artist@CCDC
©Yuen Hon-wai

Lawmanray (Raymond Law) graduated from The Hong Kong Academy for Performing Arts in Lighting Design. He has worked as a freelance lighting designer for Hong Kong Repertory Theatre, On & On Theatre Workshop, Windmill Grass Theatre, Y-Space, The HKAPA etc. He joined CCDC as Resident Lighting Designer in 2017, and has worked on productions such as Why Not Kill Us All…, The Little Prince , Requiem HK , Winterreise The Rite of Spring and ReMark, among others. He received the Outstanding Lighting Design award at the Hong Kong Dance Awards for Winterreise.

In 2009, Lawmanray launched INSPIRE WORKSHOP, a theatre company focused on creating multimedia stage works. He was nominated for the Best Director award at the 8 th Hong Kong Theatre Libre for Love is Colder than Capital Deconstructed . He is currently studying for a master’s degree on Theatre Direction at The HKAPA.

26 羅文偉畢業於香港演藝學院,主修燈光設計。羅文偉曾為不同劇場 演出擔任燈光設計師,合作機構包括:香港話劇團、前進進戲劇工 作坊、風車草劇團、多空間、香港演藝學院等。 2017 年加入城市 當代舞蹈團任駐團燈光設計師,作品有《恐.集》、《小王子》、 《香.夭》、《冬之旅.春之祭》及《 Re-Mark 》等。憑《冬之旅》 獲 2020 年香港舞蹈年獎「傑出燈光設計」。 2009 年成立 INSPIRE WORKSHOP ,創作糅合新媒體及表演之劇場 作品,包括《姐姐》、《觸怒你──劇場裡的不可能》等,並憑編導 作品《愛比資本更冷 Deconstructed 》獲提名第八屆香港小劇場獎最 佳導演。現正於香港演藝學院攻讀碩士學位。 羅文偉 Lawmanray 燈光設計 / 駐團燈光設計 @CCDC Lighting Designer / Resident Lighting Designer@CCDC
©Yuen Hon-wai
30 今年是香港文化地標之一的香港大會堂成立 60 周年,也是 香港藝術節 50 周年紀念,與兩者一直是緊密合作伙伴的香 港小交響樂團——自 2009 年起為香港大會堂的場地伙伴, 長期參與每年一度舉行的香港藝術節——特別構思了別開生 面的《影幻形光》音樂會,適逢今年是香港特區政府成立 25 周年,也就為音樂會添加一重意義。 可惜原定年初 3 月演出的期間,所有表演場地包括香港大 會堂因為疫情嚴峻而關閉,音樂會無法舉行。經過多月多 方協調下,這個獨特的構思終於有機會跟觀眾見面。 跳出框框的音樂會構思 香港小交響樂團委約了樂團 2020-2022 樂季的駐團藝術 家、本地年輕作曲家鄺展維為這次音樂會創作全新樂曲, 城市當代舞蹈團藝術總監伍宇烈擔任編舞、舞台及服裝概 念,再率領舞團精英,為音樂會編創不一樣的視覺與想像 經驗。 去年疫情稍緩,演藝場地重開,但要遵守的防疫措施甚多; 當中,音樂會要演出,各部樂師之間必須有座地透明膠板 相隔,尤其不能戴著口罩演奏的管樂部。這些透明膠板被 視為障礙物,也影響舞台視覺觀感。 雖然演出的限制那麼多,但樂團桂冠音樂總監,今次音樂 會指揮葉詠詩及樂團同人、伍宇烈及鄺展維都是喜歡跳出 框框及拆解困難的人,他們決定嘗試讓膠板融入演出中, 甚至成為創作的其中一個元素,與樂師及參與演出的舞者 互動。伍宇烈說,他們曾笑說音樂會名稱用「亞加力膠響 曲」。雖然是說笑,但大概已反映了他們的想法——就是為 這些本來只為防疫、但必須存在台上的物件找到藝術上的 存在意義。而伍宇烈發現,在這些膠板上可以折射事物或 者看到倒影,而且,他指出,若我們細心留意身邊的事物, 不難發現許多東西都可以有折射的效果。由膠板的特性又 可看到普遍性,這就成為了今次音樂會的創作意念之一。 然而,一場翻天覆地的第五波疫情,令場館再次關上大門, 到四 月再次重開, 五月 下旬政府終於取消音樂會台上必須 有座地透明膠板相隔的規定。沒有了座地膠板,伍宇烈說, 並沒有影響原來的基本創作概念。因為,演出中還有樂師 影幻形光 裏 的香港大會堂 文:駱雅 ©Yuen Hon-wai
31 及四位城市當代舞蹈團舞者的身體可用,膠板由座地變成 可移動,沒有了座地架,令舞台上有更多的空間讓伍宇烈 去運用,給演出的舞者更多的發揮。 See the music,音樂會是看的 這次關於折射與反射的構思,靈感其實來自 1940 年的迪 士尼動畫電影《幻想曲》,電影一開始觀眾只是看到牆上 樂師的剪影,伍宇烈說自己常猜想,是否觀眾看不到的東 西,才是他們最好奇的。當觀眾看到樂師在演奏時,他們 腦內在想甚麼。他也會利用燈光與膠板一起製造效果,為 觀眾提供更多層次的閱讀空間。 伍宇烈是香港小交響樂團 2011-2013 樂季的駐團藝術家, 以往已有合作嘗試在音樂會中加進舞蹈元素。葉詠詩說, 樂團一直策劃跨界音樂會,希望打破不同藝術範疇觀眾的 界限。這兩年樂團以「 See the music 」為口號,就是刺激 觀眾留意音樂本身 的 視覺元素,為觀眾提供更多角度感受 音樂。 的確,出席音樂會並不純粹是一次聽音樂的經驗,因為在 音樂廳內,觀眾還可以看到指揮與樂師的動作,而音樂會 樂曲編排,許多時也是作為一個整體來構思。伍宇烈以往 與香港小交響樂團合作的跨界音樂會,已嘗試通過舞蹈的 編排來將演出串連。這次《影幻形光》音樂會中,即使換 景期間,四位城市當代舞蹈團的資深舞者也繼續演出,以 身體來連起整晚音樂會。 舞者以外,膠板與燈光也會「演出」整晚。由鄺展維的 《 AtLasT 》開始,無間斷地過渡至巴赫的 G 大調第三勃蘭 登堡協奏曲,然後到史達拉汶斯基的《火鳥》中那神奇的 世界。 為香港大會堂而寫的《 AtLasT 》 香港小交響樂團一直積極委約香港年輕作曲家創作,而近 年參與香港藝術節的音樂會,都會有本地作曲家的委約作 品。這次為孕育不少香港音樂人才的香港大會堂慶生,委 約鄺展維創作也順理成章。 這次演出的《 AtLasT 》,鄺展維是特別為香港大會堂音樂廳 這空間而寫,音樂上對樂師也有些非演奏上的要求。鄺展 維最新作《緣起》剛由格連拿所領導的倫敦愛樂樂團演出, 而琉森音樂節委約的新作,也將於 11 月首演。鄺展維近年 也致力創作了不少場域特定的作品,當中包括專為非音樂 場地而寫的音樂作品《亞特拉斯》( Atlas )系列。而《 AtLasT 》 他說其實也是《亞特拉斯》系列的一個外傳。 鄺展維說,自己第一個樂團演出作品是在香港大會堂演奏, 也在那裏度過許多綵排的時光,因此很有感情,因此希望 寫一個在這場地才會發生的作品。而在香港大會堂初踏台 板,過去十多年領導香港小交響樂團擔任香港大會堂場地 伙伴的葉詠詩,感受更多。她說,香港大會堂是許多藝術 家出發及成長的地方,希望在保育這場館的歷史的同時, 又與時代發展同步,保持活力,令新一代的藝術家有更多 發揮。 這兩年多來演藝事業面對前所未有的挑戰,《影幻形光》 音樂會是藝團與藝術家直面困難,嘗試將障礙變成創作一 部份,給喜愛現場演出,本地創意的觀眾的一份心意。

Hong Kong City Hall, Reflected and Refracted

In a year marking the 60th anniversary of Hong Kong City Hall – one of the city’s leading cultural landmarks of which Hong Kong Sinfonietta is a Venue Partner since 2009 – as well as the 50th anniversary of the Hong Kong Arts Festival which has long-presented the orchestra in their festival programme each year, the special concert of Reflections on Refractions was born. Coinciding with the 25th anniversary of the establishment of the Hong Kong SAR, this concert is a true celebration of the cultural and historical milestones of the flourishing city.

Initially scheduled for March 2022 but hit hard by the round of performance venue closures due to the pandemic, the concert was finally given green light to take place after months of tireless deliberation from all parties.

Breaking the boundaries of conventional concerts

Hong Kong Sinfonietta commissioned local composer Charles Kwong, HKS Artist Associate for the 2020-2022 seasons, to compose a new work specifically for the occasion and venue. Complemented by the ingenious choreography, stage and costume design of Yuri Ng, Artistic Director of CCDC, and the performances of leading Dance Artists from the company, the concert is set to make its mark as a spectacle like no other.

During the less severe periods of the pandemic last year, performance venues in the city were allowed to reopen under strictly implemented anti-pandemic measures. Musicians playing wind instruments with their masks off must be “blocked off” from each other with tall plastic dividers erected from the ground up, which were quite simply – and in every sense of the word – obstacles which affected the overall listening and viewing experience of both the performers and the audience.

Never ones to artistically surrender to the restrictive circumstances, Music Director Emeritus and conductor of the concert Yip Wing-sie, the orchestra, Ng and Kwong devised the creative manoeuvre of integrating the plastic

dividers into the whole concept of the performance, where these bulky obstacles actually become the centre of interactions between the musicians and Dance Artists. Ng mentioned it was once humorously suggested that the concert should be titled Symphonie Fan-plastique –but all jokes aside, this is perhaps a powerful reflection of the artists’ determination to find creative meaning in an otherwise mundane and almost invasive object simply there to satisfy the rules. Ng’s close examination of the plastic dividers led to the observation that they do reflect and refract light and images – a quality that is actually shared by many everyday objects, and one which eventually became the creative germ for this concert.

However, the fifth wave of the pandemic forced close the doors of the concert hall. The venues reopened in April and the Government lifted the rule regarding the necessary installation of plastic dividers on stage later in May. The removal of the dividers did not affect the original vision of the project, Ng claimed, since it is still possible to employ the musicians’ and Dance Artists’ bodies. With the plastic dividers no longer required to be fixed on the ground, there was more space on stage for Ng to work with and for the Dance Artists to make use of.

“See the music” in concerts

The concept of reflections and refractions in this concert actually came from the opening sequence of the 1940 Disney classic Fantasia , where all you see is the moving silhouette of musicians. Ng said he had always wondered whether the greatest curiosity is spurred by things which cannot be seen, and what goes on in the audiences’ minds when they see musicians playing. He also tries to bring to life for the audience a more multi-layered experience through special effects generated by the manipulation of lighting and plastic dividers.

Having been Hong Kong Sinfonietta’s Artist Associate for the 2011-2013 seasons, Ng is no doubt a veteran in incorporating dance elements into classical music. Yip expressed that the ultimate goal of the orchestra’s

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various crossover projects is to break the barriers between different art disciplines and their audiences. “See the music” – the orchestra’s season theme over these two years – is the manifestation of their mission to encourage audiences to appreciate music from different angles and enjoy the multi-sensory stimulations of music.

Indeed, attending a concert is no mere listening experience. Inside the concert hall, one sees the movements of the conductor and musicians, and the different musical works showcased in each programme are often carefully pieced together with a sense of entirety in mind. In Ng’s past collaborations with Hong Kong Sinfonietta, dance was often an element which linked everything together. In Reflections on Refractions, even the scene changes are adorned by the continued performance of the Dance Artists, in which their bodies connect the different components of the concert.

The plastic dividers and lighting will also take centre stage throughout the concert, from Kwong’s AtLasT moving seamlessly to Bach’s Brandenburg Concerto No 3 in G, to the fantastical world of Stravinsky’s The Firebird.

AtLasT, a work specifically written for Hong Kong City Hall

Dedicated to providing a platform for young local composers to hone their skills through frequent commissions, Hong Kong Sinfonietta has programmed commissioned works by Hong Kong composers in many recent performances in the Hong Kong Arts Festival –so it made sense for them to further their long-standing collaboration with Kwong for this joyous occasion celebrating the birthday of Hong Kong City Hall, which nurtured many generations of local musicians over the years.

Kwong’s AtLasT was written specifically for the space of Hong Kong City Hall Concert Hall, with intriguing extramusical requirements for the players. His other new work Lullabies was recently given its world première by

the London Philharmonic Orchestra under the baton of Edward Gardner, while another commission for the Lucerne Festival is set to be premiered this November in Switzerland. Kwong’s keen interest in site-specificity in recent years led to a series of site-specific compositions intended to be performed at non-concert venues called Atlas , of which AtLasT is considered a “spin-off” by the composer.

On why he wrote a piece specifically to be presented at Hong Kong City Hall, Kwong explained that the venue is a place of important sentimental value to him where he had his first ever orchestral composition performed, and where he has spent much of his life rehearsing. For Yip –who started her life as a performer on the stage of this very Hall and has been at the helm of its Venue Partner Hong Kong Sinfonietta for over a decade – the nostalgia is all the more potent. To her, Hong Kong City Hall is where countless artists were given the opportunity to make their first forays and eventually grow into their own. She hopes the efforts to conserve the venue’s rich history can work in parallel with its revitalisation, so that it may continue its beautiful legacy of nurturing artists for generations to come.

Reflections on Refractions is a bold statement in response to the past two years of unprecedented challenges faced by the art industry – that the unmovable resolution of art groups and artists can turn the biggest obstacles into creations of spectacular beauty. It is also a tribute to all lovers and supporters of live performances and local talent.

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34 兩位年代相距 300 年的作曲家在這場別具意義的誌慶 音樂會中聚首,見證香港大會堂開幕 60 周年、香港藝 術節成立 50 周年及香港特別行政區成立 25 周年。第 三位作曲家則差不多在巴赫誕生 200 年後出世,而三 位作曲家不僅都跨越世紀,在音樂創作方面也呈現出 多樣化的風格。 巴赫生於一個音樂世家,他可說是家族多代中成就最 突出的一個,他的下一代還有不少繼承人(他的兒子威 廉、卡爾、約翰‧克里斯托弗和約翰‧克里斯蒂安 都成為了作曲家,後者在倫敦認識了年輕的莫扎特)。 他在生的時候,西方音樂界正從巴羅克時期轉向古典 主義時期(以海頓、莫扎特和貝多芬為代表)。對很多 人來說,巴赫是現代「古典」音樂(「古典」在此是一 個通稱,並非用來形容莫扎特等人)的起點,在 19 世 紀(即「浪漫主義」時期)影響了舒曼、蕭邦和孟德爾 遜等人。後者在 100 年後,為巴赫的《馬太受難曲》 舉行了第一場演奏會。 19 世紀末,史達拉汶斯基為賈吉列夫( Diaghilev ) 的俄羅斯芭蕾舞團寫了三套芭蕾舞劇:《火鳥》( The Firebird )、《彼得魯斯卡》( Petrushka )和《春之祭》 ( The Rite of Spring )。它們擺脫了更為富麗堂皇的「後 浪漫主義」風格,沉醉於節奏及和聲的實驗中。然而, 史達拉汶斯基後來卻鮮有採用這樣大型的樂隊架構。 他的創作涵蓋了種類繁多的曲種和風格,如新古典主 義,後來又擴展到序列主義( serialism ),反映了 20 世 紀音樂的特色。他的作品包括了 11 部芭蕾舞劇、三部 交響曲、三部歌劇(雖然只有一部長篇作品,那就是《浪 子的歷程》﹝ The Rake’s Progress ﹞),許多為不同樂 器配搭所寫的器樂和室樂作品。一直到生命的最後 10 年,他仍創作不斷,還把不少自己作品灌錄,不愧為音 樂史上的巨人。 去年是史達拉汶斯基逝世 50 周年,可惜像 2020 年貝 多芬的 250 周年冥壽一樣,由於新冠疫情的影響,全 球許多紀念音樂會都被臨時取消或改期。今晚,《火鳥》 就如鳳凰涅盤重生那樣,由舞者伴著樂團再次上演。 為今場音樂會打頭陣的,是一首充滿生命力的世界首演 作品。鄺展維與香港小交響樂團已有過多次合作,也是 2020-2022 樂季的駐團藝術家。近年他創作了一系列 專為非音樂演奏用途場地而寫的音樂作品,標題統稱為 《亞特拉斯》( Atlas )。為慶祝香港大會堂開幕 60 周年, 他特地撰寫了該系列一個「外傳」作品,是系列中第一 首為音樂廳而寫的。他將之稱為《 AtLasT 》,舞蹈部份 由香港小交響樂團的前駐團藝術家伍宇烈編排及城市當 代舞蹈團舞者演出。 節目介紹 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
35 鄺展維 ( 1985 年生) 《 AtLasT 》( 2021-2022 )(世界首演) 為分散並流動的樂隊而寫 由香港小交響樂團委約 作曲家寫道: 「《 AtLasT 》是我的場域特定音樂作品系列《亞特拉 斯》的一個『外傳』。它不把一個音樂廳當成音樂廳, 不把一個音樂會當成音樂會。經過漫長等待,終於在 一個演奏者與觀眾共處一室變得不再理所當然的時空 中演奏。 「這是為了重新傾聽大會堂音樂廳這個白白被丟空太 久的空間所創作的音樂。 」 此樂曲的樂隊編制 弦樂: 銅管樂: 敲擊樂: 巴赫 ( 1685-1750 ) G 大調第三勃蘭登堡協奏曲, BWV1048 [ 快板 ]- 慢板- 快板 1721 年 3 月,巴赫為勃蘭登堡侯爵路德維希( Christian Ludwig)撰寫了「給好幾種樂器演奏的六首協奏曲」。 他起用的法文原名與採用的意大利曲式有點矛盾。而 且,由於這些協奏曲的配器都不同,侯爵的宮廷樂隊根 本沒有足夠的樂師,這套作品始終沒有在侯爵的宮廷裏 演奏,手稿也直到巴赫去世後才出版。 作品很可能早在 1708 年至 1717 年間巴赫於魏瑪任職 期間便已完成。在魏瑪恩斯特( Johann Ernst)王子的宮 廷擔任管風琴師和團長期間,巴赫接觸到最新的意大利 風格。年輕的王子曾在烏 德 勒支進 修 ,與阿姆斯特丹的 出版商頗為熟稔,從他們那處獲得不少韋華第和馬爾徹 羅( Marcello)的新作。但可能要等到 1717 年,巴赫在 擔任科滕利奧波特( Leopold)王子的樂長時,六首協奏 曲的創作念頭才形成,因為這時才有足夠規模的樂隊供 其使用。該位王子會奏小提琴、古提琴和古鍵琴(而且 是位不錯的男低音),所以他絕有可能曾參與這些作品 的首演。 第三勃蘭登堡協奏曲和第六首一樣只為弦樂而寫,中間 也沒有慢樂章(除了兩個和弦)。曲中九件主奏樂器的聲 部巧妙地交錯:小提琴、中提琴和大提琴各有三部。實 際上九部都有獨奏的旋律,沒有一部比其餘更突出。 第一樂章是典型的 叠 歌( ritornello ),在那時期常用於 協奏曲式。鮮明的主題在不同的樂調中重複,最後再回 到 G 大調主和弦。這個輕快和令人雀躍的樂章,與兩 個快板之間出現的兩個 E 小調和弦對比,產生了奇特 的效果。這兩個疏落的和弦,其作用和演奏方式引起了 一些疑問。究竟是否像後期的協奏曲一樣,會有一節華 彩段出現在這裏呢?當然,從這麼簡潔的樂譜看來,任 何可能都會發生,若只彈奏兩個和弦的話,也不符合 這一時期的音樂風格。終樂章再回到 G 大調,儘管譜 小提琴 (11)、中提琴 (5)、大提琴 (5)、低音大提琴 (1) 圓號 (2)、小號 (2) 、長號 (2) 玻璃鐘鈴、彈簧、古鈸、木魚、桶子鼓、大鼓
36 上寫著 12/8 拍,但那其實是一首三拍子的連德勒舞曲 ( Ländler )。兩個延展重複的段落,基本上源自同一個 持久不懈的樂念,直到曲終,律動也從不鬆弛下來。 此樂曲的樂隊編制 弦樂:小提琴 (3)、中提琴 (3)、大提琴 (3)、低音大提琴 (1) 史達拉汶斯基 ( 1882–1971 ) 《火鳥》組曲 (1919 年版本 ) 引子- 火鳥與她的舞蹈- 火鳥變奏 公主們的環形舞 魔王之地獄舞- 搖籃曲- 終曲 史達拉汶斯基以《火鳥》在國際樂壇打響名堂。該作品 於 1910 年 6 月 25 日在巴黎首演時,作曲家才 28 歲。 雖然俄國著名的劇團經理賈吉列夫在利亞多夫( Anatol Liadov )及齊爾品( Nikolai Tcherepnin )拒絕了他的 邀約後才找史達拉汶斯基作曲,但他曾指著作曲家, 向俄羅斯芭蕾舞團的首席女舞蹈員卡莎維娜( Tamara Karsavina )低聲說:「好好注意這個人,他將一鳴驚 人。」 1909 年初,賈吉列夫在聖彼得堡聽到了施洛堤 ( Alexander Siloti )指揮史達拉汶斯基的《幻想諧謔曲》 和《煙火》,這兩首作品都透示出他老師林姆斯基 高 沙可夫的管弦配器技巧。於是賈吉列夫邀請史達拉汶 斯基把蕭邦的鋼琴曲(為福金﹝ Fokine ﹞主演的芭蕾舞 《林中仙子》而寫)和一首葛利格的作品改編為管弦樂 曲,作為他的俄羅斯芭蕾舞團在巴黎上演的首個舞季的 節目。他又委約這位年青的作曲家為他撰寫根據俄羅斯 神話改編的《火鳥》的全部配樂。這項任務在年底才最 後確定,但史達拉汶斯基已按照福金的劇本開始工作, 1910 年 3 月就完成了草稿。 史達拉汶斯基在其一本正經而充滿智趣的自傳( 1936 年 第一次出版, 1998 年由諾頓出版社再版)中憶述道: 「整個冬天,我都努力地撰寫我的芭蕾舞劇,此事讓我 與賈吉列夫和他的合作伙伴經常保持聯繫。音樂交給福 金後,他為《火鳥》一段一段地編舞。我出席了芭蕾舞 團的所有綵排,綵排後賈吉列夫、尼金斯基( Nijinsky , 他並沒有在此劇中表演)和我通常都會以一頓精緻的晚 餐,佐以紅酒來結束辛勞的一天。」
37 1919 年的組曲依照故事的脈絡編排,包含了整套舞劇 約一半的音樂。開場詭秘的隆隆聲,代表了卡司契魔鬼 王國的黑暗世界。之後輪到半鳥半人的奇妙火鳥登場。 接著是公主們較為抒情的環形舞,與突如其來的、持 續不懈的卡司契的地獄之舞形成強烈對比。火鳥將魔王 的邪惡力量哄進夢鄉,這段美妙的搖籃曲,由輕盈的巴 松管在豎琴的襯托下奏出。最後是終曲中令人難忘的高 潮:太陽在新世界中升起,伊凡和公主的婚禮圓滿進行。 此樂曲的樂隊編制 弦樂: 木管樂: 銅管樂: 敲擊樂: 豎琴、鋼琴、鋼片琴 史達拉汶斯基在 1910 年 5 月 18 日完成了管弦配器, 他將作品題獻給林姆斯基 高沙可夫,作為對他的紀念。 隨後,他跟隨芭蕾舞團和賈吉列夫來到巴黎。賈吉列夫 「先行一步,因此當我加入他們時,綵排已進行得如 火如荼。愛上了這個俄羅斯神話的福金,詳細講解了場 景,熱情洋溢地編排舞蹈。角色分配與我的期望有所出 入。巴甫洛娃( Pavlova )因為身材比較瘦削,對我而言, 比起卡莎維娜似乎更適合擔演神鳥的角色,後者較有女 性溫柔的韻味,我覺得她演被拘禁的公主更好。﹝但﹞ 我沒理由要抱怨,因為卡莎維娜對神鳥的演繹相當完 美,這位美麗而優雅的藝術家極為成功地掌握了這個角 色。演出受到巴黎公眾熱烈的歡迎⋯⋯它令我感到十分 愜意,傑出的皮埃奈( Gabriel Pierné )指揮我的作品, 他駕馭得相當純熟,為此我要向他表達謝意。」 史達拉汶斯基在芭蕾舞劇中用上了大型樂隊,木管樂和 銅管樂的陣容都相當鼎盛(包括兩支低音巴松管),還 有三部豎琴和龐大的敲擊樂部。次年他把作品改編為管 弦組曲,保留了同樣的陣容。但在 1919 年大戰之後, 他又重新將組曲改寫給更小型的樂隊,只保留了雙管樂 部,亦即今晚演奏的版本。二次大戰後,史達拉汶斯基 再次翻閱他為賈吉列夫寫過的所有重要的芭蕾舞作品, 為《彼得魯斯卡》和《春之祭》改編了新版本,又在 1945 年推出了第三套《火鳥》組曲,它保留了第二組 曲的小型樂隊,但每一節都加長了一倍,有些演出則會 採用稍短的版本。 劇情述說伊凡王子( Ivan ,原由福金擔演)闖進魔王卡 司契( Kashchei )的魔法花園中打獵,發現有 13 位公主 被囚禁在內。他在火鳥的幫助下摧毀了卡司契,與其中 一位公主共諧連理。 第一及第二小提琴、中提琴、大提琴、低音大提琴 長笛 (1)、長笛 / 短笛 (1)、雙簧管 (1)、雙簧管 / 英國管 (1)、 單簧管 (2)、巴松管 (2) 圓號 (4)、小號 (2) 、長號 (3) 、大號 (1) 定音鼓、搖鼓、鈸、吊鈸、大鼓、三角鐵、木琴

Programme Notes

T wo composers born 300 years apart come together to start this special celebratory concert, marking not only the 60 th anniversary of the opening of the Hong Kong City Hall but also the 50th anniversary of the Hong Kong Arts Festival and the 25 th anniversary of the establishment of the Hong Kong Special Administrative Region. Our third composer was only four years off being born 200 years after Bach and all three straddle centuries and, in effect, musical styles.

Johann Sebastian Bach – the pinnacle of a musical dynasty that stretched for generations before him and for at least a generation after him (a number of his sons became composers: Wilhelm Friedemann, Carl Philipp Emanuel, Johann Christoph Friedrich and Johann Christian – the latter befriended the young Mozart in London) – was on the cusp of a change in music from what we call the Baroque to the Classical period (particularly characterised by Haydn, Mozart and Beethoven). For many, the starting point for modern “classical” music (“classical” here used in a generic sense, not to describe Mozart et al) Bach – in the 19th century, ie, the “Romantic” era – became an inspiration to the likes of Schumann, Chopin and Mendelssohn, who gave the first performance of Bach’s St Matthew Passion in a hundred years.

At the end of the 19 th century, Stravinsky’s first scores broke away from the ever-more opulent

“late-Romantic” style and revelled in rhythmic and harmonic experiments epitomised by his first three ballets for Diaghilev – The Firebird, Petrushka and The Rite of Spring . However, rarely afterwards did Stravinsky resort to using such massive orchestral forces. His output covers an incredible range and features a wide variety of styles including neo-classicism and eventually serialism, reflecting the nature of music in the 20th century. His works include 11 ballets, three symphonies, three operas (although only one full-evening work, The Rake’s Progress ), many instrumental and chamber works for varied combinations of instruments.

He composed until the last decade of his life and recorded many of his works. He was, and remains, a colossus in musical history.

Last year marked the 50 th anniversary of Stravinsky’s death, although – like Beethoven’s 250 th birth anniversary in 2020 – the musical world’s commemorations were often blighted by last-minute cancellations and changes because of the pandemic. Tonight, The Firebird rises like a phoenix from those ashes to appear in performance closer to the original première, by being “danced”.

To open this evening, we start with an example of the life-blood of music making: a world première. Charles Kwong is no stranger to Hong Kong Sinfonietta and was its Artist Associate in 2020-2022. Recently he composed a series of works

© Nick Breckenfield, 2022 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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performed in non-traditional venues, collectively entitled Atlas. Now, for the 60th anniversary of Hong Kong City Hall, he has composed a seventh piece for the set, for the first time in the series with an actual purpose-built concert hall for his inspiration. He has called it AtLasT and it also includes the dancers choreographed by HKS Artist Associate alumnus, Yuri Ng and dancers from City Contemporary Dance Company.

Charles Kwong (born 1985) AtLasT (2021-2022) (world première) for Spatialised and Mobilised Orchestra Commissioned by Hong Kong Sinfonietta

Charles Kwong writes:

“ AtLasT is a ‘spin-off’ from my series of sitespecific compositions, Atlas. It is a work that takes a concert hall not as a concert hall, written for a concert as if it is not a concert. After a long wait, it gets performed, at last, in a time where musicians and audience sharing the same space becomes something that should no longer be taken for granted.

“It is music that is created for ‘re-listening’ to the space of the Hong Kong City Hall Concert Hall, which has been unnecessarily left empty for too long.”

Instrumentation of this work

Strings: Brass: Percussion: violins (11), violas (5), cellos (5), double bass (1) horns (2), trumpets (2), trombones (2) glass bells, coil, crotales, woodblocks, temple blocks, tom-tom, bass drum

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Brandenburg Concerto No 3 in G, BWV1048

When Bach presented his Six Concerts avec Plusieurs Instruments to the Margrave Christian Ludwig of Brandenburg in March 1721, his use of French for the description was at odds with the Italian forms he actually used in the music. And there is another conundrum: given that the Margrave had few instrumental resources, we know that the concertos were not played at his court. Indeed, the manuscript remained unpublished until after Bach’s death.

The actual origins of these works probably date back to while Bach was in Weimar, between 1708 and 1717. As court organist and Konzertmeister to Prince Johann Ernst, Bach had become acquainted with the latest Italian styles as the young prince had studied in Utrecht and knew well the Amsterdam publishers who represented both Vivaldi and Marcello. However, it was perhaps not until Bach became Kapellmeister to Prince Leopold in Köthen, from 1717, that the concertos were properly formulated, as it was there that he had the exact instrumental requirements at his disposal. It is not too far-fetched to imagine that the Prince, who could play the violin, the gamba and the harpsichord (let alone sport a fine bass voice), played in the first performances of Bach’s final versions of these concertos.

The Third Brandenburg Concerto, like the Sixth, is for strings alone and – apart from two chords – has no slow middle movement. Its textures are ever-

shifting between the nine instrumental lines – three each of violins, violas and cellos. All these lines are in effect solo lines, with not one part achieving total prominence.

The first movement shows a clear example of what is called ritornello, often used in concerto form of this period, where a strong thematic statement is repeated in various keys throughout the movement before finally appearing again in the tonic (in this case G). Cheerful and lively, this movement is contrasted with the two curious E minor chords which are written between the two Allegro movements. Much debate has been exercised on the exact meaning of these two sparse chords, and how they should be treated in performance. Would a cadenza be expected here like later concertos: an improvised passage, perhaps best suited for the harpsichord? Or perhaps Bach, on the viola, would himself have added something? There are, of course, no rights or wrongs in the filling out of this musical shorthand, but just to play the two chords alone does not fit the style of the period. Back in G for the final Allegro, it is a sprightly threebeat Ländler, although actually written in 12/8. Two extended parts, each repeated, are based on the same tireless thematic germ and there is no pause in the musical drive which keeps going to the very end.

Instrumentation of this work Strings: violins (3), (3), (3), bass (1)

40 Johann Sebastian Bach (1685–1750)
violas
cellos
double

The Firebird Suite (1919 version)

Introduction –The Firebird and Her Dance –Variation of the Firebird The Princess’ Round Dance Infernal Dance of King Kashchei –Berceuse –Finale

It was with The Firebird that Stravinsky broke into the international scene. He was only 28 when it was premiered in Paris on 25 June 1910. The great impresario Diaghilev – who had turned to Stravinsky for the score after his first two choices for composer, Anatol Liadov and Nikolai Tcherepnin had passed up on the commission – whispered to his prima ballerina, Tamara Karsavina, as he pointed to the composer: “Mark him well. He is a man on the eve of celebrity.”

In early 1909 Diaghilev had been in St Petersburg and heard Alexander Siloti conduct Stravinsky’s Scherzo Fantastique and Fireworks , which encapsulated all he had learned in colourful orchestration from his teacher Rimsky-Korsakov. Diaghilev requested two orchestrations of Chopin piano pieces (for Fokine’s ballet Les Sylphides ) and a piece by Grieg, which formed part of his first Paris season of the Ballets Russes. Then he commissioned the young composer for a full, original ballet score based on the Russian legend of the Firebird. The final confirmation came late in the year, but Stravinsky had already started working to a scenario provided by Fokine and had completed the sketch by March 1910.

Stravinsky, in his disarmingly matter-of-fact and witty autobiography first published in 1936 (reprinted by Norton, 1998), remembered:

“Through-out the winter I worked strenuously at my ballet, and that brought me into constant touch with Diaghilev and his collaborators. Fokine created the choreography of L’Oiseau de Feu section [ The Firebird ] by section, as the music was handed to him. I attended every rehearsal with the company, and after rehearsals Diaghilev, Nijinsky (who was, however, not dancing in the ballet), and myself generally ended the day with a fine dinner, washed down with good claret.”

He completed the orchestration on 18 May 1910, dedicating the score to Rimsky-Korsakov. He then followed the company and Diaghilev to Paris who had “preceded me, so that when I joined them rehearsals were in full swing. Fokine elaborated the scenario, having worked at his choreography with burning devotion, the more so because he had fallen in love with the Russian fairy story. The casting was not what I had intended. Pavlova, with her slim angular figure, had seemed to me infinitely better suited to the role of the fairy bird than Karsavina, with her gentle feminine charm, for whom I had intended the part of the captive princess. [Yet] I had no cause for complaint, since Karsavina’s rendering of the bird’s part was perfect, and that beautiful and gracious artist had a brilliant success in it. The performance was warmly applauded by the Paris public and... it gives me much pleasure to pay grateful tribute to the

41

mastery with which the eminent Gabriel Pierné conducted my work”.

For the full ballet he used a massive orchestra, with multiple winds (including two contrabassoons) and brass, three harps and an impressive array of percussion. He made an orchestral suite the following year, keeping to the same orchestration, but in 1919 – after the Great War – he produced a new Suite, with a much-reduced orchestration including only double winds parts, as we hear tonight. After the Second World War, Stravinsky again took a look at all his main ballet scores written for Diaghilev, creating new editions of both Petrushka and The Rite of Spring, as well as in 1945 producing a third Firebird Suite, which retains the smaller orchestra of the second, but includes double the number of sections, and which has sometimes been used as a slightly shorter version for the stage.

The story concerns Tsarevich Ivan (originally danced by Fokine) who, finding himself in the land of the evil Kashchei, discovers 13 princesses imprisoned in Kashchei’s magic garden. With the help of the Firebird, the Prince destroys the evil ogre and marries one of the princesses.

The 1919 Suite follows the chronology of the story and includes about half of the music of the

full ballet score. The unearthly grumblings at the very start indicate the dark world of Kashchei’s kingdom, then the fantastic Firebird – half bird, half woman – is introduced. Next, the more lyrical music for the princesses in their Round Dance is brusquely contrasted by the sudden crashing in of Kashchei’s Infernal Dance , with its unremitting rhythmic impulse. The Firebird then lulls Kashchei’s evil forces into slumber with a lilting bassoon melody over harp chords in the beautiful Berceuse (“lullaby”) before the unforgettable build up in the Finale where the sun rises over a new world as the wedding takes place.

Instrumentation of this work Strings: Woodwinds: Brass: Percussion: Harp, piano, celesta

1st & 2nd violins, violas, cellos, double basses flute (1), flute/piccolo (1), oboe (1), oboe/English horn (1), clarinets (2), bassoons (2) horns (4), trumpets (2), trombones (3), tuba (1) timpani, tambourine, cymbals, suspended cymbal, bass drum, triangle, xylophone

42

桂冠音樂總監 Music Director Emeritus 葉詠詩 Wing-sie

首席客席指揮

駐團藝術家

HKS ARTIST ASSOCIATES

何博欣 (2022-2023)

鄺展維 (2020-2022)

麥兜 (2019-2020)

高世章 (2018-2019)

Vivian HO Charles KWONG McDull Leon KO

陳慶恩 (2016-2018)

石家豪 (2015-2016)

CHAN Hing-yan Wilson SHIEH

朱 栢 謙 (2014-2015)

麥淑賢 (2014-2015)

羅詠媞 (2013-2014)

盧思泓 (2012-2013)

CHU Pak-him MAK Su-yin Wendy LAW LOO Sze-wang

伍宇烈 (2011-2013)

李嘉齡 (2010-2011)

黎志華 (2009-2011)

楊嘉輝 (2008-2009)

伍卓賢 (2006-2008)

Yuri NG Colleen LEE Jason LAI Samson YOUNG NG Cheuk-yin

小提琴 Violin

James CUDDEFORD Concertmaster

KIM In-sun Acting Assistant Concertmaster

LE Hoai-nam Principal Second Violin CAI Pak-yi CHAN Shaw-nan Sharon Kiann CHOW CHUA Vince Eliezer N. John KRUER

Sally LAW Ambrose LUI

LUO Wei-min PANG Hiu-wan POON Ka-mei Camille YANG Min-yu YANG Yu-si William LEE LEUNG Ka-chun YEUNG Kin-man Sunny

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

CHANG Pei-chieh (On Leave) Laurent PERRIN HO Kwok-chee Karey LEE Eun-sol PARK Si-won YIP Chun-hei Eric

Masami NAGAI Santiago COSTA MARTÍNEZ (On Leave) HUANG Tun-pin

上杉晃代 Akiyo UESUGI

雙簧管 Oboe

Samuel AU(區駿熙) , CHAN Ming-chak Alvin (陳銘澤) ,

Vanessa CHAN ( 陳朗瑚 ), WONG Chun-hong John(黃俊匡)

Cecilia HO (何永妍)

Bernard CHAN (陳駿軒) , Cecilia CHAN (陳希琳) , JIM Wai-man (詹蔚雯)

CHAN Ping-chi (陳秉智) , Evette CHIU (趙逸穎) , Harty TAM(譚泳佳)

HUI Wing-hang Bob(許榮鏗)

CHAN Kin-sing Kinson(陳健勝) (Fellow of The Orchestra Academy Hong Kong, co-directed by HK Phil and HKAPA)

John LO(盧國軒)

Ashley LO(勞善雯)

單簧管 Clarinet 歐啟詩 田口美奈子 AU Kai-see Tiffany Minako TAGUCHI

巴松管 Bassoon 包文慶 東出真澄 岑慶璋 陳珈文

方曉佳(休假) 陳秋媛 馮智恆

圓號 Horn 黃山 文曦(休假) HUANG Shan MAN Hay (On Leave)

長號 Trombone

FONG Hiu-kai Johnny (On Leave) CHEN Chiu-yuan FUNG Chi-hang Eric

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

小號 Trumpet 羅澤基 陳學賢 Christopher RODGERS CHAN Hok-yin

低音長號 Bass Trombone

江子文(休假) KONG Tze-man Jason (On Leave)

定音鼓 Timpani

敲擊樂 Percussion 黃士倫 Ann HUANG

林榮燦(休假) LAM Wing-tsan (On Leave) 大號 Tuba 村本曉洋 Akihiro MURAMOTO

周展彤 小山理惠子 CHAU Chin-tung Rieko KOYAMA

豎琴 Harp 朱偉恆 Alan CHU

鍵琴 Keyboard

薛宇曦 美 SZE Yu-hey Kenneth Mami FUKUHARA Associate Principal

福原真
首席 署理首席 助理首席 署理助理首席 客席首席 客席樂師 Orchestral
Acting Principal Assistant Principal Acting Assistant Principal Guest Principal Guest Musician Notes : 1. Guest Principal Tuba 客席大號首席 Scott LIU (廖少國) 2. Freelance Musicians Violin Viola Cello Double Bass Flute Trumpet Bass Trombone Percussion 小提琴 中提琴 大提琴 低音大提琴 長笛 小號 低音長號 敲擊樂
43 香港小交響樂團 Hong Kong Sinfonietta
YIP
Principal Guest Conductor 柏鵬 Christoph POPPEN
長笛 Flute 中提琴 Viola 陳子信 劉琛彥 卞思琦 陳敏聰 龍君蔚 顏星安 鄧詠旋 大提琴 Cello 張培節(休假) 貝樂安 何國芝 李恩率 朴詩媛 葉俊禧 低音大提琴 Double Bass 永井雅美 柯斯達(休假) 黃敦品 格德霍特 樂團首席 金仁善 署理助理樂團首席 李海南 第二小提琴首席 蔡柏沂 陳劭楠 周止善 蔡君賢 顧洛臻 羅莎莉 呂灝然 羅蔚敏 彭曉筠 潘迦薇 陽旻佑 楊宇思 李威霖 梁嘉俊 楊健文

監察委員會

Dr Patrick S C POON

Mr JAT Sew-tong

Dr CHUNG See-yuen

Ms Lily CHOW

Hong Kong

Mrs Alice KING

Mr SHIH Wing-ching

Ms Serena YANG

Dr HO Yu-cheung

Ms LAU Man-man

Mr Patrick LAU

Mr Stephen TAN

Dr Michelle TSUI

Mr Addy W H WONG

HONORARY ORTHOPAEDIC

Dr Dan HOOLEY

Dr Andrew S YUEN HONORARY COMPANY Corporate Secretary

44 香港小交響樂團有限公司
Sinfonietta Limited
BOARD OF GOVERNORS 潘燊昌博士 翟紹唐先生 鍾思源醫生 周莉莉女士 何汝祥醫生 劉文文女士 劉勵超先生 陳智文先生 徐行悅醫生 黃偉雄先生 阮偉文博士
Lisa
(主席 Chairman) (副主席 Vice Chairman) (司庫 Treasurer) 榮譽監察委員 HONORARY GOVERNORS 金董建平女士 施永青先生 楊雪姬女士 義務公司秘書
SECRETARY Tricor
Limited 義務骨科專科醫生
SURGEON 傅偉俊醫生
樂團行政 ADMINISTRATION 行政總裁 Chief Executive Officer 總經理 General Manager 行政秘書 Executive Assistant to CEO 會計經理 Accounting Manager 行政統籌 Administrative Coordinator 行政助理 Office Administrator 楊 惠 李浩儀 何淑娟 李靄玲 柯玉嬌 楊瑞遠 Margaret YANG LEE Ho-yee Rose HO Judith LEE Noel QUAH YANG Jui-yuan 市場推廣及發展 MARKETING & DEVELOPMENT 高級市場及業務拓展經理 Senior Marketing & Development Manager 市場及業務拓展經理 Marketing & Development Manager 助理市場經理 Assistant Marketing Manager 市場及業務拓展主任 Marketing & Development Officer 莫皓明 何珮鈴 袁穎芝 柯娉庭 Amanda MOK Pauline HO Christine YUEN Pantane OR 樂團事務及節目 ORCHESTRA & PROGRAMME 樂團經理 Orchestra Manager 節目經理 Programme Manager 特別節目經理 Special Projects Manager 助理樂團經理 Assistant Orchestra Manager 節目主任 Projects & Programme Officer 製作經理 Production Manager 當代音樂研究 Contemporary Music Research 藝術行政主任 Arts Administration Officers 陳成美 丘靄雪 黃紫菱 黎希潼 林海欣 陳冠宏 鄺展維 羅希寧 朱嘉懿 黎舜喬 Marylu CHAN YAU Oi-suet Icy Athena WONG Carvina LAI Hayley LAM Eddie CHAN Charles KWONG Kening LAW Denise CHU Jeffrey LAI
2022/2023 樂季贊助機構 Sponsors of the 2022/2023 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 銀會員 Silver Member 謝謝! Thank You Partners!

SuperSTAR Patrons Bei Shan Tang Asia Insurance Company Ltd

• 陳鋈鋆先生 Mr Chan Yuk-kwan

• 冼為堅基金有限公司 Sin Wai Kin Foundation

STAR Donors

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

• 陳嘉何醫生夫人

• 陳求德醫生及夫人 Dr & Mrs Chan Kow Tak

•Lowell & Phyllis Chang

•Chiu Music Fund

• 林育義醫生 Dr Lam Yuk Yee Paul

• 關卓然先生 Mr Kwan Cheuk Yin William

• 謝智剛教授 Prof C K Michael Tse

• 徐行悅醫生 Dr Michelle Tsui

• 多位無名氏 Anonymous

Donors (HK$1,000 to HK$9,999) Hui Man Chris Man Yee Twiggy Glenn

•Ms Ng Sau Yvonne Giovanni Salce Jojo Elva Tang Nelson Tang Robert Tang Paul Tsang Mabel Tsui TT Tsui Tsui & Wang Weiyao Wong Tang Fung Wong Wai Tung

•Ms Katherine Yin

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. • 鍾陳碧璋女士 Mrs Shirley Chung • The Fan Family Charitable Trust •Lily Fenn & Partners, Solicitors •Mr Eugene Fung •Mr & Mrs Patrick Lau •Ms Sandra W M Lee •Mrs Sophia Kao Lo • 彭志剛醫生 Dr Joseph Pang •Dr Alfred Tam •Dr & Mrs Arthur Van Langenberg • 黃偉雄先生 Mr Addy W H Wong • 多位無名氏 Anonymous 贊助人及捐款者 Patrons & Donors MegaSTAR Patrons (HK$500,000 and above) • 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 Ltd
(HK$100,000 to HK$499,999) • 北山堂基金
Foundation • 亞洲保險有限公司
謝謝! Thank You!
•BELIEVING MUSIC CAN • 加拿大琴行 Canada Piano Co •Ms D Chan • In Memory of Ms Mariette Mimi Chan • Ms Rosana Chan • 陳松青先生 Mr Thomas Chan • 陳永光先生 Mr Chan Wing Kwong • 陳燕婷 • Ms Joycelyn Choi •Mr C Y Chow •In Remembrance of Esther • 何汝祥醫生 Dr Ho Yu Cheung •KiKi the Cat • 許文傑先生 Mr
Kit • 郭立成律師 Mr
Kok • 林敏儀女士 Ms
Lam •Mr
Lau • 吳志強先生
Pik •Dr
Ou • 潘綺勤女士 •Mr
•Ms
Sin • 德仔 sir •Ms
•Dr
•Mr
•Mr
•Mrs
•Ms
•Simon
Family • 王偉堯先生 Mr
• 王騰峰先生 Mr
• 王煒東先生 Mr
• 多位無名氏 Anonymous
(HK$10,000 to HK$29,999)

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

Asia Insurance Company Ltd

• 鍾思源醫生 Dr Chung See-yuen

•Ms Fiorella Fong

•Mr & Mrs Patrick Lau

•Mrs Florence Ng

• 彭志剛醫生 Dr Joseph Pang

•PLC Foundation

• 沈昊翔先生 Mr Shum Ho Cheung

• 九龍倉集團有限公司 The Wharf (Holdings) Limited

• 多位無名氏 Anonymous

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

•BELIEVING MUSIC CAN

•Mr Chan Kwan Ho

•Gavin Gonsalves & Family

• 紀念劉葉珍女士

• 廖炳輝醫生 Dr Liu Bing Fai

• 吳榮奎先生 Mr Ng W F Nicholas

• 魏玉華小姐 Ms Winnie Ngai

•Ms Jojo Sin

•Mr Robert Tang

• 鄭新文教授 Prof Tseng Sun Man

• 王煒東先生 Mr Wong Wai Tung

• Mr Jimmy Yau

Ruby Donors (HK$30,000 to HK$49,999) & Stephen Chan Yuk-kwan & Mrs Patrick S C David Sin Wai-kin Tong Pak Chuen C K Michael Tse C L Chiu

• 多位無名氏 Anonymous

Diamond Donors (>HK$100,000) •CLP Holdings Limited • 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon • 芝蘭基金會 Zhilan Foundation
• 亞洲保險有限公司
• 多位無名氏 Anonymous
• 孫永輝施熙德伉儷 Edith
Sun Premium Friends • 陳鋈鋆先生 Mr
• 周莉莉女士 Ms Lily Chow • 潘燊昌博士及夫人 Dr
Poon • 冼為堅博士 Dr
• 唐柏泉醫生 Dr
Patrick • 謝智剛教授 Prof
• 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 • 澳洲駐港總領事館 Australia Consulate-General Hong Kong •CASH 音樂基金 CASH Music Fund • 文化體育及旅遊局 Culture, Sports and Tourism Bureau • 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 • 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 Netherlands Consulate General in Hong Kong and Macao •MOViE MOViE • 通利琴行 Tom Lee Music Co Ltd •Mr Jiˇri Votruba Pearl Donors (HK$10,000 to HK$29,999) •Mr Iain Bruce • 張德賢博士伉儷 Dr & Mrs Douglas Cheung •Mr David
學生票資助計劃 Student Ticket Scheme Donors

鉑金捐款者 或以上 AND ABOVE

• Mr Sebastian Man

• Nathan Road Investment Limited HK$139,999

• Mrs Miriam Hwa

• Sino Group

• Dr & Mrs Chan Kow Tak

• Ms Eleanor Leung & Ma Pak Leung Company Limited

• Ms Leung Wai Yee Candice

• Dr Tong Pak Chuen

• Mrs Darani Winnie Tsao

黃金捐款者 HK$12,000 – HK$29,999

• 無名氏 (2) Anonymous (2)

• Mr & Mrs Jeffrey & Helen Chan

• Dr Gillian Choa

• Ho & Fung Charitable Foundation Limited

• Mr Edmond Huang

• Ms Lee Lai Kuen Shelley

• Ms Caroline Y. Pang

• Mrs A. M. Peyer

• 曹小玲醫生 Dr Sabrina Tsao

• 曹延洲醫生夫人 Dr & Mrs Tsao Yen-chow

• Samuel & Amy Wang

• Dr Eleanor Wong

• Mr Jesmer Wong

• Mr Yu Wang Man

• 錢琨黃炤哲

純銀捐款者 Silver Donors

HK$6,000 – HK$11,999

• 無名氏 Anonymous

• AWORKS.DESIGN

• Loretto Chan

• 天智合規顧問有限公司 CompliancePlus Consulting Limited

• Mr Lee Kam Sang Franklin

• Dr Michael Mak

• Moore family

• Mrs Schmitt Ling Jane

• 譚天放先生 Mr Martin T. F. Tam

• Ms Christine Tong

• Ms Enoch Yiu

• Ms Isabel Yiu

青銅捐款者 Bronze Donors

HK$3,000 – HK$5,999

• 無名氏 (7) Anonymous (7)

• Mr R. W. Arblaster

• Associated Professional Engineers Ltd

• Mr David Baile

• Dr & Mrs Dan & Veryan Bradshaw

• Brandon Learning Centre

• Mrs Anson Chan

• Ms Chan Chui Shan

• Dr Fiona Chung

• Mr Anthony John Hardy

• HK CT ABRSM ALUMNI ASSOCIATION

• Ms Ho Man Fung Edith

• Ms Zoe Ho

• Ms Khoo Li Lian

• Mr & Mrs Ko Ying & Ko Woo Shing

Ching Patricia

• Dr Alfred Lau

• Ms Ka Shi Lau

• Dr Lee Wan Fai Walter

• Mr & Mrs David S L Lin

• Dr Andrea Lowe

• Mr Luk Nai Man

• Dr Joseph Pang

• Jose M. Sevilla & Julie Bisaillon

• Victoria Capital Limited

• Mr Wong Yick Kam

• Ms Cecilia W Y YEUNG

鳴謝 Acknowledgements 藝術節捐助計劃 Festival Donation Scheme
Platinum Donors HK$140,000
鑽石捐款者 Diamond Donors HK$70,000 –
翡翠捐款者 Jade Donors HK$30,000 – HK$69,999
無名氏 Anonymous
陳求德醫生及夫人
Gold Donors
新作捐助計劃 New Works Scheme 黃金捐款者 Gold Donors HK$12,000 – HK$29,999 • 無名氏 Anonymous • 劉仰澤先生 Mr Lau Yeung Chak 純銀捐款者 Silver Donors HK$6,000 – HK$11,999 • 無名氏 Anonymous • Ms Grace Chiang • Edith Shih & Stephen Sun • Mr So Kai Tai 青銅捐款者 Bronze Donors HK$3,000 – HK$5,999 • MDB & Star B Chan • Ms Phyllis Mi Ching Lam • Mr Joseph Pang • Mrs A. M. Peyer 網上藝術教育捐助計劃 Digital Arts Education Scheme 鉑金捐款者 Platinum Donors HK$140,000 或以上 AND ABOVE • 馬振玉慈善基金會有限公司 CYMA Charity Fund Ltd 鑽石捐款者 Diamond Donors HK$70,000 – HK$139,999 • Dr & Mrs H. Sohmen 黃金捐款者 Gold Donors HK$12,000 – HK$29,999 • 無名氏 Anonymous 純銀捐款者 Silver Donors HK$6,000 - HK$11,999 • Ms Yvonne Cheng & Mr Kelvin Koo 青銅捐款者 Bronze Donors HK$3,000 – HK$5,999 • 無名氏 Anonymous • Mrs A. M. Peyer 學生票捐助計劃 Student Ticket Scheme 鉑金捐款者 Platinum Donors HK$140,000 或以上 AND ABOVE • 無名氏 (2) Anonymous (2) 鑽石捐款者 Diamond Donors HK$70,000 - HK$139,999 • Mrs Miriam Hwa • Mrs Purviz R. Shroff, MH & Late Mr Rusy M. Shroff, BBS, MBE • Tin Ka Ping Foundation • 芝蘭基金會 Zhilan Foundation 翡翠捐款者 Jade Donors HK$30,000 – HK$69,999 • Roger and Lina Lui • Ronald and Rita McAulay Foundation 黃金捐款者 Gold Donors HK$12,000 – HK$29,999 • 無名氏 Anonymous • Ms Momo Chan • Dr Chung See Yuen • Ho & Fung Charitable Foundation Limited • Mr & Mrs Stefan & Caroline Kracht • Diana and Jay Parmanand • Mr & Mrs Kenneth Quinn • Edith Shih & Stephen Sun • Dr Peter & Mrs Nancy Thompson • Dr Eleanor Wong 純銀捐款者 Silver Donors HK$6,000 – HK$11,999 • Mr Iain Bruce • Anna Chan and Henry Wong • Ms Yvonne Cheng & Mr Kelvin Koo • Mr & Mrs Norman Chui Pak Ming • 天智合規顧問有限公司 CompliancePlus Consulting Limited • Mrs Margaret Hamilton • 林海容女士 Ms Lam Hoi Yung • 麥禮和醫生 Dr Mak Lai Wo • Mr & Mrs Vernon Moore • 曹延洲醫生夫人 Dr & Mrs Tsao Yen-chow • Mrs Linda Wang 青銅捐款者 Bronze Donors HK$3,000 – HK$5,999 • 無名氏 (4) Anonymous (4) • Mr Au Son Yiu • Mr & Mrs Herbert Au-Yeung • 陳皓宜博士 Dr Cindy Chan • MDB & Star B Chan • Dr Chan Wan Tung • Dr Chiang Kwok Shing Alan • 馮兆林先生太太 Mr & Mrs Fung Shiu Lam • Ms Maureen Leung • Savita Leung • Ms Regina Lo • Mrs A. M. Peyer • Dr Adrian Raper • Ms Janice Ritchie • Mr So Kin Man • Mr Desmond Yu 貢獻香港藝術節 50 年伙伴及藝術節開幕演出贊助 The Hong Kong Arts Festival’s Proud Partner for 50 Years & Festival Opening Sponsor 贊助舍計劃會員 Patron’s Club Members 鉑金會員 Platinum Member 嘉里控股有限公司 Kerry Holdings Limited 黃金會員 Gold Member 怡和集團 The Jardine Matheson Group 純銀會員 Silver Members 太古集團慈善信託基金 The Swire Group Charitable Trust 青銅會員 Bronze Member 鷹君集團 Great Eagle Group 實物支持機構 In-kind Supporters 618 上海街 618 Shanghai Street 香港港麗酒店 Conrad Hong Kong H6 CONET 香港海事博物館 Hong Kong Maritime Museum 香港逸蘭銅鑼灣酒店 Lanson Place Causeway Bay, Hong Kong 通利琴行 Tom Lee Music 市區重建局 Urban Renewal Authority 香港藝術節衷心感謝下列機構及人士的慷慨支持: The Hong Kong Arts Festival would like to thank the following for their generous support: 香港賽馬會慈善信託基金 The Hong Kong Jockey Club Charities Trust 藝術節閉幕演出贊助 Festival Finale Sponsor 工銀亞洲 ICBC (Asia) 節目贊助 Programme Sponsors 查氏基金會 The Cha Foundation 陳廷驊基金會 The D.H. Chen Foundation 香港興業國際 HKR International 工銀亞洲慈善基金 ICBC (Asia) Charitable Foundation 藝術節指定高級用車伙伴 Official Premium Car Partner 大昌行汽車租賃 DCH Mobility 藝術節指定航空公司 Official Airline 芬蘭航空 Finnair 藝術節指定戶外媒體伙伴 Official Outdoor Media Partner 博納戶外廣告有限公司 POAD 藝術節指定影視錄音室支持伙伴 Official Film Studio Recording Partner 邵氏影城 Shaw Studios 藝術節指定直播科技合作伙伴 Official Live Streaming Technology Partner 天開數碼媒體有限公司 TFI Digital Media Limited 主要酒店伙伴 Major Hotel Partner 香港君悅酒店 Grand Hyatt Hong Kong 支持機構 Supporting Organisation 香港品牌 Brand Hong Kong 犇亞慈善基金有限公司 Primasia Foundation 信興集團 Shun Hing Group 尤德爵士紀念基金 Sir Edward Youde Memorial Fund 上海商業銀行有限公司 Shanghai Commercial Bank Limited

香港灣仔港灣道

Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong

贊助人 Patron

李家超先生 John KC Lee, GBM SBS PDSM PMSM

永遠名譽會長 Honorary Life President

邵逸夫爵士 Sir Run Run Shaw, CBE (1907-2014)

執行委員會 Executive Committee

主席 Chairman

查懋成先生 Mr Victor Cha

副主席 Vice Chairman

盧景文教授 Prof Lo King-man, SBS MBE JP

義務司庫 Honorary Treasurer

范高廉先生 Mr Colin Farrell

委員 Members

鄭阮培恩女士 Mrs Betty Yuen Cheng

鄭惠貞女士 Ms Margaret Cheng

馮愉敏先生 Mr Michael Fung

何苗春暉女士 Ms Joanna Hotung

文肇偉先生 Mr Sebastian Shiu-wai Man

孫大倫博士 Dr Dennis T L Sun, BBS JP

姚潔莉女士 Ms Miriam Yao

楊光先生 Mr Sunny Yeung

節目委員會 Programme Committee

主席 Chairman

盧景文教授 Prof Lo King-man, SBS MBE JP

委員 Members

白諾信教授 Prof Giorgio Biancorosso

紀大衛教授 Prof David Gwilt, MBE

羅志力先生 Mr Peter C L Lo 毛俊輝教授 Prof Fredric Mao, BBS

李義法官 The Hon Mr Justice Ribeiro

約瑟 · 施力先生 + Mr Joseph Seelig + 譚榮邦先生 Mr Wing-pong Tam, SBS JP

姚珏女士 Ms Jue Yao, JP

財務委員會 Finance Committee

主席 Chairman

范高廉先生 Mr Colin Farrell

委員 Members

鄭惠貞女士 Ms Margaret Cheng

梁國輝先生 Mr Nelson Leong

發展委員會 Development Committee

主席 Chairman

鄭阮培恩女士 Mrs Betty Yuen Cheng

副主席 Vice Chairman 雍景欣女士 Ms Jane Yong

委員 Members

馮愉敏先生 Mr Michael Fung 龐心怡女士 Ms Samanta Sum-yee Pong 孫林宣雅女士 Mrs Helen Lin Sun

姚祖輝先生 Mr Andrew Yao

顧問 Advisors

夏佳理先生 The Hon Ronald Arculli, GBM GBS JP

鮑磊先生 Mr Martin Barrow, GBS CBE JP

陳祖澤博士 Dr John C C Chan, GBS CBE LVO JP

陳達文博士 Dr Darwin Chen, SBS ISO

霍璽先生 Mr Angus H Forsyth

李業廣先生 The Hon Charles Y K Lee, GBM GBS OBE JP

梁紹榮夫人 Mrs Mona Leong, SBS BBS MBE JP

李國寶博士 Dr The Hon Sir David K P Li, GBM GBS OBE JP

名譽法律顧問 Honorary Solicitor

甘乃迪女士(孖士打)Ms Gabriela Kennedy, Mayer Brown 核數師 Auditor

羅兵咸永道會計師事務所 PricewaterhouseCoopers

+ 榮譽節目顧問 Honorary Programme Advisor

電話 PHONE: 2824 3555 FAX: 2824 3798 / 2824 3722 DEVELOPMENT Director Managers Officers CORPORATE

2 號 12 樓 1205 室
傳真
職員 STAFF 行政總監 Executive Director 何嘉坤 Tisa Ho 行政總監助理 Assistant to Executive Director 何丹蓉 Connie Ho 節目 PROGRAMME 節目總監 Programme Directors 梁掌瑋 Grace Lang 蘇國雲 So Kwok-wan 節目經理 Programme Managers 鄭佩群 Cathy Cheng 馬筠婷 Katie Ma 譚小敏 Tracy Tam 廖國穎 Sophie Liao 司徒頌欣 Samantha Szeto 副節目經理 Deputy Programme Manager 杜以樂 Tobe To 短期節目經理 Temporary Programme Manager 游慧姿 Janet Yau 節目統籌 Programme Coordinator 陳栢琦 Pecky Chan 物流及接待經理 Logistics Manager 金學忠 Elvis King • 行政 ADMINISTRATION 節目經理(行政) Programme Manager (Administration) 蘇雪凌 Shirley So 節目主任(行政) Programme Officer (Administration) 林穎妍 Michelle Lam • 技術 TECHNICAL 製作經理 Production Manager 梁雅芝 Shirley Leung • 出版 PUBLICATIONS 編輯 Editors 陳詠恩 Eugene Chan Adam Wright 助理編輯 Assistant Editors 陳劭儀 Shao yi Chan 李芷晴 Rebecca Lee • 外展 OUTREACH 外展經理 Outreach Managers 林嘉敏 Carman Lam 鄧冠恆 Joe Tang 助理外展經理 Assistant Outreach Manager 潘穎詩 Renee Poon 外展統籌 Outreach Coordinator 周綺雯 Janet Chow 外展主任 Outreach Officer 林穎茵 Lilian Lam 外展助理 Outreach Assistant 馬曉瑩 Queena Ma 藝術行政見習員 Arts Administrator Trainee 馮樂程 Crystal Fung 市場推廣 MARKETING 市場總監 Marketing Director 鄭尚榮 Katy Cheng 副市場總監 Associate Marketing Director 盧伯全 Eugene Lo 市場經理 Marketing Manager 黃嘉璧 Valentina Wong 副市場經理 Deputy Marketing Managers 陳靄婷 Tobie Chan 張予心 Stephanie Cheung 助理項目經理 Assistant Project Managers 李穎軒 Hill Li 譚懿諾 Hades Tam 助理市場經理 Assistant Marketing Managers 許樂欣 Sally Hui 曾諾怡 Margaret Tsang 市場主任 Marketing Officer 林培生 Billy Lin • 票務 TICKETING 市場經理(票務) Marketing Manager (Ticketing) 梁彩雲 Eppie Leung 高級票務主任 Senior Ticketing Officer 陳偲穎 Stephanie Chan 發展
發展總監 Development
余潔儀 Flora Yu 發展經理(大額捐獻) Development Manager (Major Gifts) 鍾雅妍 Fiona Chung 發展經理 Development
林思穎 Sharon Lam 譚樂瑤 Lorna Tam 副發展經理 Deputy Development Manager 蘇小欣 Connie So 發展主任 Development
鄒穎妮 Chau Wing-ni 譚尹晴 Linda Tam 行政事務
SERVICES • 會計 ACCOUNTS 財務總監 Finance Director 鄺敬婷 Teresa Kwong 會計經理 Account Manager 杜詩麗 Connie To 高級會計主任 Senior Accounting Officer 鍾巧明 Catherine Chung • 人力資源及行政 HR & ADMINISTRATION 人力資源及行政經理 Human Resources and Administration Manager 楊美君 Janet Yeung 接待員 / 初級秘書 Receptionist/ Junior Secretary 李美娟 Virginia Li 助理 General Assistant 黃國愛 Bonia Wong • 資訊科技 INFORMATION TECHNOLOGY 資訊科技經理 Information Technology Manager 陳啟明 Derek Chan 無限亮 NO LIMITS 高級項目經理 Senior Project Manager 張文磊 Grace Zhang 節目及外展統籌 Programme and Outreach Coordinators 何敬堯 Kelvin Ho 潘詠汶 Jasmine Poon 市場經理 Marketing Manager 何詩慧 Ho Sze-wai 副市場經理 Deputy Marketing Manager 廖愷瀅 Kaitlyn Liu 助理技術及製作經理 Assistant Technical and Production Manager 陳梓衡 Jacob Chan 按英文姓氏首字母排列 In alphabetical order 2022 年 9 月更新 Updated September 2022
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