House Prog: Ilya Gringolts • The Art of the Violin (22.9.2018) by Hong Kong Sinfonietta Limited

小提琴 Violin

格林高特 Ilya Gringolts

22.9.2018 (星期六 Sat) 8pm

©FBROEDE

香港大會堂音樂廳 HK City Hall Concert Hall

指揮 Conductor

楚嘉文 Ariel Zuckermann

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

小提琴的藝術 Ilya Gringolts．The Art of the Violin 指揮 Conductor

小提琴 Violin

楚嘉文 Ariel Zuckermann

格林高特 Ilya Gringolts

節目

羅卡蒂利

《小提琴的藝術》，作品3： D大調第12協奏曲，「和聲的迷宮」快板 — 隨想曲廣板 — 急板 — 慢板快板 — 隨想曲

賈雷爾

《雲與霧》（2016）（亞洲首演）－中場休息15分鐘－

G大調第八交響曲，作品88

德伏扎克

活潑的快板慢板優雅的快板 — 更活潑的從容的快板 Programme

The Art of the Violin, Op 3: Concerto No 12 in D, “The Harmonic Labyrinth”

Locatelli

Allegro – Capriccio Largo – Presto – Adagio Allegro – Capriccio

Michael Jarrell

Des Nuages et des Brouillards (2016) (Asian première)

– 15-minute intermission –

Dvořák

Symphony No 8 in G, Op 88 Allegro con brio Adagio Allegretto grazioso – molto vivace Allegro ma non troppo

場地規則 House Rules 各位觀眾：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。 Dear Patrons, In order to make this performance a pleasant experience for the artists and other members of the audience, please refrain from recording, filming, taking photographs, and also from smoking, eating or drinking in the auditorium. Please ensure that your mobile phones and any other sound and light emitting devices are switched off before the performance. Thank you for your kind co-operation.

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

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

樂團深明培育下一代的重要性，針對不同年齡的觀眾，舉辦多套別樹一格的普及音樂會。《我的音樂日記》及由葉詠詩主持的《古典音樂速成》、《古

典音樂知多少》和《我個名叫麥兜兜．古典音樂小計劃》等節目，創辦至今深受歡迎，大大拓展古典音樂觀眾的層面。另外，樂團的《樂聚》系列，包括在音樂廳以外的場地舉行室樂及跨界音樂會，為觀眾提供更多節目選擇。除本地演出外，樂團常應邀作客海外，包括：美國紐約林肯中心羅斯劇院、加拿大多個以出色音效著稱的音樂廳；南美洲的巴西、阿根廷及烏拉圭；在歐洲計有法國的拉羅克．昂迪榮國際鋼琴音樂節、法國蒙頓音樂節、聖里奇音樂節、漢斯夏季音樂會及艾克斯雷班《浪漫之夜》音樂節、德國東弗里斯蘭「浪潮」音樂節、波蘭貝多芬復活節音樂節、意大利的米凱朗傑利國際音樂節和維琴察音樂節、葡萄牙馬爾旺國際音樂節、立陶宛的兩個音樂節、瑞士蘇黎世、日內瓦和弗里堡；北京第二屆中國交響樂之春（國家大劇院）、中國上海國際藝術節（世博會「香港活動周」閉幕節目）、上海之春國際音樂節、韓國統營國際音樂節、新加坡、台灣、日本長野、新潟和金澤等，並五度獲邀參與東京《

》音樂祭演出。

樂團音樂總監葉詠詩享譽亞洲樂壇， 2010 年獲英國皇家音樂學院頒授院士榮銜（FRCM）。她曾獲法國貝桑松第 35 屆國際青年指揮家大賽冠軍和「金豎琴」獎、哥士域斯基獎學金、小澤征爾獎學金以及第八屆東京國際指揮大賽獎項，並曾隨小澤征爾、伯恩斯坦、米亞、羅徹迪霍斯基及狄瑪爾等大師學藝。

Hong Kong Sinfonietta is one of Hong Kong’s flagship orchestras. With conductor Yip Wingsie as Music Director, the orchestra has brought music closer to the community, and has achieved significant recognition locally and internationally for its passionate performances and innovative programming. Since 1999, Hong Kong Sinfonietta has collaborated with an illustrious array of international musicians and groups, including Vladimir Ashkenazy, Plácido Domingo, Augustin Dumay, Fou Ts’ong, Christopher Hogwood, Luciano Pavarotti, Krzysztof Penderecki, Pinchas Zukerman, Mariinsky Ballet, Bolshoi Ballet, The Royal Ballet, English National Ballet, American Ballet Theatre, New York City Ballet, Stuttgart Ballet and Tanztheater Wuppertal Pina Bausch. The orchestra has also been a regular participant at all the major festivals in Hong Kong including the Hong Kong Arts Festival, Le French May, Hong Kong International Film Festival and festivals presented by the Hong Kong Government. It also partners regularly with Hong Kong Ballet and Opera Hong Kong in their staged productions. The orchestra performs year-round with over 100 performances a season and has been the Venue Partner of the Hong Kong City Hall since 2009. Apart from standard orchestral repertoire, Hong Kong Sinfonietta, as an avid believer of keeping music alive and contemporary, commissions and performs new works every year and ventures into crossover concerts both at the City Hall and at the residency at ArtisTree. Launched in 2006, the HKS Artist Associate scheme provides a platform for intensive collaboration with local artists from different arts disciplines to expand the horizon of classical music. The orchestra’s discography includes CDs of works by Chinese composers on HUGO, and three double-CD albums This is Classical Music on DECCA which have been awarded Platinum and Gold Records. Its newest album, The Passage Beyond in Concert by Leon Ko, was released on DECCA in July 2018. Hong Kong Sinfonietta has also pioneered speciallydesigned concert series for different audiences and age groups, including Good Music for Babies, Good Music for Kids, Know Your Classical Music,

Short-cut to Classical Music and HKS McDull Music Project. Since 2010, Hong Kong Sinfonietta’s chamber music concerts have continued to break down barriers between music and audience as we perform at unconventional spaces. On tour, Hong Kong Sinfonietta has been invited to perform in North America in Canada and New York City; in Brazil, Argentina and Uruguay in South America; in Europe at the prestigious Festival International de Piano La Roque d’Anthéron, Festival de Musique Menton, Saint-Riquier Festival, Les Flâneries Musicales d’Été de Reims and Festival Les Nuits Romantiques in France, in Germany at Gezeitenkonzerte Ostfriesland, at Beethoven Easter Festival in Poland, in Switzerland at Tonhalle Zürich, Geneva Victoria Hall and Fribourg, Festival Pianistico Internazionale Arturo Benedetti Michelangeli and Settimane Musicali al Teatro Olimpico in Italy, in Portugal at the Marvão International Music Festival, and in Lithuania; in China at the Shanghai Spring International Music Festival and China Shanghai International Arts Festival (Expo 2010 Shanghai), in Beijing at the National Centre for the Performing Arts; in Japan at La Folle Journée in Tokyo and Niigata, Nagano and Kanazawa; in Korea at the Tongyeong International Music Festival and in Singapore at the Esplanade, and in Taiwan. Music Director Yip Wing-sie, one of Asia’s most respected conductors, was the winner of the First Prize and LYRE d’OR in the 35th Concours International de Jeunes Chefs d’Orchestre de Besançon, the Koussevitsky Scholarship, the Seiji Ozawa Fellowship Award and a prizewinner in the 8th Tokyo International Conducting Competition. She has studied with Seiji Ozawa, Leonard Bernstein, Gustav Meier, Gennady Rozhdestvensky and Norman Del Mar.

香港小交響樂團有限公司是註冊之慈善團體。 The Hong Kong Sinfonietta Limited is a registered charity. 香港灣仔譚臣道 98 號運盛大廈 3樓 3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong 電話 Tel : (852) 2836 3336 電郵 Email: enquiries@hksinfonietta.org 網址 Website: www.HKSL.org

作曲及指揮指揮 Conductor Composer and Conductor

麥米蘭 Ariel 楚嘉文 JamesZuckermann MacMillan 楚嘉文自2015/2016樂季起為以色列室樂團的音樂總監，是最備受注目的年輕指揮家之一。他在斯德哥爾摩皇家音樂學院隨潘努拉學習指揮，及後於慕尼黑音樂學院師隨魏爾， 2004 年 5 月畢業 2007年1月被任命為格魯吉亞室樂團的音樂總監。 2017/2018樂季之演出包括與澳洲青年樂團在澳洲巡演六場並灌錄唱片，並與多個樂團再度攜手合作，包括奧地利藝術家樂團於維也納音樂協會會堂演出，瑞典達拉小交響樂團，及於格魯吉亞第比利斯的特拉非音樂節再次亮相。他亦首度指揮 MDR 交響樂團及羅斯托克德意志北部愛樂樂團。楚嘉文於 2003/2004樂季在布達佩斯節日樂團擔任費沙爾的助理指揮，期間指揮的多場音樂會均大獲好評，自此開展其指揮生涯。 2007 年，他在柏林愛樂音樂廳首次指揮柏林德意志交響樂團，好評如潮，並於2009年與尤斯卡迪樂團在西班牙巡演。他曾與多個樂團在音樂會中合作或灌錄唱片，如以色列愛樂樂團、里加小交響樂團、巴伐利亞國家樂團、 NDR 電台愛樂樂團、巴塞爾交響樂團、琉森交響樂團、首爾 KBS 電台樂團、不來梅愛樂樂團、匈牙利國家愛樂樂團、布達佩斯節日樂團、 ORF維也納電台交響樂團、捷克愛樂樂團、班伯格交響樂團、德意志電台交響樂團、科隆 WDR 交響樂團、大加那利島愛樂樂團、波爾扎諾及特倫托海頓樂團、丹麥國家交響樂團、台北市立交響樂團、蘇黎世室樂團、巴塞爾室樂團、斯圖加特室樂團及薩爾茨堡室樂團等，並於慕尼黑加特納廣場劇院之唐尼采蒂《媽媽萬歲》製作中首度指揮歌劇。楚嘉文成為指揮前為長笛演奏家，曾跟隨麥森和阿多利安學習，於多個國際比賽獲獎。

Ariel Zuckermann has been Music Director of the

Hungarian National Philharmonic, Budapest Festival

Israel Chamber Orchestra since the 2015/2016

Orchestra, ORF Radio-Symphonieorchester Wien,

season and is one of the most sought-after

Czech Philharmonic Orchestra, Bamberger

conductors of the younger generation. He studied

Symphoniker, Deutsche Radio Philharmonie, WDR

conducting with the legendary Jorma Panula at the

Sinfonieorchester Köln, Orquesta Filarmónica de

Royal Music Academy of Stockholm and later with

Gran Canaria, Haydn Orchestra of Bolzano and

Bruno Weil at Munich’s Musikhochschule where he

Trento, Danish National Symphony Orchestra,

graduated in May 2004. In January 2007 he was

Taipei Symphony Orchestra, as well as Zurich, Basel

appointed Music Director for the renowned

and Stuttgart Chamber orchestras and Camerata

Georgian Chamber Orchestra.

Salzburg. He made his opera début at Munich’s

The 2017/2018 season took off with an exciting

Gärtnerplatztheater leading a new production of

tour with the Australian Youth Orchestra with six

Donizetti’s Viva la Mamma.

performances throughout Australia and a CD

Winner of numerous international competitions,

recording. Other reinvitations led him to the

Ariel Zuckermann began his musical career as a

Tonkünstler Orchestra with appearances at Vienna

flautist. He studied flute in Munich with Paul

Musikverein, DalaSinfoniettan and the Telavi

Meisen and András Adorján.

Festival in Tbilisi. Ariel Zuckermann also made his conducting débuts with MDR Sinfonieorchester and Norddeutsche Philharmonie Rostock. Zuckermann started off his conducting career in 2003/2004 as Assistant Conductor to Iván Fischer at the Budapest Festival Orchestra, resulting in a number of critically acclaimed performances. He then made well-received débuts with the Deutsches Symphonie-Orchester Berlin at Berlin’s Philharmonie in 2007, and with the Orquesta Sinfónica de Euskadi on tour in Spain in 2009. Other recent engagements have included concerts and recordings with the Israel Philharmonic Orchestra,

Riga

Staatsorchester,

Sinfonietta, NDR

Bayerische

Radiophilharmonie,

Sinfonieorchester Basel, Luzerner Sinfonieorchester, KBS Radio Orchestra Seoul, Bremen Philharmonic,

小提琴 Violin

格林高特 Ilya Gringolts 2017/2018樂季重點節目包括於柏林音樂節及薩爾茨堡藝術節大獲好評的獨奏會，以及在科隆愛樂音樂廳、斯德哥爾摩音樂廳、巴登 - 巴登節日音樂廳及布宜諾斯艾里斯的科隆劇院演出。他亦再次與芬蘭巴羅克交響樂團合作，演奏羅卡蒂利的小提琴協奏曲。格林高特於 2008 年創立格林高特四重奏，擔任第一小提琴手，四重奏曾於薩爾茨堡、琉森、愛丁堡及格施塔德曼奴軒音樂節等演奏。室樂方面，格林高特的合作伙伴包括巴舒密特、卡杜殊、戈蘭、杜蒂耶及韋特文等，也是琉森、費比爾及科爾瑪等音樂節之常客。

他的唱片目錄包括三張舒曼室樂作品錄音、帕格尼尼 24 首小提琴隨想曲、與華沙愛樂樂團合奏的溫伯格小提琴協奏曲、與布拉格愛樂合奏的德伏扎克小提琴協奏曲、與哥本哈根愛樂樂團合奏的康高特協奏曲及亞當斯協奏曲及史達拉汶斯基二重奏等，並即將推出史達拉汶斯基管弦作品的錄音。格林高特早年於聖彼得堡隨莉貝羅娃及密泰莉迪學俄羅斯小提琴家格林高特以其高超技藝及細膩演繹迷倒各地樂迷，而且經常尋找新的挑戰。作為獨奏家，他除了演奏正統經典交響曲目，也熱衷演奏當

學習， 1998 年成為帕格尼尼國際小提琴大賽史上最年輕之冠軍得主。

代及難得演奏的音樂，曾為彼得．戴維斯、奧古斯

他現任蘇黎世藝術學院的小提琴教授，以及格拉斯

達．湯瑪士、貝賽安及賈雷爾等作曲家首演作品。

哥皇家蘇格蘭音樂及戲劇學院之國際小提琴藝術

此外，他也對早期音樂演奏深感興趣，曾與芬蘭巴

家。格林高特演奏用的是一把1742-43年於克雷莫

羅克樂團及阿爾坎傑羅合奏團合作。

納製造的瓜爾奈利名琴。

格林高特曾與世界多個頂尖樂團合作，如皇家利物浦愛樂樂團、 BBC 交響樂團、柏林德意志交響樂團、聖彼得堡愛樂樂團、洛杉磯愛樂樂團、芝加哥交響樂團、日本 NHK 交響樂團及馬勒室樂團等。近期合作演出樂團包括與巴伐利亞電台交響樂團、以色列愛樂樂團、華沙愛樂樂團、哥本哈根愛樂樂團、伯明翰城市交響樂團及新加坡交響樂團等。

習小提琴及作曲，隨後於茱利亞音樂學院隨普爾曼

The Russian violinist Ilya Gringolts wins over

Ilya Gringolts is also first violinist of the Gringolts

audiences with his extremely virtuosic playing and

Quartet, which he founded in 2008 and which has

sensitive interpretations, and is always looking for

enjoyed great success at the Salzburg, Lucerne,

new musical challenges. As a sought-after soloist,

Edinburgh Festivals and Menuhin Festival Gstaad.

he devotes himself to the great orchestral repertoire

As a keen chamber musician, Ilya Gringolts

as well as contemporary and seldom-played works.

collaborates with artists such as Yuri Bashmet,

He has premiered compositions by Peter Maxwell

David Kadouch, Itamar Golan, Peter Laul,

Davies, Augusta Read Thomas, Christophe Bertrand

Aleksandar Madzar, Nicolas Altstaedt, Andreas

and Michael Jarrell. In addition, he is interested in

Ottensamer, Antoine Tamestit and Jörg Widmann,

historical performance practice and collaborates

and is a regular guest at the festivals in Lucerne,

with ensembles such as the Finnish Baroque

Verbier, Colmar and Bucharest (Enescu Festival).

Orchestra and Arcangelo.

Gringolts has recorded on Deutsche Grammophon,

Ilya Gringolts has performed with leading

BIS, Hyperion, Onyx and Orchid Classics and his

orchestras around the world such as the Royal

acclaimed discography include three CDs of

Liverpool Philharmonic, BBC Symphony, Deutsches

Schumann’s chamber music (2010-2011), Paganini’s

Symphonie-Orchester Berlin, St Petersburg

24 Caprices for Solo Violin (2013-2014),

Philharmonic, Los Angeles Philharmonic, Chicago

Mieczysław Weinberg’s Violin Concerto with

Symphony, NHK Symphony and Mahler Chamber

Warsaw Philharmonic Orchestra (2015), Dvořák’s

Orchestra. Recent highlights included projects with

Violin Concerto with Prague Philharmonia, concertos

the Bavarian Radio Symphony, Israel Philharmonic,

by Korngold and Adams with the Copenhagen

Warsaw Philharmonic, Copenhagen Philharmonic,

Philharmonic (2017), and Stravinsky’s Duos. These

City of Birmingham Symphony Orchestra and

will be followed by an eagerly awaited upcoming

Singapore Symphony.

recording of Stravinsky’s orchestral works.

Highlights of the 2017/2018 season included the

After studying violin and composition in

highly-praised solo recitals at the Musikfest Berlin

St Petersburg with Tatiana Liberova and Jeanna

and the Salzburger Festspiele (“A performance of

Metallidi, he attended the Juilliard School of Music

the century”, Der Standard), as well as concerts

where he studied with Itzhak Perlman. In 1998 he

at the Cologne Philharmonie, Stockholm

won the International Violin Competition Premio

Konserthuset, Festspielhaus Baden-Baden and

Paganini, as the youngest first prize winner in the

Teatro Colón in Buenos Aires. He also rejoined the

history of the competition.

Finnish Baroque Orchestra to present violin concertos by Locatelli, leading the rarely performed virtuoso concertos from the violin.

Apart from his position as violin professor at the Zurich Academy of the Arts, he is also a Violin International Fellow at the Royal Scottish Academy of Music and Drama in Glasgow. Ilya Gringolts plays a Giuseppe Guarneri “del Gesù” violin, Cremona 1742-43, on loan from a private collection.

鋼琴 Composer 作曲 Piano

唐契夫 Michael 賈雷爾 Antoni Donchev Jarrell

賈雷爾 1958 年生於瑞士日內瓦，就讀日內瓦音樂學院期間曾跟隨戈迪拜爾學習作曲，亦曾參加美國鄧肯活音樂節舉辦的多個工作坊，並在德國弗萊堡音樂學院完成音樂訓練，師事胡伯。賈雷爾的作品廣受各界好評，屢獲獎項，其影響力自 80 年代至今絲毫不減。在1986至1988年間，他為巴黎國際藝術村擔任過駐村藝術家，並於法國龐比度中心的音質/音樂研究及協調所（IRCAM）參與電子音樂研究，後於1989年加入羅馬瑞士研究所。1991至 1993 年，他為里昂國家樂團擔任駐團作曲家，並自 1993 年起任教於維也納音樂及表演藝術大學。賈雷爾於 2001 年獲頒法國藝術及文學騎士勳章，並在2004年起擔任日內瓦音樂學院教授。他曾擔任1996年琉森音樂節的駐節作曲家、2000年赫爾辛基音樂節的焦點作曲家。他的鋼琴協奏曲《告別》亦曾於 2001 年薩爾茨堡音樂節上演， 2010 年的琉森音樂節演出了他為法國現代樂集創作、以慶祝布萊茲 85 歲生辰的《回聲空間》。主要作品還有為凱拉斯創作的大提琴協奏曲《現身 — 補遺之六》以及巴黎國家歌劇院 2018 年歌劇 8

《貝荷妮絲》。

Born in Geneva in 1958, Michael Jarrell studied composition at the Geneva Conservatory of Music with Éric Gaudibert and at various workshops in the USA (Tanglewood, 1979). He completed his training with Klaus Huber at the Hochschule für Musik Freiburg. Starting in 1982, his works have received numerous prizes: Acanthes Prize (1983), Beethoven Prize, City of Bonn (1986), Marescotti Prize (1986), Gaudeamus Award (1988), Henriette Renié Prize (1988), Siemens-Förderungspreis (1990) and Music Prize, City of Vienna (2010). Between 1986 and 1988, he was in residence at the Cité International des Arts in Paris and took part in the computer music course at IRCAM. He resided at the Villa Medici in Rome during 1988/1989, and then joined the Istituto Svizzero di Roma in 1989/1990. From 1991 to 1993, he was Composer-in-Residence with the Orchestre National de Lyon. Beginning in 1993, he became Professor of Composition at University of Music and Performing Arts Vienna. In 1996, he was Composer-in-Residence at the Lucerne Festival, and then was heralded by the Musica Nova Helsinki Festival, which dedicated the festival to him in 2000. He was named “Chevalier des Arts et des Lettres” in 2001 and was named Professor of Composition at École de Musique Genève-Neuchâtel in 2004. His notable commissions include piano concerto Abschied (Salzburg Festival, 2001), La Chambre aux Échos for Ensemble Intercontemporain in celebration of Pierre Boulez's 85th birthday (Lucerne Festival, 2010), cello concerto Emergences (Nachlese VI) composed for Jean-Guihen Queyras (2012) and opera Bérénice (Opéra National de Paris, 2018).

“A top-class saxophone player who has superlative technique and flexible musicality.” Bravo Magazine 薩克斯管 Saxophone

須川展也 Nobuya Sugawa

13.10.2018 (星期六 Sat) 8pm

香港大會堂音樂廳 HK City Hall Concert Hall $420 $280 $160

節目Programme

細川俊夫德布西塞伊

《開花 II》(2011) (香港首演) 薩克斯管與樂隊狂想曲 (須川展也版本) 薩克斯管與樂隊敘事曲，作品67 (2016)

由須川展也委約 (香港首演)

西貝遼士 Toshio Hosokawa Debussy

E小調第一交響曲，作品39 Blossoming II (2011) (Hong Kong première) Rhapsody for Alto Saxophone & Orchestra

(Sugawa Version)

Fazıl Say

Ballad for Alto Saxophone & Orchestra, Op 67 (2016) Commissioned by Nobuya Sugawa

Sibelius

Symphony No 1 in E minor, Op 39

(Hong Kong première)

指揮 Conductor

佛里斯．維塞斯 Roberto Forés Veses Musical & Artistic Director, Orchestre d’Auvergne, France

門票：城市售票網 Tickets at URBTIX 2111 5999 | www.URBTIX.hk

“Pure beauty.” Dagblad van het Noorden

“She made her instrument sing marvelously.” Frankfurter Neue Presse

“With Harriet Krijgh’s cello line it seemed a new universe was being born on stage.” The Boston Globe 大提琴 Cello

克莉嘉 Harriet Krijgh • 1st Prize & Audience Award, Amsterdam Cello Biennale 2012 • “Rising Star” 2015/2016, ECHO (European Concert Hall Organisation)

節目Programme

韋特文《伊卡洛斯的哀嘆》（1999）（香港首演）聖桑 A小調第一大提琴協奏曲，作品33 柴可夫斯基 B小調第六交響曲，作品74，「悲愴」 Jörg Widmann Icarian Lament (1999) (Hong Kong première) Saint-Saëns Cello Concerto No 1 in A minor, Op 33 Tchaikovsky Symphony No 6 in B minor, Op 74, “Pathétique”

(星期六 Sat) 8pm

香港大會堂音樂廳 HK City Hall Concert Hall $420 $280 $160

支持 With support from

20% OFF

凡同時購買此音樂會及 12月1日「杜蒂耶大提琴協奏曲」之正價門票，可獲8折優惠 Get a 20% discount when you purchase full-price tickets to this concert and “Nicolas Altstaedt Plays Dutilleux” on 1 Dec 2018

門票：城市售票網 Tickets at URBTIX

首席客席指揮 Principal Guest Conductor

柏鵬 Christoph Poppen • Principal Conductor, Cologne Chamber Orchestra • Artistic Director, Marvão International Music Festival, Portugal

2111 5999 | www.URBTIX.hk 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

10.11.2018

節目介紹在今晚的音樂會，兩首展示「小提琴的藝術」的作品中間相距了近300年之久 — 羅卡蒂利總稱為《小提琴的藝術》的 12 首小提琴協奏曲在 1733 年初次出版，而瑞士作曲家賈雷爾引發人們想像的協奏曲《雲與霧》則在2016年創作，這次是該首作品的亞洲首演。令人嘖嘖稱奇的是，和其他樂器不一樣，現代的小提琴和羅卡蒂利時代的小提琴實際上沒有甚麼改變。事實上最珍貴的小提琴，都出自早期小提琴工匠如斯特拉瓦里（Antonio Stradivari）等之手，他在羅卡蒂利出版其協奏曲的時候，還在製作小提琴（他活到1737年），其他著名的小提琴工匠還有瓜爾奈利（Andrea Guarneri）和阿瑪蒂（Nicolò Amati）。在羅卡蒂利的年代，音樂的出版業正快速發展，為此羅卡蒂利在1729年來到當時的音樂出版中心阿姆斯特丹，他曾在1721年於當地出版了他的第一套作品。羅卡蒂利的創作事業反映了出版行業在國際間的蓬勃發展：當他移居到這個北部城市的時候，首先與勒塞恩（Michel-Charles Le Cène）合作，他在1733年為羅卡蒂利發表了編號為作品3的《小提琴的藝術》協奏曲。勒塞恩的岳父羅傑爾（Estienne Roger）用嶄新方法印刷音樂，他把整部作品刻在銅版上，而不是逐個音符地構起樂句、小節和音行。當時仍相當普遍的意大利舊式印刷在譜寫快速音符時十分費勁，而羅傑爾的方法則使印刷這樣的段落相對地容易了。羅卡蒂利與勒塞恩的合作只維持了一段時間，不久他獲得了正式的版權出版自己的作品，在 1732年發表了長笛奏鳴曲（作品2），1736年出版三重奏鳴曲（作品5），又在1737年發表了為小提琴和持續低音而寫的室樂奏鳴曲（Sonate da Camera，作品6）。1741年和1744年，他又先後出版了四重協奏曲（Concerti à Quattro，作品7）和三重奏鳴曲（作品8）。下半場是德伏扎克最富波希米亞感染力的交響曲（第八交響曲，它又有一個關於出版的故事）。德伏扎克在生時，其最早的四首交響曲都鮮為人知，所以我們曾稱第八交響曲為第四。它也被一些權威學者冠以「英國」交響曲的別號。德伏扎克的確經常造訪英國， 1884 年至 1896 年間至少九次到訪英國，也在倫敦指揮了這首交響曲，但第八交響曲並不是在英國首演的。反而他的第七交響曲才真正是為英倫而作（1885 年由皇家愛樂協會委約），翌年他在列斯音樂節指揮他的合唱曲作品《聖魯德米拉》（St Ludmilla）。這首 G 大調的交響曲有此別號是因為德伏扎克曾把它交給英國出版商諾韋洛（Novello）出版（後來也是艾爾加的出版商）。這段時間，德伏扎克正與他慣常合作的出版商西姆羅克（Simrock）產生矛盾。德伏扎克當時在國際間聲望漸隆，他覺得西姆羅克所付的酬金與他當時的地位不相稱。他成功說服出版商把他那首第七交響曲的酬金由原來的三千馬克增加一倍，不過也同時應允創作第二套（十分暢銷的）斯拉夫舞曲。但是西姆羅克只答應給德伏扎克的第八交響曲一千馬克，聲稱大型作品的銷路並不理想。同時，德伏扎克也十分不滿西姆羅克用德語（安東）而不是捷克語書寫他的名字。因為這首交響曲，兩者的關係就破裂了。直到德伏扎克由美國歸來，他們的關係才見改善，他最後一首交響曲（第九交響曲），便再次由西姆羅克出版。德伏扎克在1892年獲劍橋大學頒發榮譽博士，這是他與英國的另一段關係。他因此把第八交響曲呈上，作為獲取學位必須要做的「功課」。 11

羅卡蒂利（1695–1764）

《小提琴的藝術》，作品 3： D大調第12協奏曲，「和聲的迷宮」快板 — 隨想曲廣板 — 急板 — 慢板快板 — 隨想曲

意大利作曲家和小提琴家羅卡蒂利，是個名副其實的神童。他在1695年出生於貝加莫（Bergamo），被市內主要的教堂聖母大殿（ Santa Maria Maggiore）錄取，後來教會批准他繼續到羅馬求學，他在羅馬也許師從柯里利（Corelli），但更有可能是柯里利的對手瓦倫蒂尼（Giuseppe Valentini）。但羅卡蒂利並沒有一直留在意大利。他後來移居到阿姆斯特丹，除了作曲和演奏，還成為音樂出版商。因此他在 1764 年去世時，是一個相當富有的儒雅之士。據說羅卡蒂利演奏時，經常站起來，有時演奏至三小時之久。人們形容他的演奏像「地震」，但同時他的表現也很沉實，衣冠楚楚。他在柏林覲見普魯士王時，穿著藍色的、鑲有銀線的罩袍，佩上鑽石指環，隨身帶著一把劍。他演奏時激情洋溢，據稱一年就會損耗掉12把弓。在往來羅馬和阿姆斯特丹的六年間，羅卡蒂利曾造訪過曼托瓦（Mantua）、慕尼黑、德累斯頓、柏林、卡塞爾（Kassel）和威尼斯。他的12首《小提琴的藝術》協奏曲（作品 3），就是題獻給威尼斯的貴族米歇利尼（Girolamo Michiellini）的。羅卡蒂利在樂譜中寫了一段關於米歇利尼的題字：「他來到那些著名的教堂崇拜中，聽我與出色的、陣容無比龐大的樂隊一起演奏我的協奏曲，並以非常優雅的言辭誇讚我。」至於是哪些教堂崇拜，我們無從稽考。威尼斯最著名的教堂 — 聖馬可大教堂（Basilica San Marco）— 雖然從蒙台威爾第的時代開始以音樂演奏著稱，但卻沒有任何關於羅卡蒂利在那�演奏的�錄。

12 首協奏曲之間並沒有甚麼關連，但總體而言的確代表了當時最頂尖的小提琴技巧，尤其是高音部份，對後來包括帕格尼尼在內的小提琴家都影響至鉅。我們聽的是最後一首，它採用的曲式與作品 3 中其他的協奏曲一樣，在第一和第三樂章的末尾加上了兩節華采段般的隨想曲。第三樂章的隨想曲出現於樂隊最後一次演奏的重複段落之前，它至少與之前的篇幅一樣長。雖然這些隨想曲一般都清晰地寫了出來，但（尤其終樂章）往往留有空間讓獨奏者即興發揮，現時還有一些當時的例子保存下來，例如慕尼黑小提琴家雷伯（Gottfried Dominicus Reber）在1743年的演奏，它與羅卡蒂尼原先的出版正好相隔了10年。第 12 首協奏曲有一個獨特的元素，是其他 11 首協奏曲中沒有的。它有自己的名稱，即《和聲的迷宮》。羅卡蒂利續寫道：「進入容易，逃出困難。」因此大家都要份外留神了！第一樂章由踏步般的附點上行音，以及兩個半小節的下行8分音符樂句展開，相當悅耳易記。獨奏一串長音的新主題，隨即刪減為第一個隨想曲的琶音。音域越攀越高，最後返回第一樂章開頭的主題。廣板以其躊躇下行的4分音為樂曲降溫，獨奏在穩定的通奏低音伴奏下蜿蜒，接著節奏轉為中段令人意想不到的 16 分音急板，音域再次攀到極高處，又返回幾個小節的慢板。終樂章的節奏大搖大擺，獨奏有一大段快速的演奏（在此大家會明白為何羅卡蒂利把作品稱為和聲的迷宮），跌蕩上揚的 16 分音和不斷變化的音程，雖然比起最後一個隨想曲還是小兒科，但已足以令人激動。獨奏在奏出自己編造的華采段後，樂隊便為全曲作出有力的總結。

此樂曲的樂隊編制弦樂：

第一及第二小提琴、中提琴、大提琴、低音大提琴

古鍵琴獨奏小提琴

賈雷爾（1958年生）

《雲與霧》（2016）

（亞洲首演）

羅卡蒂利的作品面世 300 年後，我們回到當下。賈雷爾的小提琴協奏曲《雲與霧》在 2016 年 1 月 22日於洛桑的大都會音樂廳（Salle Métropole）首演，當時的演出就是由今晚的獨奏家擔綱，由洛桑室樂團伴奏，指揮是韋勒斯坦（Joshua Weilerstein）。今晚是《雲與霧》的亞洲首演，它的標題相當別緻，第一樂章採用了賈雷爾為比利時伊利沙白皇后比賽創作的一首樂曲，稱為《⋯⋯像雲一樣稀薄⋯⋯》(…aussi peu que les nuages…)。賈雷爾在世界首演的節目表中介紹道：「《 ⋯⋯像雲一樣稀薄 ⋯⋯》題獻給拉諾伯爵（Count de Launoit），他是這項大賽的靈魂人物，但在我創作此曲的時候去世了。我在構思《雲與霧》的時候，在這小品之上加上了兩個樂章：一個慢樂章，根據一個重複的和聲，氣氛頗為冰冷；然後是一個終樂章，開始時一片寧靜，接著回復到第一樂章高超的演奏技巧。事實上，整首作品的技巧要求都很高，就算在最甜美的時刻也如此。」這個別緻的標題在賈雷爾的作品目錄中並非第一次出現，他曾在1991至1992年為弦樂、豎琴、鋼琴和敲擊樂所寫的一首早期作品用過同樣的標題。這首作品在1992年10月22日於里昂的拉威爾音樂廳首演，由克里文（Emmanuel Krivine）指揮里昂國家交響樂團（Orchestra National de Lyon）演奏，但後來他把作品從他的作品目錄中收回。現在賈雷爾對此標題又重新作了一番解釋：「《雲與霧》直接取自奧卡爾（ E m m a n u e l Hocquard）小說 [1985] 中的一段。這標題在我內心深處一直有個位置，我想以它命名我的新協奏曲來表示我的敬意。奧卡爾的作品與我想營造的氛圍相當一致：在一種消褪的、被過濾的氛圍之中，在樂曲的結構內，有一種律動定時重新出現。」協奏曲是由瑞士作品計劃（Œuvre Suisse）帶頭，與瑞士藝術理事會（即瑞士文化基金會， Pro Helvetia）共同委約的最後一部作品（第 33 首）。

11 個瑞士的交響樂團，各自委約瑞士作曲家創作三部新作。在 29 位參與的作曲家之中，賈雷爾是唯一獲委約創作了三部作品的一位。他的大提琴協奏曲《現身 — 補遺之六》（Emergences – Nachlese VI，33首作品中的第四首），是為瑞士羅曼德交響樂團（Orchestre de la Suisse Romande）撰寫，但首演則由聯合委約的猶他交響樂團於 2012 年演出，凱拉斯（Jean-Guihen Queyras）獨奏。而弦樂四重奏與樂隊作品《��》（Spuren），則由琉森樂團及阿迪蒂弦樂四重奏（Arditti Quartet）而作，而最後由聯合委約的班貝格交響樂團於 2014 年首演。小提琴以難度極高的樂音驟然進入，就像雲朵匆匆飄遠一樣把樂隊甩在身後，但不久情調就轉變了。緩緩膨脹的樂隊和弦使音樂的質地更為清晰，獨奏回到綿長的線條，柔和地從伴奏樂器主要是圓號和木管樂那��取樂音。一段��的號�，加重了不安的氣氛，而獨奏線條變得更為複雜。突然，音樂像被扳動一樣加速，小提琴向前直衝，來到一下突發的銅管高潮。由撥弦伴奏的華采段，把樂曲帶到低沉的慢樂章，沉重的氣氛被喃喃的、牢騷滿腹的敲擊樂所加強，包括鑼、大鼓和偶然發聲的震音板。小提琴獨奏拉出簡短的段落，最後鼓動其他弦樂進入，而不祥的暗流仍起伏不斷。漸漸地，一連串單獨的和弦結束了昏沉的伴奏，獨奏攀到高音域呼吸新鮮空氣，情調也變得輕鬆起來。音樂像陽光驅散迷霧那樣躊躇地展開。銅管在某處響了一下，上升的弦樂句又在另一端出現，節奏漸漸加速，進入了終樂章。就如作曲家所稱，樂曲再度回到開頭的速度。接著，再有一段緩慢而較深沉的段落一直延伸到結尾，小提琴獨奏也攀到更高處，直至幾乎超出人們的聽覺所及。

此樂曲的樂隊編制弦樂：木管：

第一及第二小提琴、中提琴、大提琴、低音大提琴長笛/中音長笛 (1)、長笛/短笛 (1)、雙簧管 (1)、英國管 (1)、單簧管 (1) 、單簧管/低音單簧管 (1)、巴松管 (1) 、巴松管/低音巴松管 (1)

銅管：

圓號 (2) 、小號 (2) 、長號 (1)

敲擊樂：

定音鼓、顫音琴、管鐘、三角鐵、彈簧圈、震音板、鈸、平鑼、大鼓、古鈸、馬林巴琴、牛鈴、桶子鼓

獨奏小提琴

德伏扎克（1841–1904）

G大調第八交響曲，作品88 活潑的快板慢板優雅的快板 — 更活潑的從容的快板

1889 年仲夏，德伏扎克在維索卡（Vysoká）鄉間的別墅開始創作第八交響曲，他當時純粹是出於自娛。他形容這首作品「與其他作品迥然不同，以嶄新方式表達獨特的思想」。他之前已經向世人證明了他能夠以傳統的方式創作傑出的交響曲，他覺得現在可更大膽地嘗試新的形式。他採用的音調，還有音調之間的關係 — 由大調至小調 — 也有所不同，他創作了一首既有強烈個人風格，亦有鮮明波希米亞氣息的作品。這首作品�發�他家鄉的情調和純樸的鄉土氣息，滿溢歡欣的野外生趣。 1889年11月，他為樂譜作最後修改，1890年2月 2 日，他在布拉格指揮首演。兩個月後，他把它帶到倫敦，由里赫特（Hans Richter）指揮。里赫特在維也納指揮這首作品，德伏扎克未能出席這場奧地利的首演，里赫特便寫信給他：「你必定會為演出大感欣慰，我們所有人也覺得這是一首精彩絕倫的作品，所以我們熱誠投入。可惜你這位第四交響曲（即是第八）的生父不在現場，演出後，布拉姆斯與我共進晚餐，我們向你舉杯祝酒致意。」德伏扎克能夠如此輕鬆創造樂曲的旋律，所以開始的樂章曾被比喻作一本小說，當中的角色（主題）隨著故事的發展時隱時現，既有發展，亦會重現。序奏中，單簧管、巴松管、圓號和大提琴以G小調奏出舒緩醉人的旋律，當長笛獨奏彷如初醒的小鳥把其他樂器陸續召喚起來，音樂悠然融入主音的G 大調。長笛與單簧管以 B 小調宣示輕快的第二主旨，弦樂以三連音符在旁起舞伴奏。主題來回往復，作曲家靈巧熟練地把各個主題加以發展。開首深沉的主題曾經兩次重現，都是首先以 G 小調開始，然後再次幾乎毫不著跡地過渡至大調，另外也有一些較響亮而激烈的樂段，它們令音樂更富活力，不過這兩者都無損全篇樂章基本的陽光氣息。臨近結束，英國號再次引入長笛那彷如初醒小鳥的主題，樂章隨即以亮麗的管弦色彩結束。慢板樂章由兩個對比的樂段組成，首先以弦樂奏出一個簡單而哀怨，若隱若現的降E大調旋律。只是不久長笛和單簧管在一片寂靜中奏出一個新的鳥叫聲，展示了這樂章的調性其實是C大調。主題和鳥 14

叫聲強力奏出，引出一段聽來似是較快的音樂，但是事實上它以同樣速度寫成。首先是管樂，繼而是小提琴獨奏奏出一些樂調作主導，從旁襯托的有大提琴的撥奏加上低音大提琴，還有小提琴重複奏出下降的 16 分音階，這些襯托使人想起德伏扎克祖國的波希米亞鄉村的揚琴。兩個段落都重複再現，然後這樂章逐漸淡出。優雅的快板樂章與開首的樂章一樣，以G小調（諧謔曲）開始，然後在中間的三聲中部段落轉向大調。近乎圓舞曲的弦樂主題，配上如微波盪漾的管樂伴奏和如軍樂響亮的音型，把音樂引向中段，長笛和雙簧管奏出附點 8 分音/16 分音節奏，然後由弦樂接上，切分音的銅管樂和弦作襯托。這個曲調原本來自德伏扎克的獨幕歌劇《頑固的情人》（The Stubborn Lovers，1874年），自從1881年在布拉格上演後，他便收回這套歌劇。開始的圓舞曲主題重現，音樂隨之步進尾聲，一股勁兒直奔向前，直至最後戛然靜止。小號以D大調響亮奏出，揭開最後一個樂章，它貫徹這樂曲的風格，全首樂章其實不是基於D大調，而是再次回到G大調。正如第一樂章開始時長笛的鳥叫，這�的主題首先由一個上�的G大調和弦作序幕，而且它與較早前出現的獨奏頗為相似。大提琴先出現，第二巴松管則以對位伴奏，兩個段落都重複了一次。樂章其餘的部份都是這個主題的不同變奏，不過整個樂章多次引用第二變奏 — 它突然加快，由全樂隊（尤其是圓號）響亮地奏出主題。第三變奏是長笛的阿拉伯風格曲，而循環出現的第二變奏再次奏出後，德伏扎克轉變調子，以開首長號響亮的樂段為基礎，採用C小調，製造一段低沉的猶如進行曲的樂段。最後回到主題，再有四個變奏相繼出現，第二變奏最後一次奏出後，到了尾聲，更加生氣勃勃，演奏急勁猛烈。中文翻譯：古時月此樂曲的樂隊編制弦樂：第一及第二小提琴、中提琴、大提琴、低音大提琴木管：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) 銅管：圓號 (4) 、小號 (2) 、長號 (3) 、大號 (1) 定音鼓

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。

除特別註明外，中文翻譯：行之

Programme Notes Tonight the Art of the Violin is illustrated by works that are separated by nearly 300 years – from the first publication of Locatelli’s collection of 12 violin concertos issued under the collective title of L’Arte del Violino in 1733 and the 2016 concerto by Swiss composer, Michael Jarrell, with an even-more evocative title Des Nuages et des Brouillards (“Of Clouds and Mists”), here receiving its Asian première. The extraordinary thing is that – unlike most other types of instruments – the violin is virtually unchanged from the instruments from Locatelli’s day. Indeed the most prized violins are those by such early makers as Antonio Stradivari – who was still making violins when Locatelli’s collection were published (he lived until 1737) – Andrea Guarneri and Nicolò Amati. What was developing fast in Locatelli’s day was the way in which music was published, and that led Locatelli in 1729 to Amsterdam – a centre for music production where his first published works had been published in 1721. Locatelli’s career shows the growing international currency of printed: when he moved north he first went into collaboration with Michel-Charles Le Cène, who issued his Op 3 concertos L’Arte del Violino in 1733. Le Cène’s father-in-law, Estienne Roger, had devised a new way to print music, engraving whole pieces on copper plates, rather than building up phrases, bars and lines from individual notes. Back in Italy, the old way of publishing, with faster notes very laboriously notated, was still prevalent, while Roger’s process could set such passages with (relative) ease. As it happened, Locatelli did not stay with Michel-Charles for long as he obtained an official copyright to publish on his own, issuing his Op 2 flute sonatas in 1732, his Op 5 trio sonatas in 1736 and Op 6 violin and continuo Sonate da Camera in 1737. Two further sets follows – his Op 7 Concerti à Quattro in 1741 and Op 8 trio sonatas in 1744. In the second half we turn to Dvořák’s most infectiously Bohemian symphony – his Eighth (although there is another publishing story here too). Given the fact that during his lifetime Dvořák’s four earliest symphonies were unknown, the Eighth Symphony was originally known as No 4. It has also been nicknamed by some authorities his “English” Symphony, perhaps confusingly because, although Dvořák was a regular visitor to Britain (he made nine visits to the United Kingdom between 1884 and 1896) and certainly conducted this symphony in London, it was not premiered in Britain. It was his Seventh Symphony that was actually intended for England, commissioned by the Royal Philharmonic Society in 1885 and, the following year, Dvořák conducted the première of his choral work St Ludmilla at the Leeds Festival. 15

The truth behind the nickname for his G major symphony is that it was the first to be published by the English firm of Novello (later to become Elgar’s publishers). At this time Dvořák was having problems with his usual publisher, Simrock. With a growing international reputation, Dvořák felt the fees offered by Simrock did not reflect his current status. The composer had managed to persuade the publisher to double his original offer of 3,000 Marks for the Seventh Symphony, although only after promising to produce a second set of (very saleable) Slavonic Dances. But Simrock would only offer Dvořák 1,000 Marks for the Eighth Symphony claiming that large works simply did not sell well. Dvořák was also annoyed with Simrock’s refusal to spell his Christian name in the Czech way, as opposed to the German form (Anton). So, over this symphony they parted – although not for long. By the time Dvořák was returning from his American sojourn their relationship had much improved, so that his Ninth – and final – Symphony was once again published by his long-standing publisher. There is one further “English” connection to note. When, in 1892, Dvořák was given an honorary doctorate from Cambridge, he offered his Eighth Symphony as his obligatory “exercise”.

Pietro Antonio Locatelli (1695–1764)

From The Art of the Violin,

Op 3: Concerto No 12 in D, “The Harmonic Labyrinth” Allegro – Capriccio Largo – Presto – Adagio Allegro – Capriccio

Italian composer and violinist Pietro Locatelli, was obviously something of a prodigy. Born in Bergamo in 1695, he was first taken up by the city’s main church, Santa Maria Maggiore, before being allowed by the church authorities to study in Rome, perhaps with Corelli, but more likely with Corelli’s rival, Giuseppe Valentini. But Locatelli was not in Italy for long. As we have

seen in the introduction he moved to Amsterdam and – as well as composing and playing – he added another string to his bow (pardon the pun) by becoming a music publisher. Perhaps not surprisingly, when he died in 1764, he was something of a wealthy, cultured man. Reports of Locatelli’s playing – always standing up and sometimes performing for up to three hours – describe him as an “earthquake”, although he was always composed and dapper. He appeared before the King of Prussia in Berlin in a blue frock coat, embroidered with silver, sporting diamond rings on his fingers and a sword by his side. So passionate was his playing he is said to have worn out 12 bows a year.

During his six year itinerant existence between Rome and Amsterdam Locatelli is known to have visited Mantua, Munich, Dresden, Berlin and Kassel, as well as Venice, as his Op 3 set of 12 violin concertos, L’Arte del Violino (The Art of the Violin), is dedicated to a Venetian patrician, Girolamo Michiellini, of whom Locatelli writes in his inscription in the score “he was so gracious as to come to listen to and praise [my concertos] when I performed them with that distinguished and incomparably large orchestra in those famous church services”. As to which church services he refers to is difficult to discern. Venice’s most famous church – the Basilica San Marco – although well known for its music (from the days of Monteverdi and before) does not include any records of Locatelli having performed there. The 12 concertos are not connected, but together certainly represent a primer of virtuosic violin technique at the time, particular in the violin’s highest register. And they were influential, influencing generations of violinists and probably even Paganini. We hear the last of them, which follows the form of all its fellow concertos in adding two capriccios at the end of the first and final movements, just before the final orchestral ritornello (at least as long as the preceding music). These are always written out, but – in the finales – there is room for an improvised section, for which there are some extant, almost contemporary examples, by Munich violinist Gottfried Dominicus Reber, from 1743, just 10 years after Locatelli’s original publication.

The stepped, dotted rise and two-and-a-half descending quaver phrases that open the first movement are catchy and memorable, with the soloist entrance marked by a longer note and a new theme, which elides into the arpeggios of the first capriccio. Getting higher and higher, these eventually lead to the final return of the first movement’s opening theme. The Largo cools the temperature with its halting crotchet descent out of which the soloist meanders over a steady continuo pulse, that itself leads straight into the semiquaver flurries of a perhaps unexpected presto middle section that again gets stratospherically high, before just a few bars of a return to the Adagio. There is a rollicking swagger to the rhythm that underpins the Finale’s extensive run-out for the soloist (you can hear why Locatelli chose to call it a harmonic labyrinth here), with its welter of rising semiquavers and changing intervals, although that is little compared to Locatelli’s demands in the thrilling final capriccio – leading to the soloist’s own cadenza before the final orchestral outburst in conclusion.

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Harpsichord Solo violin

The 12th Concerto has one unique element, not shared by the previous 11 concertos – in that it has its own name: Il Laberinto Armonico (The Harmonic Labyrinth). In fact Locatelli goes on to write: Facilis aditus; difficilis exitus, which means “Easy to enter; difficult to escape” – so hold on to your hats!

Michael Jarrell (born 1958)

Des Nuages et des Brouillards (2016) (Asian première) Nearly 300 years on from Locatelli’s we come almost up-to-date, with Michael Jarrell’s new violin concerto, which was premiered by tonight’s soloist, accompanied by the Orchestre de Chambre de Lausanne and Joshua Weilerstein in Lausanne’s Salle Métropole on 22 January 2017. Tonight is the Asian première of the evocatively entitled Des Nuages et des Brouillards (Of Clouds and Mists) which, for its first movement, adapts a piece Jarrell composed for the Queen Elisabeth Competition in Belgium, called…aussi peu que les nuages… (...as little as the clouds...). Jarrell explained in the programme for the world première: “The piece […aussi peu que les nuages…] was dedicated to Count de Launoit, who was in a way the soul of this Competition, but who died as I was composing the piece. When I conceived Des Nuages et des Brouillards, I added to this two movements: a slow movement, based on a repeated harmony with quite an icy atmosphere; then a finale which, in the beginning, is pierced with silences before revisiting the virtuosity of the first movement. In reality, the entire score is virtuosic, even in its sweetest moments.” The evocative title is not new in Jarrell’s catalogue – he had used it for an earlier work composed between 1991 and 1992, for strings, harp, piano and percussion, and premiered at Lyon’s Maurice Ravel Auditorium by the Orchestra National de Lyon conducted by Emmanuel Krivine on 22 October 1992, which has subsequently been withdrawn. Now was the title his own invention, as he explains:

“Des Nuages et des Brouillards directly refers to a passage in a novel by Emmanuel Hocquard [1985]. It’s a title that found a place close to my heart and I wanted to honour it by assigning it to my new concerto. Hocquard’s work corresponds to the atmosphere that I wanted to create: a faded, filtered atmosphere in which, within the structure of the score, there is a pulse that comes back regularly.” The concerto was the final commission (No 33) of the Œuvre Suisse initiative in association with the Swiss Arts Council Pro Helvetia. 11 Swiss orchestras each commissioned three new works from Swiss composers. Of the 29 composers involved, Jarrell was the only one to contribute three works to the project. His Cello Concerto, Emergences – Nachlese VI (No 4 of the 33) was for the Orchestre de la Suisse Romande (but premiered by Jean-Guihen Queyras and cocommissioner Utah Symphony in 2012); while his Spuren for string quartet and orchestra (No 11) was for Orchestre de Lucerne and the Arditti Quartet (again premiered by co-commissioner Bamberg Symphony in 2014). The violin plunges in with virtuosic figuration, dragging the orchestra behind it as if the clouds are scudding by quickly, but eventually the mood changes. Slow swelling orchestral chords clear the textures and the soloist resorts to long solo lines with gentle snatches of other accompanying instruments – mainly horn and wind. An eerie whistle sounds, adding to the more uncertain atmosphere, as the solo line becomes more intricate. Suddenly a trigger spurs a sudden increase in tempo and the violin rushes forth, leading to a sudden brass climax.

A pizzicato accompanied cadenza leads into the lowering slow movement, its heavy atmosphere underpinned by quiet low grumbling in the percussion, including a low gong and bass drum and the occasional rattle. The violinist offers brief snatches, and eventually encourages the other strings, while the undercurrent of ominous sounds ebbs and flows. Slowly a series of separated chords ends the low drone accompaniment, and the violinist seeks air in rising to a higher pitch, allowing the mood to lighten. Hesitantly – as if the sun is evaporating the mist – the music develops – a brass utterance here, rising string snatches there, getting quicker and we are into the final movement which – as the composer remarked – revisits the speed of the very opening. Once again there is a slowing and a more contemplative passage that presides to the end, the violinist getting ever higher until it seems to evaporate out of human hearing.

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flute/alto flute (1), flute/piccolo (1), oboe (1), English horn (1), clarinet (1), clarinet/bass clarinet (1), bassoon (1), bassoon/contrabassoon (1) Brass: horns (2), trumpets (2), trombone (1) Percussion: timpani, vibraphone, tubular bell, triangle, spring-coils, vibraslap, cymbals, tam-tams, bass drum, crotales, marimba, cowbells, tom-toms Solo violin

Antonín Dvořák (1841–1904)

Symphony No 8 in G, Op 88 Allegro con brio Adagio Allegretto grazioso – molto vivace Allegro ma non troppo

When Dvořák started his Eighth Symphony in the late summer of 1889, at his country home in Vysoká, he was simply out to please himself. He described it as “different from the others, with individual thoughts worked out in a new way”. Having proved to the world that he could write masterful symphonies in the accepted form he now felt free to use a far greater degree of formal experimentation. His use of keys and their relationship – major to minor – is different, resulting in both a hugely idiomatic and unmistakably Bohemian symphony. It exudes the atmosphere and rusticity of his homeland and revels in the pleasures of outdoor life. Having completed the final touches to the scoring in November 1889, Dvořák conducted the première in Prague on 2 February 1890. Two months later he conducted it in London, where it was subsequently performed under the baton of Hans Richter. It was Richter who championed it in Vienna, writing the following to the composer who could not be present at the Austrian première: “You would certainly have been pleased with the performance. All of us felt that it is a magnificent work, and so we were all enthusiastic. Brahms dined with me after the performance and we drank to the health of the unfortunately absent father of No 4 (i.e. No 8).” So fertile was Dvořák’s facility in writing melodies that this opening movement has been likened to a novel wherein characters (the themes) appear and disappear, develop and recur within the narrative. The introduction, with its relaxed mahogany melody for clarinets, bassoons, horns and cello is in G minor, but this simply merges into the tonic G major when the solo flute, like an awakening bird, calls the other instruments to order. The lilting second subject, in B minor, is announced by the flute and clarinets over strings with dancing triplets. The development of themes, ebbing and

flowing, is deftly crafted and the sunny mood is neither obscured by the two reappearances of the dark-hued opening theme, both starting in G minor before once again merging almost imperceptibly into the major, nor the louder, stormy passages which move the music on with ever greater gusto. Towards the end the English horn reintroduces the flute’s original awakening theme and the movement ends in resplendent orchestral colour. The slow movement consists of two contrasted sections, opening in E-flat with a simple yearning, rising and falling melody for strings. However, it is soon evident that the true tonality of the movement is C major, with the flute and clarinet delicately punctuating the silence with a new birdcall. Forceful statements of both the theme and birdcall lead to what sounds like a faster section, but which is in fact written at the same tempo. Here – under the wind and then solo violin tune – pizzicato cellos and basses and repeated descending semiquaver scales on the violin echo the memory of the village cimbalom. Both sections are repeated, and the movement dies gradually away.

The rest of the movement is a set of variations on this theme, with the second variation – suddenly faster with the whole orchestra (especially horns) ringing out the theme – brought back throughout the movement. The third variation is for flute arabesque and, after a second airing of the barnstorming second variation, Dvořák goes off at a tangent in a C minor, droning march-like section based on the opening fanfare. Eventually returning to the theme for four more variations, there is a final sounding of the second variation before the più animato coda, played both fast and furious.

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flute (1), flute/piccolo (1), oboe (1), oboe/English horn (1), clarinets (2), bassoons (2) Brass: horns (4), trumpets (2), trombones (3), tuba (1) Timpani

As with the first movement, the Allegretto grazioso opens in G minor (Scherzo) and veers to the major for the central Trio section. The waltz-like string theme, with its rippling wind accompaniment and its martial fanfare figures, leads to the central section where flute and oboe introduce a dottedquaver/semiquaver rhythm which is then taken by the strings over syncopated brass chords. This tune originally came from Dvořák ’s one-act opera The Stubborn Lovers (1874), which he withdrew after its 1881 Prague production. A repeat of the opening waltz leads to the coda (molto vivace) which rushes headlong to a sudden, quiet close. Trumpet fanfares in D herald the final movement which, characteristically, is based not in D, but back in G major again. Here, like the opening flute birdcall of the first movement, the theme is prefaced by a rising G major triad, and bears much resemblance to that earlier solo. Introduced by the cellos, with the second bassoon accompanying in counterpoint, the two sections are both repeated. 20

© Nick Breckenfield, 2018 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 音樂總監 Music Director

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

柏鵬 Christoph POPPEN 駐團藝術家 HKS Artist Associates

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)

小提琴 Violin 格德霍特樂團首席

李海南第二小提琴首席

蔡路第二小提琴助理首席

蔡柏沂陳劭楠周止善 ��子賈舒晨金仁善顧洛臻羅莎莉呂灝然羅蔚敏彭曉筠潘迦薇陽旻佑楊宇思葉紹羲

James CUDDEFORD Concertmaster

LE Hoai-nam

Second Violin Principal

TSAI Loo

Second Violin Assistant Principal

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

中提琴 Viola ● 陳子信 ▼ 劉琛彥卞思琦陳敏聰錢江顏星安

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

大提琴 Cello ● 張培節 ▼ 貝樂安何國芝朴詩媛葉俊禧

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

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

長笛 Flute ● 洪健鈞上杉晃代

HUNG Chien-chun Akiyo UESUGI

雙簧管 Oboe ● 金勞思福原真美

Marrie Rose KIM Mami FUKUHARA

單簧管 Clarinet ● 方曉佳陳秋媛

FONG Hiu-kai Johnny CHEN Chiu-yuan

巴松管 Bassoon ● 秦慶生田口美奈子 ★ 陳定遠

CHIN Hing-sang Minako TAGUCHI CHAN Ting-yuen Timothy

圓號 Horn ● 包文慶東出真澄岑慶璋關山明

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

小號 Trumpet ● 黃山文曦

HUANG Shan MAN Hay

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

LAM Wing-tsan

定音鼓 Timpani ● 村本曉洋

Akihiro MURAMOTO

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

Ann HUANG

鍵琴 Keyboard ● 朱偉恆

Alan CHU

● 首席 Principal ▼ 助理首席 Assistant Principal ★ Orchestral Associate Freelance Musicians: Violin 小提琴 Viola 中提琴 Cello 大提琴 Double Bass 低音大提琴 Harpsichord 古鍵琴

CHUA Vince Eliezer N. (蔡君賢), WEI Ning-yi (魏宁一), WONG Chun-hong John (黃俊匡), YEUNG Kin-man Sunny (楊健文) Cecilia HO (何永妍), Otto KWAN (關統洋) JIM Wai-man (詹蔚雯) CHAN Ping-chi (陳秉智) Shane LEVESQUE (龍雲山) (with kind permission of The Hong Kong Academy for Performing Arts)

香港小交響樂團有限公司 Hong Kong Sinfonietta Limited 樂團行政 Administration 行政總裁 Chief Executive Officer 楊惠惠 Margaret YANG

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金董建平女士

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施永青先生

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監察委員會

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Mrs Shirley CHUNG

黃智成先生

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謝智剛教授

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楊偉添先生

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義務公司秘書

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卓佳登捷時有限公司

Tricor Tengis Limited

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Hogan Lovells

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會計經理 Accounting Manager 李靄玲 Judith LEE 辦公室助理 Office Assistant 楊瑞遠 YANG Jui-yuan 樂團事務及節目 Orchestra & Programme 樂團經理 Orchestra Manager 陳成美 Marylu CHAN 節目經理 Programme Manager 丘靄雪 YAU Oi-suet Icy

舞台經理 Stage Manager 楊植生 Bobby YEUNG 當代音樂研究 Contemporary Music Research 鄺展維 Charles KWONG 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 藝術行政主任 Arts Administration Officers 林瑛權 Tonmy LAM 袁穎芝 Christine YUEN

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

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• • • • • • • • • • • • • •

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

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• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

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• Association Culturelle France Hong Kong Ltd

• 鍾思源醫生 Dr Chung See Yuen

• CASH音樂基金 CASH Music Fund

• 李韶博士伉儷 Dr Lee Shiu & Dr Jennie Lee • 羅榮生先生 Mr Vincent W S Lo • 潘燊昌博士及夫人 Dr & Mrs Patrick Poon • 冼為堅博士 Dr David Sin Wai-kin • 唐柏泉醫生 Dr Patrick Tong • 謝智剛教授 Prof C K Michael Tse • Mr T L Tsim

“Muss Es Sein? Music is Giving” (in alphabetical order)

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

• 周莉莉女士 Ms Lily Chow • 馮元志先生 Mr Louis Fung

Patrons of 2018/2019 Fundraising Concert

• 韓國駐港總領事館 Consulate General of the Republic of Korea in Hong Kong

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

• 民政事務局 Home Affairs Bureau

• 德國駐港總領事館 German Consulate General Hong Kong

• 邁騰路通有限公司 Maestro GT Limited

• 香港歌德學院 Goethe-Institut Hongkong

• 太古地產 Swire Properties

• 康樂及文化事務署 Leisure and Cultural Services Department • 香港電台 Radio Television Hong Kong • 通利琴行 Tom Lee Music Co Ltd

★★★★★ BBC Music Magazine 大提琴 Cello

“Thrillingly played.”

阿爾斯達德 Nicolas Altstaedt

The Guardian

“Heart-stopping intensity.” The Telegraph

“A powerful virtuoso and a charismatic soloist.”

Hamburger Abendblatt

1.12.2018 (星期六 Sat) 8pm

香港大會堂音樂廳 HK City Hall Concert Hall $420 $280 $160 節目Programme

呂利《平民貴族》：器樂組曲杜蒂耶《遙遠的世界⋯⋯》大提琴協奏曲 (1970) 貝多芬 A大調第七交響曲，作品92 Lully Le Bourgeois Gentilhomme: Instrumental Suite Henri Dutilleux Tout un Monde Lointain… for Cello & Orchestra (1970) Beethoven Symphony No 7 in A, Op 92 “One of the most accomplished and adventurous musicians of his generation.” 指揮 Conductor

The New York Times

格拉斯曼 David Greilsammer • Music and Artistic Director, Geneva Camerata

20% OFF

凡同時購買此音樂會及 11月10日「聖桑大提琴協奏曲」之正價門票，可獲8折優惠 Get a 20% discount when you purchase full-price tickets to this concert and “Harriet Krijgh Plays Saint-Saëns” on 10 Nov 2018

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

門票：城市售票網 Tickets at URBTIX

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

2111 5999 | www.URBTIX.hk