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首席客席指揮 Principal Guest Conductor

柏鵬 Christoph Poppen

28.3.2021 (星期日 Sun) 8pm

香港大會堂音樂廳 HK City Hall Concert Hall

中提琴 Viola

拉.馬爾卡 Adrien La Marca

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

4.5.2021 (星期二 Tue) 8pm

西九文化區戲曲中心大劇院 Grand Theatre, Xiqu Centre West Kowloon Cultural District


$450, $320, $180

「小號界的帕格尼尼」神級演出再現! 小號/柔音小號 Trumpet/Flugelhorn

納卡里亞科夫 Sergei Nakariakov

柴可夫斯基 柴可夫斯基 阿爾邦 柴可夫斯基 Tchaikovsky Tchaikovsky Arban Tchaikovsky

《尤金.奧涅金》 :波蘭舞曲 洛可可主題變奏曲,作品33(柔音小號版本) 《威尼斯嘉年華》 (小號版本) C小調第二交響曲,作品17,「小俄羅斯」 Eugene Onegin: Polonaise Variations on a Rococo Theme, Op 33 (Adapted for Flugelhorn) The Carnival of Venice (Adapted for Trumpet) Symphony No 2 in C minor, Op 17, “Little Russian”

納卡里亞科夫小號獨奏會 Sergei Nakariakov Trumpet Recital

30.4.2021 星期五 Fri


元朗劇院演藝廳 Yuen Long Theatre Auditorium 門票現已於城市售票網發售 Tickets NOW available at URBTIX outlets

門票由4月4日起於戲曲中心票務處發售 Tickets available at Xiqu Centre Ticket Office from 4.4.2021 網上購票 Online Booking: 電話購票 Ticketing Booking: 2200 0022 節目查詢 Programme Enquiries: 2836 3336 | 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



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

葉詠詩 Yip Wing-sie

獻辭 Message 第 49 屆香港藝術節思考「距離」 及「聯繫」的意義,我亦希望藉此 機會感謝一眾促成今天表演的支持 者,這場表演為我們提供難得的機 會,探索與他人聯繫的方法。 我衷心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,在這前所未有的挑戰中給予我 們莫大的幫助,與我們並肩同行。 亦要感謝一眾富有才華的藝術家傾力演出,令今天的 表演生色不少。同時也感謝觀眾的參與,令演出能圓滿 成功。

我連同藝術節團隊,很高興歡迎 閣下觀賞第 49 屆香港藝術節的 演出。 過去一年,香港以至世界情勢面臨 前所未有的變化,使我們都體會到 分離和孤獨的滋味。「遠在咫尺」 所指的,正是我們這種共同經歷的 感受。今屆藝術節的不少節目亦與 之呼應,身處各地的藝術家及觀眾,因為藝術節的演出 及活動而拉近彼此距離。另一方面, 「遠在咫尺」亦點 出所有優秀藝術作品擁有的奇妙力量:既能喚起最獨 特、深刻的個人感受和回應,但同時又能讓觀者一同分 享種種奧妙、感動、啟迪和鼓舞。今屆藝術節將呈獻眾 多演出,我衷心希望我們會一起體會藝術的奇妙力量。

希望你會在今天的演出中找到屬於自己的聯繫,並像 我一樣珍視這些連結。

此外,敬請留意一連串「加料節目」活動,為你在演出 以外打開新的觀賞角度,令觀賞體驗更豐富。請盡情 投入!





As we reflect on distance and connection in the 49th Hong Kong Arts Festival, I would like to thank everyone who has made this performance possible, giving us an invaluable opportunity to explore ways of connecting with others.

With all my colleagues, I am thrilled to welcome you to this performance in the 49th Hong Kong Arts Festival.

I am grateful to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention; and to The Hong Kong Jockey Club Charities Trust for its staunch and ongoing support. Thanks are also due to our corporate sponsors, charitable foundations and individual donors, who continue to stand by us in these unprecedented circumstances. Sincere thanks also go to all of the participating artists, whose talent and dedication have gone into today’s performance; and to you, the audience, without whom the show would not be complete.

Over the past year, we have shared the isolation resulting from unprecedented circumstances both in Hong Kong and around the world. “Separate Together” acknowledges what we have all been going through, and is referenced in a number of productions this year. It also alludes to all the separate artists and audiences brought together for performances and events. At the same time, “Separate Together” describes one of the most magical aspects of great art: its capacity to elicit uniquely and deeply personal responses while paradoxically giving us a shared moment of wonder, to be moved, inspired and uplifted. I hope very much that we will experience this together in many performances in the course of the Festival.

I hope you will find your own connection to today’s performance and will treasure it as much as I do.

Please also look out for ancillary PLUS programmes and events, which are curated to provide additional dimensions to the work presented, and enrich your Festival experience. Enjoy!

Victor Cha

Tisa Ho

Chairman, Hong Kong Arts Festival

Executive Director, Hong Kong Arts Festival


香港小交響樂團 • 英雄 • 貝多芬 Hong Kong Sinfonietta • Eroica 首席客席指揮 Principal Guest Conductor

柏鵬 Christoph Poppen

中提琴 Viola

作曲 Composer

拉.馬爾卡 Adrien La Marca

鄺展維 Charles Kwong (駐團藝術家 HKS Artist Associate)



《虛構序曲》(2021年版本,世界首演) 由香港小交響樂團委約


A小調大提琴協奏曲,作品129(中提琴版本) 不太急速的- 緩慢的- 非常活潑的 -中場休息15分鐘-


降E大調第三交響曲,作品55, 「英雄」 精神抖擻的快板 葬禮進行曲:相當緩慢的 諧謔曲:活潑的快板 終曲:甚快板


Charles Kwong Schumann

a fictional overture (2021 version, world première)

Commissioned by Hong Kong Sinfonietta

Cello Concerto in A minor, Op 129 (Adapted for Viola) Nicht zu schnell – Langsam – Sehr lebhaft – 15-minute intermission –

Beethoven 支持機構 With support from

Symphony No 3 in E-flat, Op 55, “Eroica” Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto

場地規則 House Rules 各位觀眾 Dear Patrons: 為了令大家對今次演出留下美好印象,我們希望各位切勿在場內攝 影、錄音或錄影,亦請勿吸煙或飲食。在節目進行前,請關掉手提電 話、其他響鬧及發光的裝置。多謝各位合作。 In order to make this performance a pleasant experience for the artists and other members of the audience, please refrain from recording, filming, taking photographs, and also from smoking, eating or drinking in the auditorium. Please ensure that your mobile phones and any other sound and light emitting devices are switched off before the performance. Thank you for your kind co-operation.

香港小交響樂團 Hong Kong Sinfonietta 問卷調查 Audience Survey 感謝您蒞臨欣賞香港小交響樂團的演出,現誠邀您提供對是 次音樂會的意見。請登入網頁或於前台索取並填妥問卷,將 有機會獲得精美紀念品一份。 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.


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

香港小交響樂團是香港的旗艦樂團之一,銳意 「培育文化新一代」,並以富創意的節目及充滿熱忱


《Tiny Galaxy Concerts》 ,在香港別具特色的地點拍 攝,讓觀眾漫遊古典音樂小宇宙。


樂團自 2006 年起舉辦「駐團藝術家」計劃,邀請

自 1999 年起,香港小交響樂團經常與國際知名音









系列,均獲白金及金唱片佳績。雙 CD《一屋寶貝









劇院等。 2018 年舉辦第一屆香港國際指揮大賽,




香港小交響樂團自 2009 年起為香港大會堂的場地








於2020年更躍進大銀幕,推出音樂電影《Back On


Stage》及《Back On Stage II (Quarantined!)》,

















One of Hong Kong’s flagship orchestras, Hong Kong Sinfonietta has achieved significant local and international recognition for its passionate performances and innovative programming which have brought music closer to the community. Since 1999, Hong Kong Sinfonietta has collaborated with an illustrious array of international musicians and groups, including in recent years Nicolas Altstaedt, Vilde Frang, Ilya Gringolts, Martin Helmchen, James MacMillan, Sergei Nakariakov, Krzysztof Penderecki, JeanGuihen Queyras, Fazıl Say, Mariinsky Ballet, Bolshoi Ballet, The Royal Ballet, English National Ballet, American Ballet Theatre, New York City Ballet, Stuttgart Ballet and Tanztheater Wuppertal Pina Bausch. A regular participant at all the major festivals in Hong Kong including the Hong Kong Arts Festival and Le French May, the orchestra also partners regularly with Hong Kong Ballet and Opera Hong Kong in their staged productions. In 2018, the orchestra organised the 1st Hong Kong International Conducting Competition, which attracted 310 applications from 49 countries/regions. As an avid believer of keeping music alive and contemporary, Hong Kong Sinfonietta – the Venue Partner of the Hong Kong City Hall since 2009 – performs year-round with over 100 performances a season, presenting not only standard orchestral repertoire but also newly commissioned works, as well as specially-designed concert series for different audiences and age groups, including Good Music for Babies, Good Music for Kids, Know Your Classical Music, Short-cut to Classical Music and HKS McDull Music Project. The orchestra also frequently ventures into crossover initiatives, recently receiving wide acclaim for its groundbreaking concert films Back On Stage and Back On Stage II (Quarantined!) which landed in the cinemas and on other popular platforms. The orchestra also continues to break down barriers between music and audience with free chamber concerts held regularly at Hong Kong City Hall and beyond, recently presenting the Tiny Galaxy Concerts online series featuring performances recorded at unconventional and fascinating locations of Hong Kong.

Launched in 2006, the HKS Artist Associate scheme provides a platform for intensive collaboration with local artists from different arts disciplines to expand the horizon of classical music. The orchestra’s discography includes CDs of works by Chinese composers on HUGO, and three double-CD albums This is Classical Music on DECCA which have been awarded Platinum and Gold Records. In 2008, The Passage Beyond in Concert by Leon Ko, was released on DECCA. On tour, Hong Kong Sinfonietta has been invited to perform in North America in Canada and New York City; in Brazil, Argentina and Uruguay in South America; in Europe at prestigious festivals in France including Festival International de Piano La Roque d’Anthéron and Festival de Musique Menton, in Germany at Gezeitenkonzerte Ostfriesland, at Beethoven Easter Festival in Poland, in Switzerland at Tonhalle Zürich, Geneva Victoria Hall and Fribourg, at festivals in Italy including the Michelangeli Festival, in Portugal at the Marvão International Music Festival, and in Lithuania; in China at China Shanghai International Arts Festival (Expo 2010), in Beijing at the National Centre for the Performing Arts; in Japan at Tokyo Opera City, La Folle Journée in Tokyo and Niigata, Nagano, Kanazawa and Koriyama; in Korea at the Tongyeong International Music Festival and in Singapore at the Esplanade, and at National Concert Hall Taipei and National Taichung Theater. Hong Kong Sinfonietta has thrived under the direction of Music Director Yip Wing-sie – one of Asia’s most respected conductors – since 2002. Starting from May 2020, she takes on the new role of Music Director Emeritus. She and Principal Guest Conductor Christoph Poppen are responsible for the artistic development of the orchestra before the next Music Director is appointed.

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


首席客席指揮 Principal Guest Conductor


柏鵬 Christoph Poppen









具創意,多位國際知名獨奏家亮相。他於 2014 年 創辦及出任藝術總監的葡萄牙馬爾旺國際音樂節也 聲譽日隆。


柏鵬亦為出色的小提琴家,於 1978 年聯合創立了 凱魯比尼四重奏。他曾任德特莫爾特音樂學院小提 琴及室樂教授,其後於1996至2000年出任柏林艾




任著名的 ARD 慕尼黑國際音樂比賽藝術總監,

新。 2006 年他被委任為薩爾布呂肯電台交響樂團

並自 2003 年起為慕尼黑音樂及戲劇學院小提琴及


室樂教授。 2019 年柏鵬創立馬爾旺國際音樂藝術














於樂團廣獲好評的音樂會電影《Back On Stage II




2020 年 5 月卸任後至樂團委任新總監之前,柏鵬



Conductor, soloist, chamber musician and pedagogue, Christoph Poppen has made a name for himself in diverse roles in the international musical world, winning many awards along the way. During the current season, Christoph Poppen continues his close and highly successful collaboration with the Cologne Chamber Orchestra in his role as Principal Conductor, and as Principal Guest Conductor of Hong Kong Sinfonietta. He was named Artistic Director of the newly-created Classic Revolution Festival in Seoul, South Korea, for which he curates highly inventive programmes and unites many of the best international artists for performances exclusively at the Lotte Concert Hall. He is also Artistic Director of the Marvão International Music Festival, which he founded in 2014 and has grown to become a highly successful and award-winning musical event featuring soloists such as Jörg Widmann, Augustin Hadelich, Javier Perianes and Clara-Jumi Kang. From 1995 to 2006, Poppen was Artistic Director of Munich Chamber Orchestra, establishing the ensemble’s new profile in a short period of time. His distinctive programmes, often contrasting classical and contemporary styles with numerous commissioned works, were highly successful. In 2006, Poppen was appointed Music Director of Radio Symphony Orchestra Saarbrücken and from 2007 until 2011, he was Music Director of the newly formed Deutsche Radio Philharmonie. He has appeared with orchestras such as Vienna Symphony, Staatskapelle Dresden, Deutsches Symphonie-Orchester Berlin, Detroit Symphony, Orchestra Philharmonique de Radio France, Bamberg Symphony, Camerata Salzburg, Netherlands Philharmonic Orchestra, Residentie Orkest, Israel Chamber Orchestra, Orquestra Sinfônica do Estado de São Paulo, Indianapolis Symphony, Seoul Philharmonic, New Japan Philharmonic and Singapore Symphony Orchestra. He also has a strong presence in Italy, performing regularly with the country’s leading orchestras and at festivals such as the Venice Biennale, as well as giving masterclasses.

As an opera conductor, he very successfully led a new production of The Abduction from the Seraglio at the Aalto-Musiktheater in Essen and performances of Gluck’s Iphigénie en Aulide at Staatsoper Stuttgart. In 2016, he returned to Teatro Carlo Felice in Genoa for a new production of Don Giovanni. He conducted performances of The Pearl Fishers at Oper Frankfurt – which led to an immediate re-invitation for The Magic Flute – and created the new production of Sing For Me, Death by composer Claude Vivier with the RuhrTriennale company in Gelsenkirchen. In 2017, he conducted Weber’s Oberon in concert at Opera Köln. As a prize-winning violinist, Poppen co-founded the Cherubini Quartet in 1978. He was appointed Professor of Violin and Chamber Music at Hochschule für Musik Detmold, and later at Hanns Eisler Hochschule für Musik in Berlin, where he was President from 1996 to 2000. From 2001 to 2005, he was Artistic Director of the renowned ARD International Music Competition. Since 2003, he has been Professor of Violin and Chamber Music at Hochschule für Musik und Theater in Munich. In 2019, he founded the International Academy for Music, Arts and Science in Marvão, Portugal. As Hong Kong Sinfonietta’s Principal Guest Conductor since 2015/2016, Poppen has presented to the Hong Kong audience a rich repertoire ranging from Austro-German masterpieces to contemporary works, and has brought the orchestra on tour to Germany and to his festival in Portugal. He co-chaired the 1st Hong Kong International Conducting Competition and was also featured in the orchestra’s concert film Back On Stage II (Quarantined!), which received great acclaim. Following the stepping-down of Music Director Yip Wing-sie in May 2020 and before the next Music Director is appointed, Poppen and Yip are jointly responsible for the artistic development of the orchestra.


中提琴 Viola

拉.馬爾卡 Adrien La Marca 愛樂樂團、圖盧茲樂團、香港小交響樂團、梅斯 國家樂團、茵瑟勒樂團及法國世紀室樂團等,並 為列日皇家愛樂樂團 2018/2019 樂季的駐團藝術 家。他於 2014年榮獲法國古典音樂大獎之「年度 新人」,演奏足跡遍及世界各重要場地,如巴黎愛 樂廳、倫敦巴比肯中心和域摩堂、阿姆斯特丹音 樂廳、柏林音樂廳、維也納黃金大廳、羅浮宮、 埃爾毛城堡、香榭麗舍劇院、巴黎城市劇院及嘉 禾音樂廳等。 拉.馬爾卡於2016年推出的首張專輯廣受樂評讚 賞,並榮獲金音叉獎、《Télérama》雜誌「ffff」 獎、FNAC「每月之選」及《留聲機》雜誌「編輯 之選」。最近的錄音作品包括與列日愛樂樂團合奏 的沃爾頓中提琴協奏曲、格里西為他譜寫的中提 琴協奏曲之世界首演,以及浦羅哥菲夫的《羅密 歐與茱麗葉》,是此獨奏中提琴及樂團版本的首次 錄音。 拉.馬爾卡1989年在法國普羅旺斯艾克斯出生, 長於音樂世家,四歲開始學習鋼琴和中提琴, 16 歲考入巴黎音樂學院,師事蘇霖。於萊比錫學 習期間曾受教於瑪蘇蘭科,畢業後轉赴柏林隨齊 默曼習琴。在學期間,他經常獲邀於各音樂學院 演出,合作過的著名音樂家有小澤征爾、格杰 夫、甘祈頓、席夫及普萊斯勒等。他亦是多項國 際音樂比賽如普林羅斯中提琴比賽、泰提斯國際 被樂評譽為「真正才華橫溢的天才」 (《金融時報》)



2016 年獲得拉加代爾集團基金會資助,是首名獲





的強大感染力,廣受各地樂迷愛戴,是當今最受 矚目的音樂家之一。 作為獨奏家,他曾與多個知名樂團合作,包括法 國國家樂團、法國電台愛樂樂團、 MDR 萊比錫電 台交響樂團、波蘭國家電台交響樂團、列日皇家 8

拉.馬爾卡演奏用的是一把1780年於克里莫納製 造的貝爾貢齊中提琴,由布博基金會慷慨借出。

Hailed by The Financial Times as “a truly pure

Gramophone. His latest recording projects

talent” and described by Le Monde as “a new

i nc l ude the W al ton Vi ol a C onc erto wi th

viola hero”, Adrien La Marca’s playing is

Orchestre Philharmonique Royal de Liège, a

characterised by its depth of expression, technical

world première of Gwenaël Mario Grisi’s Viola

mastery and a rich, deep, burnished tone. Gifted

Concerto written for him, and Prokofiev’s Romeo

with a charismatic stage presence and the ability

and Juliet – which is the first time the work has

to create an immediate emotional connection

been recorded for solo viola and orchestra.

with his audience, La Marca is considered one of today's most compelling musicians.

Born in Aix-en-Provence, France in 1989 to a family of musicians, La Marca began playing the

As a soloist, La Marca has performed with

piano and viola at the age of four. He entered the

renowned orchestras such as the Orchestre

Paris Conservatoire at 16 and studied with Jean

National de France, Orchestre Philharmonique de

Sulem. He completed his studies in Leipzig with

Radio France, MDR Leipzig Radio Symphony

Tatjana Masurenko and further in Berlin with

Orchestra, Polish National Radio Symphony

Tabea Zimmermann. During his studies, he was

Orchestra, Orchestre Philharmonique Royal de

regularly invited to take part in different musical

Liège (as artist in residence for the 2018/2019

academies and had the opportunity to work with

season), Orchestre du Capitole de Toulouse,

inspiring musicians including Seiji Ozawa, Valery

Hong Kong Sinfonietta, Orchestre National de

Gergiev, Gidon Kremer, András Schiff and

Metz, Insula Orchestra, Les Siècles and more.

Menahem Pressler. He has won numerous prizes

Named "New Soloist of the Year" in 2014 by

in international competitions including the

Victoires de la Musique Classique, La Marca has

William Primrose Competition, Lionel Tertis

since performed at prestigious venues such as the

Competition and Johannes Brahms Competition.

Paris Philharmonie, London Barbican Centre and

In 2016, La Marca was the first classical musician

Wigmore Hall, Amsterdam Concertgebouw,

to receive a grant from the prestigious Fondation

Be r lin K onz e r t h a us , V i e n n a M u s i k v e re i n ,

Jean-Luc Lagardère. He is also supported by

Auditorium du Louvre, Schloss Elmau, Théâtre

Fondation Banque Populaire, L’Or du Rhin and the

des Champs-Elysées, Théâtre de la Ville de Paris

Safran Foundation.

and Salle Gaveau.

La Marca plays an outstanding viola by Nicola

Released in 2016 on the label La Dolce Volta, La

Bergonzi made in Cremona in 1780, on generous

Marca’s first album English Delight has received

loan from the Boubo-Music Foundation.

critical acclaim from The Strad, Gramophone, Str ings Ma ga z i ne , L e M o n d e , L e Fi g a ro , Diapason, Classica etc, and was awarded the Diapason d’Or, ffff Télérama, Coup de Coeur FNAC, as well as named Editor’s Choice on 9

鋼琴 Piano 作曲家/駐團藝術家 Composer/HKS Artist Associate

唐契夫 Charles 鄺展維 Antoni Donchev Kwong 自 2015 年起鄺展維為香港小交響樂團作當代音樂 研究,本樂季獲邀擔任樂團之駐團藝術家。其他近 期動向包括於 2020 年為期四個月的蘇黎世藝術家 駐留計劃,以及大館當代美術館為期半年的藝術家 駐留計劃。他亦於今年年初與德國 Ensemble recherche 聯合策劃「Spotted: Hong Kong」音樂 會。鄺展維於 2019 年聯合創辦藝術創作及協作平 台「廿一檔」,擔任藝術總監。 鄺展維於香港中文大學及倫敦大學國王學院修讀音 樂,及後獲利銘澤百年紀念獎學金全費資助,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。 Born and raised in Hong Kong, composer Charles Kwong has a diverse and growing portfolio of creative output including orchestral, choral, chamber and instrumental works. Distinguished groups and musicians that have performed Kwong’s music include Ensemble Intercontemporain,



Orchestre Philharmonique de Radio France, Hong


Kong Sinfonietta, Ensemble recherche, Neue


Vocalsolisten Stuttgart, Divertimento Ensemble,


Ensemble Offspring, Hong Kong New Music

德國 Ensemble recherche、斯圖加特創聲獨唱團、

Ensemble, Eastman BroadBand, Kreutzer String

意大利 Divertimento 現代室樂團、澳洲 Ensemble

Quartet, Mario Caroli, Tosiya Suzuki, and Tajima

Offspring 、香港創樂團、美國 Eastman

Tadashi, among others. His works have been


internationally featured in prestigious festivals such


as Takefu International Music Festival, Ticino


Musica, Rondò a Bobbio, IRCAM ManiFeste,


Festival International de Piano La Roque


d'Anthéron, Gezeitenkonzerte in Ostfriesland,


Marvão International Music Festival and the Hong


Kong Arts Festival.


Kwong’s compositional explorations stretch beyond


the paradigms of concert hall music, resulting in


numerous site-specific works, sound installations

and cross-disciplinary collaborations. He was the

2020/2021 season, in addition to his work on

curator of Our Audible City (2018-2019) – a

contemporary music research and programming for

project in collaboration with Hong Kong New

the orchestra since 2015. He is co-founder and

Music Ensemble, soundpocket and visual artist

artistic director of PROJECT21st, a platform for

Frank Tang – for which he wrote Atlas, a series of

artistic productions and collaborations launched

site-specific works tailored for non-concert-hall

in 2019.

spaces in Hong Kong.

Kwong earned his doctorate in Composition from

Kwong’s recent highlights include artist residencies

The University of York in 2013 under the

with the Zurich University of the Arts for the City of

supervision of Thomas Simaku. Over the years, his

Zurich Artist-in-Residence Programme, and with Tai

artistic development has benefitted significantly

Kwun Contemporary in 2020. He co-curated the

through tutelages and masterclasses by Toshio

concert “Spotted: HK” with Ensemble recherche in

Hosokawa, Francesco Filidei, Mauro Lanza and

early 2021. He has also been appointed Artist

Oscar Bianchi, among others.

Associate of the Hong Kong Sinfonietta for their

鄺展維談音樂 Charles Kwong on music 問 答

音樂,於你是甚麼? 我現時的想法是,音樂是關於創造一 些瞬間。我們用各式各樣的聲音去將 一些特別的瞬間定義、塑造和改變 — 即「音樂瞬間」,在當中我們可以浸淫 其中,將我們的意識與超越我們自身 存在的周遭相連,由此對自身存在得 到一些在此之外無法經歷的體會。


To you, what is music? My current thought is that, music is about creating moments. We use all forms of sounds to define, to shape or to transform some very particular moments – the “musical moments”, where we can immerse ourselves, connect our consciousness to our surroundings beyond our existence, and experience our own being in ways that would otherwise be impossible.

在創作過程中,你通常尋找和探索的 是甚麼? 我常將創作視為創造一些予人去體驗 和探索的狀況。我較喜歡一些「被 動」、去引起和喚起人們的想像、詮 釋、以至疑惑的音樂,多於一些嘗試 去表述或帶出信息的作品。另外,聲 音的脆弱、轉瞬即逝、不確定和難以 捉摸,都是使我著迷之處,在所用的 ���我�常常探索�些特�。


What do you usually seek and explore in your creative process? I like to view composing as creating situations to be experienced and navigated. I am interested in “passive” music that invites and evokes imaginations, interpretations, or even confusion (more than those trying to make a statement or convey a message). The fragile, transient and intangible nature in sounds also fascinate me a lot, and they are the qualities I often explore in the materials I employ.



問 答

你的音樂主要受到甚麼影響? 首先是自然;然後是故事、小說、神 話、魔幻題材、未來學等等這些牽涉 對虛構、不存在和未知事物的想像的 東西;還有畫作 — 畫布上素材如何切 入和引起深刻的想像十分吸引我,也 對我在創作音樂上甚有啟發;當然還 有音樂 — 要形容各種音樂和作曲家在 過去對自己有何實際影響恐怕有點難 (亦會太長篇),不過我可以說,我現 在的創作取向大大受益於冼密古、 細川俊夫和費利戴這三位恩師的音樂 和指導。


What are the major influences in your music? More than anything else, the nature; then stories, fictions, mythology, fantasies, futurology, the imagination of things that are non-existent and unknown; also paintings – how materials on canvas mediate and conjure profound imagination intrigues and inspires me a lot in composing; and of course, music – it would be difficult (and lengthy) for myself to describe how exactly each type of music and each composer influenced my music over the years. Nevertheless, I can say my current approach of composing owes a lot to the music and teachings of three very important mentors in my life – Thomas Simaku, Toshio Hosokawa, and Francesco Filidei.

你會怎樣形容當代音樂在當世生活中 的角色? 在�個�代和文化�,音樂都是我們人 類去定義自己的一種途徑。我們如何對 待音樂、認為音樂可以做甚麼,都是 我們對於自身有何信念和想法的體現。


How would you describe the role of contemporary music in our contemporary lives? In every age and culture, music is a way of how we as human beings define ourselves. What we do with music and what we think music could do are a manifestation of our beliefs in the being of ourselves.


Music nowadays in general has become very much something for personal pleasure and enjoyment, or something simply functional, like a tool; many think that the value of music comes from its value as a commodity – these actually say something about our society today. These are undoubtedly important aspects of music, but not its only roles of significance, neither are they a must. To me, contemporary music still retains the vigorous spirit and somewhat an ecology that allow curious minds to work outside these norms, to critically confront and question fixated beliefs, and to freely explore and expand the possibilities in what music and ourselves can be. Even though it might be something of a niche and might not make immediate and lucrative economic profits, I think these aspects in contemporary music are something essential in the continuation of our society and culture in the long run.

音樂在當今社會,普遍地被視為一些 為帶來個人享受、又或像工具般為一 些功能而生的物品,也有許多人認 為,音樂的價值來自它作為商品的價 值,這些其實都在說明我們現今社會 的一些狀況。而雖然這些無疑是音樂 其中重要的面向,卻不是它唯一的意 義,也非必然。於我來說,當代音樂 仍保留著那種激烈精神和一定生態, 讓那些好奇的想法能夠跳出這些「常 態」,去批判和質疑固有的觀念,並自 由地探索和拓展音樂與我們自身的可 能性。雖然可能只屬小眾,而且未必 能立刻造成可觀的經濟利潤,但我認 為當代音樂的這些面向,對於我們社 會和文化的延續在長遠來說是不可或 缺的。 問 答


對於初次接觸當代音樂的觀眾,你有 甚麼建議? 1 「明白」和「找答案」都被高估了。 2 不要安於把自己的意見簡化為 「喜歡/不喜歡」或「好/壞」這 些二元判斷。 3 對於一開始令人困惑和困難的 東西,別太易太快放手,它們 可以成為重要和珍貴的東西。


Do you have any advice for audience members who are new to contemporary music? 1 “To comprehend” and “to get the answers” are overrated. 2 Do not be content with reducing your opinions to binary judgements such as “like/don’t like” and “good/bad”. 3 Try not to easily and quickly let go of things that are at first perplexing and challenging. They could become something significant and precious.

節目介紹 今晚的三首作品都略帶法國元素,雖然並非驟眼可見:開場鄺展維的《虛構序曲》是 根據他原本為法國電台愛樂樂團創作的一首作品而寫成的,如標題所示,他要求我們 去想像一首虛構的序曲。來自法國的獨奏家為我們帶來的一首協奏曲,原先並非為他 演奏的樂器而寫,而是「借」自大提琴這種更低音的弦樂器。但另一方面,我們也沒 甚麼好抱怨,因為沒有任何協奏曲比舒曼這首大提琴協奏曲(即今晚的中提琴協奏曲) 更值得為更多人所認識。最後,沉緬於法國大革命的貝多芬,本來想把第三交響曲 「英雄」題獻給拿破崙,但後來聽到這位法國將軍逕自稱帝之後,便改變了主意。 貝多芬一直著迷於劇場,特別是歌劇及芭蕾舞。1800年,貝多芬正處於創作的火熱時 期 , 他 受 宮 廷 劇 院 的 委 約 撰 寫 名 為 《 普 羅 米 修 斯 的 生 民 》( The Creatures of Prometheus)的芭蕾舞劇,作品乃根據希臘神人普羅米修斯以泥土粘製人類和給予他 火(因此他受到宙斯的懲罰)的神話改編。芭蕾舞劇結尾的主題迅速竄紅,貝多芬對 之甚為滿意,馬上又在一套鋼琴變奏曲(作品35)中採用了這一主題,及後又將這個 極有英雄色彩的主題用於下一首交響曲:「英雄」。 早於1798年,貝多芬就想把一首作品獻給那時在他心目中,將法國從封建帝王的統治 中拯救出來的英雄拿破崙.波拿巴。但他把拿破崙的名字寫在樂譜上之後,才得知拿 破崙剛把自己加冕為「皇帝」。貝多芬一怒之下,狠狠地把拿破崙的名字從封面的標題 中劃去(標題原為「題為波拿巴的偉大交響曲,貝多芬撰寫」),又斥罵拿破崙原來 「只是一個凡夫俗子」。他重新換了一個標題,即是現在我們所知的「英雄交響曲,為 紀念一位偉人而寫:獻給盧布科維茲王子(Prince Lobkowitz) 」。 這首充滿革命性的作品,在古典時期正常的樂隊編製上只是多加了一件樂器,那就是 第三支圓號。但其規模與長度,卻令人耳目一新:音樂世界也從此不再一樣。


鄺展維(1985 年生)

《虛構序曲》 (2021年版本,世界首演) 由香港小交響樂團委約

關於此曲,鄺展維說: 「近年我常希望創作一些虛構音樂,這並非指

交響樂團這場音樂會,我終可在接近四年後實 踐這念頭。在這次修訂中,我從原本的樂章結 尾續筆,將樂曲長度延伸了幾乎一倍,當中更 深入思考『序曲』除了是時序上作為一場演出 之始,另一方面也是透過聲響的投射,從聽覺 上向觀眾打開和揭示身處空間的瞬間。」

以虛構事物為主題的音樂,而是存在於虛構 世界、異於我們所身處的現實的音樂,就好 像小說的作者憑空創造出不存在的人物、物 種和地方。如此我可以自如地擺脫我們文化 和習慣中的音樂語言、美學和語境來創作, 又或以我個人想像去建構這些創作的前設。 創作這樣的作品不單是寫一篇新樂章,而是 同時也在創造出這音樂從哪來的故事。這看 似脫離歷史和現實,但這樣的音樂並非完全 無中生有,而是正如小說故事般反映創作者 對歷史和現實的自身體驗。 「《虛構序曲》是我第一首以上述方式創作的作 品,其靈感來自古琴文化中流傳的一個故事。 故事講述春秋時代的傳奇琴人伯牙跟隨了成連 習琴三年,成連認為伯牙如欲更上一層樓,則 需跟成連自己的老師學習,必獲啟發。於是伯 牙跟隨成連到蓬萊山拜訪這位宗師,到達後成 連吩咐伯牙靜心等候他去領宗師前來。誰知伯 牙苦等數日不見任何人跡,伯牙以為宗師無意 前來,失意之中細聽身處的自然中的萬籟,深 受觸動,於是開始彈奏一同帶來的琴,竟演奏 出以前從未能達致的深刻情感。當刻伯牙終於 明白成連要他拜訪的宗師到底是誰,這時終見 成連出現,來接已學成的自己回去。這趟旅程 後,伯牙成為了聞名天下的頂尖琴人。《虛構 序曲》由此傳說出發,想像一個虛構的音樂文 化,當中樂手只從大自然學習音樂,而這個文 化�的一首管弦序曲又會是何種聲音。 「《虛構序曲》的第一個版本是在 2017 年夏天 為巴黎音樂與聲學研究中心 ManiFeste 音樂節 中的細川俊夫作曲大師班而寫,當時由法國電 台愛樂樂團彩排和演出。原版本頗為簡短(因 工作坊要求不超過 5 分鐘),自演出後我時常 希望將意念延續成更完滿的結構。多得香港小 14

此樂曲的樂隊編制 弦樂: 第一及第二小提琴、中提琴、大提琴、低音大提琴 木管樂: 長笛 (2)、雙簧管 (1)、英國管 (1)、單簧管 (1)、 低音單簧管 (1)、巴松管 (1)、低音巴松管 (1) 銅管樂: 圓號 (2)、小號 (2)、長號 (2) 敲擊樂: 大鼓、木魚、彈音器、樂鞭、扁玻璃樽


A小調大提琴協奏曲, 作品129(拉.馬爾卡的中提琴版本) 不太急速的- 緩慢的- 非常活潑的

音—2 分音),獨奏旋律性的低音則承托著輕柔的 樂隊。第一主題在離主樂調甚遠的升 F 小調中重 現,然後三連音的樂句將樂章帶回再現部,略過華 采段(它延至終樂章才出現),直接進入只有30小 節長的第二樂章。 這個樂章採用了F大調和簡單的三段ABA曲式,中 提琴在弦樂的撥弦和木管輕細的和弦襯托下吟唱主






的舒曼式終樂章,其中上升的 16 分音符不斷湧













樂器則改成了中提琴,但它並非唯一借用了這首樂 曲的樂器。 1853 年,舒曼自己曾經把作品改寫給 其朋友 — 小提琴家約阿希姆(Joseph Joachim) 。 後來,蕭斯達科維契又為這個版本重新配器。因為 舒曼主要在樂曲中採用了大提琴的中高音域,故此 能輕易地套用於中提琴,正如今晚獨奏家自己改編

此版本的樂隊編制 弦樂: 第一及第二小提琴、中提琴、大提琴、低音大提琴 木管樂: 長笛 (2)、雙簧管 (2)、單簧管 (2)、巴松管 (2) 銅管樂: 圓號 (2)、小號 (2) 定音鼓 獨奏中提琴(原為獨奏大提琴)

的版本所示。 起初舒曼打算將作品題為「音樂會小品」 (Konzertstück),像他前一年為四支圓號所寫的作 品一樣,由三個部份組成,之間以過渡段落連接, 使作品一氣呵成;但最後他還是將之定名為協奏 曲。舒曼在早年學鋼琴時,曾經用自製的器具控制 第四指的移動,卻使右手機能出現永久性的毛病, 因此他後來改學大提琴,因為這並不影響他對琴弓 的操作。難怪他這首協奏曲能充份展現出大提琴的 特性,不但如此,他的室樂作品也顯示他對大提琴 有深入的了解。 一般而言,協奏曲都有一段樂隊齊奏作為前奏,但 此曲的獨奏者,在三下木管的和弦之後便馬上出 現。主題利用了獨奏樂器的較高音域,將浪漫主義 的風格展露無遺。其後的第二主題,用上了獨奏樂 器的差不多整個音域,在樂隊齊奏之後以關係大調 (C)奏出。接著發展部帶出了一段三連音主題動 機,以及木管回環出現的樂句(附點 4 分音—8 分 15

六個急速下行的 16 分音,最後由強力的樂隊打


降E大調第三交響曲, 作品55,「英雄」 精神抖擻的快板 葬禮進行曲:相當緩慢的 諧謔曲:活潑的快板 終曲:甚快板

斷。之後弱拍的長笛和小提琴音符,伴著躊躇的木 管和低音弦樂主題,令第二和第四拍顯得頗為凝 重,營造出不平衡的感覺,並建構一個新的聲音世 界。樂隊在長篇的尾聲開始瓦解,剩下小提琴和最 後結結巴巴的大提琴、低音大提琴步向寧靜。 歡欣的諧謔曲把我們從深淵拉回來:另一個由弦樂 奏出的延展的三連音主題,加上下行的雙簧管,帶















進。作品在 1805 年 4 月 7 日於維也納劇院


(Theater an der Wien)首演,當年一位樂評家即




幻想曲」 。













�� =

開頭兩個宏大的和弦來吸引觀眾的注意力。大提琴 和低音大提琴瞬即帶出主題,但五小節後卻躊躇地 停在升C之上,讓處於弱拍的第一小提琴以另一重 要的元素潛入。呈現部逐漸構築成強大的齊奏段 落,在三拍子的節奏中引出一連串如雷貫耳的兩拍 和弦:這一極具變化的雙重性,充份展現出貝多芬

此樂曲的樂隊編制 弦樂: 第一及第二小提琴、中提琴、大提琴、低音大提琴 木管樂: 長笛 (2)、雙簧管 (2)、單簧管 (2)、巴松管 (2) 銅管樂: 圓號 (3)、小號 (2) 定音鼓

想要營造的史詩氛圍。呈現部共有 152 小節之長 (然後還要重複),發展部自然也要在長度方面與之 匹配,於是也長達242小節。不僅如此,它還充滿 了出人意表的創意,細緻而不乏激情。完結時的寧 靜暗藏期待,由圓號的極輕音收束(聽起來好像早 了兩個小節),然後進入再現部。 葬禮進行曲同樣具有史詩般的確結構:簡單三段 ABA式的設計顯而易見,樂章的首尾是一段緩慢、 吞吐而悲傷的C小調段落。雙簧管帶出了大調的中 段落,接著由長笛接過,奏起緩緩上升的 4分音和 16

除《虛構序曲》外,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。


Programme Notes Three works, which are not quite what they seem at first glance, come together tonight with a loosely French feel: Charles Kwong’s opener is based on a work he originally composed for L’Orchestre Philharmonique de Radio France, and asks us to imagine – as the title suggests – a fictional overture. Our French soloist brings not a concerto originally composed for his own instrument, but one he has “borrowed” from a lower-pitched string instrument, the cello. But, on the other hand, there can be no complaint because if there is one concerto that deserves to be better known, it is Schumann’s Cello Concerto or – as tonight – his Viola Concerto. Finally, as we will see, Beethoven was besotted with the French Revolution and originally dedicated his epic Third Symphony – the “Eroica” (“Heroic”) – to Napoleon Bonaparte. But that is not how it has come down to us, as Beethoven then heard that the French general had declared himself Emperor… Beethoven – ever the lover of theatre, particularly opera and ballet – was fired up with enthusiasm in 1800 when he was commissioned by the Court Theatre to write a ballet called The Creatures of Prometheus, following the Greek Titan Prometheus’ fashioning of man from clay and giving him fire (for which he was punished by Zeus). The ballet ends with a famous theme which so besotted Beethoven that he immediately used as the basis for a set of piano variations (Op 35) and then as the culmination of his next symphony: the heroic theme which eventually led to Beethoven’s own sobriquet for both the variations and symphony: “Eroica”. From as early as 1798 Beethoven had thought of dedicating a work to his then hero, Napoleon Bonaparte – saviour of France from imperial authority. But, after he had had a fair copy made of this newly completed symphony with Napoleon’s name atop, Beethoven found out that Bonaparte had just crowned himself “Emperor”. The composer famously flew into a rage, heavily scoring out Napoleon’s name from the title page (which had read “Grand Symphony entitled Bonaparte by Mr Louis van Beethoven”), cursing the ex-dedicatee and accusing him of turning out to be “nothing more than an ordinary human being”. He re-titled his symphony with the name by which we know it today: “Sinfonia Eroica. Composed to celebrate the memory of a Great Man: dedicated to Prince Lobkowitz”. Such a revolutionary work was managed with just one addition to the normal “classical” orchestra – a third French horn. But in its scope and length, it was shockingly new: the musical world would never be the same again. 17

Charles Kwong

(born 1985)

a fictional overture (2021 version, world première) Commissioned by Hong Kong Sinfonietta

Charles Kwong writes: “In recent years, I have been intrigued by the idea of creating some kind of fictional music. I am not talking about music that takes fictional subjects as the theme, but music that is thought to exist in a fictional world, an alternate reality, just like how authors of fiction conjure non-existent characters, creatures or places. In such a way, I am free to write music where its musical language, aesthetic and context could be detached from the habits and cultures we possess and live in, or to base these artistic presumptions purely on my personal imagination and fabrication. Writing such compositions is not just creating a new piece of music, but also creating a narrative of where such music comes from. As ahistorical and unreal as it seems, such music – like fiction – does not exist in a vacuum but is instead always a reflection of the author’s experience and perception of history and reality. “a fictional overture was the first composition where I used this particular approach. The inspiration of its narrative comes from a story of the legendary qin player Bo Ya which always fascinates me a lot. The legend goes by: after three years of studying the qin with his teacher Cheng Lian, Bo Ya was told by Cheng Lian that he should go to Cheng Lian’s own teacher – a grandmaster of the qin – to further his artistry. Agreeing to such a proposal with much excitement, Bo Ya followed Cheng Lian to a rustic island, and was told to wait there for Cheng Lian to bring the grandmaster over. After days of futile waiting, Bo Ya deduced that the grandmaster was not coming. The saddened Bo Ya listened to the nature surrounding him and was 18

inspired to play the qin that he brought along, with an emotional intensity that he had never reached in his performances before. At that point Bo Ya realised the true ‘identity’ of the grandmaster that Cheng Lian was referring to, and finally saw Cheng Lian reappearing to show him his way back. It is said that after this trip, Bo Ya became the finest qin player of all lands. a fictional overture took this legend of the qin culture further, imagining a fictional musical culture where musicians study only with nature, and what an orchestral overture in such a culture would sound like. “The first version of a fictional overture was written for a composition masterclass with Toshio Hosokawa at IRCAM’s ManiFeste in summer 2017, where the piece was workshopped and performed by the Orchestre Philharmonie de Radio France. The original version was quite short in duration (of less than 5 minutes, as required by the workshop), and after its performance I have always wanted to expand this sketch into a fuller structure. Thanks to this concert with Hong Kong Sinfonietta, I can finally realise this vision nearly four years after. In this revision, I worked from where the piece ended and extended the piece to nearly double its original duration. The revision contemplates more on the idea of how ‘overtures’ do not only mark the opening of performances, but also function as the moment to aurally ‘open’ and reveal the physicalities of the space to the audience by projecting sounds and sonorities into it.“

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flutes (2), oboe (1), English horn (1), clarinet (1), bass clarinet (1), bassoon (1), contrabassoon (1) Brass: horns (2), trumpets (2), trombones (2) Percusssion: bass drum, woodblocks, flexatone, whip, flat bottles

Robert Schumann (1810-1856)

Cello Concerto in A minor, Op 129 (Adapted for Viola by Adrien La Marca) Nicht zu schnell – Langsam – Sehr lebhaft

Schumann’s Cello Concerto remains an inexplicable rarity on the concert platform, especially as it is a hugely satisfying work for the soloist, rich in lyrical melody, with a strong individual style and abundance of inspiration. Couched in one of his favourite keys (A minor – shared with the more famous Piano Concerto), it was composed during one of the happiest times of the composer’s life, in October 1850, just after the Schumann family had moved to Düsseldorf (and shortly before Robert completed his Rhenish Symphony, the Third) and it was written for his new orchestra. The soloist was the orchestra’s principal cellist. Tonight the original cello part has been claimed by the viola, though it is not the only instrument that has poached the solo part. Schumann himself transcribed it for his violinist friend Joseph Joachim in 1853 and, much later, Shostakovich re-orchestrated that version. As it happens, given that Schumann mainly uses the middle and upper parts of the cello register, much can easily be accommodated by the viola, as in today’s performance arranged by our soloist himself. At first Schumann contemplated terming the work Konzertstück like his work for four horns from the previous year, which is also in three sections all linked by transitional passages in one continuous musical flow, but eventually allowed it to take the traditional title for a solo concertante work. Schumann had taken up the cello himself when, after damaging his right hand early in his career while using a home-made gadget to stop his fourth finger from moving while practising, he realised a piano virtuoso career was no longer possible. The damage did not affect him bowing the cello, and thus he brought valuable practical

insight to the composition of not only his concerto but also in his chamber music. The Concerto opens with three introductory wind chords, which usher the soloist in immediately, Schumann dispensing with the standard initial orchestral tutti. Its theme, making use of the instrument’s tenor range, is a broadly sweeping one in true romantic style, with a second subject, introduced after an orchestral section in the relative major (C), which uses most of the instrument’s range. The ensuing development introduces a triplet motif, as a well as woodwind figures (dotted crotchet–quaver–minim) which often recur, as well as much soloistic writing which acts as a melodic bass to the softly tuned orchestral parts. The first theme reappears in the far distant key of F-sharp minor, then triplet figures lead back to the recapitulation without the customary cadenza (which is displaced until the Finale), then straight into the slow movement. Only 30 bars long, the slow movement is in F major and simple ternary form. Here the cello sings its melody over mainly pizzicato strings and gentle wind chording, with further soloistic enrichment in the central section produced by double-stopping (sounding two notes at the same time on adjacent strings). A further bridging passage, with yearning soloist, leads into the typical Schumannesque Finale, with a rising semiquaver figure which permeates the whole movement. Like the first movement, this last is in sonata form, with solo viola passages interrupted by declamatory orchestral tuttis. After the development and recapitulation, the soloist’s chance at the cadenza finally arrives, although this too is unusual with its chordal and pizzicato accompaniment, speeding up into the coda where the viola’s pyrotechnics over the whole range of the instrument rush headlong into the final chords.

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flutes (2), oboes (2), clarinets (2), bassoons (2) Brass: horns (2), trumpets (2) Timpani Solo viola (originally for solo cello)


Ludwig van Beethoven (1770–1827)

Symphony No 3 in E-flat, Op 55, “Eroica” Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto


which Beethoven has chosen to wrestle. The exposition is 152 bars long (and is then repeated) and thus the development – to match it – has to be of equally massive proportions. Full of incredible invention, subtlety and verve, it is 242 bars long, ending in an atmosphere of hushed anticipation, broken (two bars too early, it might seem) by a pianissimo horn, before the recapitulation.

Breaking new ground, Beethoven’s Third Symphony vastly increased the time-span of symphonic form (although he only added a third horn to standard orchestras of the time). Although still cast in four movements, there is an epic of, more properly, heroic sweep to the whole work, from the battle stations of the opening movement, via the great funeral march and life-affirming Scherzo to the striving Finale, which confidently urges mankind ever onwards to better things, in quite exhilarating style. The first public performance, at the Theater an der Wien, took place on 7 April 1805, and an early critic summed it up as “a very long drawn out, daring and wild fantasia”.

The “Funeral March” is an equally epic structure: a simple ternary design writ large and topped-andtailed by a very slow, stuttering and grief-laden C minor section. The oboe introduces a major-key section, then flute, with slowly rising crotchets and six rapidly descending semiquavers, broken by the full force of the orchestra. An extraordinary passage with off-beat flute and violin figures accompanying a slow moving wind and lower string theme, which rather stress second and fourth beats, creates an off-balance feeling and, quite definitely, a new sound world. A long coda, with the orchestra disintegrating, leaves only violins and a last stutter from the cellos and basses to die away to silence.

The almost unrelenting pace of the opening movement (itself the longest symphonic movement then composed) imbues the three-beat rhythm with a purpose hitherto unknown. Beethoven set a metronome marking at �� = 60 (one bar a second) and there is no doubt of the power and excitement it generates. In E-flat major – very much a heroic, resounding key – Beethoven demands our attention with two massive initial chords. Cellos and basses immediately introduce the theme, but hesitantly end on C-sharp five bars later, allowing off-beat first violins to sneak in with another important component. The exposition builds, and builds to a tremendous tutti passage of thundering second and third beat chords (with silent first beats) which drives straight into chords every second beat, within the triple metre: a cataclysmic duality which aptly shows the epic forces with

The joyous Scherzo pulls us back from the abyss: another extended triplet theme for rising strings topped by a descending oboe, introduces this willo’the-wisp movement, which eventually allows the brass and timpani to join in. However, the three horns come into their own in the Trio, matched by a flowing corollary for flute, oboe and bassoon. The Scherzo returns, with a final syncopated sleight-of-hand: whereas earlier Beethoven used a tutti crotchet-minim descending rhythm to great effect, here he changes time signature and has descending equal minims to jolt us out of any complacency and to prepare us for the Finale, which starts with a furious welter of strings and grand chords.

There follows a pizzicato passacaglia (ground bass), plucked out by the strings. “What?”, shriek the wind and brass. “This!”, argue the strings again. So, an epic set of variations (11 in all, plus the final presto) is set in motion with the famous Prometheus theme (remember that?) being introduced quietly by the wind in the third variation. Eventually, the music stops in its tracks and a wind chorale based on the Prometheus theme quietly fills the silence in an extended and slower precursor to the frenetic coda, which steamrollers its way to the end.

Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flutes (2), oboes (2), clarinets (2), bassoons (2) Brass: horns (3), trumpets (2) Timpani

© Nick Breckenfield, 2021

(except Charles Kwong’s a fictional overture)

British programme-note writer Nick Breckenfield was the Classical Music and Opera Editor for for 13 years and now works for the Borletti-Buitoni Trust which awards young classical music artists


香港小交響樂團 Hong Kong Sinfonietta 桂冠音樂總監 Music Director Emeritus: 葉詠詩 YIP Wing-sie 首席客席指揮 Principal Guest Conductor: 柏鵬 Christoph POPPEN 駐團藝術家 HKS Artist Associates

鄺展維 Charles KWONG

小提琴 Violin 格德霍特 樂團首席



麥兜 McDull



高世章 Leon KO (2018-2019)

陳慶恩 CHAN Hing-yan (2016-2018)

石家豪 Wilson SHIEH (2015-2016)

朱�� CHU Pak-him (2014-2015)

麥淑賢 MAK Su-yin (2014-2015)

羅詠媞 Wendy LAW (2013-2014)

盧思泓 LOO Sze-wang (2012-2013)

伍宇烈 Yuri NG (2011-2013)

李嘉齡 Colleen LEE (2010-2011)

黎志華 Jason LAI (2009-2011)

楊嘉輝 Samson YOUNG (2008-2009)

伍卓賢 NG Cheuk-yin (2006-2008)

署理助理樂團首席 第二小提琴首席

蔡路(休假) 第二小提琴助理首席

蔡柏沂 陳劭楠 周止善 保��子(休假) 賈舒晨 顧洛臻 羅莎莉 呂灝然 羅蔚敏 彭曉筠 潘迦薇 陽旻佑 楊宇思 葉紹羲 中提琴 Viola ● 陳子信 ▼ 劉琛彥 卞思琦 陳敏聰 顏星安 ★ 龍君蔚 ★ 鄧詠旋 大提琴 Cello ● 張培節 ▼ 貝樂安 何國芝 李恩率 朴詩媛 葉俊禧

長笛 Flute 上杉晃代


KIM In-sun

雙簧管 Oboe 福原真美


LE Hoai-nam

單簧管 Clarinet ● 方曉佳 陳秋媛

FONG Hiu-kai Johnny CHEN Chiu-yuan

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

巴松管 Bassoon ● 秦慶生(休假) 田口美奈子

CHIN Hing-sang (On Leave) Minako TAGUCHI

圓號 Horn ● 包文慶 東出真澄 岑慶璋 ★ 陳珈文

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

小號 Trumpet ● 黃山 文曦


長號 Trombone ● 羅澤基 陳學賢

Christopher RODGERS CHAN Hok-yin

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

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

James CUDDEFORD Concertmaster

Acting Assistant Concertmaster Principal Second Violin


(On Leave) Assistant Principal Second Violin

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

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

Notes 1. Guest Principal Bassoon 客席巴松管首席 – LIU Tung-bo (廖冬保) 2. Freelance Musicians: Violin 小提琴:CHUA Vince Eliezer N. (蔡君賢), WEI Ning-yi (魏宁一) Flute 長笛:HUI Wing-hang Bob (許榮鏗) Oboe 雙簧管:WAN Lok-yu Cecilia (溫樂愉)


大號 Tuba ● 林榮燦

LAM Wing-tsan

定音鼓 Timpani ● 村本曉洋


敲擊樂 Percussion ● 周展彤 小山理惠子

CHAU Chin-tung Rieko KOYAMA

豎琴 Harp ● 黃士倫


鍵琴 Keyboard ● 朱偉恆

Alan CHU

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

香港小交響樂團有限公司 Hong Kong Sinfonietta Limited 監察委員會

Board of Governors


Honorary Governors


Dr Patrick S C POON (Chairman)


Mrs Alice KING


Mr JAT Sew-tong (Vice-chairman)


Mr SHIH Wing-ching


Dr CHUNG See-yuen


Ms Serena YANG


Ms Lily CHOW


Mrs Shirley CHUNG


Dr HO Yu-cheung


Honorary Company Secretary


Mr Stephen TAN


Prof C K Michael TSE


Dr Andrew S YUEN


Tricor Corporate Secretary Limited 義務骨科專科醫生

Honorary Orthopaedic Surgeon



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

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

市場及業務拓展主任 Marketing & Development Officer 柯娉庭 Pantane OR 藝術行政主任 Arts Administration Officers 林海欣 Hayley LAM 馮碧琪 Betty FUNG


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郭立成律師 Mr Chris Kok 紀念劉葉珍女士 Mr Sheung Lee Mr Lee Wai Ho 廖炳輝醫生 Dr Liu Bing Fai 吳天天先生 Mr Ng Tin Tin Timothy 吳思博先生及蕭詠欣女士 Winny and Nigel Ng

• • • • • • •

魏玉華小姐 Miss Winnie Ngai 蘇國輝教授 Prof So Kwok Fai Mr Wong Kai Chun 黃乃禧先生 Mr Wong Nai Hay Mr Marcus Woo Ms Yeung Lai Fong Alice 多位無名氏 Anonymous

感謝以下各機構對香港小交響樂團一直的支持! Thank you to the following parties for their continued support! • • • • • • • • • • • • • • •

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


鳴謝 ACKNOWLEDGEMENTS 貢獻香港藝術節49年伙伴及藝術節開幕演出贊助 The Hong Kong Arts Festival’s Proud Partner for 49 Years & Festival Opening Sponsor 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 香港興業國際集團 尤德爵士紀念基金

The Cha Foundation HKR International Limited Sir Edward Youde Memorial Fund

藝術節指定高級用車伙伴 Official Premium Car Partner 大昌行汽車租賃

DCH Motor Leasing

藝術節指定航空公司 Official Airline 芬蘭航空


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

藝術節指定網上直播合作伙伴 Official Live Streaming Technology Partner 天開數碼媒體有限公司


主要酒店夥伴 Major Hotel Partner 香港君悅酒店

Grand Hyatt Hong Kong

學生票捐助計劃 Student Ticket Scheme 鉑金捐款者 Platinum Donors

黃金捐款者 Gold Donors

青銅捐款者 Bronze Donors

HK$140,000或以上 AND ABOVE

HK$12,000 - HK$29,999

HK$3,000 - HK$5,999

• 無名氏 (2) Anonymous (2) • Burger Collection

• Dr Chung See Yuen • Peter and Nancy Thompson • Mr William To

• 無名氏 (5) Anonymous (5) • Ms Chan Wan Tung • Mr D Chang • Ms Christine Lam • Ms Savita Leung • Mrs A.M. Peyer • Ms Janice Ritchie • Mr Alex So • Mrs Teresa Pong Tam • Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao • 殷和順先生劉善萍女士

鑽石捐款者 Diamond Donors HK$70,000 - HK$139,999

純銀捐款者 Silver Donors

• Rusy and Purviz Shroff Charitable Foundation • 田家炳基金會 Tin Ka Ping Foundation • 芝蘭基金會 Zhilan Foundation

HK$6,000 - HK$11,999

網上藝術教育捐助計劃 Digital Arts Education Scheme 鑽石捐款者 Diamond Donors

純銀捐款者 Silver Donors

HK$70,000 - HK$139,999

HK$6,000 - HK$11,999

• 法國巴黎銀行 BNP Paribas • Lincoln & Yu-San Leong • Sino Group

• 無名氏 Anonymous • Mrs Germaine Tso • Ms Wu Tseng Helen

黃金捐款者 Gold Donors

青銅捐款者 Bronze Donors

HK$12,000 - HK$29,999

HK$3,000 - HK$5,999

• Dr & Mrs Samuel and Ellen Lam • Stefan & Caroline Kracht

• 無名氏 (4) Anonymous (4) • Star B Chan & MDB • Mr Lee King Fung

鉑金會員 Platinum Member 嘉里控股有限公司

Kerry Holdings Limited

翡翠捐款者 Jade Donors HK$30,000 - HK$69,999

• 無名氏 Anonymous • Nine Queens Investment Limited • Shun Hing Group

HK$12,000 - HK$29,999

• Mr & Mrs Jeffrey & Helen Chan • Mr SHN Cheng • Ms Jenny Hodgson • Mr Stephen Tan

黃金會員 Gold Member 怡和集團

The Jardine Matheson Group

純銀會員 Silver Member 太古集團慈善信託基金

The Swire Group Charitable Trust

青銅會員 Bronze Members 鷹君集團 上海商業銀行有限公司 香港藝術節的資助來自: The Hong Kong Arts Festival is made possible with the funding support of:


• Mrs A.M. Peyer • Mr Alex So • Mrs Teresa Pong Tam • Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao

藝術節捐助計劃 Festival Donation Scheme

黃金捐款者 Gold Donors

贊助舍計劃會員 Patron’s Club Members

• 無名氏 Anonymous • Mr Iain Bruce • 馮兆林先生夫人 Mr & Mrs Fung Shiu Lam • Dr Mak Lai Wo • • Ms Wong Pie Yue Cleresa

• Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao • Samuel & Amy Wang • Mr Andric Yew 純銀捐款者 Silver Donors HK$6,000 - HK$11,999

• 無名氏 (4) Anonymous (4) • Mr & Mrs David S L Lin • Dr Michael Mak • Dr Ronald Paul Ng • Mrs A.M. Peyer • Leland & Helen Sun • Mr Wong Yick Kam • Ms Isabel Yiu

青銅捐款者 Bronze Donors HK$3,000 - HK$5,999

• 無名氏 (7) Anonymous (7) • Mrs Veryan E. Bradshaw • Ms Grace Chiang • Ms Fung Man Yee • Dr Alfred Lau • Ms Khoo Li Lian • Flavia & Gary Ma • Mr & Mrs Gary Ma • Mr Jose Manuel Sevilla • Mr & Mrs Ian Stone • Mrs Teresa Pong Tam • Yeung’s family • Dr Jason Yeung

新作捐助計劃 New Works Scheme 翡翠捐款者 Jade Donor

黃金捐款者 Gold Donor

青銅捐款者 Bronze Donors

HK$30,000 - HK$69,999

HK$12,000 - HK$29,999

HK$3,000 - HK$5,999

• Nine Queens Investment Limited

• 劉仰澤先生 Mr Lau Yeung Chak

• 無名氏 Anonymous • Ms Grace Chiang • Mr S C Tony Ling • Mrs A.M. Peyer • Mrs Teresa Pong Tam

純銀捐款者 Silver Donor

Great Eagle Group Shanghai Commercial Bank Limited

HK$6,000 - HK$11,999

• 無名氏 Anonymous

實物支持機構 In-kind Supporters Initial Fashion

香港灣仔港灣道2號12樓1205室 Room 1205, 12/F, 2 Harbour Road, Wanchai, Hong Kong 電話 Telephone: 2824 3555 傳真 Fax: 2824 3798, 2824 3722 網址 Website: 電郵 Email: 節目查詢熱線 Programme Enquiry Hotline: 2824 2430

贊助人 Patron

節目委員會 Programme Committee

發展委員會 Development Committee

林鄭月娥女士 The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS

主席 Chairman 盧景文教授 Prof. Lo King-man, MBE, JP, SBS 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 毛俊輝先生 Mr 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�女士 Ms Jue Yao, JP

主席 Chairman 梁靳羽珊女士 Mrs Yu-san Leong 副主席 Vice Chairman 雍景欣女士 Ms Jane Yong 委員 Members 鄭阮培恩女士 Mrs Betty Yuen Cheng 龐建貽先生 Mr Paulo Kin-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 CVO GBS OBE 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

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, MBE, JP, SBS 義務司庫 Honorary Treasurer 李錦榮先生 Mr William Li 委員 Members 鄭維新先生 Mr Edward Cheng, GBS JP 鄭惠貞女士 Ms Margaret Cheng 梁靳羽珊女士Mrs Yu-san Leong 梁卓偉教授 Prof Gabriel Leung, GBS JP 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

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 Director

財務委員會 Finance Committee 主席 Chairman 李錦榮先生 Mr William Li 委員 Members 鄭惠貞女士 Ms Margaret Cheng 梁國輝先生 Mr Nelson Leong

• 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)

程鶩誼 Spaky Ching* • 技術 TECHNICAL

製作經理 Production Manager

梁掌瑋 Grace Lang**

梁雅芝 Shirley Leung*

副節目總監 Associate Programme Director

助理製作經理 Assistant Production Manager

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 外展主任 Outreach Officers

張翠騫 Tracy Cheung* 李玨熙 Michael Lee* 李萬祺 Kelvin Li* 市場推廣 MARKETING 市場總監 Marketing Director

鄭尚榮 Katy Cheng**

副市場總監 Associate Marketing Director

胡銘堯 Dennis Wu**

市場經理 Marketing Managers

蘇國雲 So Kwok-wan

莫賦斌 Benny Mok*

陳志雄 Dennis Chan* 周 怡 Alexia Chow

節目經理 Programme Managers


副市場經理 Deputy Marketing Manager

游慧姿 Janet Yau* 葉健鈴 Linda Yip 余瑞婷 Susanna Yu*

助理節目經理 Assistant Programme Managers

譚小敏 Tracy Tam* 黃傲軒 Joseph Wong*

節目統籌 Programme Coordinator

袁潔敏 Loui Yuen*

藝術行政見習員 Arts Administrator Trainee

郭笑 Stephanie Kuo*

物流及接待經理 Logistics Manager

金學忠 Elvis King*

編輯 Editor

廖健邦 James Liu* 英文編輯 English Editor

Oliver Farry*

助理編輯 Assistant Editors

鄭豐榮 Rain Cheng* 黎家欣 Melody Lai* • 外展 OUTREACH

高級外展經理 Senior Outreach Manager

項目主管 Project Administrator

發展經理 Development Managers

項目統籌 Project Coordinator

余潔儀 Flora Yu**

張慧芝 Anna Cheung * 麥紫琴 Mak Tsz-kam * 譚樂瑤 Lorna Tam

助理發展經理 Assistant Development Manager

蘇寶蓮 Conny Souw*

藝術行政見習員 Arts Administrator Trainee

郭駿成 Joel Kwok*

鄺敬婷 Teresa Kwong**

陳閏霖 Ben Chan*

杜詩麗 Connie To*

助理市場經理 Assistant Marketing Manager 財務主管 Head of Finance

數碼營銷專員 Digital Marketing Specialist 會計經理 Accounting Manager 市場主任 Marketing Officer

劉萍 Erica Lau*

藝術行政見習員 Arts Administrator Trainee

副外展經理 Deputy Outreach Manager

市場經理(票務) Marketing Manager (Ticketing)

林嘉敏 Carman Lam*


發展總監 Development Director

楊璞 Michelle Yeung*

張予心 Stephanie Cheung*

助理外展經理 Assistant Outreach Manager


吳樂怡 Lois Ng* 會計 ACCOUNTS

李冠輝 Kenneth Lee** 鄧冠恆 Joe Tang*

Honorary Programme Advisor

梁彩雲 Eppie Leung

票務主任 Ticketing Officers

陳偲穎 Stephanie Chan* 鍾卓祐 Chung Cheuk-yau*

會計主任 Accounting Officer

鍾雅妍 Fiona Chung* 陸凱盈 Helen Luk*

節目及外展經理 Programme and Outreach Manager

林淦鈞 Lam Kam-kwan*

助理節目及外展經理助理市場經理 Assistant Programme and Outreach Manager

陳慧晶 Ainslee Chan*

市場經理 Marketing Manager

雷淑雯 Germaine Lui*

助理市場經理 Assistant Marketing Managers

朱穎欣 Wendy Chu* 汪盈 Tiffany Wong*

外展統籌 Outreach Coordinator

馮顯峰 Wilson Fung*

蘇永恆 Peter So* 人力資源及行政 HR & ADMINISTRATION

助理技術及製作經理 Assistant Technical and Production Manager

行政經理 Administration Manager

彭健欣 Janice Pang*

譚智盈 Judy Tam*

接待員/初級秘書 Receptionist/Junior Secretary

李美娟 Virginia Li

助理 General Assistant

黃國愛 Bonia Wong

陳梓衡 Jacob Chan*

高級會計主任 Senior Accounting Officer

* 合約職員 Contract Staff ** 無限亮指導委員會成員 No Limits Steering Committee Members 按英文字母姓氏首字母排列 In alphabetical order


Profile for Hong Kong Sinfonietta Limited

House Prog: Inspired by Beethoven - Hong Kong Sinfonietta‧Eroica (28.3.2021)  

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