House Prog: Sounds Great! Classical Music in Movies (3-5.8.2018)

3-4.8.2018 © YVONNE CHAN

(星期五至六 Fri-Sat) 8pm

5.8.2018 (星期日 Sun) 3pm

香港大會堂音樂廳 HK City Hall Concert Hall

單簧管 Clarinet

© YVONNE CHAN

方曉佳 Fong Hiu-kai Johnny 音樂總監/指揮 Music Director/Conductor

葉詠詩 Yip Wing-sie 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

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節目

李察．史特勞斯

《查拉圖斯特拉如是說》 ：序

華格納

《女武神》 ：女武神之騎

莫扎特

A大調單簧管協奏曲，K622：第二樂章

柴可夫斯基

選自《天鵝湖》組曲： I 第二幕場景 III 小天鵝之舞

柴可夫斯基

《羅密歐與茱麗葉》幻想序曲

— 中場休息15分鐘 —

莫扎特

G小調第25交響曲，K183：第一樂章

巴伯

弦樂慢板

小約翰．史特勞斯 約翰．威廉斯

《藍色多瑙河》 ，作品314 選自《星球大戰》組曲： I 主題音樂 III 帝國進行曲 V 大殿及結尾曲

Programme

Richard Strauss

Also Sprach Zarathustra: Introduction

Wagner

Die Walküre: Ride of the Valkyries

Mozart

Clarinet Concerto in A, K622: II Adagio

Tchaikovsky

From

The Swan Lake Suite:

I Scene from Act II III Dance of the Little Swans

Tchaikovsky

Romeo & Juliet Fantasy Overture

— 15-minute intermission —

Mozart

Symphony No 25 in G minor, K183: I Allegro con brio

Barber

Adagio for Strings

Johann Strauss Jr

On the Beautiful Blue Danube, Op 314

John Williams

From

Star Wars Suite:

I Main Title III The Imperial March (Darth Vader’s Theme) V Throne Room & End Title

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

樂團深明培育下一代的重要性，針對不同年齡的觀

樂總監葉詠詩一直致力拉近古典音樂與普羅大眾間

眾，舉辦多套別樹一格的普及音樂會。《我的音樂

的距離，銳意「培育文化新一代」，並以富創意的

日記》及由葉詠詩主持的《古典音樂速成》、《古

節目及充滿熱忱的演奏見稱。

典音樂知多少》和《我個名叫麥兜兜．古典音樂小

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

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。

劇院芭蕾舞團、英國皇家芭蕾舞團、英國國家芭蕾

除本地演出外，樂團常應邀作客海外，包括：美國

舞團、美國芭蕾舞劇院、紐約市芭蕾舞團、斯圖加

紐約林肯中心羅斯劇院、加拿大多個以出色音效著

特芭蕾舞團及翩娜．包殊烏珀塔爾舞蹈劇場等。樂

稱的音樂廳；南美洲的巴西、阿根廷及烏拉圭；在

團亦經常應邀與本地藝術節及藝團合作，如香港藝

歐洲計有法國的拉羅克．昂迪榮國際鋼琴音樂節、

術節、法國五月、香港芭蕾舞團及香港歌劇院等。

法國蒙頓音樂節、聖里奇音樂節、漢斯夏季音樂會

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》，均獲白金及金唱片佳績。最新雙CD《一屋寶 貝音樂廳》剛於7月由DECCA出版。 2

計劃》等節目，創辦至今深受歡迎，大大拓展古典

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。

Hong Kong Sinfonietta is one of Hong Kong’s flagship

Hong Kong Sinfonietta has also pioneered specially-

orchestras. With conductor Yip Wing-sie as Music

designed concert series for different audiences and

Director, the orchestra has brought music closer to the

age groups, including Good Music for Babies, Good

community, and has achieved significant recognition

Music for Kids, Know Your Classical Music, Short-cut

locally and internationally for its passionate

to Classical Music and HKS McDull Music Project.

performances and innovative programming.

Since 2010, Hong Kong Sinfonietta’s chamber music

Since 1999, Hong Kong Sinfonietta has collaborated

concerts have continued to break down barriers

with an illustrious array of international musicians

between music and audience as we perform at

and groups, including Vladimir Ashkenazy, Plácido

unconventional spaces.

Domingo, Augustin Dumay, Fou Ts’ong, Christopher

On tour, Hong Kong Sinfonietta has been invited to

Hogwood, Luciano Pavarotti, Krzysztof Penderecki,

perform in North America in Canada and New York

Pinchas Zukerman, Mariinsky Ballet, Bolshoi Ballet,

City; in Brazil, Argentina and Uruguay in South

The Royal Ballet, English National Ballet, American

America; in Europe at the prestigious Festival

Ballet Theatre, New York City Ballet, Stuttgart Ballet

International de Piano La Roque d’Anthéron, Festival

and Tanztheater Wuppertal Pina Bausch. The

de Musique Menton, Saint-Riquier Festival, Les

orchestra has also been a regular participant at all the

Flâneries Musicales d’Été de Reims and Festival Les

major festivals in Hong Kong including the Hong

Nuits Romantiques in France, in Germany at

Kong Arts Festival, Le French May, Hong Kong

Gezeitenkonzerte Ostfriesland, at Beethoven Easter

International Film Festival and festivals presented by

Festival in Poland, in Switzerland at Tonhalle Zürich,

the Hong Kong Government. It also partners

Geneva Victoria Hall and Fribourg, Festival Pianistico

regularly with Hong Kong Ballet and Opera Hong

Internazionale Arturo Benedetti Michelangeli and

Kong in their staged productions.

Settimane Musicali al Teatro Olimpico in Italy, in

The orchestra performs year-round with over 100

Portugal at the Marvão International Music Festival,

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

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.

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.

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

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音樂總監／指揮 Music Director/Conductor

© YVONNE CHAN

葉詠詩 Yip Wing-sie

亞洲樂壇備受尊崇的指揮家葉詠詩，於 2002 年起

葉詠詩繼 2004 年帶領香港小交響樂團代表中國參

出任香港小交響樂團音樂總監。

加「中國在法國」文化年的成功演出後，經常獲邀

葉詠詩在1985年贏得法國貝桑松第 35屆國際青年 指揮大賽冠軍及「金豎琴」獎，並在 1988 年獲第 八屆東京國際指揮比賽獎項。她曾先後出任香港大 學的學院藝術家、新加坡國立大學楊秀桃音樂學院

阿根廷、烏拉圭及台灣，以及法國、德國、波蘭、 瑞士、意大利、葡萄牙、日本、韓國和立陶宛的 音樂節。

王鼎昌傑出客座教授、廣州交響樂團的首席指揮和

生於廣州，香港長大的葉詠詩，憑香港皇家賽馬會

音樂總監及香港管弦樂團的駐團指揮。

音樂基金獎學金遠赴倫敦皇家音樂學院攻讀；後於

葉詠詩經常獲邀擔任世界各地樂團的客席指揮，曾 合作的包括中國中央樂團、中國國家交響樂團、上 海交響樂團、首爾愛樂樂團、大阪管弦樂團、新日 本愛樂交響樂團、札幌、讀賣、台灣、布里斯本、 墨爾本、昆士蘭等交響樂團及新西蘭的奧克蘭愛樂 樂團等。在歐洲，她曾與法國圖盧茲國家樂團、貝 桑松室樂團、波蘭華沙愛樂樂團、西班牙特納里夫 島交響樂團、捷克科希策省樂團合作演出。此外， 她亦曾率領廣州交響樂團於國際知名的維也納音樂 協會會堂（黃金大廳）演出及參與北京國際音樂 節。葉詠詩曾與多位國際知名的獨奏家合作，包括 杜美、傅聰、明茨、普爾曼、穆特及蘇嘉文等；近 年曾指揮的歌劇包括香港小交響樂團伴奏的《詩人 李白》及台灣愛樂的《畫魂》。 4

赴世界各地演出，當中包括美國、加拿大、巴西、

美國印第安納大學取得小提琴及指揮碩士學位。 1986和1992年夏季，她分別獲得哥士域斯基獎學 金及小澤征爾獎學金前往鄧肯活音樂中心研習指 揮。指導過她的指揮大師包括狄瑪爾、伯恩斯坦、 小澤征爾、米亞及艾德敦。葉詠詩於 2007 年獲法 國「藝術及文學騎士勳章」，2010年獲英國皇家音 樂學院頒授院士榮銜（FRCM）， 2013 年獲香港各 界婦女聯合協進會頒發「香港六藝卓越女性」獎及 由香港政府授勳銅紫荊星章。 2015 年，她獲法國 政府頒發「國家榮譽騎士勳章」，表揚她在音樂界 的傑出成就。

A highly respected and influential figure in Asia’s

As Music Director of Hong Kong Sinfonietta, Yip

orchestral music scene, Yip Wing-sie has been the

has taken the orchestra on tour in recent years to

Music Director of Hong Kong Sinfonietta since

France, Germany, Switzerland, Italy, Poland,

2002. Positions she has previously held include

Portugal, Lithuania, Canada, the USA, Japan,

Principal Conductor and later Music Director of

Korea, Beijing, Shanghai, Taiwan, and in South

Guangzhou Symphony Orchestra and Resident

America in Argentina, Brazil and Uruguay.

Conductor of Hong Kong Philharmonic Orchestra.

Born in Guangzhou and brought up in Hong Kong,

Winner of the First Prize as well as “LYRE d’OR” in

Yip graduated from the Royal College of Music in

the 35th Concours International de Jeunes Chefs

London and the Indiana University at Bloomington,

d’Orchestre de Besançon, France in 1985 and a

USA, where she obtained her master’s degree in

prizewinner in the 8th Tokyo International

violin performance and conducting. As the winner

Conducting Competition in 1988, Yip is in great

of the Koussevitsky Scholarship and the Seiji Ozawa

demand as a guest conductor in Asia. Orchestras

Fellowship Award, Yip also attended the

she has conducted include the Central

conducting seminar and fellowship programmes at

Philharmonic Orchestra of China, China National

the Tanglewood Music Center. Her mentors

Symphony Orchestra, Shanghai Symphony

included great maestros such as Norman Del Mar,

Orchestra, Seoul Philharmonic, Osaka Philharmonic,

Leonard Bernstein, Seiji Ozawa, Gustav Meier and

New Japan Philharmonic, Tokyo Mozart Players, the

David Atherton.

symphony orchestras of Sapporo, Yomiuri, Taiwan, Tasmania, Melbourne and Queensland as well as the Auckland Philharmonia of New Zealand. In Europe, Yip’s engagements have included concerts with the Orchestre National du Capitol de Toulouse and the Chambre Orchestre de Besançon in France, Warsaw Philharmonic in Poland, Spain’s Tenerife Symphony Orchestra and the Czech State Orchestra of Košice. She has also conducted at prestigious venues and festivals such as the Vienna Musikverein (Grossersaal), Beijing Music Festival, Fukuoka’s Asian Month Festival in Japan, Hong Kong Arts Festival and Macao International Music Festival. Yip has collaborated with such renowned artists as Augustin Dumay, Fou Ts’ong, Shlomo Mintz, Anne-Sophie Mutter, Itzhak Perlman and

Accolades Yip has received internationally include “Chevalier de l’Ordre National du Mérite” bestowed by the French Government (2015), “Chevalier dans l’Ordre des Arts et des Lettres” by the Ministry of Culture and Communication of France, Fellow of the Royal College of Music (FRCM), and she was also named the Ong Teng Cheong Distinguished Visiting Professor at the Yong Siew Toh Conservatory of Music, National University of Singapore. In Hong Kong, she was awarded “Hong Kong Women of Excellence in the Six Arts Award” by the Hong Kong Federation of Women and the Bronze Bauhinia Star (BBS) by the Hong Kong Government, and was University Artist at The University of Hong Kong (2011- 2012).

Pinchas Zukerman. Operas she has conducted include Guo Wen-jin’s Poet Li Bai and the world première of La Peintre with Taiwan Philharmonic.

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單簧管 Clarinet

方曉佳 Fong Hiu-kai Johnny Fong Hiu-kai Johnny joined the Hong Kong Sinfonietta in 2008 as its Principal Clarinet. With the orchestra he performed

’s Dance

Preludes at Hong Kong Arts Festival 2009 and was a featured soloist in the orchestra’s Expo 2010 Shanghai Concert (Hong Kong Week Closing Performance). He made his Carnegie Hall recital début at Weill Hall in January 2009 and has since performed in Canada, France, Italy, South America, Japan, Singapore, the Philippines, Malaysia, China and Taiwan.

Fong obtained his bachelor’s degree from The Hong Kong Academy for Performing Arts (HKAPA) in 2006 where he studied with Andrew © YVONNE CHAN

Simon. While studying there, he won the HKAPA Concerto Competition in 2006 and was one of the winners in 2004. He furthered his studies with Charles Neidich and Ayako Oshima at Mannes College, The New School of Music in 方曉佳自 2008 年起擔任香港小交響樂團單簧管首

New York under the Hong Kong Jockey Club

席， 2009 年為樂團於香港藝術節的音樂會擔任獨

Music and Dance Fund scholarship and received

奏，同年於卡奈基音樂廳的魏爾廳作獨奏首演。

his master’s degree in 2008.

2010 年，他於樂團的上海世博會音樂會《士兵的

Fong teaches clarinet at the Chinese University,

故事》(香港周閉幕節目）中擔任獨奏。除了在兩

Baptist University, Education University and

岸三地演出外，他亦於世界多個地方演奏。

Kingston University. He is also the music director of

方曉佳於香港演藝學院取得學士學位，在學期間師

Clarinetissimo, an institution that aims at

隨史安祖。他於 2004 年憑柯普蘭的單簧管協奏

promoting clarinet culture in Hong Kong.

曲，成為學院的協奏曲比賽得獎者之一，並在 2006 年以孟德爾遜的作品勝出。他及後獲得賽馬 會獎學金前往紐約曼尼斯音樂學院進修，隨名師迺 迪克和大島文子深造，在2008年修畢碩士學位。 他現於香港浸會大學、香港中文大學、香港教育大 學及倫敦金斯頓大學任教單簧管，亦是「非常單簧」 的音樂總監，積極推廣單簧管音樂。 6

節目介紹 第一部有聲電影《爵士歌手》（The Jazz Singer）於1927年面世，在此之前近40年的「默片年 代」，電影都是無聲的。但「默片」並非真的完全無聲，每逢有電影上映，電影院都會安排在 現場配上音樂，由鋼琴或樂隊伴奏。因此聲音一直與影像相結合。不同的是，1927年以後的電 影，聲音是與電影一同播放的，而不是由電影院提供。現時興起了一股以管弦樂隊現場為電影 伴奏的潮流，不僅是復原那些「無聲」電影，即使今天的賣座電影都這樣做。它們的原聲配樂 被視為電影重要的組成部份。我們不得不承認，銀幕上炫人的影像也好，哀怨纏綿的場面也 好，加上龐大的管弦樂團伴奏，是最好不過的視聽享受。 難怪電影製作人除了特別委約古典樂作曲家（例如康高特和佛漢．威廉士）或專門的電影配樂 大師（例如近來的一批，包括霍爾納、哥德史密斯、蕭爾、艾夫曼以及今場有樂曲演奏的約 翰．威廉斯）為電影配樂外，還採用了著名的古典樂曲來配合他們的影像。在這場音樂會，我 們會一起聆聽這些作品，而且由盤古開始⋯⋯ 那時世界混沌一片。然後，一陣小號聲中，太陽正慢慢在一顆行星的邊沿出現，原本只是一線 曙光，最後光芒萬丈，普照四方。

李察．史特勞斯（1864–1949） 選自 《查拉圖斯特拉如是說》 I

序

1960年代末，寇比力克（Stanley Kubrick）正在拍 攝史詩式的科幻片《2001 太空漫遊》（2001: A Space Odyssey），他原本想委約諾爾夫（Alex North ，曾為寇比力克的《斯巴達克》一片配曲） 創作配樂，但後來卻採用了古典和當代的管弦樂和 合唱曲來呈現片中宏大的場景。匈牙利作曲家利蓋 第（György Ligeti）詭異的《安魂曲》被用以描述 月球上神秘的石板，還有小約翰．史特勞斯最著名 的圓舞曲《藍色多瑙河》（稍後再詳述）。開首昂揚 的號曲來自後浪漫主義時期的作曲家李察．史特勞 斯最早期的交響詩《查拉圖斯特拉如是說》。這首 音樂與片中的影像，都成為了時代的標誌。 在澎湃的銅管和沉重的定音鼓渲染下，寇比力克的 日出情景顯得更為壯觀。這也是因為李察．史特勞 斯這作品受到了尼采哲學的啟發，即凡人可變為超 人，也就是神，這一概念與寇比力克的科幻故事結 8

合得可說天衣無縫。《查拉圖斯特拉如是說》也許 是尼采最有名的著作，甚至讓史特勞斯為它寫了一 首半小時長的交響詩。

華格納（1813–1883） 選自《女武神》 女武神之騎 《2001 太空漫遊》面世後 10 年，美國導演哥普拉 （Francis Ford Coppola，其父是底特律交響樂團的 長笛手，也是一位電影配樂家）把握越戰的題材， 在1979年拍成了「幻影般」的電影《現代啟示錄》 （Apocalypse Now）。哥普拉同樣聰明地以音樂襯 托壯觀的場景，最好的例子是連串直升機在水面上 掠過的畫面，在此哥普拉採用了古典音樂中已經膾 炙人口的「女武神之騎」。 這首音樂來自華格納的四部系列歌劇《尼伯龍的指 環》（The Ring of the Nibelung）中第二部的第三

幕，即最後一幕，其中一位女主角是布倫希特 （Brünnhilde），她是神王沃旦（Wotan）與土地女 神所生的長女，她和她的八個妹妹都是女武神 （Valkyrie，德語die Walküre），職責是將在戰鬥中 死去的英雄帶到瓦爾哈拉（Valhalla）神殿。華格 納的第二部歌劇就是以她們為題。女武神本身的名 �有��選戰死者的神�的��。在這�，華格納 音樂的場景設在一塊大石上，女武神乘著飛馬，在 戰場上檢拾陣亡武士的遺骸。

莫扎特（1756–1791）

至於哪一部電影採用了這首音樂呢？說起來還真不 少。首先是法國新浪潮導演高達（Jean-Luc Godard） 的 經 典 之 作 《 斷 了 氣 》（ A Bout de S o u f f l e ）， 然 後 是 荷 里 活 製 作 的 《 綠 卡 情 緣 》 （Green Card） ，述說一位法國人嘗試在美國居留， 以及《天魔特攻 2 ：鬼魅兵團》（Hellboy II: The Golden Army）。還有薛尼波勒（Sidney Pollack） 導演、羅拔烈福和梅麗史翠普主演，獲得 1985 年 奧斯卡金像獎的《非洲之旅》（Out of Africa）。 巴利（John Barry）為影片創作了配樂，但莫扎特 的單簧管協奏曲卻用於全片最浪漫的一刻：來自 ��的獨身女�逃到了��，在那��到了�地的 獵人，兩人開始墮入愛河。

選自 A大調單簧管協奏曲，

K622 II 慢板

作為古典音樂最偉大的作曲家之一，莫扎特的作品 被選作電影配樂一點也不奇怪。例如 1967 年，瑞 典導演威德伯格（Bo Widerberg）成功的藝術片 《今生今世》（Elvira Madigan） ，就採用了莫扎特第 21 鋼琴協奏曲的慢樂章，而樂曲也因為這套電影 而廣為人知。但我們演奏的慢樂章來自莫扎特最後 創作的一首協奏曲，即單簧管協奏曲的第二樂章。 這部作品寫於莫扎特臨終那年，是為朋友斯塔德勒 （Anton Stadler， 1753-1812）寫的，之前莫扎特 也曾為他寫過單簧管三重奏、單簧管五重奏以及歌 劇《狄托的仁慈》（La Clemenza di Tito）中的單簧 管和巴賽特單簧管（basset clarinet ，較現代單簧 管長，可以吹奏較低音域）的部份，這部歌劇在 1791年9月5日於布拉格首演，斯塔德勒正是演奏 者之一。 單簧管協奏曲事實上是為巴賽特單簧管而寫的。莫 扎特於 1791 年 10 月 7 日寫給妻子的信中提及正在 埋首撰寫最後的迴旋曲樂章。 D 大調的第二樂章 （慢板）像絲絨一樣順滑，獨奏者一吹出主題就馬 上令人沉醉其中。在擺蕩的弦樂伴隨下，樂曲進一 步鋪展開來，像柔和的歌劇詠嘆調一樣情深款款 （如《女人�》��其中一段，四位主角之一在愛 的幻想之中如痴如醉）。短暫的 A 大調中段讓出空 間使獨奏者得以炫耀跳音和裝飾音。結尾則回到開 首莊重、簡樸而充滿嚮往的主題。

柴可夫斯基（1840–1893） 我們以俄國作曲家柴可夫斯基的作品結束音樂會的 上半場。他的芭蕾舞劇《天鵝湖》和《羅密歐與茱 麗葉》幻想序曲都是根據愛情悲劇改編的，而他情 感充沛的音樂也成為了電影導演們採用的對象。

選自 《天鵝湖》組曲 I 第二幕場景 III 小天鵝之舞

柴可夫斯基創作了三部芭蕾舞劇音樂，第一部便是 《天鵝湖》（其他兩部是《睡美人》和《胡桃夾 子》）。 1875 年，他受莫斯科皇家劇院的總監委約 創作此劇，主題可能來自柴可夫斯基四年前為外甥 們的家庭演出撰寫的故事，那時他的弟弟穆迪斯特 （Modest）在劇中飾演王子。 齊格飛（Siegfried）王子在黃昏打獵的途中，看到 一群天鵝變成少女，他愛上了其中的公主奧杰塔 （Odette）。她告訴王子，她和她的同伴被邪惡的繼 母與惡魔羅特巴爾德（Rothbart）下了魔咒，只有 以死為盟誓的婚約才可以解除。她們只能在晚上回 復人身，白天則變成天鵝。在定親舞會上，齊格飛 被惡魔和他女兒奧吉利婭（Odile）騙了，他在跳 起民族舞蹈的時候，向假裝成奧杰塔的奧吉利婭求 婚。後來惡魔與奧吉利婭逃走，而以為被出賣的奧 杰塔也離開了。齊格飛冒著風暴去找她，但她最後 9

卻在他懷中傷心地死去。湖水在黎明時淹沒了他 們，而奧杰塔的同伴再次變成了天鵝。

柴可夫斯基的作品明顯沒有完全依照莎士比亞原作 的故事脈絡，但卻能將該套悲劇最哀感頑艷的氣氛 表現出來：當一對不幸的戀人命喪黃泉之後，兩個 敵對的家族才意識到錯誤，停止了他們的爭鬥。樂 曲開展之後不久，我們會聽到一段簡單的管樂聖詠 般的四部合奏，代表幫助羅密歐與茱麗葉的那位教 士，然後是一段由刺促的和弦引進的 B 小調的快 板，代表那兩個敵對的家族。斷斷續續的圓號襯托 著中提琴和英國管的獨奏，奏出著名的降D大調愛 情主題。教士主題和愛情主題再交替出現，之後巴 松管、中提琴和大提琴在沉重的定音鼓聲之上哀怨 地奏出由愛情主題演變出來的旋律⋯⋯最後樂曲由 四下極強的B大調和弦劃上句號。

《天鵝湖》在1877年 3 月舉行首演，觀眾反應不冷 不熱，但後來該劇卻成為經典的芭蕾舞目，受到 觀眾的熱烈歡迎。很自然地，任何值得一看的、 關於芭蕾舞的電影都會採用其中的選段。此處只 舉五個例子：從 1940 年代起，就有《魂斷藍橋》 （Waterloo Bridge ， 1940 年，由慧雲李和羅拔泰 萊主演）以及著名的奧斯卡得獎電影《紅菱艷》 （The Red Shoes ， 1948 年，由莫伊拉．希勒主 演），後者講述一位飽受折磨的女芭蕾舞蹈員要面 對殘酷的現實（起初她以為未婚夫死了，情緒極 為低落，後來又要在愛情與事業之間作出選擇）。 哪齣電影採用過這部作品為配樂呢？首先有庫克 60年後，則有達爾德里（Stephen Daldry）執導的 《跳出我天地》（Billy Elliot，2000年，占美．貝爾 （Georg Cukor）在1936年執導的《羅密歐與茱麗 葉》。大家也許覺得奇怪，較近期改編自莎士比亞 主演），講述一位出身自工人家庭的男孩如何努力 這部愛情悲劇的電影都沒有採用柴可夫斯基的作 成為芭蕾舞蹈員。該片最後一幕，便是男孩長大 品，但它卻在其他電影�出現，有些電影的題材� 後，在倫敦的舞台上飾演富有男子氣概的天鵝， 乎與它沒有什麼關係，包括《浴血滾球場》 他的父親和兄弟也出現在觀眾席上。然後有《最 後的舞者》（Mao’s Last Dancer ，2009年），這是 （Rollerball ， 1975）、《反斗智多星》（Wayne’s World）第一及第二集，甚至占士邦片《鐵金剛勇 根據李存信的真人真事改編。李存信從中國的農 破太空城》（Moonraker，1979） ！ 村中被選拔學習芭蕾舞，最後在侯斯頓和澳洲的 芭蕾舞團擔任領舞。 2010 年，又有阿羅諾夫斯基 （Darren Aronofsky）執導的《黑天鵝》（Black Swan），它又回到《紅菱艷》那種關於備受折磨的 藝術家的題材。 莫扎特（1756–1791）

選自 G小調第25交響曲，K183

《羅密歐與茱麗葉》幻想序曲 柴可夫斯基的《羅密歐與茱麗葉》乃根據莎士比亞 的名著而創作，是史上最著名的古典音樂作品之 一。樂曲原來有三個版本，最後一個版本是最著名 的。 1869 年，業餘作曲家巴拉基列夫（Mily Balakirev）不但向柴可夫斯基提議採用這部莎士比 亞名著來創作一套交響樂作品，而且還把自己對曲 式，甚至曲調的意見，也一併向他提出，結果柴可 夫斯基還真的採用了那些音調。但在開始時柴可夫 斯基或許覺得有點困難，但被巴拉基列夫呵責一番 後，柴可夫斯基六星期後就完成了這套作品， 1870 年 3 月 16 日首演不久，柴可夫斯基便修改了 作品，十年之後他又重新改寫。 10

I

富有生氣的快板

《羅密歐與茱麗葉》的主題橫跨了中場休息，下半 場開首的節目，就出現於 1996 年雷曼（Baz Luhrmann）執導的《羅密歐與茱麗葉之後現代激 情篇》，由狄卡比奧（Leonardo DiCaprio）和克萊 爾．丹妮絲（Claire Danes）分飾主角。莫扎特的 音樂充滿戲劇性，絲毫沒有鬆懈的一刻，因此相當 適合雷曼這部有關現代美國的影片，故事發生在維 羅納沙灘（Verona Beach），描述年青幫會成員的 鬥爭。 但作品也出現於著名的傳記式古典音樂電影《莫扎 特傳》。它講述莫扎特的天才受到另一位宮廷作曲 家的嫉妒。這部電影原本是彼得．謝弗爾（Peter Shaffer）大獲好評的劇作，它在 1979 年於倫敦的

國家劇院上演時，令觀眾嘆為觀止，後來又在倫 敦西區和紐約百老匯出盡風頭。故事從莫扎特幼 年開始，一直說到這位放縱不羈的作曲家最後潦 倒而死，薩里埃利（Antonio Salieri）則將他視為 競爭對手。電影中，薩里埃利在晚年聲稱毒害了 莫扎特，但卻承認莫扎特是更偉大的作曲家。 1984 年根據此劇製作的電影，在一絲不苟的資深 導演霍曼（Miloš Forman，他在今年4月去世）執 導下，每個角色都顯得甚為飽滿。 謝弗爾和劇作原來的導演霍爾爵士（Sir Peter Hall） 以及霍曼都用上了好些莫扎特作品。我們演奏的是 莫扎特第 25 交響曲的首樂章。作品寫於 1773 年 末，霍曼將之用於電影的序幕。樂曲開頭緊湊、充 滿動力的切分音節奏和 G 小調（在莫扎特所有的交 響曲中，只有兩首採用了小調，這是第一首），恰 如其份地為莫扎特短暫而悲劇的一生設定了基調。

巴伯（1910–1981）

弦樂慢板 我們的節目表上，此前只有《現代啟示錄》一部 電影是關於戰爭的。我們現在再次回到這個題 材。這首作品彷彿是回憶的同義詞，它充滿了沉 思的味道，雖然故事的背景是和平時代，卻又讓 人忐忑不安。 美國作曲家巴伯 1936 年撰寫此曲時，正憑普立茲 獎學金，在大西洋另一端的羅馬美國學院進修， 當時他創作了弦樂四重奏（作品11），其中的第二 亦即最後一個樂章是一首令人迷醉的降B小調「甚 慢板」。樂曲在平穩的四分音節奏支持下，逐漸推 向高潮，最後淒婉地終結。之前的第一樂章是B小 調忙碌的快板，意大利指揮家托斯卡尼尼（Arturo Toscanini ， 1935 年作曲家梅諾蒂將他介紹給巴伯 認識）後來建議巴伯將這個樂章改編成獨立的弦 樂作品。

曲，911恐怖襲擊後的紀念活動同樣採用了這首作 品。神聖莊嚴的樂音，又啟發了巴伯在 1967 年將 旋律配上《羔羊頌》（Agnus Dei），成為一個合唱 版本。 1986 年，在奧利華．史東（Oliver Stone）執導 的、慘烈的電影《殺戮戰場》（Platoon）中，巴伯 舒緩的樂曲與悲傷的戰爭場景形成鮮明的對比， 查理辛（Charlie Sheen）飾演的泰萊（Chris Taylor） 前�越�執行第一次�事��，在那�他的�戰 排隊友比起越共更為殘酷，也成為了他的敵人。

小約翰．史特勞斯（1825–1899）

《藍色多瑙河》，作品314 現在讓時光倒流，我們回到本場音樂會的第一部 電影，寇比力克的《2001太空漫遊》，當一個原始 人把骨頭拋開的瞬間，它神奇地變成了一艘長型 的太空船，圍繞地球運轉。此時，電影配上了小 約翰．史特勞斯的《藍色多瑙河》。寇比力克及其 設計特別效果的團隊又把鏡頭一轉，再帶出另一 個飛行物，顯然這是地球軌道上的太空站，而莊 嚴的圓舞曲則烘托出銀河系的廣闊無邊。 《藍色多瑙河》以合唱曲展開它的生命， 1867 年 2月首演時，是為維也納的男聲合唱協會創作的， 而蹩腳的歌詞則由一位叫做魏爾（Josef Weyl）的 文職警察和業餘歌手所寫，內容是讚美在維也納 新近建成的弧形街燈（維也納，多快樂/ 我讚美你 的甚麼？ / 弧形街燈 / 這兒仍是那麼黑暗！）。 直到貝克（Karl Beck）為之重新撰寫了有關多瑙 河的歌詞，甚至作純音樂演奏時，這首作品才變 得膾炙人口。

托斯卡尼尼繼而在 1938 年 11 月 5 日於紐約指揮首 演了作品的擴大版，馬上得到了聽眾的讚賞。其 後在二次大戰多次的國家悼念儀式，以及羅斯福 總統、甘迺迪總統的葬禮上它都被指定為葬禮 11

約翰．威廉斯（1932年生） 選自《星球大戰》組曲 I 主題音樂 III 帝國進行曲 V 大殿及結尾曲 這場音樂會最後一套樂曲，原本就是為電影撰寫 的。美國作曲家約翰．威廉斯的成就，遠遠不止 於電影配樂，他對現今的管弦樂創作也頗有影響 力。他和史提芬．史匹堡的合作為人稱道（例如 《大白鯊》、 《奪寶奇兵》 、 《侏羅紀公園》等等），另 外他為盧卡斯的《星球大戰》撰寫的配樂，也膾 炙人口。這原來是一部低成本的製作，卻風靡全 球，現在還一直在拍續集，還有獨立成章的星戰 故事。大家準備好回到「遙遠的時空」了嗎？讓 我們一起啟程吧！ 大家對劇情一定很熟悉，它講的是邪不能勝正，小 人物打倒了強大的帝國，我們眼前是一個個英雄、 英雌，例如天行者路克、他的老師奧比旺．肯諾 比、莉亞公主、浪人漢索羅，還有一些討人喜愛的 非人類角色：尤達、R2D2、C3PO和丘巴卡。 1999年，首部影片面世20週年的時候，被重新命 名為《四：新希望》，星戰前傳系列也開始陸續推 出。由於首三部星戰電影均甚受歡迎，約翰．威 廉斯在 1997 年將配樂改編為五個樂章的組曲，搬 到音樂會演出。我們選取了其中三個樂章來結束 這場音樂會。 開首的主題音樂，在一輪號曲之後，把我們直接 帶到由簡單的方程式組成的主題：兩下長音，一 組較快的三連音，一個長音再來一個短音。整段 進行曲重複之前，是一段簡短的弦樂，由敲擊樂 以其無間斷的節奏支持，但音樂最後逐漸消散， 像霍爾斯特（Gustav Holst）詭異的「土星」 （這是 《行星》組曲�的一章，���有�於�空的音樂 都從此曲得到啟發）。然後敲擊樂再次出現（就如 霍爾斯特的「火星」那樣），進行曲也重複了一 遍。最後大提琴帶領的、較短的莉亞公主主題打 斷了進行曲，但進行曲並沒有完全消失，隨即又 在曲末湧現（之前有一段彷如西貝遼士作品的弦 樂頌歌）。 12

第三樂章「帝國進行曲」出現於第二部電影《帝 國反擊戰》中，黑武士維達在音樂的襯托下登 場。敲擊樂和弦樂敲出了「火星」一曲般的節 奏，銅管樂則吹奏出進行曲的主題，就算後來的 配器較為稀薄，也不能將之掩蓋。音樂蘊含著一 種壓迫的、危機四伏的感覺，特別在圓號隆隆響 起的時候。 最後我們適切地回到第一部電影最末的場景。當 反抗軍推毀了維達的死亡星球後，天行者和漢索 羅回到雅汶四號衛星，在大殿受到萊亞公主授與 英雄勳章。很自然地，樂曲是以號曲展開，由敲 擊樂和尖銳的弦樂襯托。它就像典型的英國維多 利亞和愛德華時期的進行曲那樣，採用了艾爾加 《威風凜凜》（Pomp and Circumstance）進行曲和 沃爾頓（Walton）的兩首加冕進行曲的風格。威 廉斯在此為我們寫出了厚重的、更為流暢的弦樂 主題，圓號在其上方帶出了影片的主旋律。雙簧 管和長笛獨奏，在粼粼的小提琴、大提琴以及低 音大提琴的撥弦伴奏下，改變了樂曲的情調，但 及後音樂再次趨向莊嚴，以影片的一系列主題曲 收結。實際上這是對標題音樂的呼應，進行曲、 莉亞公主的主題以及最後的衝刺把全曲帶到了 結尾。

英文節目介紹：Nick Breckenfield 英國作家 Nick Breckenfield 專門撰寫節目介紹， 曾任whatsonwhen.com的古典音樂及歌劇版編輯13年， 現於支持青年音樂家的博萊蒂-布托妮信托基金會工作。

中文翻譯：行之

Programme Notes Only after the “Talkies” came in, with The Jazz Singer in 1927, was the previous near 40-year history of the “moving picture” termed the “Silent Movie” era. But they had never really been “silent” because whenever there was a moving picture show, there was sound – whether provided by lonely pianist or bigger ensemble. Sound was always integral to the spectacle. And the only difference after 1927 was that the sound came with the moving picture, and was not provided by the cinema proprietor. Even more curious, then, the current craze of showing films with live orchestral accompaniment – and not just restored “Silent” movies, but the latest blockbusters too, their musical soundtracks recognised as an important, integral part of the whole. And let’s face it, there can be no better match for the visual splendour on screen than a whole orchestra playing at full tilt one moment and with hushed, intense intimacy the next.

So it is no surprise that, as well as commissioning new scores from classical composers (Korngold, Vaughan Williams and the like) and specialist film composers (such as the current crop: James Horner, Jerry Goldsmith, Howard Shore, Danny Elfman and, as we will hear, John Williams), directors have mined the catalogue of great classical works to accompany their images. That is what we will investigate in this performances, starting at the very beginning of time....

It all starts in darkness then, at the sound of the trumpet, you can see the edge of the sun appearing over a planet, coming out of an eclipse with streams of light blinding in every direction.

Richard Strauss (1864–1949) From Also Sprach Zarathustra I Introduction

In the late 1960s, when Stanley Kubrick was filming his epic science-fiction film 2001: A Space Odyssey, he had intended it to have a specially composed score by Alex North (who had worked with Kubrick on Spartacus). However in the end Kubrick opted for classical, contemporary orchestral and choral music to underpin the big scenes of the film. In addition to Hungarian composer György Ligeti’s eerie Requiem used for the unveiling of the mysterious stone slab on the moon and Johann Strauss’ most famous waltz, On the Beautiful Blue Danube (more of that later),

Kubrick used the slow fanfare from the very opening of Also Sprach Zarathustra (Thus Spake Zarathustra) by German late-Romantic composer Richard Strauss for his title sequence. The music, together with the image, has become iconic.

Kubrick’s solar dawn becomes even more spectacular backed by Strauss’ swelling brass and pounding timpani, all the more so because Strauss’ inspiration was philosopher Friedrich Nietzsche’s idea of man evolving into superman, literally becoming God, which ties well into Kubrick’s science fiction vision. Also Sprach Zarathustra is perhaps Nietzsche’s most famous publication, not least because Strauss fashioned a half-hour orchestral tone poem out of it.

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Richard Wagner (1813–1883) From Die Walkure Ride of the Valkyries In 1979, just over a decade after 2001’s 1968 release, American director Francis Ford Coppola (whose father Carmine was both a flautist in the Detroit Symphony and a film composer himself), took the Vietnam War by the scruff of its neck and fashioned it into a “phantasmagorical ride” of a film, Apocalypse Now. Amidst the spectacular imagery Coppola also cleverly used music, no better than in the sequence of a flight of helicopters coming in over the water, which Coppola accompanied with an already popular piece of classical music, Wagner’s Ride of the Valkyries.

Originally, this stirring music comes from the opening of the final (third) act of Wagner’s second instalment of his epic four-opera cycle The Ring of the Nibelung. One of the main characters is Brünnhilde, the eldest daughter of the god Wotan by the Earth Goddess, Erde. She and her eight sisters are the Valkyries and Wagner’s second opera in the cycle is named after Brünnhilde as the eldest Valkyrie (in German, die Walküre). The name literally means “choosers of the slain” and when humans die in battle, the Valkyries take the dead heroes to Valhalla. Wagner’s music here sets the scene atop a rock as the Valkyries, on their flying horses, collecting dead warriors from the battlefield.

Wolfgang Amadeus Mozart (1756–1791) From Clarinet Concerto in A,

K622

II Adagio

There can be no surprise that the classical composer par excellence, one Wolfgang Amadeus Mozart, has often been adopted for use in film.

Indeed one instance – in 1967, for Bo Widerberg’s Swedish art-house cinema success Elvira Madigan – Mozart’s Piano Concerto No 21 is now popularly 14

known by the film’s title, because of Widerberg’s use of Mozart’s exquisite, tender slow movement.

But we hear the slow movement of Mozart’s last concerto – the one for clarinet – composed in the last year of his life for his friend Anton Stadler (1753–1812), for whom he had already written the Clarinet Trio, the Clarinet Quintet and the clarinet and basset-horn obbligato parts in La Clemenza di Tito, which Stadler played at the première in Prague on 5 September 1791.

The concerto – actually for basset clarinet (which adds four semitones to the bass of the normal clarinet’s range) – was Mozart’s last completed piece, writing to his wife on 7 October 1791 to his wife Constanze that he was orchestrating the final Rondo. The slow, middle movement, an Adagio in D major, is silky smooth and rapt with the soloist introducing the theme immediately, over rocking strings before unfolding the music with ever more elaboration. It is like a gentle operatic aria, full of feeling (from Così Fan Tutte, perhaps, where one of the four young protagonists is lost in an amorous reverie, misplaced or otherwise). The middle section, briefly in A, allows the soloist more space to shine, with jumps and ornamentations, before eventually returning to the sublime simplicity of the opening, yearning theme.

And so which films use this music? Well, amidst a whole host, including Jean-Luc Godard’s classic of the New French Wave, A Bout de Souffle (Breathless), Hollywood’s take on a Frenchman (Gérard Depardieu) trying to get permission to stay in the US, Green Card, and even Hellboy II: The Golden Army, there is Sidney Pollack’s Oscar-winning 1985 romantic blockbuster starring Robert Redford and Meryl Streep: Out of Africa.

It was John Barry who composed the film score, but it was Mozart’s Clarinet Concerto that accompanied the most tender moments of the burgeoning love affair between Danish spinster Karen von Blixen escaping to Kenya and local big-game hunter, Denys Finch Hatton.

Pyotr Ilyich Tchaikovsky (1840–1893) We end the first half with pieces by Russian composer Tchaikovsky. Both his ballet The Swan Lake and his fantasy overture Romeo and Juliet are based on dramatic stories encompassing tragic love affairs, and his emotional music has provided rich pickings for film directors.

From The Swan Lake Suite I Scene from Act II III Dance of the Little Swans

The first of Tchaikovsky’s three ballet scores (The Sleeping Beauty and The Nutcracker followed), The Swan Lake was a commission in 1875 for a full-length ballet from the directors of the Imperial Theatres, Moscow, and the subject may well have been developed from a family entertainment that Tchaikovsky had devised four years earlier for his sister’s children on a similar theme, when his brother Modest played the Prince.

Prince Siegfried, while out hunting at dusk, sees a flock of swans turn into maidens and he falls in love with Odette, the swan princess. She tells him that only a marriage vow made under the threat of death can release her from the spell that her evil stepmother and Rothbart have put on her and her companions, which leaves them only to resume human form during the night, spending the daylight hours in the form of swans. But, at his betrothal ball, Siegfried is tricked by Rothbart and Odile. The Prince, during the national dances, proposes to Odile who is disguised as Odette.

Rothbart and Odile flee, as does the real Odette, believing she has been betrayed. Siegfried fights his way through a storm to find her, but she dies of grief in his arms and the waters of the lake rise over both of them as the dawn breaks and Odette’s companions once again appear as swans.

While its première, in March 1877, was rather tepidly received, it has since become one of the mainstays of any ballet company and ever-popular

with audiences. Not surprisingly any ballet film worth its salt is likely to include excerpts from it. I will mention just five. From the 1940s, both Waterloo Bridge (1940), with Vivien Leigh and Robert Taylor, and Powell and Pressburger’s famous Oscar-winner The Red Shoes (1948), starring Moira Shearer, have a tortured ballerina facing up to harsh realities (in the first thinking her fiancé is dead and falling into destitution; in the latter finding herself torn between her vocation and her lover). From 60 years later we have Billy Elliot (2000), directed by Stephen Daldry and starring Jamie Bell, which follows the persistence of a young working class boy to make it to the top of his profession: the final overwhelming scene is the adult dancer taking his place as a virile swan on the London stage, with his father and brother in the audience. Mao’s Last Dancer (2009) is a similar, real-life story following the life of Li Cun-xin who was plucked from a Chinese village to study ballet, eventually dancing as a principal in both Houston and Australian Ballets. In 2010, Darren Aronofsky’s Black Swan returned to the tortured artist motif, channelling The Red Shoes.

Romeo and Juliet Fantasy Overture Perhaps one of the most famous of all pieces of classical music, Tchaikovsky’s Romeo and Juliet – based on Shakespeare’s famous tragedy – actually exists in three versions, although it is the last that is the famous one. Encouraged in 1869 by the amateur composer Mily Balakirev, who not only suggested the subject of Verona’s tragic lovers to Tchaikovsky but also freely offered ideas as to the form it should take and what keys to use (which Tchaikovsky did stick to), Tchaikovsky prevaricated to start, but after Balakirev’s chiding, completed the work in six weeks. After the première on 16 March 1870, Tchaikovsky immediately revised it and did so again 10 years later.

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Rather than following Shakespeare’s story explicitly, Tchaikovsky evokes the atmosphere of this timeless tale of the young, star-crossed lovers coming from rival families. The opening wind chorale begins the work in simple four-part harmony, which depicts Friar Laurence (the priest who helps and marries Romeo and Juliet), before stabbing chords open a fast (Allegro) section in Balakirev’s favourite key, B minor. This represents the feuding families and it reappears throughout the piece. Next comes the famous “love” theme in D-flat major, for solo English horn – from the oboe family – and violas, with a pulsing horn call beneath. This reappears (in D major) after the Friar’s theme has acted as a counterpoint to the feuding theme. The feud appears one last time before dying away, leaving only a funereal timpani tread over which bassoons, violas and cellos intone a tragic variant of the love theme... Four fortissimo bars of B major chords end the work.

And where can you hear it in the cinema? Well there is Georg Cukor’s 1936 Romeo and Juliet with a starry cast of Norma Shearer and Leslie Howard in the title roles, along with John Barrymore (Mercutio) and Basil Rathbone (Tybalt).

You may find it odd that more recent cinematic versions of Shakespeare’s “star-crossed lovers” do not use it; but other films have, including some unlikely candidates given the nature of the music: Rollerball (1975), Wayne’s World I and II (1992 and 1993 respectively) and even James Bond in Moonraker (1979)!

Wolfgang Amadeus Mozart (1756–1791) From Symphony No 25

in G minor, K183 I Allegro con brio

Romeo and Juliet straddles the interval, as the music that opens the second half was featured by Baz Luhrmann in his version Romeo + Juliet in 1996, with the lovers played by Leonardo DiCaprio and Claire Danes. Mozart’s music of high drama, which never lets up its pace, seems perfectly to match Luhrmann’s updating to modern-day America, as the background to the warring youth gangs of Verona Beach.

But it also featured in perhaps classical music’s most famous biopic, Amadeus, which saw the life Mozart through the envious eyes of another court composer. First an acclaimed stage hit by Peter Shaffer, which wowed London’s National Theatre audiences in 1979 then took the West End and Broadway by storm, plotted the genius and wilful (almost childish) character of Mozart to his poverty-stricken death, as seen through the eyes of a self-confessed compositional rival, one Antonio Salieri (played on stage by Paul Schofield, Ian MacKellen and Frank Finlay among others) – who in old age claimed he had poisoned Mozart as only he recognised he was a greater composer. The 1984 film, opulently designed under the critical eye of veteran director Miloš Forman (who died in April this year), had F Murray Abraham as the scheming Salieri and Tom Hulce as Mozart.

Shaffer, the play’s original director Sir Peter Hall and film director Miloš Forman all used a number of Mozart’s works. We hear the opening movement to Mozart’s Symphony No 25, composed in late 1773, which Forman used at the beginning of his film. From the urgent, propulsive opening syncopated rhythm and the minor key (G minor) – the first of only two in his whole symphonic output in a minor key, this aptly sets the scene for Mozart’s tragically short life.

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Samuel Barber (1910–1981)

Johann Strauss Jr (1825–1899)

Adagio for Strings

On the Beautiful Blue Danube, Op 314

Only one of our previous films has been about war (Apocalypse Now), but we return to that subject with our next piece. Indeed it has become synonymous with remembrance, given its contemplative balm, even though it was conceived in albeit uneasy peacetime.

American composer Samuel Barber composed what we know as his Adagio for Strings in Rome in 1936, where he was studying at the American Academy in Rome on a Pulitzer fellowship. It was originally the second, final movement of his String Quartet, Op 11. This rapt but uplifting B-flat minor Molto Adagio (with its steady even-crotchet underpinning, slow burn to the central climax and heartfelt dying away) followed a bustling B minor Allegro, but it was the conductor Arturo Toscanini (to whom Barber had been introduced in 1935 by fellow composer Gian Carlo Menotti) who suggested that Barber should arrange the Adagio for full string forces.

Toscanini himself conducted the première of this expanded version in New York on 5 November 1938 and – although it was an immediate success – its adoption for occasions of national bereavement during the Second World War, and later at the memorial services for both Presidents Roosevelt and Kennedy ensured its particular place in the repertoire. The aftermath of the shocking events of 11 September 2001 was a case in point, and the spiritual nature of the music inspired Barber himself in 1967 to set to it the words of the Latin Agnus Dei for chorus.

In Oliver Stone’s harrowing 1986 film Platoon, Barber’s soothing music contrasts with the psychological battles Charlie Sheen’s naive Chris Taylor has to withstand on his first military posting to Vietnam, where his platoon is more of an enemy than the Vietcong.

Now we find ourselves in a time-warp, as we return to our first film, Kubrick’s 2001: A Space Odyssey and to that pivotal movement when the bone thrown by one of the early hominids miraculous turns into a long space craft orbiting earth, all to the strains of Johan Strauss Junior’s waltz The Blue Danube. Kubrick and his special effects team (surely never bettered) pan back to take in other craft, notably the orbiting space station, in some stately galactic waltz.

Yet at its première in February 1867, The Blue Danube was a choral waltz, and – bizarrely now because it is so popular – was not very successful.

Unveiled by the Viennese Men’s Choral Association it boasted somewhat crass lyrics by Josef Weyl, a police clerk and amateur singer, praising the recent introduction of arc lights on the streets (Vienna, be gay/And what for, I pray?/The light of the arc/Here it’s still dark!), but when it was supplied with new lyrics (by Karl Beck) about the Danube and then, particularly, when played without words, it became perhaps the most famous waltz of all.

John Williams (born 1932) From Star Wars Suite I Main Title III The Imperial March (Darth Vader’s Theme) V Throne Room & End Title To end we have music actually written for the cinema, although you can tell how influential American composer John Williams has been from orchestral music for the concert platform. Famous for his collaborations with Steven Spielberg (Jaws, Indiana Jones, Jurassic Park and many more), Williams is also synonymous with that “galaxy far far away”, fashioned by George Lucas’ Star Wars,

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perhaps the most successful B-movie ever, still producing prequels, sequels and stand-alone Star Wars Stories. So, are you ready to be transported into another dimension, “a long time ago”? Well, then, let the titles roll!

You know the story: it pitches good against evil, the underdogs against the mighty empire, where we are introduced to such heroes, heroines and characters as Luke Skywalker, his teacher Obi-Wan Kenobi, Princess Leia, the maverick Hans Solo, and some favourite non-human characters: Yoda, R2D2, C3PO and Chewbacca. Given the success of the first three films, in 1997 – the 20th anniversary of the first film, which was renamed IV A New Hope when the prequels came along in 1999 – John Williams fashioned a suite of five movements from his scores for the concert platform. We hear three of those movements to end the concert.

The opening title sequence of the original 1977 film, after a brief fanfare, throws us straight into the main, rousing theme, built out of the simplest of formulas – two long notes, a faster triplet, a long note and a short one. The strings take over briefly before a return to the full march, underpinned by a battery of percussion with its insistent tattoo, but the music dissipates, akin to Holst’s eerie Saturn (from his Planets Suite, from which all cinematic space music seems to come), before the percussion start again (a nod surely to Holst’s Mars), and the march returns. The final interruption is for the cello-led, much softer theme, which introduces Princess Leia, but the march is never far away and returns quickly to sweep all before it, though not before a surging string paean that sounds like Sibelius.

The third movement, The Imperial March, introduces Darth Vader in the second film The Empire Strikes Back. While the percussion and strings hammer out the Mars-like rhythm, the brass intone the march theme, which even softer instrumentation later on can not disguise – there is something overpowering and dangerous about the music, especially when the horns come pealing in.

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Finally and fittingly we return to the final scene of the original Star Wars, where – after they have triumphed in the destruction of Darth Vada’s Death Star – Luke Skywalker and Han Solo, back on Yavin IV are honoured with bravery medals by Princess Leia in The Throne Room. It starts with a fanfare (what else?), and another rousing trumpet theme, later joined by trombones, underpinned by percussion and stabbing strings. This is like the peculiar march tradition of Victorian and Edwardian Britain (a different sort of Empire) à la Elgar’s Pomp and Circumstance Marches and Walton’s two Coronation Marches, where the tub-thumping march section is contrasted with a noble central section. Here Williams offers a sumptuous string theme, more flowing, over which horns introduce the film’s main theme. Solo oboe and flute, over shimmering violins and cello and bass pizzicato alter the mood, but the music builds again majestically and ends with a catalogue of the film’s main music, in essence a reprise of the main title, complete with march, Princess Leia and a climactic surge to the end.

© 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（休假）

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 陽旻佑 楊宇思 葉紹羲

James CUDDEFORD

Concertmaster (on leave)

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 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（署任） HUNG Chien-chun (acting) Akiyo UESUGI 上杉晃代 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

Freelance Musicians:

● 首席 Principal Violin 小提琴 ▼ 助理首席 Assistant Principal Viola 中提琴 ★ Orchestral Associate

Cello 大提琴 Double Bass 低音大提琴 Flute 長笛 Oboe 雙簧管 Clarinet 單簧管 Horn 圓號

Alvin CHAN (陳樹泉), CHUA Vince Eliezer N. (蔡君賢), DU Lan (杜瀾), WONG Chun-hong John (黃俊匡), YEUNG Kin-man Sunny (楊健文) Cecilia HO (何永妍), TANG Wing-shuen Rebecca (鄧詠旋) CHOR Kai-hei (左啟希) CHAN Chun Michael (陳駿), CHAN Ping-chi (陳秉智) HUI Wing-hang Bob (許榮鏗) Tinny CHEUNG (張天懿) FUNG Chi-hang Eric (馮智恆), NG Lai-man Stephenie (吳麗文) CHAN Kar-man Cheryl (陳珈文)

Trumpet 小號 Percussion 敲擊樂

CHEUNG Ho-sing (張浩昇) HOI Lei-lei (許莉莉), Mandy LO (勞善雯), VONG Wai-man Raymond (王偉文)

(with kind permission of The Hong Kong Academy for Performing Arts)

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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

榮譽監察委員

Honorary Governors

金董建平女士

Mrs Alice KING

施永青先生

Mr SHIH Wing-ching

楊雪姬女士

Ms Serena YANG

總經理 General Manager 李浩儀 LEE Ho-yee

監察委員會

Board of Governors

陳鋈鋆先生（主席）

Mr Y K CHAN (Chairman)

行政秘書 Executive Assistant to CEO 何淑娟 Rose HO

潘燊昌博士（司庫）

Dr Patrick S C POON (Treasurer)

蔡加敏女士

Ms Carmen CHOI

周莉莉女士

Ms Lily CHOW

鍾陳碧璋女士

Mrs Shirley CHUNG

黃智成先生

Mr Chester HOANG

翟紹唐先生

Mr JAT Sew-tong

史泰祖醫生

Dr SHIH Tai-Cho Louis

陳智文先生

Mr Stephen TAN

謝智剛教授

Prof C K Michael TSE

楊偉添先生

Mr Patrick YEUNG

義務公司秘書

Honorary Company Secretary

卓佳登捷時有限公司

Tricor Tengis Limited

舞台經理 Stage Manager 楊植生 Bobby YEUNG

義務法律顧問

Honorary Legal Consultant

霍金路偉律師行

Hogan Lovells

當代音樂研究 Contemporary Music Research 鄺展維 Charles KWONG

義務骨科專科醫生

Honorary Orthopaedic Surgeon

市場推廣及發展 Marketing & Development

傅偉俊醫生

Dr Dan HOOLEY

高級市場及業務拓展經理 Senior Marketing & Development Manager 莫皓明 Amanda MOK

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 節目經理 Project Manager 黃紫菱 Athena WONG

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 黎希潼 Carvina LAI 葉芾芾 Faustina YIP 林瑛權 Tonmy LAM 袁穎芝 Christine YUEN

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Investing in a Cultural Tomorrow

SUPPORT HONG KONG SINFONIETTA

支持香港小交響樂團培育文化新一代！

香港小交響樂團現正參與香港政府的藝術發展配對資助試驗計劃， 這樂季籌募的捐款和贊助將獲一對一配對資助。 Hong Kong Sinfonietta is participating in the Art Development Matching Grants Pilot Scheme (operated by the Hong Kong Government).

您的每 HK$1 捐款將會令樂團雙倍受惠 *!

Every dollar you donate to us will be DOUBLED*!

您的支持 YOU donate

政府配對 GOVERNMENT matches

效益倍增* DOUBLE* the impact!

年度捐款HK$100 或以上？ Planning to donate over HK$100? 謝謝！我們會為您準備收據作申請扣稅之用。 Thank you! We will prepare an official receipt for you for tax deduction.

年度捐款HK$1,000 或以上？ Planning to donate over HK$1,000? 謝謝！我們會為您準備收據作申請扣稅之用，並在樂團一年內舉辦的主要音樂會的場刊中， 鳴謝HK$1,000或以上的捐款。 Thank you so much! We will prepare an official receipt for you for tax deduction AND your name will be acknowledged for one year in house programmes of major ticketed Hong Kong Sinfonietta concerts.

其他支持方法（例如贊助或廣告形式），歡迎致電(852) 2836 3336 或 電郵至 fundraising@hksinfonietta.org查詢。

For other forms of support (e.g. sponsorship & advertising), feel free to call us at (852) 2836 3336 or email us at fundraising@hksinfonietta.org to discuss.

立即行動！ MAXIMISE YOUR IMPACT TODAY! * 須受藝術發展配對資助試驗計劃之條款及細則約束 * Subject to conditions of the Government’s Art Development Matching Grants Pilot Scheme

捐款表格 Donation Form 我樂意支持香港小交響樂團培育文化新一代，現捐助： I would like to SUPPORT the Hong Kong Sinfonietta with: $

以支持樂團的日常經費 for its General Fund

$

以支持樂團的學生票計劃 for its Student Ticket Scheme

捐款性質 Donation types

□一次性 One-Off

網上捐款，方便快捷！ Save time by DONATING ONLINE! www.HKSL.org/donation

□每月定期 Monthly

我亦同意參加香港政府的藝術發展配對資助試驗計劃，配對我的捐款（受條款及細則約束）。 I also agree to my donation being matched by the Government's Art Development Matching Grants Pilot Scheme (subject to conditions).

•

捐款HK$100或以上可憑收據申請扣稅 (每月捐款的收據將於2019年4月發出)。 Donations of HK$100 or above are tax deductible with a receipt (Annual receipt for monthly donations will be issued in April 2019)

•

樂團會在一年內舉辦的主要音樂會的場刊中，鳴謝HK$1,000或以上的捐款 Annual donations of HK$1,000 or above will be acknowledged in house programmes of major ticketed Hong Kong Sinfonietta concerts for one year

捐款人資料 DONOR DETAILS 中文姓名

先生／小姐／女士／博士／教授 名 First Name

姓 Last Name

Mr / Miss / Mrs / Ms / Dr / Prof 電話 Contact Number

(請選擇 please circle)

電郵 E-mail

郵寄地址 Postal Address (如需要捐款收據 If you need a donation receipt) 刊登於場刊之鳴謝姓名 Name to be acknowledged in house programme (如捐款港幣1,000元或以上至其中一個捐款類別 when donating HK$1,000 or above to either donation category)

□

□ 同上 Same as above

□ 無名氏 Anonymous

我同時希望定期收到有關香港小交響樂團的資訊 I would also like to receive promotional materials from Hong Kong Sinfonietta by: □ 電郵 Email

□ 郵寄 Post

捐款方式 DONATION METHOD 信用卡 Credit Card

□匯財卡 Visa □萬事達卡 Mastercard □美國運通卡 American Express 此卡只適用於一次性捐款 This card is for one-off donation only.

信用卡號碼 Card Number

支票 Cheque 本人附上劃線支票作一次性捐款予「香港小交響樂團有限公司」。 I enclose a cheque of the above stated amount as my one-off donation to the “Hong Kong Sinfonietta Limited”.

銀行自動轉賬 Autopay Direct Debit (只適用於每月捐款 Monthly Donation Only)

發卡銀行 Issuing Bank

有效日期 Expiry Date

信用卡持有人姓名 Cardholder’s Name on Card 信用卡持有人簽署 Cardholder’s Signature

日期 Date

如選擇每月定期信用卡捐款 For monthly credit card donation: 本人授權香港小交響樂團有限公司由本人之信用卡賬戶內每月定期扣除上述之帳款，直至本人另行通知為 止。本人同意此授權書於本人之信用卡有效期後及獲續發新卡時繼續生效，並無需另寫授權書。（如需要 取消或更改本授權書，請於取消或更改生效日期十個工作天前通知香港小交響樂團有限公司。） I hereby authorize the bank to debit my credit card account to make a monthly donation of the above stated amount to the Hong Kong Sinfonietta Limited until further notice. I agree the validity of this agreement will continue before or after the expiry date of my credit card account. Cancellation or variation of this authorization shall be given to the Hong Kong Sinfonietta Limited ten working days prior to the date on which such cancellation or variation is to take effect.

請於此頁下載表格 Please download the form at www.HKSL.org/donation

請將填妥的捐款表格交回香港小交響樂團有限公司 Please return the completed form to Hong Kong Sinfonietta Ltd 郵寄

BY POST 電郵 BY EMAIL 傳真 BY FAX

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 fundraising@hksinfonietta.org (852) 2783 9819

♥ 感謝您對我們的支持

Thank you for supporting Hong Kong Sinfonietta!

閣下提供的個人資料，香港小交響樂團有限公司將絕對保密，只用作郵寄收據及其他通訊之用。 有關其他贊助及捐款查詢，請電郵至 fundraising@hksinfonietta.org 或致電(852) 2836 3336。 Your personal data will be treated as strictly confidential and will be used for issuing official receipts and other communication purposes only.

If you have any questions or comments, contact us at (852) 2836 3336 or fundraising@hksinfonietta.org.

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謝謝！Thank You Partners!

2018/2019 樂季贊助機構 Sponsors of the 2018/2019 Season 主要贊助機構 Major Sponsors

商業機構贊助計劃 Corporate Members 白金會員 Platinum Member

金會員 Gold Member

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謝謝！Thank You! 香港小交響樂團對以下的捐款者及機構致以衷心謝意。 Thank you to the following donors and organisations who have supported us with a donation in the past year.

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

贊助人及捐款者 Patrons & Donors MegaSTAR Patrons (>HK$500,000)

• • • •

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)

• • • •

亞洲保險有限公司 Asia Insurance Co Ltd 周莉莉女士 Ms Lily Chow Miss Cecilia Fok 冼為堅基金有限公司 Sin Wai Kin Foundation

STAR Donors (HK$10,000 to HK$29,999) • 北山堂基金 Bei Shan Tang Foundation

• Dr Yvonne Ou

• • • • • • • • • • • • • •

陳嘉何醫生夫人 Dr & Mrs Chan Ka Ho 陳求德醫生 Dr Chan Kow Tak Lowell and Phyllis Chang Chiu Music Fund Mr Chester Hoang 鍾思源醫生 Dr Chung See Yuen 翟紹唐先生 Mr Jat Sew-tong 郭立成律師 Mr Chris Kok Dr Paul Lam Ruth & Sidney 史泰祖醫生 Dr Shih Tai Cho Louis 唐柏泉醫生 Dr Tong Pak Chuen Ms Yip Wing-sie 多位無名氏 Anonymous

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

• 喵喵

• 鮑美麗小姐 Miss Meli Bell

• 吳志強先生

• 加拿大琴行 Canada Piano Co • Mr & Mrs Anthony Chan

• 吳思博先生及蕭泳欣女士 Winny & Nigel Ng

• Jonman, Monika & Joel Chan Family

• 魏玉華小姐 Miss Winnie Ngai

• In memory of Ms Mariette Mimi Chan

• In loving memory of QQ’s family

• Ms Chan Ping Ting

• Starcom Limited

• 陳燕婷

• John & Anthea Strickland

• 張綺華小姐 Ms Helen Cheung

• TOKIN Hong Kong Ltd

• 周愛琳醫生 Dr Irene Chau

• Poon Shing Chi and Liao E Wen

• 張黎慧文 Vivian W M Cheung

• 施永青先生 Mr Shih Wing Ching

• Dr Vivian Cheung • Mr Douglas Clark

• 孫永輝及施熙德伉儷 Edith and Stephen Sun

• Mr Eugene Fung

• Dr Alfred Tam

• 關卓然先生 Mr William Kwan Cheuk Yin

• Mr and Mrs Robert Tang • Kenyon & Leonard Chow • Mr Mark Tong • Ms Suzanna Chung

• 曾作強先生 Mr Henry Tsang

• Mr Allan Leung • Ms Florence Leung

• 謝智剛教授 Prof C K Michael Tse

• 曾健鵬先生夫人 Mr & Mrs Paul Tsang

• Mrs Adeline Lui

• Mr Augustine Wong

• 莫扎特迷 Mozart’s Fan

• 多位無名氏 Anonymous

• In memory of Esther • 馮新健先生 Mr John Sun-kin Fung • Mrs Amanda Lam Ho • Ms Rose Ho • Mr Simon T K Leung • Mr Tommy Lo • Mrs Lillian Lu

• Mr Paul Tsang

• Ms Twinkle Star • 王欣浩醫生及吳嘉汶律師 Dr Alan Wong & Ms Rendy Ng • Ms Wong Yuen Wa Agnes • Ms Suzanne Yeung • 多位無名氏 Anonymous

• 大通會計事務所 Masterpoint Professional Ltd

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

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

• 鍾陳碧璋女士 Mrs Shirley Chung • 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon • 芝蘭基金會 Zhilan Foundation

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

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

• 陳鋈鋆先生 Mr Chan Yuk-kwan • CLP Holdings Limited • 無名氏 Anonymous Ruby Donors (HK$30,000 to HK$49,999)

• 鍾思源醫生 Dr Chung See Yuen • 郭立成律師 Mr Chris Kok • 史泰祖醫生 Dr Shih Tai Cho Louis Pearl Donors (HK$10,000 to HK$29,999) • 陳育明先生 Mr Patrick Chan • 周愛琳醫生 Dr Irene Chau • 張德賢博士伉儷 Dr & Mrs Douglas Cheung • 張�昌基金有限公司 Thomas H C Cheung Foundation Ltd • 林定國先生夫人 Mr and Mrs Lam Ting Kwok Paul • 彭嘉碧女士 Ms Rotina Pang • 施永青先生 Mr Shih Wing Ching • 孫永輝及施熙德伉儷 Edith and Stephen Sun • 謝智剛教授 Prof C K Michael Tse • 王煒東先生 Mr Wong Wai Tung • 多位無名氏 Anonymous

Premium Friends • • • • • • • • • • •

張�昌博士 Dr Thomas H C Cheung, MH 周莉莉女士 Ms Lily Chow 鍾思源醫生 Dr Chung See Yuen 馮元志先生 Mr Louis Fung 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 Tong Pak Chuen 謝智剛教授 Prof C K Michael Tse Mr T L Tsim

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壹頤 Amelie and Angus BELIEVING MUSIC CAN Mr Iain Bruce Mr & Mrs Anthony Chan Jonman, Monika & Joel Chan Family Mr Chan Kwan Ho Mr Philip Lawrence Choy 祈大衛教授 Prof David Clarke 洪美珠女士 Ms Hung Mee Chu 席信 Mr Paul Jackson Luca, Caterina, Maurien, Joseph Jacobelli 劉文文女士 Ms Lisa Lau Ms Lau Man Kwan Julia 紀念劉葉珍女士 李樹榮博士 Dr Ernest Lee Mr Simon T K Leung 廖炳輝醫生 Dr Liu Bing Fai 陸文靜小姐 Ms Anna, Man Ching Luk 吳思博先生及蕭泳欣女士 Winny & Nigel Ng 吳榮奎先生 Mr Ng Wing Fui Nicholas 蘇國輝教授 Mr Tin Hing Sin Mr K K Tsang 曾健鵬先生夫人 Mr & Mrs Paul Tsang Mr Tse Kam Keung 黃乃禧先生 Mr Wong Nai Hay Mr Peterson Wong Mr Marcus Woo 偉高忻先生 Mr Michael Yan Ms Alice Yeung 多位無名氏 Anonymous

Patrons of the 2017/2018 Fundraising Gala (in alphabetical order)

• 亞洲金融集團（控股）有限公司 Asia Financial Holdings Ltd • Mr & Mrs Anthony Chan • 陳嘉何醫生 Dr Chan Ka Ho • 陳育明先生 Mr Patrick Chan • 陳鋈鋆先生 Mr Chan Yuk-kwan • 張�昌基金有限公司 Thomas H C Cheung Foundation Limited • 周莉莉女士 Ms Lily Chow • 鍾思源醫生 Dr Chung See Yuen • 鍾陳碧璋女士 Mrs Shirley Chung • Ms Suzanna Chung • Mr Chester Hoang • 翟紹唐先生 Mr Jat Sew-tong • 郭立成律師 Mr Chris Kok • Dr Lam Yuk-yee Paul • 劉文文女士 Ms Lisa Lau • Ms Lau Man Kwan Julia • Mr Simon T K Leung • Mr Tommy Lo • 羅榮生先生 Mr Lo Wing Sang Vincent • 潘燊昌博士 Dr Patrick S C Poon • 史泰祖醫生 Dr Shih Tai Cho Louis • 施永青先生 Mr Shih Wing Ching • Starcom Limited • 唐柏泉醫生 Dr Tong Pak Chuen • Mr K K Tsang • 謝智剛教授 Prof C K Michael Tse • Mr Tse Kam Keung • Ms Wong Yuen Wa Agnes • Mr Augustine Wong • 偉高忻先生 Mr Michael Yan • Ms Lynn Yau • Ms Yip Wing-sie • 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 • 韓國駐港總領事館 Consulate General of the Republic of Korea in Hong Kong

• 民政事務局 Home Affairs Bureau • 康樂及文化事務署 Leisure and Cultural Services Department • 邁騰路通有限公司 Maestro GT Limited • 香港電台 Radio Television Hong Kong • 太古地產 Swire Properties • 通利琴行 Tom Lee Music Co Ltd

23

23

“Devilish good.”

DrehPunktKultur

“When Georg Breinschmid is on stage, you know you are in for a show.”

Kulturzeitschrift

低音大提琴 Double Bass

布賴恩舒密特

© JULIA WESELY

Georg Breinschmid

Programme

Bartók Romanian Folk Dances (with Improvisations) Bizet/Tscho Theissing Carmen Fantasy, Op 25 Bernstein On the Town: Three Dance Episodes and works for jazz trio & orchestra by Georg Breinschmid 指揮 Conductor

鄧克 Roderick Dunk

18.8.2018 (星期六 Sat) 8pm

香港大會堂音樂廳

HK City Hall Concert Hall $380 $260 $150

One

nly!

ce O rman

Perfo

小提琴 Violin

維拉特納 Florian Willeitner 音樂節優惠 Festival Discount Offers 同時購買音樂節兩套不同節目之正價門票，可獲9折優惠；三套節目85折；全部四套節目8折 Get a 20% discount when you purchase full-price tickets to all FOUR of the Festival programmes; a 15% discount to THREE of them; or a 10% discount to any TWO of them 適合6歲或以上觀眾 For ages 6+

音樂節詳情 Festival Details: www.HKSL.org/summer 香港小交響樂團保留更改節目及表演者之權利 Hong Kong Sinfonietta reserves the right to change the programme and artists

鋼琴 Piano

唐契夫

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

Antoni Donchev