House Prog: Mayu Kishima Plays Khachaturian Violin Concerto (19.8.2017)

小提琴 Violin

© KEIICHI SUTO

Mayu Kishima

© THE LIGHT PARTICLES

19.8.2017 (星期六 Sat) 8pm

香港大會堂音樂廳 HK City Hall Concert Hall

指揮 Conductor

廖國敏 Lio Kuokman 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

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

指揮 Conductor

小提琴 Violin

廖國敏 Lio Kuokman

Mayu Kishima

節目

海頓

C大調第七交響曲，Hob I:7，「午」 慢板 － 快板 宣敘調：慢板 慢板 小步舞曲 － 中段 終曲：快板

哈察圖良

D小調小提琴協奏曲 堅定的快板 綿延的行板 活潑的快板 －中場休息15分鐘－

柴可夫斯基

G小調第一交響曲，作品13，「冬日浮想」 平靜的快板 恰如其份的如歌的行板 諧謔曲：嬉戲的快板小諧謔曲 終樂章：陰沉的行板 － 中庸的快板 － 莊嚴的快板 － 活潑的快板

Programme

Haydn

Symphony No 7 in C, Hob I:7, “Le Midi” Adagio – Allegro Recitativo: Adagio Adagio Menuetto – Trio Finale: Allegro

Khachaturian

Violin Concerto in D minor Allegro con fermezza Andante sostenuto Allegro vivace - 15-minute intermission -

Tchaikovsky

Symphony No 1 in G minor, Op 13, “Winter Daydreams" Allegro tranquillo Adagio cantabile ma non tanto Scherzo: Allegro scherzando giocoso Finale: Andante lugubre – Allegro moderato – Allegro maestoso – Allegro vivo

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

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

香港小交響樂團是香港的旗艦樂團之一。樂團與音 樂總監葉詠詩一直致力拉近古典音樂與普羅大眾間 的距離，銳意「培育文化新一代」，並以富創意的 節目及充滿熱忱的演奏見稱。

計劃》等節目，創辦至今深受歡迎，大大拓展古典 音樂觀眾的層面。另外，樂團的《樂聚》系列，包 括在音樂廳以外的場地舉行室樂及跨界音樂會，為 觀眾提供更多節目選擇。

自1999年起，香港小交響樂團經常與國際知名音 樂家及藝團合作，包括亞殊堅納西、杜明高、杜 美、傅聰、譚盾、霍活特、巴伐洛堤、彭德雷茨 基、蘇嘉文、馬林斯基大劇院芭蕾舞團、莫斯科大 劇院芭蕾舞團、英國皇家芭蕾舞團、英國國家芭蕾 舞團、美國芭蕾舞劇院、紐約市芭蕾舞團、斯圖加 特芭蕾舞團及翩娜．包殊烏珀塔爾舞蹈劇場等。樂 團亦經常應邀與本地藝術節及藝團合作，如香港藝 術節、法國五月、香港芭蕾舞團及香港歌劇院等。

除本地演出外，樂團常應邀作客海外，包括：美國 紐約林肯中心羅斯劇院、加拿大多個以出色音效著 稱的音樂廳；南美洲的巴西、阿根廷及烏拉圭；在 歐洲計有法國的拉羅克．昂迪榮國際鋼琴音樂節、 聖里奇音樂節、漢斯夏季音樂會及艾克斯雷班《浪 漫之夜》音樂節、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、波蘭華沙愛樂音樂廳、瑞士蘇黎 世、日內瓦和弗里堡；北京第二屆中國交響樂之春 （國家大劇院）、中國上海國際藝術節（世博會「香 港活動周」閉幕節目）、上海之春國際音樂節、韓 國統營國際音樂節、新加坡、台灣、日本長野、新 潟和金澤等，並五度獲邀參與東京《 》音 樂祭演出。樂團四月初於波蘭貝多芬復活節音樂節 演出四場，並剛於七月下旬在德國、葡萄牙及法國 的音樂節獻演。

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《就是古典音樂》系 列，均獲白金及金唱片佳績。

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樂團深明培育下一代的重要性，針對不同年齡的觀 眾，舉辦多套別樹一格的普及音樂會。《我的音樂 日記》及由葉詠詩主持的《古典音樂速成》、《古 典音樂知多少》和《我個名叫麥兜兜．古典音樂小

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

Hong Kong Sinfonietta is one of Hong Kong’s flagship orchestras. With conductor Yip Wing-sie as Music Director, the orchestra has brought music closer to the community, and has achieved significant recognition locally and internationally for its passionate performances and innovative programming.

Since 1999, Hong Kong Sinfonietta has collaborated with an illustrious array of international musicians and groups, including Vladimir Ashkenazy, Plácido Domingo, Augustin Dumay, Fou Ts’ong, Christopher Hogwood, Luciano Pavarotti, Krzysztof Penderecki, Pinchas Zukerman, Mariinsky Ballet, Bolshoi Ballet, The Royal Ballet, English National Ballet, American Ballet Theatre, New York City Ballet, Stuttgart Ballet and Tanztheater Wuppertal Pina Bausch. The orchestra has also been a regular participant at all the major festivals in Hong Kong including the Hong Kong Arts Festival, Le French May, Hong Kong International Film Festival and festivals presented by the Hong Kong Government. It also partners regularly with Hong Kong Ballet and Opera Hong Kong in their staged productions.

The orchestra performs year-round with over 100 performances a season and has been the Venue Partner of the Hong Kong City Hall since 2009. Apart from standard orchestral repertoire, Hong Kong Sinfonietta, as an avid believer of keeping music alive and contemporary, commissions and performs new works every year and ventures into crossover concerts both at the City Hall and at the residency at ArtisTree.

Launched in 2006, the HKS Artist Associate scheme provides a platform for intensive collaboration with local artists from different arts disciplines to expand the horizon of classical music. The orchestra’s discography includes CDs of works by Chinese composers on HUGO, and three double-CD albums This is Classical Music on DECCA which have been awarded Platinum and Gold Records.

Hong Kong Sinfonietta has also pioneered speciallydesigned concert series for different audiences and age groups, including Good Music for Babies, Good Music for Kids, Know Your Classical Music, Short-cut to Classical Music and HKS McDull Music Project.

Since 2010, Hong Kong Sinfonietta’s chamber music

concerts have continued to break down barriers between music and audience as we perform at unconventional spaces.

On tour, Hong Kong Sinfonietta has been invited to perform in North America in Canada and New York City; in Brazil, Argentina and Uruguay in South America; in Europe at the prestigious Festival International de Piano La Roque d’Anthéron, SaintRiquier Festival, Les Flâneries Musicales d’Été de Reims and Festival Les Nuits Romantiques in France, in Switzerland at Tonhalle Zürich, Geneva Victoria Hall and Fribourg, Festival Pianistico Internazionale Arturo Benedetti Michelangeli and Settimane Musicali al Teatro Olimpico in Italy, in Portugal at the Marvão International Music Festival, the Warsaw Philharmonic Concert Hall in Poland 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, in Nagano and Kanazawa; in Korea at the Tongyeong International Music Festival and in Singapore at the Esplanade, and in Taiwan. The orchestra gave four concerts at the Beethoven Easter Festival in Poland in April and seven concerts at festivals in Germany, France and Portugal last month.

Music Director Yip Wing-sie, one of Asia’s most respected conductors, was the winner of the First Prize and LYRE d’OR in the 35th Concours International de Jeunes Chefs d’Orchestre de Besançon, the Koussevitsky Scholarship, the Seiji Ozawa Fellowship Award and a prizewinner in the 8th Tokyo International Conducting Competition.

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

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指揮 Conductor

廖國敏 Lio Kuokman 歌劇方面，廖國敏每年皆為非凡美樂的新製作擔任 指揮及音樂總監，包括《卡門》、《愛情靈藥》、 《軍團的女兒》、《嵐嶺痴盟》、《鄉村騎士》、《小 丑》、《遊唱詩人》及《弄臣》等。他亦曾獲指揮 大師格杰夫邀請出任聖彼得堡馬林斯基劇院客席歌 劇指揮。廖國敏曾於多個音樂節亮相，包括北京國 際音樂節、美國卡布魯現代音樂節、韓國大山音樂 節、香港藝術節及澳門國際音樂節等。 廖國敏亦是位鋼琴家，曾以獨奏身份與美國沃斯堡 交響樂團、薩爾茨堡室樂團、羅馬尼亞巴克烏愛樂 樂團、中國國家交響樂團、上海交響樂團及香港管 弦樂團等演出。

© THE LIGHT PARTICLES

廖國敏於香港演藝學院畢業，以一級榮譽考獲鋼琴 並分別於美國寇蒂斯音樂學院及新英倫音樂學院考 取指揮文憑。他亦是澳門室樂協會的創辦人和主 席。他於2012年獲香港特區政府民政事務局頒授

廖國敏獲傳媒盛讚為「令人矚目的指揮」，於2014

嘉許獎狀，2014年獲澳門特區政府頒授文化功績

年法國史維特拉諾夫國際指揮比賽中囊括亞軍（冠

勳章，以表揚他對藝術及文化發展的貢獻。

軍從缺）、觀眾大獎及樂團大獎。他亦是首位出任 費城樂團助理指揮的華人，現為該樂團的亞洲演出 藝術顧問及指揮。 廖國敏曾指揮多個樂團的管弦及歌劇演出，包括費 城樂團、鹿特丹愛樂、馬林斯基劇院樂團、加拿大 國家藝術中心樂團、法國電台愛樂、首爾愛樂、丹 麥國家交響樂團、底特律交響樂團、國立台灣交響 樂團、托萊多交響樂團、保加利亞索菲亞愛樂、波 蘭華沙交響樂團、香港管弦樂團、香港小交響樂 團、泛亞交響樂團、香港名家樂友、上海愛樂、深 圳交響樂團、台北愛樂及澳門樂團等。

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演奏學士學位，其後於紐約茱莉亞學院取得碩士，

Praised by The Philadelphia Inquirer as “a startling

Music, Great Mountain Music Festival in Korea,

conducting talent”, Lio Kuokman was the winner

Hong Kong Arts Festival and Macao International

of the Second Prize (First Prize not awarded),

Music Festival.

Audience Prize and Orchestra Prize at Evgeny Svetlanov International Conducting Competition 2014 in France. He was also the first Chinese conductor to take up the position of Assistant Conductor of the Philadelphia Orchestra, and is

As a pianist, Lio has performed as soloist with Fort Worth Symphony Orchestra, Camerata Salzburg, Filarmonica Baca˘ u in Romania, China National Symphony Orchestra, Shanghai Symphony Orchestra and Hong Kong Philharmonic.

currently serving as the orchestra’s Asia Residency Artistic Advisor and Conductor.

Lio graduated from The Hong Kong Academy for Performing Arts with a degree in Piano

Lio has worked with many orchestras in both symphonic and operatic genres, including Philadelphia Orchestra, Rotterdam Philharmonic, Mariinsky Theatre Orchestra, Canada’s National Arts Centre Orchestra, L’Orchestre Philharmonique de Radio France, Seoul Philharmonic, Danish National Symphony Orchestra, Detroit Symphony, National Taiwan Symphony, Toledo Symphony, Bulgaria Sofia Philharmonic, Sinfonia Varsovia in Poland, Hong Kong Philharmonic, Hong Kong Sinfonietta, Pan Asia Symphony Orchestra, Hong Kong Virtuosi, Shanghai Philharmonic, Shenzhen

Performance with first class honours. He later obtained a Master’s degree from The Juilliard School, followed by diplomas in conducting from Curtis Institute of Music and New England Conservatory of Music. He is also a founding member and the President of Macao Chamber Music Association. In recognition of his contributions to the development of arts and culture, Lio was awarded Certificate of Commendation and Medal of Cultural Merit from the Governments of Hong Kong and Macao in 2012 and 2014 respectively.

Symphony Orchestra and Taipei Philharmonic and Macao Orchestra.

In opera, Lio collaborates with Musica Viva Hong Kong annually to conduct new productions as music director including Carmen, L’Elisir d’Amore, La Fille du Régiment, Lucia di Lammermoor, Cavalleria Rusticana, Pagliacci, Il Trovatore and Rigoletto. He was also invited by Valery Gergiev to be a guest opera conductor at the Mariinsky Theatre in St Petersburg. Lio has participated in many music festivals including Beijing International Music Festival, Cabrillo Festival of Contemporary

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小提琴 Violin

Mayu Kishima 真優曾多次參與唱片錄音，包括獲亞殊堅納 西舉薦與NHK交響樂團灌錄拉威爾的《吉卜賽》， 並收錄於《拉威爾：管弦作品》中；她亦推出過兩 張個人專輯《夏康舞曲》及《昇》。她於2015年瑞 士盧加諾音樂節「阿嘉莉殊計劃」中的演出，也收 錄在《阿嘉莉殊與友人》現場錄音唱片中，由華納 於2016年5月發行。 真優現活躍於巴黎及科隆兩地，並經常穿梭 歐洲演出。近期重點演出包括參與盧加諾音樂節的 「阿嘉莉殊計劃」，以及與日本齋藤紀念樂團及水戶 室樂團合作。 真優曾隨林泉、戶上和代、江藤俊哉、迪 蕾、川崎雅夫、小栗町繪及工藤千博等學習。她於

© KEIICHI SUTO

2002年獲日本文化廳頒贈獎學金赴海外深造，並 於2008及2009年在瑞士小澤征爾國際音樂學院研 習。

真優2012年以優異成績於科隆音樂學院

畢業，師隨布朗。2015年，她於學院研究院以全 級最佳成績畢業，並獲德國國家資歷認證（音樂

真優於2000年成為第八屆維尼亞夫斯基國際 小提琴比賽（初級組）最年輕的日本得獎者，在音 樂界引起哄動。她其後於2011年科隆國際音樂比 賽中勇奪冠軍及嘉瑞特大獎，並於2016年第一屆 上海艾薩克．斯特恩國際小提琴比賽贏得冠軍。 2004年，

真優與俄羅斯國家愛樂及史柏華歌

夫的演出大獲好評，其中俄羅斯報章讚揚道：「羅 斯卓波維契大師稱她為『世界最優秀的年輕小提琴 家』是貼切不過的。她超卓的技巧和對音樂透徹的 理解令觀眾讚嘆」。翌年，

真優與聖塞西利亞

國家學院樂團及羅斯卓波維契、美國國家交響樂 團、倫敦交響樂團及巴伐利亞電台交響樂團等合 作。她獲《法蘭克福匯報》高度讚賞：「羅斯卓波 維契的評價讓

真優一舉成名，就如卡拉揚及

馬捷爾分別造就了穆特及漢恩一樣」。 6

家）。 真優演奏用的是1700年製斯特拉瓦爾「前佩 特里」名琴，由上野隆司博士借出。

Mayu Kishima caused a stir in the music world in

Currently based in Paris and Cologne, Kishima

2000 when she became the youngest-ever

performs frequently in Europe. Recent highlights

Japanese top-prize winner in the Junior Division of

include performances at Progetto Martha Argerich

the 8th Wieniawski International Competition in

in Lugano, as well as concerts with Saito Kinen

Lublin. She went on to win the First Prize and the

Orchestra and Mito Chamber Orchestra.

David Garrett Award for outstanding musical interpretation at International Music Competition Cologne in 2011, as well as the First Prize at the First Shanghai Isaac Stern International Violin Competition in 2016.

Kishima has studied with Izumi Hayashi, Kazuyo Togami, Toshiya Eto, Dorothy DeLay, Masao Kawasaki, Machie Oguri and Chihiro Kudo, among others. In 2002, she received a fellowship for overseas study from the Japanese Ministry of

In 2004, Kishima’s performance with the Russian

Culture. She also participated in the Seiji Ozawa

National Philharmonic and Vladimir Spivakov was

International Academy in Switzerland in 2008 and

lauded by a Russian newspaper, which said “It’s no

2009. In 2012, Kishima graduated with top grade

wonder the great Mstislav Rostropovich calls her

from Hochschule für Musik in Cologne, where she

‘the world’s best young violinist’. She awed the

studied with Zakhar Bron. In 2015, she graduated

audience with her superb technique and mature

at the top of her class from the graduate school of

understanding of the music”. The following year,

Hochschule, with all professors awarding her

Kishima performed with Orchestra dell’Accademia

highest grades, and received Germany’s national

Nazionale di Santa Cecilia and Rostropovich,

qualification for musicians.

National Symphony Orchestra of USA, London Symphony Orchestra and Symphonieorchester des

Kishima plays the Antonio Stradivarius “ex-Petri” 1700 violin, kindly loaned by Dr Ryuji Ueno.

Bayerischen Rundfunks. She was highly praised by Frankfurter Allgemeine Zeitung: “She was made known to the world by Rostropovich in the same way that Karajan made Anne-Sofie Mutter famous and Maazel made Hilary Hahn famous”.

Kishima has participated in several recordings thus far. On the strong recommendation of Vladimir Ashkenazy, who was then Music Director of NHK Symphony Orchestra, she recorded Tzigane with the orchestra on the album Ravel: Orchestral Works. She has also released two solo albums Chaconne and Rise. Her performance at Progetto Martha Argerich in Lugano in 2015 was included in the live recording Argerich & Friends, released on Warner Music in May 2016.

7

節目介紹 這場音樂會有兩部以其別號聞名的交響曲，它們來自不同的世紀，中間夾著一 首20世紀的、較少被演奏的協奏曲。兩部交響曲都受時間或季節啟發（別號也 由此而來），然而你不必特意去聯想，只要欣賞它們流暢自然的旋律好了，但是 柴可夫斯基的作品，其實在創作時是費煞思量的。 我們也許將柴可夫斯基和哈察圖良視為來自同一個國度，但兩者的出生地其實 相差了千多里之遙。柴可夫斯基出生於烏拉山脈的地區，而哈察圖良則在其西 南方約1,500公里外格魯吉亞的首都提比里斯。柴可夫斯基有很多膾炙人口的 作品，而哈察圖良只有少數作品為人熟悉，包括他的芭蕾舞曲《斯巴達克》 （Spartacus，但其實也只有其中的慢板較為著名）、《加雅涅》（Gayane，出名 的也只有其中的「馬刀舞曲」）以及小提琴協奏曲。儘管哈察圖良在柴可夫斯基 去世後10年才出生，兩人卻都與莫斯科音樂學院結緣。學院在1866年開辦時， 柴可夫斯基是第一批導師之一，而哈察圖良則是該院的學生，在1935年以其第 一交響曲畢業。他的小提琴協奏曲則在五年後面世。 1866年，柴可夫斯基移居莫斯科，他剛從聖彼得堡音樂學院畢業，音樂事業起 步得比較晚。雖然他在14歲時就創作了一部歌劇（《誇張》，Hyperbole），但他 起初接受的教育卻與音樂無關。他在19歲時畢業於法理學院，在司法部找到一 份公務員的工作。三年後他才考入音樂學院，一年後（1863）開始隨魯賓斯坦 學習，便辭去了工作。他在1865年畢業，次年搬到莫斯科，在新成立的莫斯科 音樂學院任教，院長是魯賓斯坦的弟弟尼古拉，而柴可夫斯基則與他同住。 1866年是他成為專業作曲家的一年，那年他的F大調序曲首演，同年3月也開始 創作其第一交響曲。 柴可夫斯基逝世直至哈察圖良畢業的這段時期，俄國經歷了翻天覆地的變化。 1917年發動的俄國革命，是俄國歷史的轉捩點（到今年恰好是100周年紀念）， 而蘇維埃政權下的音樂史也充滿波折。大革命後蘇聯在新音樂的試驗方面，甚 至走得比西方更遠。 例如羅斯拉維茨（Nikolai Roslavets）就探究出自己的12音 符音樂，與維也納的荀伯格那一套完全不同。電子音樂也在實驗之中，特雷門 （Lev Termin）就在1922年發明了特雷門電琴（Theremin，在俄國則稱為 10

Terminkovs）。演奏者使用無線電振盪器，以右手改變與儀器天線的距離來操控 音高，左手則上下移動來控制音量。莫索洛夫（Alexander Mosolov）就受到大 型工業化計劃的啟發，創作了不少打破傳統的作品。同時，或許為了將無產階 級的精神發揮到極致，多隊沒有指揮的樂團成立，演出的各個層面都受到民主 意識的左右。然而，當列寧在1924年去世，史太林長達30年的極權統治展開 後，一切都被改變過來。 所有這類狂熱的藝術試驗都戛然終止。1936年由史太林親自領導的文化批判運 動，首先由《真理報》（Pravda）在1月28日大肆抨擊蕭斯達高維契的歌劇《莫 桑斯克的馬克白夫人》（Lady Macbeth of Mtsensk），然後又在2月6日批評他的 芭蕾舞劇《明亮的小溪》（The Bright Stream）。統治階層認為這類「形式主義」 的音樂與蘇聯人民的審美價值背道而馳（因為這類音樂的旋律不能馬上被聽眾 接受），因而作曲家都被迫撰寫具有政治宣傳意味的作品，例如歌頌蘇維埃領袖 和理想的清唱劇、電影配樂等，大大限制了作曲家的創造力。哈察圖良就是在 極權制度下冒起的作曲家，但由於他本身鍾情於祖國的民歌傳統，他的作品就 與蘇維埃早期的實驗性音樂大相逕庭，也從不像蕭斯達高維契那樣離經叛道。 他那些充滿異域色彩的音樂旋律與和聲，一直甚受普羅大眾的歡迎， （當初）也 獲得了當權者的認可。

海頓（1732–1809）

C大調第七交響曲，Hob I:7， 「午」 慢板 － 快板 宣敘調：慢板 慢板 小步舞曲 － 中段 終曲：快板

1761年5月1日，海頓加入了艾斯特哈齊（Esterházy） 王宮，成為宮廷樂隊的副樂長。此前他已為芬伯格 （Fürnberg）男爵服務，1757年起，又轉到莫爾辛 （Morzin）伯爵旗下，為他寫了最早期的交響曲。可 惜莫爾辛伯爵之後破產，海頓於是投靠艾斯特哈 齊，但不到一年，這個職位似乎又出現了危機。

1762年3月18日，保羅

安東

艾斯特哈齊（Paul

Anton Esterházy）親王突然去世，幸好繼位的弟弟尼 古拉斯（Nikolaus）對音樂更有熱誠，海頓才得以安 於其位，1766年更成為樂長。作曲以外，海頓還要 管理樂手。當時的薪金表顯示在海頓上任初期，便 增聘了11名樂師，為原來只有三名小提琴手、一名 大提琴手和一名低音大提琴手的宮廷樂隊加添弦樂 手，以及一名長笛手，和雙簧管、巴松管、圓號手 各兩名，有時他們會互換樂器） 。而海頓在這樣的環 境中，寫下了別名「晨」 、「午」和「黃昏」的三首 交響曲（即第6、7、8交響曲） 。早期的文獻中往往 將它們一並提及。然而，這些別名的起源，以及三 首作品為何互有關聯，卻始終是個謎（雖然我們可 以想像，這些作品都在某個特定的日子，根據樂曲 的標題在不同時間演奏） 。而當中只有「午」一首， 有海頓1761年的手稿流傳下來。 11

與其他兩首交響曲不同，「午」共有五個樂章，而 且有多段樂器獨奏。有說海頓是把從前的大協奏曲 （以韋華第、柯里利、韓德爾和巴赫為代表）和交

哈察圖良（1903-1978）

D小調小提琴協奏曲

響曲的創作手法連接起來。然而，更可信的說法應

堅定的快板

該是海頓只是因應他的新環境而創作，特別是因作

綿延的行板

品並無大協奏曲的重複段落（ritornello），在開頭

活潑的快板

和結尾的樂章也都採用了奏鳴曲式，在小步舞曲則

哈察圖良的小提琴協奏曲創作於1940年，由該曲

是典型的三段式。

的題獻人、傳奇的俄國小提琴家奧伊斯特拉赫首

或許海頓是想在「新增」的樂章加入獨奏部份，讓

演。戰後，當統治階層能從戰火中抽身而出，再次

他手下的新樂師一顯身手。我們甚至知道當年演奏

對藝術創作進行監控時，哈察圖良也像蕭斯達高維

「午」中那段艱難的小提琴獨奏的樂師是托馬西尼

契和浦羅哥菲夫一樣，在1948年2月受到了蘇維埃

（Luigi Tomasini），而慢板中擔任大提琴獨奏的，是

中央委員會和負責文化政策的日丹諾夫（Andrei

海頓的好友魏格爾（Joseph Franz Weigl）。海頓當

Zhdanov）嚴厲的批評，情況比他的同行更糟。史

時亦很可能一邊指揮樂隊，一邊彈奏古鍵琴或擔任

太林去世後（和浦羅哥菲夫同一天去世），哈察圖

第一小提琴首席。

良在1953年與一批藝術家要求有更大的藝術自

宏偉的和弦帶出了開首的慢板，為樂曲定下了舒緩 的步伐，之後嘎嘎的弦樂在採用奏鳴曲式的快板首 先出現。弦樂獨奏的段落以怡人的配搭尾隨而至， 木管緊隨其後。呈現部重複過後，發展部帶出了更

由，那時他也成為一位知名的指揮。隨著政治局勢 解凍，哈察圖良得以到國外造訪，並在1954年與 奧伊斯特拉赫及愛樂管弦樂團於倫敦為其小提琴協 奏曲錄音。

為猶豫不決的獨奏。再現部重奏了開頭的兩個主題

小提琴協奏曲的結構採用了傳統的三樂章（快－慢

後，就來到了昂揚的尾聲。附加的樂章稱為「宣敘

－快）模式，是一首抒情、宏大的作品。哈察圖良

調」，但它卻非由聲樂家自由演唱，而是獨奏小提

在1940年夏天僅用了兩個半月的時間便完成了創

琴在「歌唱」，樂隊則在一旁支持和偶爾插入。

作，他也經常提及創作過程沒有受到任何騷擾，但

「慢板」的情調較為柔和，愉快的長笛在開首伴著

在作品中，我們還是能聽到一點時代危機的暗流，

樂音，獨奏小提琴和大提琴隨後出場。兩個重複的

尤其是最後一個樂章刺耳的二度音程（顯然是亞美

主題經過發展後，帶出了延綿的類華采段，由兩把

尼亞民間音樂的一個特徵）。對於哈察圖良而言，

獨奏樂器拉奏，最後來到放緩步子的尾聲。跳躍的

民間音樂總是一個重要的元素。開篇的齊奏引子，

「小步舞曲」在中段後重複，而長笛在快速的、奏

為獨奏提供了突出的固定音型節奏，這是取自亞美

鳴曲式的「終曲」一馬當先。海頓的創意在這個出

尼亞男人的舞蹈，他們在熱烈地跺腳的時候，上身

人意表、簡潔的樂章中表露無遺，當中包含了微妙

仍維持不動。這種節奏為整個樂章添上了個性，但

的發展段落和喜氣洋洋的終結。

較為柔和的第二主題也吸引了我們的注意力，它由 木管的吹奏引出，樂隊的節奏也漸漸慢下來。令人

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 管樂：長笛 (2)、雙簧管 (2)、巴松管 (1) 、圓號 (2)

迷醉的小提琴獨奏飄浮在上空，一節微型的華采段 被樂隊重新帶出的第一主題狂熱節奏所打斷，而獨 奏則繼續發展第二主題，節奏就像加了標點符號一 樣斷斷續續。接著是中間一大段的華采段，首先由 獨奏單簧管伴奏，但不久就只剩下技巧炫人的小提 琴，最終又帶出固定音型，並爬到高音處，讓樂隊 再次加入。然後是兩個主題的再現部，直至固定音 型用來向激烈的尾聲衝刺，最後由樂隊有力的和弦

12

結束。

哀怨的慢樂章開頭，顫抖的弦樂，向上迎來了巴松 管，然後再遇上單簧管盤繞的樂音，再被銅鈸的撞 擊按下。愁思滿腹的巴松管引領著緩慢行進的和 弦，接著獨奏帶出了舒緩的主題。之後樂隊的高潮 將其打斷，中提琴再重建了此前的情調，樂譜的標 號在此是「小夜曲」以及「充滿感情的揉弦」，和 「具有東方特色的」。接著獨奏返回，樂隊其後又趨 向一段猛烈的高潮，東方色彩極為濃厚（與林姆斯 基-高沙可夫的《一千零一夜》也頗為相近）。最後 獨奏將局面穩定下來，音樂在緩緩下降的木管和弦 中消逝。

柴可夫斯基（1840–1893）

G小調第一交響曲，作品13， 「冬日浮想」 平靜的快板 恰如其份的如歌的行板 諧謔曲：嬉戲的快板小諧謔曲 終樂章：陰沉的行板 － 中庸的快板 － 莊嚴的快板 － 活潑的快板

柴可夫斯基的第一交響曲創作於1860年代中期， 是他早年的作品。差不多20年之後，在1883年，

樂隊以馬戲團般的號曲一頭扎進了終樂章，速度漸

柴可夫斯基回顧這首作品時，向其贊助人梅克夫人

漸減慢，帶出了巴松管咯咯的節奏，獨奏者歡欣地

評述道：「就算它有那麼多刺眼的缺點，我對它卻

進場，奏著亞美尼亞的民謠《給玫瑰》。在這段的

頗有好感。即使在很多方面它都是不夠成熟的，它

末尾，馬戲團的號曲再次間斷地響起，單簧管像在

在內涵方面，實際上卻比許多較成熟的作品更好、

爭著要奏出主題，即使獨奏者拉出一段較平和的旋

更豐富。」

律，既纏綿又醉人，但下層伴奏的節奏仍從不休 止。樂章一直跑動，直至出現了一個二度音程的衝 擊，而獨奏則重現了主題，再次與單簧管一起爭持 不下。哈察圖良接著巧妙地帶出了第一樂章的固定 音型，作品最後以作曲家所說的「小提琴家的花火」 的強力演奏和洶湧的和弦結束。

雖然是那麼動聽的一首交響曲，但奇怪的是，它卻 是柴可夫斯基不太討人喜愛的作品之一。魯賓斯坦 就曾提出過批評，要柴可夫斯基拿回去重新構思， 最後只容許演奏諧謔曲。他焚膏繼晷地重寫，以致 生了病。儘管作品最後成功地在1868年2月3日首 演，他此後還是作了多次修改，遲至1874年，才 答應把作品出版。柴可夫斯基的弟弟提到他當時一

此樂曲的樂隊編制

直在向舒曼學習，尤其是其第四交響曲，但其實柴

弦樂：

可夫斯基的音樂已有相當強的個性，作品已形成了

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)、短笛 (1)、雙簧管 (2)、英國管 (1)、 單簧管 (2)、巴松管 (2)

別具一格的音樂世界。

銅管樂： 圓號 (4)、小號 (3) 、長號 (3) 、大號 (1)

就像緊接其後的兩首交響曲（同樣有別號：第二交

敲擊樂： 定音鼓、搖鼓、小軍鼓、鈸、大鼓

響曲稱為「小俄羅斯」，第三交響曲稱為「波蘭」）

豎琴

一樣，第一交響曲「冬日浮想」都不幸被柴可夫斯

獨奏小提琴

基後三首交響曲的鋒芒所蓋過，但其實它卻有自身 超凡的魅力。開篇就是一個明顯例子：在搖擺不定 的弦樂之上，長笛和巴松管帶出了心胸開闊的旋 律，之後在啁啾的木管伴奏下，由中提琴接過，這 段似乎勾起了俄羅斯郊外廣漠無垠的圖景。柴可夫 斯基很喜歡郊野生活，尤其是在烏克蘭的卡曼卡 （Kamenka）莊園，那是他妹妹阿歷珊德拉 （Alexandra）嫁給達維多夫（Lev Davydov）之後 的居所。這幅圖景不禁使人產生「冬日浮想」的感 覺，作品的標題也由此而來。一段令人興奮的高潮 來臨，三拍子的號曲主題動機由木管和銅管樂敲 13

出，單簧管獨奏其後把緊張的情緒緩和下來。當樂 章在弦樂的賦格高潮推動下發展得更為熾熱時，出

此版本的樂隊編制

現了圓號的呼喚，接著號曲主題動機再次闖入。一

弦樂：

下急停後，緊接的是低音弦樂和圓號蹣跚的腳步，

木管樂： 長笛 (2)、短笛 (1)、雙簧管 (2)、單簧管 (2)、巴松管 (2)

從而帶出了再現部。最後返回開頭的浮想，靜靜地 結束了樂章。

第一及第二小提琴、中提琴、大提琴、低音大提琴

銅管樂： 圓號 (4)、小號 (2) 、長號 (3) 、大號 (1) 敲擊樂： 定音鼓、鈸、大鼓

第二樂章有自己的標題：「陰沉的國度。迷濛的土 地」。開首弦樂奏出了一段怨慕的主題，柴可夫斯

英文節目介紹：Nick Breckenfield

基在此借用了他不久前為奧斯特洛夫斯基

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。

（Ostrovsky）的戲劇《暴風雨》（The Storm）創作 的序曲。接著雙簧管的獨奏，由長笛和巴松管先後 襯托，奏出了樂曲本身的主題。稍後大提琴升到高 處，圓號在樂章的高潮加入了一個清脆的軍樂主題 動機，繼而音樂漸漸消沉，主要剩下弦樂，和長笛 的一段上行音階，引出最後安靜的齊奏和弦。 諧謔曲（柴可夫斯基後來加入了一段新的圓舞曲， 這是他眾多圓舞曲中最早的一首）同樣採用了早前 創作的音樂。樂章的主題來自他學生時期的升C小 調鋼琴奏鳴曲（最後以作品編號86出版），不過下 移了半音階，變成C小調。樂隊纏繞的樂音在前後 兩段頗為輕快（有很多弦樂的撥奏），與中間感官 性甚強的圓舞曲形成對比，後者由和緩而悸動的低 音弦樂帶出（由此你可想像為何柴可夫斯基會成為 芭蕾舞音樂的作曲家）。待開頭的音樂再奏一次 後，樂章已來到了結尾，滾動的定音鼓為其後的衝 刺埋下了伏線。 終樂章是全曲最長的一章，它由緩慢的引子展開， 兩支巴松管兩次呼喚其他木管樂器加入，接著是小 提琴奏出的一段民謠「我在下著雪花，我的小傢 伙」。逐漸的加速由大提琴和低音大提琴帶頭，奏 響了主體快板，交錯的主題令人振奮不已，然後由 一段賦格曲收結，回到開首緩和的音樂。但樂隊不 久再次加速，不僅燦爛地重現和發展了之前的主 題，還加上了樂曲出現過的所有元素，最後來到一 段野性的、俄羅斯風格極為突出的尾聲。

14

中文翻譯：行之

Programme Notes Two symphonies known best by their nicknames, from two separate centuries, here frame a 20th-century concerto which is not heard enough. Our symphonies are inspired by either time or seasons (hence their nicknames) although you do not need to make reference to those to enjoy the seemingly effortless stream of melodies (though as we will learn, Tchaikovsky’s work was anything but effortless).

Of course, Tchaikovsky and Khachaturian came from what we regard as the same geographical area, even though their birthplaces were hundreds of miles apart (Tchaikovsky in the Urals and Khachaturian some 1,500km south-west in the Georgian capital of Tbilisi). And while Tchaikovsky is popular for many works, Khachaturian is only known for a few works, including his ballet scores Spartacus (but then only for a single part of it, the famous Adagio) and Gayane (though similarly only for the “Sabre Dance”) and mainly his Violin Concerto. Although Khachaturian was born 10 years after Tchaikovsky died, there is a direct connection in that both were associated with the Moscow Conservatoire: Tchaikovsky as one of its first teachers, when it opened in 1866, and Khachaturian as a pupil, graduation in 1935 with his First Symphony. The Violin Concerto followed five years later.

In 1866, when Tchaikovsky moved to Moscow, he had only recently graduated from the St Petersburg Conservatoire having come to music late. Even though he had composed an opera at the age of 14 (Hyperbole), Tchaikovsky’s education first led him away from music. He graduated from the School of Jurisprudence at 19 and got a job in the civil service, joining the Ministry of Justice. Only three years later did he enrol at the Conservatoire to study music and a year after that (1863) he gave up his desk job, just as he started to study with Anton Rubinstein. He graduated in 1865 and moved to Moscow the following year, taking up a teaching position at the new Moscow Conservatoire under Rubinstein’s brother, Nikolai, with whom he lodged.

1866 was marked his début as a professional composer, with the première of his Overture in F and it was in March that year he started to compose his First Symphony.

Of course Russia changed drastically between Tchaikovsky’s death and Khachaturian’s graduation – the pivotal point being the 1917 Russian Revolution, the centenary of which is being commemorated this year. And the history of music in the Soviet era is intriguing. After the 1917 Revolution there was perhaps even more experimentation than in the West to investigate new paths in music. Nikolai Roslavets, for example, was investigating his own version of 12-note music completely independently of Schönberg in Vienna. Electronic music was toyed with – Lev Termin invented the 15

Theremin (actually called “Terminkovs” in Russia) in 1922 where, by using radio oscillators, the player varied pitch with the distance the right hand was from the instrument’s antenna, with volume raised or lowered with the left hand. Composers like Alexander Mosolov took inspiration from the vast industrialisation programmes and wrote iconoclastic works like the percussion heavy Iron Foundry. Also, perhaps taking the new proletariat ideal to the limit, conductorless orchestras were formed, democratically deciding on all facets of the performance. But, in 1924, Lenin died and Stalin’s three-decade reign of totalitarian terror began.

Thus all such fervent artistic experimentation stopped. By 1936 the cultural clampdown – headed by Stalin himself – made itself forcibly felt in Pravda’s attack first on Shostakovich’s opera Lady Macbeth of Mtsensk (28 January), then on his ballet The Bright Stream (6 February). Raging that such “formalism” in music went against the Russian people (because such works were not immediately melodic on the ear), such views had the effect of forcing composers to write propagandist works – cantatas in praise of Soviet leaders and ideals, film scores etc – and crippling creativity. It was exactly that time that Khachaturian stepped out as a composer. But, given his love of his homeland’s folk tradition, Khachaturian’s music was a world-away from the experimentation of the earlier Soviet era and never as far-reaching as Shostakovich, and his melodic ear, tinged with exotic harmonies, found popular and (at first) the authorities’ favour.

Joseph Haydn (1732–1809)

Symphony No 7 in C, Hob I:7, “Le Midi” Adagio – Allegro Recitativo: Adagio Adagio Menuetto – Trio Finale: Allegro

When Haydn, on 1 May 1761, joined the court of the Esterházy’s as Vice-Kapellmeister, he had already been associated with nobility; firstly Baron Fürnberg and, from 1757, with Count Morzin for whom he wrote his first symphonies.

Unfortunately, Morzin went bankrupt and Haydn’s move to the Esterházy’s must have looked equally dicey when less than a year later, on 18 March 1762, his patron Prince Anton Esterházy suddenly 16

died. However, thanks to the younger brother Nikolaus who succeeded, Haydn’s position was secured, soon becoming Kapellmeister in 1766. As such his responsibilities did not only rest on composition, but also on the managing of the orchestra and all musical affairs. The wage register shows that some eleven new instrumentalists were contracted in the early months of Haydn’s tenure.

Thus the orchestra increased from simply three violins, one cello and one bass to include not only more strings but also a flute, two oboes, two bassoons and two horns (although players could swap instruments if needed). It was in these circumstances that the trio of Symphonies 6, 7 and 8 were written. They were subtitled “Morning”, “Noon” and “Evening” (“Le Matin”, “Le Midi” and “Le Soir”) respectively and, in early references, are always mentioned together. However, the origins of these nicknames and the reason for

connecting them together remain obscure (although it is not inconceivable that they were written for performance on a specific day, to be played at the times of their titles). Only the middle one – “Le Midi” – has come down to us in Haydn’s manuscript, dated 1761.

“Le Midi” immediately contradicts the general symphonic rule of thumb by having five movements. It has also been suggested that, with the prevalence of instrumental solos, Haydn here was forging a link between the older concerto grosso form (as used by Vivaldi, Corelli, Handel and Bach) and symphonies proper. However, surely it is more logical to see Haydn reacting to his new situation, especially as the ritornello repeated sections of the concerto grosso form are absent here, and as Haydn uses both sonata form in the outer movements, and typical ternary form in the minuet. He found himself with a number of new players: why not show them off and introduce them to the court? We even know the name of the violinist who had to negotiate the demanding solo passages in “Le Midi” – Tomasini – and the name of the cellist who comes to the fore in the Adagio, Haydn’s great friend, Weigl. Haydn might have directed the music from the harpsichord keyboard or as leader of the violins.

Grand chords introduce the Adagio opening, setting a relaxed walking pace before the chugging strings take over for the Allegro, in sonata form.

Solo string parts appear very quickly in delightful combination, with the winds not far behind. The exposition is repeated and the development ensues with more hesitant, questioning solos. The recapitulation of the two opening themes leads to a spirited coda. The additional movement is entitled Recitativo where, instead of a singer vocalising freely, the solo violin takes the part with orchestral underpinning and occasional interjections. The Adagio, in mellower mood, has a delightful flute accompanying figure at the start, then develops with solo violin and cello prominent.

The repeat of the two themes, both developed, leads to an extended quasi-cadenza for the two solo parts, before the gently slowing coda. The

jaunty Menuetto is repeated after the Trio. The flute comes to the fore early in the scurrying Finale, once again in sonata form. Sit back and revel in Haydn’s inventiveness in this surprisingly compact movement, with its subtle development section and effervescent close.

Instrumentation of this piece Strings: 1st & 2nd violins, violas, cellos, double basses Winds: flutes (2), oboes (2), bassoon (1), horns (2)

Aram Ilyich Khachaturian (1903-1978)

Violin Concerto in D minor Allegro con fermezza Andante sostenuto Allegro vivace

Composed in 1940, Khachaturian’s Violin Concerto was premiered by its dedicatee, the fabled Russian violinist David Oistrakh. After the war, when the authorities could get back to dictating what art should or should not be, Khachaturian was castigated like Shostakovich and Prokofiev in the even worse condemnations of the Soviet Central Committee and the Cultural Commissar, Andrei Zhdanov of February 1948. When Stalin died, on the same day as Prokofiev, in 1953, Khachaturian was one of the first composers to argue for greater artistic freedom, and from then on he also became known as a conductor. With the ensuing thaw in political control at home, Khachaturian was able to travel, and it was with Oistrakh that he went to London to record his Violin Concerto in 1954 with the Philharmonia Orchestra.

The Violin Concerto is constructed in traditional three movement (fast-slow-fast) form, and is a lyrical, big-boned work. It was written in just twoand-a-half months during the summer of 1940 and Khachaturian always referred to its trouble-free composition, although it is not too fanciful to hear some undercurrents of the world crisis of the time, particularly in the final movement, where the interval of a second (admittedly a particularly Armenian folkmusic insignia) is used gratingly. As ever with 17

Khachaturian, folk music is the key. The opening movement – after a tutti introduction – gives the soloist a distinctive ostinato rhythm, taken from a dance for Armenian men where the body is held still while the legs stamp energetically. This characterises the whole movement, despite the claims on our attention of the gentler second subject, heralded by a swooning slowing of the orchestral texture and introduced by wind calls. Raptly lyrical, with the violin solo floating high above, a mini-cadenza is interrupted by the orchestra briefly re-introducing the frenetic rhythm of the first theme and, while the soloist develops the second subject, this rhythm acts like punctuation. There is a vast central cadenza at first accompanied by solo clarinet, but soon just for the virtuoso violin alone, which eventually reintroduces the ostinato and rises higher for the orchestra to once again join the fray. The two main themes are recapitulated before the ostinato is used to race into the bravura coda to close with emphatic orchestral chords.

Shivering string effects, rising to meet first bassoon and then clarinet meanderings and subdued cymbal crashes, open the slow movement lament.

A mournful bassoon takes the lead over slowly moving chords and the soloist introduces the slow theme. Broken eventually by an orchestral climax, it is the violas that re-establish the mood, marked Serenade with espressivo vibrato and in “Oriental character”, before the soloist returns. Again the orchestra builds to a fierce climax, distinctly oriental (and not too far away from Rimsky-Korsakov’s Scheherazade) before the soloist calms the situation and the music dies away with gently descending wind chords.

The orchestra dives straight into the Finale with a circus-like fanfare which eventually runs out of speed getting lower and lower to introduce a chugging rhythm on bassoons for the soloist to gleefully enter with an Armenian folk tune called Ai Vart (“To the Rose”). The circus fanfare again is introduced like punctuation at the end of sections, and the clarinet fights for a share of the theme and even when the soloist intones a smoother melody, yearningly or raptly, the underlying accompaniment 18

is relentlessly rhythmic. So the movement goes until a clash of seconds, but the soloist recapitulates the main theme, again with clarinet attempting to gain its own ground. Then Khachaturian skilfully reintroduces the ostinato from the first movement and the work ends powerfully with what the composer described as “violinistic fireworks” and a welter of final chords.

Instrumentation of this piece Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flutes (2), piccolo (1), oboes (2), English horn (1), clarinets (2), bassoons (2) Brass: horns (4), trumpets (3), trombones (3), tuba (1) Percussion: timpani, tambourine, snare drum, cymbals, bass drum Harp Solo violin

Pyotr Ilyich Tchaikovsky (1840–1893)

Symphony No 1 in G minor, Op 13, “Winter Daydreams” Allegro tranquillo Adagio cantabile ma non tanto Scherzo: Allegro scherzando giocoso Finale: Andante lugubre – Allegro moderato – Allegro maestoso – Allegro vivo

A product of his early professional career, composed in the mid-1860s, Tchaikovsky looked back on his First Symphony nearly two decades later, in 1883, with the following comment proffered to his patroness, Nadezhda von Meck: “For all its glaring deficiencies, I have a soft spot for it. Although it is immature in many respects it is essentially better and richer in content than many other more mature works.”

So tuneful is the resultant work that it may come as a surprise that it was one of his hardest-won works, with criticism from Nikolai Rubinstein (who sent him back to drawing board and then only allowed the Scherzo to be performed); making himself ill by composing through the night recomposing it and then, even after its successful première on

3 February 1868, going on to make multiple revisions of it until he sanctioned its publication as late as 1874. Tchaikovsky’s brother mentioned that Pyotr had been studying Schumann – particularly the Fourth Symphony – around this time, but so strong is Tchaikovsky’s own musical imprint already, the music inhabits its own sound world.

Like its two immediate successors (similarly nicknamed: the “Little Russian” Second Symphony and the “Polish” Third Symphony), Tchaikovsky’s “W inter Daydreams” First Symphony has – unfortunately – been overshadowed by Tchaikovsky’s famous last three symphonies, but it has a sublime charm all to itself. The opening is a case in point: over oscillating violins, flute and bassoon introduce an open-hearted melody, later taken by the violas with chattering wind accompaniment, that seems to evoke the wide-open spaces of the Russian countryside, which Tchaikovsky loved (especially Kamenka, the Ukrainian estate his sister Alexandra moved to when she married Lev Davydov). This is the musical evocation of the “winter reverie” that gives the whole work its title. A thrilling climax is reached, with a triplet fanfare motif hammered out by winds and brass, before a mellifluous clarinet solo helps to lessen the tension. There are distinctive horn calls as the movement develops becoming more fervid in a fugal climax for strings, before the fanfare motifs crash in again. A sudden stop is followed by halting lower strings and horns for a recapitulation of Tchaikovsky’s musical thoughts, before – finally – the opening reverie returns to end the movement quietly.

The second movement has a title of its own: “Gloomy Land. Misty Land”. Strings offer a yearning opening theme (which Tchaikovsky reused from his recently composed overture to Ostrovsky’s play The Storm) out of which the solo oboe, with separate flute and bassoon accompaniment, plays the main theme. Later the cello section rises to the heights, and horns add a ringing martial motif at the movement’s climax, before the music dies gently away – mainly on strings alone, save for an upward scale on the flute prefacing the final quiet tutti chord.

The Scherzo (which Tchaikovsky composed first, and then introduced a new waltz into it – the first of his many waltzes) also uses music written earlier.

This time his student Piano Sonata in C-sharp minor (eventually published as Op 86) provides the theme, though transposed down a semitone to be in C minor. There is a lightness to the filigree orchestration (with much string pizzicato) in the outer sections, contrasting with luscious waltz, introduced by gently throbbing lower strings (it is not surprising Tchaikovsky would become a ballet composer). The opening music returns to draw the movement to a close, with rumbling timpani underpinning the final run up.

The longest of the movements is the Finale – opening with a slow introduction, the two bassoons twice cajoling fellow wind instruments into joining in, which leads to the violins playing a folk tune, Raspashu Li Ya Mlada, Mladeshenka (“I’m Sowing Some Flowers, My Little One”). A gradual accelerando led by cellos and double basses opens into the main Allegro, thrilling in its combination of themes and complete with a fugal passage and a return to the opening slow music, which only serves as another chance to speed up for not only a final splendid reiteration (and further development) of the themes but also topping everything that has gone before with a wild, and distinctly Russian coda.

Instrumentation of this piece Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flutes (2), piccolo (1), oboes (2), clarinets (2), bassoons (2) Brass: horns (4), trumpets (2), trombones (3), tuba (1) Percussion: timpani, cymbals, bass drum

© Nick Breckenfield, 2017 British programme-note writer Nick Breckenfield was the Classical Music and Opera Editor for whatsonwhen.com for 13 years and now works for the Borletti-Buitoni Trust which awards young classical music artists

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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 小提琴 Violin 格德霍特 樂團首席

李海南 第二小提琴首席

蔡路

長笛 Flute James CUDDEFORD Concertmaster

LE Hoai-nam Second Violin Principal

TSAI Loo

第二小提琴助理首席

Second Violin Assistant Principal

蔡柏沂

CAI Pak-yi

陳劭楠

CHAN Shaw-nan Sharon

周止善

Kiann CHOW

保

Eiko HOSAKA

英子

賈舒晨

JIA Shu-chen

顧洛臻

John KRUER

羅莎莉

Sally LAW

呂灝然

Ambrose LUI

羅蔚敏

LUO Wei-min

彭曉筠

PANG Hiu-wan

陽旻佑

YANG Min-yu

楊宇思

YANG Yu-si

葉紹羲

YIP Siu-hay

中提琴 Viola ● 陳子信

CHAN Tsz-shun Elvis

▼ 劉琛彥

LAU Sum-yin

卞思琦

Christina BEAN

陳敏聰

Ringo CHAN

錢江

CHIN Kong

顏星安

NGAN Sing-on

大提琴 Cello

上杉晃代 ● 金勞思 福原真美

CHANG Pei-chieh

▼ 貝樂安

Laurent PERRIN

● 方曉佳 陳秋媛

Mami FUKUHARA FONG Hiu-kai Johnny CHEN Chiu-yuan

巴松管 Bassoon ● 秦慶生 田口美奈子

CHIN Hing-sang Minako TAGUCHI

圓號 Horn ● 包文慶

PAW Man-hing Hermann

東出真澄

Masumi HIGASHIDE

岑慶璋

SHUM Hing-cheung

關山明

Benny KWAN

小號 Trumpet ● 黃山

HUANG Shan

丹尼路（休假）

Danilo DELFIN (on leave)

文曦（署任）

MAN Hay

(acting)

長號 Trombone ● 羅澤基 陳學賢

Christopher RODGERS CHAN Hok-yin

低音長號 Bass Trombone KONG Tze-man Jason 江子文 大號 Tuba LAM Wing-tsan

定音鼓 Timpani ● 村本曉洋

何國芝

HO Kwok-chee Karey

朴詩媛

PARK Si-won

敲擊樂 Percussion

吳迎盈

WU Yin-yin

● 周展彤

葉俊禧

YIP Chun-hei Eric

小山理惠子

Akihiro MURAMOTO CHAU Chin-tung Rieko KOYAMA

豎琴 Harp

低音大提琴 Double Bass

● 黃士倫

● 永井雅美

Masami NAGAI

▼ 柯斯達

Santiago COSTA MARTÍNEZ

鍵琴 Keyboard

HUANG Tun-pin

● 朱偉恆

黃敦品

Marrie Rose KIM

單簧管 Clarinet

● 林榮燦

● 張培節

Akiyo UESUGI

雙簧管 Oboe

Ann HUANG Alan CHU

● 首席 Principal ▼ 助理首席 Assistant Principal Notes 1. Guest Assistant Concertmaster – LUU Cheuk-yin Clement (劉卓彥), Guest Principal Flute – Teodor TIRLEA (丁禮德).

2. Freelance Musicians: Alvin CHAN (陳樹泉), CHAN Ping-chi (陳秉智), CHAN Shiu-hang Olive (陳肇珩), CHENG Yan-ho (鄭恩浩), CHEUNG Ho-sing (張浩昇), CHOR Kai-hei (左啟希), FENG Jia (馮佳), Grace GUO (郭豫雯), Cecilia HO (何永妍), Toshiyuki HOSOGAYA (細萱俊之), Mark HUI (許榮臻), LEE Yi-wei Angus (李一葦), Mandy LO (勞善雯), LOUIE Lai-lai (雷麗麗), Winty WAN (雲凱弦).

20

香港小交響樂團有限公司 Hong Kong Sinfonietta Limited 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

監察委員會

Board of Governors

陳鋈鋆先生（主席）

Mr Y K CHAN (Chairman)

音樂總監

Music Director

潘燊昌博士（司庫）

Dr Patrick S C POON (Treasurer)

葉詠詩

YIP Wing-sie

陳育明先生

Mr Patrick CHAN

蔡加敏女士

首席客席指揮 Principal Guest Conductor

Ms Carmen CHOI

柏鵬

Christoph POPPEN

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

駐團藝術家

HKS Artist Associates

翟紹唐先生

Mr JAT Sew-tong

陳慶恩

CHAN Hing-yan (2016-2018)

林煥樟博士

Dr Steven LAM

石家豪

Wilson SHIEH

(2015-2016)

劉文文女士

Ms LAU Man-man Lisa

朱

CHU Pak-him

(2014-2015)

陳智文先生

Mr Stephen TAN

麥淑賢

MAK Su-yin

(2014-2015)

謝智剛教授

Prof C K Michael TSE

羅詠媞

Wendy LAW

(2013-2014)

楊偉添先生

Mr Patrick YEUNG

盧思泓

LOO Sze-wang (2012-2013)

義務公司秘書

Honorary Company Secretary

伍宇烈

Yuri NG

(2011-2013)

卓佳登捷時有限公司

Tricor Tengis Limited

李嘉齡

Colleen LEE

(2010-2011)

黎志華

Jason LAI

(2009-2011)

義務法律顧問

Honorary Legal Consultant

楊嘉輝

Samson YOUNG (2008-2009)

霍金路偉律師行

Hogan Lovells

伍卓賢

NG Cheuk-yin

義務骨科專科醫生

Honorary Orthopaedic Surgeon

傅偉俊醫生

Dr Dan HOOLEY

謙

(2006-2008)

樂團行政 Administration 行政總裁 Chief Executive Officer:

楊惠

總經理 General Manager:

李浩儀 LEE Ho-yee

行政秘書 Executive Assistant to CEO:

何淑娟 Rose HO

會計經理 Accounting Manager:

李靄玲 Judith LEE

樂團經理 Orchestra Manager:

陳成美 Marylu CHAN

辦公室助理 Office Assistant:

楊瑞遠 YANG Jui-yuan

譜務管理 Librarian:

陳藹晴 Ivy CHAN

節目主任 Project Officer:

黃紫菱 Athena WONG

節目主任 Programme Officer:

丘靄雪 YAU Oi-suet Icy

樂團事務主任 Orchestra Officer:

陳靄婷 Tobie CHAN

舞台經理 Stage Manager:

楊植生 Bobby YEUNG

藝術行政主任 Arts Administration Officer:

高凱晴 Debbie KO

Margaret YANG

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 市場推廣主任 Marketing Officer:

梁凱文 Carmen LEUNG

樂團事務及節目 Orchestra & Programme

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

21

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政府配對 GOVERNMENT matches

=

效益倍增* DOUBLE* the impact!

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 fundraising@hksinfonietta.org。 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.

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. * 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 請將回條寄回香港灣仔譚臣道98號運盛大廈3摟，或傳真至2783 9819。 Please return this form to 3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong or fax to 2783 9819.

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 for its □日常經費 General Fund □學生票資助計劃 Student Ticket Scheme

HK$

□ 每月定期捐款 monthly donation □ 一次性捐款 one-off donation

並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）。 and I agree to my donation being matched by the Government's Art Development Matching Grants Pilot Scheme (subject to conditions).

捐款人資料 DONOR INFORMATION 中文姓名

先生／小姐／女士／博士／教授 Mr/Miss/Mrs/Ms/Dr/Prof

Surname

電話 Tel

First Name

電郵 E-mail

地址 Address 刊登於場刊之鳴謝姓名 Name to be acknowledged in house programme (如捐款超過港幣1,000元 if donation is more than HK$1,000) （中文）先生／小姐／女士／博士／教授 (Eng) Mr/Miss/Mrs/Ms/Dr/Prof

□無名氏 Anonymous

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。 Your personal data will be treated as strictly confidential and will be used for issuing official receipts and other communication purposes.

捐款方式 DONATION METHOD 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”.

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.

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.

信用卡號碼 Card Number 有效日期 Expiry Date 發卡銀行 Issuing Bank 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

銀行自動轉賬 Autopay Direct Debit (只適用於每月捐款 Monthly Donation Only) 收款之一方（受益人）Name of Party to be Credited (The Beneficiary)

香港小交響樂團有限公司 Hong Kong Sinfonietta Limited 銀行號碼 Bank No.

分行號碼 Branch No.

賬戶編號 Account No.

004

168

165066 001

本人（等）在結單/存摺上所記錄的名稱 My/Our Name(s) as recorded on Statement/Passbook

本人（等）的銀行及分行的名稱 My/Our Bank Name and Branch

(in block letters)

銀行號碼 Bank No.

分行號碼 Branch No.

本人（等）的戶口號碼 My/Our Account No.

本人（等）在結單／存摺上所記錄的地址 My/Our Address as recorded on Statement/Passbook 若與上方地址相同，不需要填寫 if different from above

本人（等）銀行戶口的簽署 My/Our Bank Account Signature(s)

日期 Date 此欄不用填寫 For Official Use Only

本機構專用 For Hong Kong Sinfonietta Use Only (Donor’s Ref. #)

銀行專用 For Bank Use Only (Signature(s) verified) • 現授權本人 （等）的上述銀行，（根據收款人或其往來銀行及/或代理行不時給予本人 （等） 銀行的指示）自本人（等）的戶口內轉賬予上述收款人。惟每次轉賬金額不得超過以上 指定的限額。 • 本人（等）同意本人（等）的銀行毋須證實該等轉賬通知或沖銷通知是否已交予本 人（等）。 • 如因該等轉賬而令本人（等）的戶口出現透支（或令現時的透支增加），本人（等）願共 同及個別承擔全部責任。 • 本人（等）明白本人（等）須在指定的轉賬日期（即根據本人（等）的銀行從收款人或其往 來銀行及/或代理行不時收到的指示）前一個營業日（分行辦公時間內），在戶口內備有 足夠款項以便支付該等授權轉賬。本人（等）並同意如本人（等）的戶口並無足夠款項支 付該等授權轉賬，本人（等）的銀行有絕對酌情權不予轉賬，且本人（等）的銀行可收取 慣常的收費，並可隨時取消該等授權轉賬且毋須通知本人（等）。為避免疑問，本人 （等）的銀行可隨時自行決定取消該等授權轉賬且毋須通知本人（等）。 • 本直接付款授權書將繼續生效直至另行通知為止或直至上列到期日為止（以兩者中最 早的日期為準）。本人（等）同意如本人（等）已設立的直接付款授權的戶口連續三十個 月內未有根據本授權而做出過賬的記錄，本人（等）的銀行保留權利取消本直接付款安 排而毋須另行通知本人（等），即使本授權書並未到期或未有註明授權到期日。 • 本人（等）同意，本人（等）取消或更改本授權書的任何通知，須於取消/更改生效日最少 兩個工作天之前交予本人（等）的銀行。

• I/We hereby authorize my/our above named Bank to effect transfers from my/our account to that of the above named beneficiary in accordance with such instructions as my/our Bank may receive from the beneficiary and/or its banker and/or its banker’s correspondent from time to time provided always that the amount of any one such transfer shall not exceed the limit indicated above.

• I /We agree that my/our Bank shall not be obliged to ascertain whether or not notice of any such transfer or reversal notice has been given to me/us.

• I/We jointly and severally accept full responsibility for any overdraft (or increase in existing overdraft) on my/our account which may arise as a result of any such transfer(s).

• I/We understand that I/we must maintain sufficient funds in the account one business day (before the close of branch banking hours) before the transfer date (as specified in the instructions received by my/our Bank from the beneficiary and/or its banker and/or its banker’s correspondent from time to time) for the transfer authorized herein. I/We agree that should there be insufficient funds in my/our account to meet any transfer authorized herein, my/our Bank will be entitlted, at its absolute discretion, not to effect such a transfer in which event the Bank may levy its usual charges and may cancel this authorization at any time without notification to me/us. For the avoidance of doubt, the Bank may cancel this authorization at its sole discretion at any time without prior notice.

• This direct debit authorization shall have effect until further notice or until the expiry date written above (whichever shall first occur). I/We agree that if no transaction is performed on my/our account under such authorization for a continuous period of 30 months, my/our Bank reserves the right to cancel the direct debit arrangement without prior notice to me/us, even though the authorization has not expired or there is no expiry date for the authorization.

• I/We agree that any notice of cancellation or variation of this authorization which I/we may give to my/our Bank shall be given at least two working days prior to the date on which such cancellation/variation is to take effect.

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謝謝！Thank You Partners!

2017/2018 樂季贊助機構 Sponsors of the 2017/2018 Season 主要贊助機構 Major Sponsors

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

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.

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

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

• 施永青基金有限公司 Shih Wing Ching Foundation Limited

• 陳嘉何醫生夫人 Dr & Mrs Chan Ka Ho

SuperSTAR Patrons (HK$100,000 to HK$499,999)

• Lowell and Phyllis Chang

• 亞洲保險有限公司 Asia Insurance Co Ltd

• Chiu Music Fund

• 陳鋈鋆先生 Mr Chan Yuk-kwan

• Mrs Emily Ting

• Miss Cecilia Fok

• 多位無名氏 Anonymous

• 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon • 冼為堅基金有限公司 Sin Wai Kin Foundation

STAR Donors (HK$10,000 to HK$29,999)

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

• 北山堂基金 Bei Shan Tang Foundation • 陳真光醫生 Dr Jane C K Chan • Prof T M Chan • 周愛琳醫生 Dr Irene Chau • 張黎慧文 Vivian W M Cheung • Dr Vivian Cheung • 鍾思源醫生 Dr Chung See Yuen • Mr Eugene Fung • 關卓然先生 Mr William Kwan Cheuk Yin • Mr Allan Leung • Little Twin Star • Mrs Adeline Lui

• • • • • • • • • • • • • • • •

• 莫扎特迷 Mozart’s Fan • 彭嘉碧女士 Ms Rotina Pang • Poon Shing Chi and Liao E Wen • Ruth & Sidney • Mr Mark Tong • 曹延洲教授 Prof Tsao Yen Chow • 謝智剛教授 Prof C K Michael Tse • Dr & Mrs Arthur Van Langenberg • 偉華基金 Wai Wah Foundation • 多位無名氏 Anonymous

BELIEVING MUSIC CAN 鮑美麗小姐 Miss Meli Bell 加拿大琴行 Canada Piano Co Jonman, Monika & Joel Chan Family 陳燕婷 張綺華小姐 Ms Helen Cheung Mr J Chew Kenyon & Leonard Chow 馮新健先生 Mr John Sun-kin Fung Ms Betsy Lai Mrs Amanda Lam Ho Dr Paul Lam 羅鈞全先生 Mr Thomas Law Mrs Lillian Lu Philippe de Marcillac & Gu Jing 大通會計事務所 Masterpoint Professional Ltd

• 喵喵 • 香港日電東金有限公司 NEC TOKIN Hong Kong Ltd • 吳志強先生 • 吳思博先生及蕭泳欣女士 Winny & Nigel Ng • 魏玉華小姐 Miss Winnie Ngai • In loving memory of QQ’s family • Ms Elsie Tam • Mr and Mrs Robert Tang • 曾作強先生 Mr Henry Tsang • Mr Paul Tsang • 曾健鵬先生夫人 Mr & Mrs Paul Tsang • Miss Cindy Yu • 先生BB紅耳鵯 • 多位無名氏 Anonymous

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學生票資助計劃 Student Ticket Scheme Donors

Patrons of the 2017 Fundraising Gala

Diamond Donors (>HK$100,000)

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

(in alphabetical order)

• 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

• 壹頤 Amelie and Angus

• • • • • • • •

• BELIEVING MUSIC CAN • Mr Iain Bruce • Jonman, Monika & Joel Chan Family • Mr Chan Kwan Ho • Mr J Chew • Mr Philip Lawrence Choy • Prof David Clarke

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

• La Couture Consultancy

• CLP Holdings Limited • 無名氏 Anonymous

• Ms Rose Ho • 席信 Mr Paul Jackson • Luca, Caterina, Maurien, Joseph Jacobelli

Ruby Donors (HK$30,000 to HK$49,999)

• 紀念劉葉珍女士

• 鍾思源醫生 Dr Chung See Yuen • 郭立成律師

• 李樹榮博士 Dr Ernest Lee

Pearl Donors (HK$10,000 to HK$29,999)

• 吳思博先生及蕭泳欣女士 Winny & Nigel Ng

• 周愛琳醫生 Dr Irene Chau • 張德賢博士伉儷 Dr & Mrs Douglas Cheung • 林定國先生夫人 Mr and Mrs Lam Ting Kwok Paul • Nathaniel Foundation Limited • 孫永輝及施熙德伉儷 Edith and Stephen Sun • 謝智剛教授 Prof C K Michael Tse • 多位無名氏 Anonymous

• 廖炳輝醫生 Dr Liu Bing Fai • 陸文靜小姐 Ms Anna, Man Ching Luk

• 吳榮奎先生 Mr Ng Wing Fui Nicholas • 蘇國輝先生 • Ms Amy Tam • Mr and Mrs Robert Tang • 曾健鵬先生夫人 Mr & Mrs Paul Tsang • 黃乃禧先生 Mr Wong Nai Hay • Mr Peterson Wong • 王煒東先生 • Mr Marcus Woo • Ms Alice Yeung • 多位無名氏 Anonymous

Premium Friends • 陳肇基先生 Mr Jeremy Chan • 陳求德醫生 Dr K T Chan • 張 昌博士 Dr Thomas H C Cheung • 馮元志 Louis Fung • 林煥樟博士 Dr Steven Woon-cheong Lam • 李韶博士 及 李梅以菁博士 Dr Lee Shiu & Dr Jennie Mui Lee • 羅榮生 Vincent W S Lo • 冼為堅博士 Dr David Sin Wai-kin • 唐柏泉醫生 Dr Patrick Tong • 謝智剛教授 Prof C K Michael Tse • Mr T L Tsim • 萬美宜 Christine Van

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

亞洲金融集團（控股）有限公司 Asia Financial Holdings Ltd Mr 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 Dr Chau Kwok Fung Tony Ms Teresa P Cheung 張 昌基金有限公司 Thomas H C Cheung Foundation Limited Ms Choi Ka Man Carmen 鍾思源醫生 Dr Chung See Yuen 鍾陳碧璋女士 Mrs Shirley Chung 周莉莉小姐 Ms Lily Chow Mr Victor Dawes 翟紹唐先生 Mr Jat Sew-tong 高靜芝女士 Ms Sophia Kao Mr Kwok Chun Tak Dr Lam Yuk-yee Paul Mr Lau Chung Ming 劉文文女士 Ms Lisa Lau Ms Sandra Lee Mr Leung Chi Wai 羅榮生先生 Mr Lo Wing Sang Vincent 馬宗傑先生 Mr Tony Ma 伍慧明 Ms Irene Ng 潘燊昌博士 Dr Poon Sun Cheong Patrick 施永青基金有限公司 Shih Wing Ching Foundation Ltd Mr Alfred Tam Mr Newlson Tang 唐柏泉 Tong Pak Chuen 謝智剛教授 Prof C K Michael Tse 詹德隆先生 Mr Tsim Tak Lung Ms Winnie Wan Ms Wong Yuen Wa Agnes Mr Augustine Wong Ms Maura Wu Ms Yip Wing-sie 余達威先生 Mr Samson Yue 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!

• 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 • Dr Andrew Stephen Yuen • 香港歌德學院 Goethe-Institut Hongkong • 民政事務局 Home Affairs Bureau • 香港駐柏林經濟貿易辦事處 Hong Kong Economic and Trade Office, Berlin • 香港駐布魯塞爾經濟貿易辦事處 Hong Kong Economic and Trade Office, Brussels

• 康樂及文化事務署 Leisure and Cultural Services Department • 邁騰路通有限公司 Maestro GT Limited • 波蘭駐香港總領事館 Consulate General of the Republic of Poland in Hong Kong • 香港電台 Radio Television Hong Kong • 太古地產 Swire Properties • 瑞士國際航空公司 Swiss International Air Lines • 通利琴行 Tom Lee Music Co Ltd

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“Kadouch is a name for the piano world to remember.” © IBALAZS BOROCZ PILVAX STUDIO

Westdeutsche Allgemeine Zeitung

鋼琴 Piano

卡杜殊 David Kadouch • International Classical Music Awards 2011 • Verbier Festival Prix d’Honneur 2009

節目 Programme

鄺展維 聖桑 貝多芬 Charles Kwong Saint-Saëns Beethoven

《古夢之盡頭》（亞洲首演） G小調第二鋼琴協奏曲，作品22 F大調第六交響曲，作品68， 「田園」 At the Very End of Old Dreams (Asian première) Piano Concerto No 2 in G minor, Op 22 Symphony No 6 in F, Op 68, “Pastorale”

9.9.2017 © IAN CHRISTMANN

(星期六 Sat) 8pm

指揮 Conductor

蘇柏軒 Perry So • Gustavo Dudamel Conducting Fellow, Los Angeles Philharmonic • Winner & Special Prizes, International Prokofiev Conducting Competition 2008

香港大會堂音樂廳 HK City Hall Concert Hall $380 $260 $150

門票：城市售票網 Tickets at URBTIX 2111 5999 | www.URBTIX.hk 節目查詢 Programme Enquiries: 2836 3336 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

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 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

樂在咫尺：卡杜殊室樂聚 UpClose Encounters : Chamber Music & Dialogue with David Kadouch Featuring chamber and solo works by Debussy, Satie and Franck

7.9.2017

星期四 Thu 7:30pm 香港大會堂音樂廳 HK City Hall Concert Hall $300 (觀眾席設於舞台上 Audience seated ON STAGE)