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4.11.2017 (星期六 Sat) 8pm

香港大會堂音樂廳 HK City Hall Concert Hall

低音大提琴 Double Bass

© SAMMY-HART

魯伊斯 Edicson Ruiz

指揮 Conductor

李布賴希 Alexander Liebreich 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


最愛低音大提琴 Double Bass-mania: Edicson Ruiz Plays Martinsson 指揮 Conductor

李布賴希 Alexander Liebreich 低音大提琴 Double Bass

魯伊斯 Edicson Ruiz 節目

莫扎特 馬廷森

《魔笛》序曲,K620 第一低音大提琴協奏曲,作品87(2011)(香港首演) -中場休息15分鐘-

艾夫斯 舒伯特

《未解答的問題》 D大調第三交響曲,D200 莊嚴的慢板 — 充滿活力的快板 小快板 小步舞曲:活潑的 — 中段 活潑的急板

Programme

Mozart The Magic Flute Overture, K620 Rolf Martinsson Double Bass Concerto No 1, Op 87 (2011) (Hong Kong première) - 15-minute intermission -

Ives Schubert

The Unanswered Question Symphony No 3 in D, D200 Adagio maestoso – Allegro con brio Allegretto Menuetto: Vivace – Trio Presto vivace

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 in July. 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

李布賴希 Alexander Liebreich 李布賴希於2006至2016年間為慕尼黑室樂團的藝 術總監及首席指揮。他與樂團於2008年推出收錄 海頓及尹伊桑作品的首張唱片,大獲好評;翌年更 與漢恩、薛芙和葛納灌錄巴赫專輯,由Deutsche Grammophon發行。 被譽為德國最顯赫的指揮之一,李布賴希經常穿梭 世界各地指揮多個知名樂團,包括阿姆斯特丹皇家 音樂廳樂團、比利時國家樂團、BBC交響樂團、柏 林電台交響樂團、BBC交響樂團、慕尼黑愛樂、巴 伐利亞電台交響樂團、巴西聖保羅交響樂團、德累 斯頓愛樂、盧森堡愛樂、日本讀賣交響樂團及NHK 交響樂團等。合作過的獨奏家有芭迪舒維莉、基斯 蒂安.齊默曼、法蘭.齊默曼、約瑟芙維茨和溫 格羅夫等。近期的重點演出包括與埃森愛樂、華倫 西亞樂團、蘇黎世音樂廳樂團、布拉格電台交響樂

© SAMMY-HART

團、京都交響樂團及斯圖加特國家樂團首演。 除了指揮和參與歌劇製作,李布賴希亦以策劃創新 節目著稱。他於2011年成為韓國統營國際音樂節 的首位歐裔藝術總監,並開展「東西駐節計劃」, 邀請郭貝爾、陳銀淑、葛魯賓格、細川俊夫及富勒 李布賴希自2012年起出任波蘭國家電台交響樂團

爾等著名音樂家到訪韓國,促進文化藝術交流。

首席指揮兼藝術總監,成為該團史上首位非波蘭 裔首席指揮;並於2014年為樂團的新場地卡托維

生於雷根斯堡的李布賴希早年在慕尼黑和薩爾茨堡

茲愛樂音樂廳揭幕。李布賴希擅於演繹波蘭音

學習音樂,並從知名指揮阿巴度和基倫身上得到藝

樂;他與樂團及Accentus的全新合作,包括推出

術啟蒙。2016年,他獲巴伐利亞教育文化部頒發

五張收錄盧托斯瓦夫斯基及其他波蘭作曲家作品

巴伐利亞文化獎特別獎。

的唱片。其中第三張唱片(收錄史曼諾夫斯基及 盧托斯瓦夫斯基作品)榮獲2017年國際古典音樂 大獎「最佳專輯」。 2015年,李布賴希出任卡托維茲文化藝術節的藝 術總監。除了波蘭國家電台交響樂團外,其駐節 藝術家還包括RIAS室內合唱團、倫敦小交響樂 團、席夫及佩仁伊等。他亦將於2018年擔任於加 爾米施-帕滕基興舉行的李察.史特勞斯音樂節之 藝術總監。

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In 2012 Alexander Liebreich began his first season

Sinfônica do Estado de São Paulo, Dresden

as Chief Conductor and Artistic Director of Polish

Philharmonic, Orchestre Philharmonique de

National Radio Symphony Orchestra (NOSPR),

Luxembourg, Yomiuri Nippon Symphony Orchestra

making him the first foreign conductor to hold this

and NHK Symphony Orchestra. He has also

position. He also inaugurated the new

performed with distinguished soloists such as Lisa

Philharmonic Hall in Katowice, the orchestra’s

Batiashvili, Krystian Zimerman, Frank Peter

home, in 2014. Liebreich has a very strong affinity

Zimmermann, Leila Josefowicz, and Maxim

with Polish music, and his new collaboration with

Vengerov. Recent and future engagements include

the orchestra and Accentus will feature five

débuts with Essen Philharmonic, Orquesta de

recordings of pieces by

alongside other

Valencia, Tonhalle-Orchester Zürich, Prague Radio

great Polish works. Their third CD, featuring works

Symphony Orchestra, Kyoto Symphony and

by Szymanowski and

Staatsorchester Stuttgart.

, won the

International Classical Music Awards 2017 (“Best Collection”).

Alongside his concerts and opera productions, Liebreich has established a reputation for

In 2015 Liebreich became Artistic Director of the

producing innovative projects. In 2011 he became

new Festival Katowice Kultura Natura where in

the first European Artistic Director of Tongyeong

addition to NOSPR, resident artists included RIAS

International Music Festival in South Korea, one of

Kammerchor, London Sinfonietta, András Schiff

the biggest and most important festivals in Asia.

and Miklós Perényi. In 2018, he will take over as

W ith the goal of encouraging intercultural

Artistic Director of the Richard Strauss Festival in

encounters, he implemented the “East-West

Garmisch-Partenkirchen.

Residence Programme”, inviting guest artists like

Liebreich held the position of Artistic Director and

Heiner Goebbels, Unsuk Chin, Martin Grubinger,

Principal Conductor of Munich Chamber Orchestra

Toshio Hosokawa and Beat Furrer to South Korea.

from 2006-2016. Their first collaborative CD,

Bor n in Regensburg, Liebreich studied at

featuring works by Haydn and Isang Yun, was

Hochschule für Musik und Theater München and

released to great critical acclaim in 2008 and was

Salzburg Mozarteum, and gained much of his

followed in 2009 by the launch of a Bach CD with

early artistic experience with both Claudio Abbado

Hilary Hahn, Christine Schäfer and Matthias

and Michael Gielen. In 2016, he received a Special

Goerne, by Deutsche Grammophon.

Award in connection with the year’s Bavarian

As one of Germany’s foremost conductors,

Culture Prize from the Bavarian State Ministry of

Liebreich’s extensive career takes him around the

Education, Culture, Science, and the Arts.

world. As guest conductor he has worked with many

prestigious

orchestras

including

Concertgebouw Orchestra, Orchestre National de Belgique, BBC Symphony Orchestra, Radio Symphony Orchestra Berlin, Munich Philharmonic, Bavarian Radio Symphony Orchestra, Orquestra 5


低音大提琴 Double Bass

魯伊斯 Edicson Ruiz 魯伊斯是當今最出色的低音大提琴家之一,他精 彩的演奏打動了世界各地觀眾的心。 魯伊斯1985年生於委內瑞拉首都卡拉卡斯,透過 由艾伯魯創立的委內瑞拉國家青年樂團教育計劃 「El Sistema」,他在11歲開始學習低音大提琴,並 遇上他的第一位良師珀蒂。 魯伊斯早於15歲便贏得美國印第安納波利斯國際 低音大提琴獨奏大賽冠軍,隨後跟薩克薩拉學 習。在2001年,魯伊斯加入柏林愛樂學院,成為 史上最年輕的成員,並跟隨史托爾習琴。在學期 間,他更獲柏林愛樂取錄為低音大提琴手。 魯伊斯是多個國際音樂節的常客,曾參與薩爾茨 堡音樂節、琉森國際音樂節及華沙蕭邦音樂節 等。他曾於各地主要城市演出,包括紐約、柏 林、東京、馬德里、蘇黎世和約翰尼斯堡等。魯 伊斯同時活躍於室樂演奏,與畢爾斯瑪、庫爾塔 克、卡特、梅耶、巴舒密特、特茨拉夫、薩赫米 亞及甘祈頓等音樂家緊密合作。 此外,魯伊斯曾首演多首當代作曲家為他譜寫的新 作,當中包括賀力加、凱爾特博恩、狄森奈、奧 舍、潘塔萊昂、奧克特、沛納、藤倉大及莫澤等。 魯伊斯為Phil.Harmonie錄製的多張專輯突顯了他 對18世紀音樂的熱愛。他曾於世界各地不同的電 視台錄製節目,可見他非凡多樣的成就。他亦到 訪世界各地的著名音樂學院及大學擔任客席教 授,分享他的演奏心得。 魯伊斯於2002年獲委內瑞拉政府頒發在國內極具 聲望的「里巴斯獎」,以表揚他對當地文化藝術的 貢獻;翌年更獲國際青年商會選為「委內瑞拉10 大傑出青年」。他於2012年獲瑞士布里恩茨小提琴 製琴學校頒贈「金弓獎」,並於2013年獲巴拉圭政 府選為「巴拉圭榮譽人物」。

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Edicson Ruiz is one of the most successful bass

Ruiz has recorded various CDs with Phil.Harmonie,

soloists of the present time and his virtuosity

which highlight his passion for the music of the

impresses audiences all over the world.

18th century. International television productions

Born in Caracas in 1985, Ruiz decided to play the

also bear witness to his versatile achievements. As

bass when he was 11 years old. His first teacher

guest professor, he has visited nearly all the most

and mentor Felix Petit guided him through his

famous and prominent music conservatories and

studies in "El Sistema", the Venezuelan national

universities in the world, teaching his way to

youth orchestra foundation founded by José

perform and make music.

Antonio Abreu.

Ruiz was granted the José Felix Ribas Prize in 2002

At the age of 15, Ruiz won the First Prize at the

for his service to art and culture in Venezuela. In

Inter national

in

2003, he was recognized as one of the “10

Indianapolis, USA. Subsequently, he attended

Outstanding Young People of Venezuela” by the

courses with Janne Saksala, and in 2001 became

Junior Chamber International. He also won the

the youngest member of the Orchestra Academy

Golden Bow Prize awarded by The Violin Making

of the Berlin Philharmonic, where he studied with

School in Brienz, Switzerland in 2012; and was

Klaus Stoll. During the time at the Academy, Ruiz

named "Honorable Guest of Paraguay" at the

won a job at the Berlin Philharmonic.

Asuncion City by the Government of Paraguay in

Solo

Bass

Competition

2013. Ruiz is a regular guest at festivals such as the Salzburg Festival, the Lucerne International Music Festival and the Warsaw Chopin Festival. He has given concerts in major metropolises such as New York, Berlin, Tokyo, Madrid, Zürich and Johannesburg. His chamber music activities have led him to close relationships with Anner Bylsma, György Kurtág, Heinz Holliger, Elliott Carter, Maurice Bourgue, Klaus Thunemann, Sabine Meyer, Yuri Bashmet, Christian Tetzlaff, Thomas Zehetmair, Gidon Kremer, Lars Vogt and Jörg Widmann. Ruiz has also premiered numerous works written for him by composers such as Heinz Holliger, Rudolf Kelterborn, Paul Desenne, Efrain Oscher, Arturo Pantaleon, Matthias Ockert, Luis Antunes Pena, Dai Fujikura and Roland Moser.

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作曲 Composer

馬廷森 Rolf Martinsson Rolf Martinsson is one of Sweden's leading composers. He serves as Professor of Composition at the Malmö Academy of Music and is a Fellow of the Royal Swedish Academy of Music. Hailed for his masterly orchestral writing, Martinsson’s music has been performed by orchestras such as Cleveland Orchestra, Boston Symphony Orchestra, BBC Symphony Orchestra, Philharmonia Orchestra, Berlin Radio Symphony Orchestra, Bamberg Symphony, TonhalleOrchester Zürich, Vienna Radio Orchestra and all the major Nordic orchestras. He has collaborated © MATS BÄCKER

with conductors including Andris Nelsons, Alan Gilbert, Sakari Oramo, Santtu-Matias Rouvali, Neeme Järvi, Manfred Honeck and Vasily Petrenko, among others. 馬廷森是瑞典首屈一指的作曲家。他現為馬爾摩音 樂學院作曲教授,同時是瑞典皇家音樂學院院士。

His collaborations with artists such as soprano Lisa Larsson, trumpeter Håkan Hardenberger, clarinetist

馬廷森的交響作品備受讚譽,不少頂尖樂團曾演奏

Martin Fröst, trombonist Christian Lindberg and

他的樂曲,包括克里夫蘭交響樂團、波士頓交響樂

double bass player Edicson Ruiz have led to

團、BBC交響樂團、倫敦愛樂管弦樂團、柏林電台

performances at major concert venues around the

交響樂團、班貝格交響樂團、蘇黎世音樂廳樂團、

world, including Carnegie Hall, Musikverein

維也納電台樂團,及所有北歐的主要樂團等。合作

Vienna, Tonhalle Zürich, Berliner Philharmonie,

過的指揮包括尼爾遜斯、基爾拔、奧拉姆、盧維

Concertgebouw Amsterdam, Royal Festival Hall in

里、約菲、霍奈克及佩特連科等。

London and Suntory Hall in Tokyo.

馬廷森曾與多位出色音樂家合作,包括女高音拉爾

Martinsson is the winner of the Grand Christ

臣、小號大師赫登伯格、單簧管演奏家霍羅斯特、

Johnson Prize, a major Swedish composition

長號演奏家林伯格及低音大提琴家魯伊斯等。他的

award. His music is well represented on CD; several

作品亦曾於世界各地的著名音樂廳中演出,包括紐

European

約卡奈基音樂廳、維也納黃金大廳、蘇黎世音樂

internationally with his music. Recent commissions

廳、柏林愛樂音樂廳、阿姆斯特丹皇家音樂廳、倫

include an opera, Amy, for the Royal Swedish

敦皇家節日音樂廳及東京三得利音樂廳等。

Opera in Stockholm and a scenic work for Lisa

orchestras

have

also

toured

Larsson with Malmö Symphony Orchestra as the 馬廷森是瑞典基督約翰遜作曲大獎得主。他的音樂

main commissioner.

收錄於多張唱片,很多歐洲樂團亦曾巡演他的作 品。近期委約作品包括為瑞典皇家歌劇院創作的歌 劇《艾美》,及由馬爾摩交響樂團主要委約,為拉 爾臣所寫的作品。 8

Rolf Martinsson: www.rolfmartinsson.com


馬廷森談音樂 Rolf Martinsson on music 問

音樂,於你是甚麼?

Q

To you, what is music?

音樂是美,是感受,是與人溝通的最好的工 具,沒有其他東西可以將之取代。當覺得難 以言詮時,音樂就是表達自己的一種方式。

A

Music is beauty, feelings and the finest tool for communication to people in a way no other tools can copy or replace. It is also a way to express yourself where your words ends.

在創作過程中,你通常尋找和探索的會是 甚麼?

Q

What do you usually seek and explore in your creative process?

首先,我會尋找創作的構想,接著是作品的 曲式、時間的安排與比例,繼而尋求不同樂 器的組合以及所衍生的音色。我亦有很多來 自和聲的想法,基於這些題材,從而衍生出 旋律、節奏及其他的變數。

A

First of all I seek an idea for the piece, then form, timing and proportion, followed by colours through instrumentation and various instrument combinations. I also base many ideas on harmony and from these platforms I derive melody, rhythm and other parameters.

你的音樂主要受到甚麼影響?

Q

What are the major influences in your music?

作曲家如史達拉汶斯基、拉威爾、伯格、荀 伯格、武滿徹、康高特,以及當代的作曲家 如林特伯格、莎莉雅浩及阿德斯。曾與我合 作的獨奏家亦是我協奏曲及獨奏曲創作的思 考源泉。其中一個美妙的例子是和瑞典女高 音拉爾臣的合作,我從她身上學到很多有關 歌唱的知識及經驗,以之為她撰寫了六首作 品(包括聲樂與樂團\室樂團\小交響樂團的作 品,全部均題獻給她及由她首演)。拉爾臣 亦曾於歐洲不同的場地演唱我的作品(聲樂 與樂團的作品),包括阿姆斯特丹皇家音樂 廳及瑞士蘇黎世音樂廳,她亦將於維也納音 樂廳及另外與墨爾本交響樂團合作演出我的 作品。

A

Composers like Stravinsky, Ravel, Berg, Schönberg, Takemitsu and Korngold but also more contemporary composers of course such as Magnus Lindberg, Kaija Saariaho and Thomas Adès. I’m also very dedicated to my soloists which are part of my thinking and creating in concertos and solo pieces. A wonderful example is my longstanding collaboration with brilliant Swedish soprano Lisa Larsson from whom I have learnt a lot about singing, experiences which I have invested in new pieces for her (soprano and orchestra/chamber orchestra/sinfonietta), six pieces in all, dedicated to and premiered by her. She has performed my vocal works (soprano/orchestra) music all over Europe in venues such as Concertgebouw, Amsterdam and Tonhalle, Zürich and will soon perform my pieces also in Konzerthaus, Vienna and in Melbourne with the Melbourne Symphony Orchestra.

你會怎樣形容當代音樂在當世生活中的 角色?

Q

How would you describe the role of contemporary music in our contemporary lives?

如果需要選擇的話,在歷史上當代音樂會比 古典音樂較為重要⋯⋯由現世的作曲家所撰 寫的當代音樂為我們這個時代提出新的疑問, 而這些音樂對比起從前為人熟悉的作品, 更能以完全不一樣的方法帶給觀眾驚喜。

A

Contemporary is more important than classical music in history if you have to choose… contemporary music asks new questions from our time, written by living composers and the music will be able to surprise an audience in a completely another way than the old predictable and so often heard historical works.

對於初次接觸當代音樂的觀眾,你有甚麼 建議?

Q

Do you have any advice for our audience who is new to contemporary music?

觀眾要仔細聆聽,要抱有好奇心,要想知道 每首音樂新作背後都有一位當代作曲家,他 們有 對音樂的想像和強烈信念,而不惜花 上長年累月的時間去創作、將腦海中的樂思 轉化為音樂,為這些音樂配器、編寫樂譜; 完成作品後心中又忐忑不安,反思作品是否 優異又或者能否反映出最初的想法等。

A

Listen with open ears, be curious and consider that there is a living composer and his/her imagination behind every new piece and that they believe so strongly in their musical idea that they have decided to spend months to create a piece out of it, in all means a big effort when it comes to formulate the idea into music, orchestrate, edit the score, write parts and try to handle their uncertainty regarding when the piece is really finalized, if the piece is good enough, if the piece will be able to reflect the initial musical idea…

9


節目介紹 今晚的音樂會,選了來自四個世紀的四首作品。上下半場開頭的作品都超越現 下,朝向魔幻或未知的世界。上半場由第一首作品是莫扎特在1791年創作的最 後一部歌劇《魔笛》,一躍而至約220年後瑞典作曲家馬廷森寫於2011年的低音 大提琴協奏曲。下半場回到20世紀早期艾夫斯提出的著名的音樂問題,再上追 100年到舒伯特的第三交響曲。在地理上則繞了一個大圈,以維也納始,經瑞 典和美國,再以維也納終。 這次音樂會中幾位已故的作曲家之間有些吊詭的聯繫—他們去世後的名聲都比 在生時要響亮。大家都知道莫扎特在經歷了異常多產而極其短暫的一生後,死 時一貧如洗。而他的英年早逝,也引來眾說紛紜。有人訛稱他是被薩里埃利 (Salieri)所毒殺,這則故事又被彼得.謝弗(Peter Shaffer)大獲好評的舞台劇 作和電影《莫扎特傳》(Amadeus)加以渲染,並認為莫扎特在最後幾個月作 品極少,精神也甚沮喪。其實只要稍稍查看事實,便能駁斥這種看法。 舒伯特31歲便去世了,比莫扎特還早了五年。他在生時甚至沒有莫扎特般成 功,也不像莫扎特那樣獲得贊助;相同之處是他也認識薩里埃利。在他的有生 之年,他的交響曲沒有一部被正式公演,而他的許多作品都是在他死後才出 版的。 在大西洋的另一端,約一個世紀後,作為美國其中一位最有創意、最獨特的作 曲家,艾夫斯在曲種和理論上都揚棄了歐洲的傳統,但即使在他的祖國,他也 是很後期才受注意和讚賞。他的祖先約在250年前來到美國,第一位是在1635 年抵達波士頓。他的父親是一位樂隊領班,雖然艾夫斯跟隨他的腳步,修讀音 樂,畢業後他卻將作曲視為個人嗜好,加入保險行業並卓有成就。他的音樂在 當時是屬於極創新,涉及的技巧在約50年後才成為「前衛音樂」的常用手法, 例如多調性、音簇(tone clusters)、微音程(microtones)等,這些技巧在他 去世後才真正被人了解。艾夫斯和他的父親都十分迷醉於音樂的撞擊這一簡單 的概念,就如兩隊銀樂隊在近距離同時奏著不同的音樂那樣。艾夫斯存世的作 品包括四部有編號的交響曲(若加上他的《新英格蘭假日交響曲》便是五部, 也有證據顯示他把《新英格蘭的三個地方》也視為一首交響曲)以及多首歌曲 (約140首)、室樂和合唱作品。 10


艾夫斯其中一首最著名的、最引人入勝的作品是《未解答的問題》,它的配器別 具一格,包括了弦樂、長笛四重奏和小號獨奏。談到非比尋常的器樂類別,低 音大提琴協奏曲肯定是少見的一種。魯伊斯在三年前曾和香港小交響樂團合作 演奏狄達斯多夫的降E大調低音大提琴協奏曲,我們很高興再次邀請他蒞臨,為 大家演奏當代傑出的瑞典作曲家馬廷森的作品。

莫扎特(1756–1791)

《魔笛》序曲,K620

生於埃及,場景包括了宗教祭祀儀式,很切合當時 盛行的共濟會活動。總的說來,這是莫扎特最受歡 迎的歌劇,單在其去世後的兩年便上演了197場。

莫扎特在1791年12月5日辭世,在生命的最後一

序曲與劇中的音樂似乎無多大關連,當中只有一個

年,他完成了出色的單簧管協奏曲、第六弦樂五重

樂句後來在劇中再次使用(即發展部之前的三下和

奏 和 兩 齣 歌 劇 —《 魔 笛 》 和 《 狄 托 的 仁 慈 》

弦,在第二幕審判一節之前出現) 。故事述說王子塔

(La Clemenza di Tito) ,兩齣都在1791年9月公演,

米諾(Tamino)與黑夜之后的女兒帕美娜(Pamina)

前者演出的地點在維也納,後者在布拉格。莫扎特

相愛,以及帕帕基諾如何找到了情投意合的帕帕基

的《安魂曲》是唯一一首未完成的重要作品,儘管

娜。起初我們以為黑夜之后是受害者,但過了第一

好幾位作曲家為它撰寫了續完的版本,但它本身仍

幕才發現大祭司薩拉斯特羅(Sarastro)才是正義之

是同類曲目的代表作。

士,女王才是歹角。薩拉斯特羅是友愛的化身,而

《狄托的仁慈》是一部正規的意大利正歌劇。而

塔米諾和帕帕基諾都要經歷沉默的考驗,來證明他

《魔笛》對於莫扎特而言,則是一個嶄新的嘗試。

們的誠意,而帕美娜則不時受到祭司邪惡的奴僕莫

這是為來自薩爾茨堡的好友兼共濟會同人席卡奈德

諾斯塔托(Monostatos)迫害。最後,邪不能勝

(Emanuel Schikaneder)而寫的德語歌劇。席卡奈

正,光明驅走黑暗,女王和她的三個侍女和莫諾斯

德在維也納城外擁有上千座位的維登劇院(Theater

塔托都被擊敗,情侶們得以重聚,一起慶祝勝利。

auf der Wieden),曾製作《哈姆雷特》、《馬克

序曲以宏偉的和弦展開,並像歌劇中多處的樂段一

白》、《李爾王》、《李察三世》和《奧賽羅》等

樣,重複了三次。漸漸,莊嚴和響亮的弦樂以延長

劇,在各地巡迴演出,並在其劇院推廣各類節目,

的前奏形式出現,別具一格的長號應和了開首的和

其中最受歡迎的就是「魔法歌劇」。《魔笛》就是

弦,隨即進入了著名而輝煌的賦格曲。這兩個主要

如此應運而生,席卡奈德親自執筆撰寫歌詞,素材

的元素貫穿了整首序曲。而木管樂和弦的出現預示

東拼西湊,有希勒(Joseph Hiller)的《利素亞特與

了以賦格曲為主題的發展部的來臨。《維京歌劇指

達莉奧列特》(Lisuart und Dariolette);有翻譯過

南》 (Viking Opera Guide)有一段簡潔的描述說:

莎士比亞劇德文版的維蘭特(Christopher Wieland)

「整個奏鳴曲式和賦格曲的壯美結合,是這部融匯了

編訂的民間故事集中的《魯魯,或魔笛》;以及特

敘事和哲學元素的歌劇的一個隱喻。」

拉 森 ( Jean Terrasson) 的 古 埃 及 故 事 《 塞 索 》 (Sethos) 。這是莫扎特在1781年遷居維也納初寫下 《後宮誘逃》之後撰寫的第一部德語歌劇。他顯然

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

很樂於創作這種多元風格的作品,特別是其中昭然

木管: 長笛 (2)、雙簧管 (2)、單簧管 (2)、巴松管 (2)

若揭的喜歌劇角色:捕鳥人情侶帕帕基諾

銅管: 圓號 (2)、小號 (2)、長號 (3)

(Papageno)和帕帕基娜(Papagena) 。故事背景發

定音鼓

11


馬廷森(1956年生)

第一低音大提琴協奏曲, 作品87(2011)— 香港首演 馬廷森的低音大提琴協奏曲,由奧斯陸愛樂樂團委 約創作,題獻給獨奏家史帝弗(Dan Styffe)。首演 在2011年4月7日在奧斯陸音樂廳舉行,指揮是薩 拉斯蒂(Jukka-Pekka Saraste)。正如馬廷森下面 所言,原作是寫給較低音的低音大提琴,後來他為 魯伊斯另寫了較高音的低音大提琴版本,並於 2012年10月21日,在委內瑞拉卡拉卡斯的音樂社 會運動中心西蒙.玻利瓦爾音樂廳首演,由盧比 斯-高美斯(Manuel López-Gómez)指揮西蒙.玻 利瓦爾青年交響樂團演奏。 馬廷森對協奏曲有以下的說明:

馬廷森為這首單樂章的作品加上了大量節奏標號, 形成一系列急速變化的段落。協奏曲以樂隊最低音 的樂器幽深地展開(鋼琴、低音單簧管以及低音巴 松管,豐富了弦樂的音色),由此豎琴的滑奏帶出 了較高音的樂器,引領向一段悸動的高潮,然後漸 漸消退,讓低音大提琴首度登場。它像作品的開頭 一樣,也是以最低音展開。一段綿長而深沉的獨奏 華采段呈現,隨著音域攀高,變得更為抒情,有時 則較為熱切。樂隊忽而插入,將情感熱度提高,接 著慢慢減退,讓低音大提琴再次現身。在此協奏曲 的兩個組成部份才合二為一,樂隊偶而以鮮明的浪 漫氣息摻入,而獨奏者仍保持著較為內斂、哀怨的 調子。樂隊另一波的激情再次散落,然後是低音大 提琴的撥奏和泛音,令情調保持安祥和充滿沉思意 味,豎琴和纏繞的弦樂與之相應,接著來到另一節 華采段,在中間加入了獨奏中提琴,交織出一段二

「我寫作此作品時主要集中於確保低音大提琴

重奏。響亮的獨奏撥弦變為淒楚的拉奏,浸沒在弦

不會被樂隊的聲音淹沒。除了藝術層面以外,

樂慰藉的泛音之中,與豎琴的琶音形成一段優美緩

那大抵是撰寫一首低音大提琴協奏曲時所面對

慢的中段,其後又加入了英國管。再來一段灼熱的

的最大挑戰。這很大程度上牽涉到對音量平

高潮,像馬勒的音樂那樣強而有力,這次是由鋼片

衡、樂器的細緻使用、結構的類別,尤其是曲

琴和獨奏中提琴將之平息下來。另一節獨奏華采段

式和形式元素方面的聚焦。一個顯著的形式元

把作品帶到尾聲:突如其來的銅管號曲打斷了較為

素便是獨奏華采段。在協奏曲中,低音大提琴

響亮的獨奏者;一個簇擁著一個,它們翻騰著來到

在許多不同的段落都是獨自拉奏的。在其他部

了令人振奮的結句。

份,它則和獨奏中提琴形成二重奏,在另一些 部份它又在加了弱音器的弦樂隊之上拉奏高

弦樂:

第一及第二小提琴、中提琴、大提琴、低音大提琴

曲形式的技巧,當中合奏小組為獨奏者輪流作

木管:

長笛 (1)、長笛/短笛 (1)、雙簧管 (1)、

伴奏,而在齊奏的段落獨奏者則停止演奏。最

雙簧管/英國管 (1)、單簧管 (1)、

後,為了曲式整體上的平衡,我也創作了若干

單簧管/低音單簧管 (1)、巴松管 (1)、

以樂隊為本體的段落。 「以這為基礎,我的目標是在不同的段落營構

巴松管/低音巴松管 (1) 銅管:

圓號 (2)、小號 (2)、長號 (2)

敲擊樂: 定音鼓、顫音琴、鐘琴、鈸、吊鈸、平鑼、大鼓

富於變化的音樂,這種音樂突出了低音大提琴

豎琴、鋼琴/鋼片琴

在高音域拉奏的優美旋律,以及在中音和低音

獨奏低音大提琴

域演奏略為粗獷的段落的優勢。獨奏部份在作 品的多處以撥弦、泛音、雙音等來加強其趣味 性。因應魯伊斯的要求,我為獨奏部份創作了 一個高音的版本(G-C-F-降B),它在2012年 10月於卡拉卡斯首演,由魯伊斯和西蒙.玻 利瓦爾青年交響樂團演奏。」 12

此樂曲的樂隊編制

音。我還利用了一種近似於大協奏曲/小協奏


艾夫斯(1874–1954)

《未解答的問題》

時告一段落。他們消失以後,『問題』最後一 次被提出,而『沉默』則在『不被騷擾的孤寂』 以外被聽到了。」

艾夫斯在1906年創作了兩首室樂作品,將之配成

顯然,這些解說對聽眾幫助不大,也許建議他們完

了一對:

全投入到這首寧靜而動人的現代作品,以及它非比

I《嚴肅話題的沉思》 (A Contemplation of a

尋常的結構及和聲中還比較好。而根據艾夫斯的指

Serious Matter)或《未解答的問題》;以及

示,弦樂若被安置在舞台以外會比較理想,雖然這

II《無關痛癢的問題的沉思》 (A Contemplation of Nothing Serious)或《中央公園的夏夜》 (Central Park in the Dark in “The Good Old Summer Time”)。

一做法既不切實際,也無法滿足聽眾的視覺要求, 因為這樣一來,台上便只剩下五件管樂了,但距離 感對作品以及當中互相交織的各個樂部乃是十分重 要的。

後者形容了紐約著名的中央公園各種流動的聲音, 以步調緩慢,重複而節奏單一的弦樂,與以多變節 奏彈奏流行的雷格舞曲(ragtime)的木管和兩部 鋼琴對答。在《未解答的問題》中,艾夫斯採用了

此樂曲的樂隊編制 弦樂: 第一及第二小提琴、中提琴、大提琴、低音大提琴 木管: 長笛 (2)、雙簧管 (1)、單簧管 (1) 銅管: 小號 (1)

三種不同的元素使之互相抗衡。它依然以緩慢移動 的弦樂作為背景,通過熟悉的樂調,由小號七次發 出標題中的問題。而在每個問題之間,四支長笛 (作曲家也同意用雙簧管和單簧管代替其中兩支長 笛,我們今晚便是作此安排)每次都以更為快速、 響亮和更不協調的聲音打岔。兩者都帶有對位和半 音階的特性。 25年後,艾夫斯將手稿寄給專業人士謄抄時,順 便修改了作品,並提供了以下一段解說: 「弦樂一直以ppp演奏,速度維持不變。它們 代表『德魯伊祭司們的沉默—對一切事情都 一無所知,一無所見也一無所聞。』小號吹出 『存在的永恆的問題』,每次都以同樣的聲調重 申這個問題。但長笛以及其他人對『看不見的 解答』的尋求,隨著時間的流逝逐漸變得活躍 起來(那些『爭吵著的解答者』)。而在一次 『秘密的會議』之後,他們似乎意識到這是徒 勞無功的,開始對『問題』發出嘲笑,爭鬥暫

13


舒伯特(1797–1828)

動聽,由弦樂以柔和的主題展開,將一段對答的主 題動機交給木管樂吹奏,長笛另吹出第二個樂句。

D大調第三交響曲,D200

單簧管和弦樂的撥弦伴奏使中段顯得頗有個性,最

莊嚴的慢板—充滿活力的快板

後以開頭的段落來收結。

小快板

持續不斷的小步舞曲甚似貝多芬的諧謔曲,而舒伯

小步舞曲:活潑的—中段

特作品中較常見的連德勒舞曲(Ländler)風格,

活潑的急板

舒伯特在1815年5月24日開始起草第三交響曲,那 時他不過18歲,兩個月前才剛完成了第二交響 曲。當時他剛從帝國及皇家學院(Konvikt)畢 業,他因為有非凡的音樂才華,故此可以在那

費攻讀。此後他仍與學院和他的作曲老師—宮廷 樂長薩里埃利保持聯絡。那

的學生樂隊在每天的

晚餐後,都會演奏交響曲;舒伯特的第一交響曲或 許就在學院

演奏過。

則在較為舒緩的中段出現(同樣見於他的第二交響 曲),當中有怡人的木管樂。終樂章無疑是最令人 振奮的樂章,風格介乎塔蘭泰拉舞曲(tarantella) 與喜歌劇結幕曲之間。試想像一下孟德爾遜的「意 大利」交響曲(約寫於15年後),其終樂章就有點 像塔蘭泰拉舞曲,而喜歌劇的風格,就可以拿羅西 尼的作品來對照。雖然舒伯特在歌劇方面的成就不 算突出,但他始終躍躍欲試,並留下了一些失敗或 未完成的歌劇和德語歌劇作品。即使是後見之明,

舒伯特在寫了47個小節後,便擱置了第三交響

我們也不禁會想像,舒伯特對於歌劇界的神童羅西

曲,數個月後才重新執筆。他在1815至1816年之

尼是既著迷又嫉妒的,他的歌劇不久後就風靡了整

間,他一共撰寫了382首作品,數量驚人。他在

個維也納。剛一年後羅西尼的劇團便首度造訪這個

1815年7月11日再度撰寫這首D大調交響曲(他的

奧地利的首都,因此這種嶄新的喜歌劇現象,很可

第一交響曲也用了這個樂調,這與降B大調一樣,

能之前已在維也納引起了注意。

對於自然銅管樂器來說都是最容易吹奏的),進度 出奇的快,第二天便完成了第一樂章,稍停兩天後 又在7月15日撰寫第二樂章,7月19日他已完成整 首作品。 從作品的長度和重要性而言,這首交響曲較之前的

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

一首稍為簡短輕量。雖然在和聲結構方面不算大 膽,舒伯特在第一樂章仍以下屬音將第二主題帶回 再現部(而不是用主音,就像第二交響曲一樣)。 他也採用了緩慢莊嚴的引子,加上頗有動感的木管

英文節目介紹:Nick Breckenfield

伴奏,然後帶出單簧管和長笛圓轉的奔跑旋律。另

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。

外舒伯特也在開頭的幾小節和接下來的快板,用上 了一段相近的上行音階,而快板的開頭是興奮搖擺 的單簧管主題,加上軋軋重複的三個和弦音形,再 由雙簧管帶出第二主題。相反,小快板是最平靜的 樂章。雖然,像貝多芬的第七交響曲那樣(舒伯特 也許在六個月前於皇家騎術學校聽到這首作品的演 奏),他的節奏標號並不特別慢。這個樂章舒緩而

14

中文翻譯:行之


Programme Notes Four works and four centuries come together in tonight’s concert, with each half opening with a work that looks beyond the known world and into the realms of either magic or the unknown. While the first half jumps forward from Mozart’s last opera in 1791 some 220 years to Swedish composer Rolf Martinsson’s 2011 Double Bass Concerto, the second half steps back from Charles Ives’ famous musical interrogative from the early 20th century about 100 years to Schubert’s Third Symphony, taking us geographically full circle back to Vienna, after our sojourns to Sweden and America. There are some intriguing connections to be made between our deceased composers, in that their posthumous standing is so much greater than their renown in their day. Everyone knows that Mozart died a pauper at the end of an extraordinarily productive but frighteningly short life. Furthermore, the intrigues that surrounded his untimely death (particularly the lasting, but erroneous one, that Salieri poisoned him, a fact wonderfully embellished by Peter Shaffer in his successful stage play and film Amadeus) perhaps have inculcated a general view that Mozart’s last months were unproductive and desperate, even though even just a cursory at the facts contradicts this view. Schubert – who died at only 31 (five years younger than Mozart) – did not even have any of the successes, nor major patronage, that Mozart did, although he too knew Salieri. Indeed none of his symphonies were professionally performed during his lifetime, and most of his works were only published long after this death. Across the Atlantic, a century or so later, Charles Ives was, quite simply, one of the most original and individualistic of American composers, eschewing the European traditions of both genre and theory, even though it was only late in life that his music was recognised, including in his homeland. His family could trace its American roots back nearly 250 years – the first Ives to arrive in Boston was in 1635 – and, although he followed his father, a bandmaster, into studying music, after graduation Charles Ives kept composition as a private hobby while becoming successful in insurance. That his music was some of the most innovative ever conceived, investigating techniques that would not become the common prerogative of the avant-garde until some 50 years later (such as polytonality, tone clusters, microtones) has only really come to light since his death. What really fascinated both Ives and his father was the simple idea of clashing music as when two marching bands were in earshot both playing different music. He left four numbered symphonies (five, counting his New England Holidays Symphony, and there is 15


evidence to suggest he considered Three Places in New England a symphony), many songs (some 140), chamber and choral works. One of Ives’ most evocative and famous works is The Unanswered Question with its unusual scoring – strings, flute quartet and solo trumpet. And talking of unusual instrumentations, concertos for double bass are one of the rarer kind. But it is a delight to welcome back Edicson Ruiz, after his performance of Dittersdorf’s E-flat Concerto three years ago, for a modern work he has made his own, by prolific contemporary Swedish composer, Rolf Martinsson.

Wolfgang Amadeus Mozart (1756–1791)

The Magic Flute Overture, K620 Mozart’s last year – he died on 5 December 1791 – saw the completion of the sublime clarinet concerto, the sixth string quintet and two operas – Die Zauberflöte (The Magic Flute) and La Clemenza di Tito, both premiered in September 1791, the former in Vienna, the latter in Prague. Mozart’s Requiem was the only main work that was not complete, but is a major staple of the repertoire even in its various completions by others. While La Clemenza di Tito was an opera seria in expected form, Die Zauberflöte was a real departure for Mozart. It was a Singspiel written for his friend from Salzburg (they used to play skittles together) and fellow Mason, Emanuel Schikaneder, who owned the 1000-seat Theater auf der Wieden, a popular music-hall venue, built just outside Vienna’s city walls. Schikaneder had toured productions of Hamlet, Macbeth, King Lear, Richard III and Othello and promoted the widest range of events at his theatre, the most popular of which were the “magic operas”. It is into this tradition that Die Zauberflöte falls and Schikaneder, in writing the libretto simply took ingredients from various sources, including Joseph Hiller’s Lisuart und Dariolette, a collection of folk-tales edited by Christopher W ieland (who had translated Shakespeare into German), specifically the story entitled Lulu, or the Magic Flute, as well as the Abbé Jean Terrasson’s ancient Egyptian story, 16

Sethos. This was Mozart’s first German opera since he had written Die Entführung aus dem Serail (The Abduction from the Seraglio) when he first arrived in Vienna some nine years before, and he obviously revelled in its variety of styles which also included barely disguised commedia dell’arte characters (here the bird couple, Papageno and Papagena). The story, set in Egypt, also includes religious ceremony, very close to the Masonic rituals prevalent at the time. All in all, it turned out to be Mozart’s most successful opera, with 197 performances in the two years following his death. In respect of the overture, the plot seems barely relevant, as there is only one phrase reused in the opera itself (this is the three chords before the development, which presages their use prior to the Act II trials). For the record, the plot tells the story of how Prince Tamino falls in love with the daughter of the Queen of the Night, Pamina, and how Papageno finds Papagena. Firstly we believe that the Queen of the Night is the wronged party, but by the end of Act I we realise that Sarastro is the goody and the Queen the baddy. Sarastro is the head of the brotherhood, which is based solely on love, and both Tamino and Papageno have to go through a trial of silence to prove themselves worthy, while Pamina is threatened repeatedly by the evil Monostatos. Eventually, good defeats evil, light chases away the dark and, with the Queen, her three ladies and Monostatos all defeated, the couples are reunited and a general celebration ensues. The overture starts with grand chords, which are, as much in this opera, repeated three times. Slowly, solemnly and sonorously the strings


join in, in the form of an extended introduction, with distinctive trombone answering chords before the famous, brilliant fugue enters. These two thematic strands characterise the whole of the overture, with the wind chords returning to herald the development, which is based on the fugal theme. As the Viking Opera Guide (Penguin, 1993, p709) succinctly puts it: “the entire sublime amalgamation of sonata form and fugue is a metaphor for the opera’s mingling of narrative with philosophy.”

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

Rolf Martinsson (born 1956)

Double Bass Concerto No 1, Op 87 (2011) – Hong Kong première Commissioned by the Oslo Philharmonic Orchestra and dedicated to its original soloist, Dan Styffe, Rolf Martinsson’s Double Bass Concerto was premiered on 7 April 2011 at Oslo’s Concert Hall, conducted by Jukka-Pekka Saraste. As Martinsson himself explains below, the original is for a low double bass, and he created a version for high double bass, specifically for Edicson Ruiz, who premiered it almost exactly five years ago on 21 October 2012 at Caracas’ Simón Bolívar Hall, Venezuela’s National Center for Social Action Through Music with Simón Bolívar Youth Symphony Orchestra under Manuel López-Gómez. Martinsson writes about his concerto: “I have mainly concentrated on writing in such a way that the double bass is not drowned out by the orchestra, which is perhaps the greatest challenge, apart from the artistic aspect, when it comes to composing a double bass concerto. This has involved focusing to a large extent on dynamic balance, details of instrumentation, types of texture, and

especially on form and elements of form. An obvious formal element is the solo cadenza. There are a number of different sections in the concerto where the bass plays all alone. In another part there is a duet with a solo viola and in still other parts the bass plays high above a muted string orchestra. I have also utilised a technique that is similar to a concerto grosso/concertino form in which a small ensemble accompanies the soloist alternately with tutti sections where the soloist does not play. Finally, I have also composed substantial orchestral sections in order to create a balance in the overall form. “With this as a basis, my goal has been to create varied music in the different sections, music that takes advantage of both the lovely melodies in the high register of the double bass and the slightly rougher passages in the middle and bass registers. The solo part is spiced with pizzicato, flageolets, doublestopping, etc, in various places in the work. On request from Edicson Ruiz, I have created a high-tuned version (G-C-F-B-flat) of the solo part which got its première in Caracas with Ruiz and the Orquesta Sinfónica de la Juventud Venezolana Simón Bolívar in October 2012.” Cast in a single span, with a series of quick-changing sections marked by Martinsson’s plethora of tempo markings, the concerto opens darkly on the lowest instruments of the orchestra (piano, bass clarinet and contrabassoon adding timbre to the stings), out of which a harp glissando introduces higher instruments that leads to a throbbing climax that dies away for the double bass’ first entry which, like the opening of the work, is in the lowest register. A ruminative extended solo cadenza unfolds, becoming more lyrical as it reaches higher and, at times, more fervent. The orchestra bursts in raising the emotional pitch, from which it slowly subsides to allow the double bass back in; only now do the two constituent parts of the concerto coalesce together, the orchestra occasionally bursting in with overtly romanticism, while the soloist sticks to a more 17


intimate, mournful track. Another wave of orchestral virtuosity again eventually subsides, then bass pizzicato and harmonics keep the mood calm and contemplative, with harp and filigree strings answering, before another solo cadenza, in the midst of which a solo viola joins for an intertwining duet. Resonant solo pizzicato turns to an aching solo line swathed in a balm of string harmonies and harp arpeggios to form a beautiful, slow central section, later joined by the English horn. Again a searing climax, Mahlerian in its power, builds, though this time it is the celesta and solo viola that restore equilibrium. A further solo cadenza leads to the final section: sudden brass fanfare outbursts punctuate a more forceful soloist: one egging the other on and leading to the roller coaster ride to the thrilling finish. Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flute (1), flute/piccolo (1), oboe (1), oboe/English horn (1), clarinet (1), clarinet/bass clarinet (1), bassoon (1), bassoon/contrabassoon (1) Brass: horns (2), trumpets (2), trombones (2) Percussion: timpani, vibraphone, glockenspiel, crash cymbals, suspended cymbal, tam-tam, bass drum Harp, piano/celesta Solo double bass

Charles Ives (1874–1954)

The Unanswered Question In 1906 Ives composed two pieces for chamber music, paired together as: I A Contemplation of a Serious Matter or The Unanswered Perennial Question; and II A Contemplation of Nothing Serious or Central Park in the Dark in “The Good Old Summer Time”. The latter describes, by way of slowly moving, repetitive strings at one tempo against woodwinds plus two pianos, playing such popular tunes as ragtime at varying tempi, the myriad sounds drifting 18

across New York’s famous park. In The Unanswered Question Ives uses three separate elements to pit against each other. Again there is the slow-moving string background, in conventional key, over which the trumpet asks the titular question seven times – while in between each question four flutes (in tonight’s performance, two flutes and alternative instruments – one oboe and one clarinet – as suggested by the composer, are used) offer ever faster, louder and more dissonant interruptions, both contrapuntal and chromatic in character. When, some 25 years later, Ives sent the score to be professionally copied, he took the opportunity to revise the piece and provided an explanatory note, quoted here: “The strings play ppp throughout with no change of tempo. They are to represent ‘The Silences of the Druids – who Know, See and Hear Nothing’. The trumpet intones ‘The Perennial Question of Existence’, and states it in the same tone of voice each time. But the hunt for ‘The Invisible Answer’ undertaken by the flutes and other human beings become gradually more active (The ‘Fighting Answerers’) as the time goes on, and after a ‘secret conference’ seem to realize a futility, and begin to mock ‘The Question’ – the strife is over for a moment. After they disappear, ‘The Question’ is asked for the last time and the ‘Silences’ are heard beyond in ‘Undisturbed Solitude’.” Admittedly, that may not help the listener, who may be best advised to surrender to the unusual structure and harmonies in this still strikingly modern piece. As per Ives’ instructions, ideally the string orchestra should be placed off stage, although this is both often impractical and visually unsatisfying for an audience, with just the winds on stage. However, the sense of distance is important to the work and its interweaving parts. Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flutes (2), oboe (1), clarinet (1) Brass: trumpet (1)


Franz Schubert (1797–1828)

Symphony No 3 in D, D200 Adagio maestoso – Allegro con brio Allegretto Menuetto: Vivace - Trio Presto vivace

Schubert started his Third Symphony on 24 May 1815, when he still just 18, only two months after he had finished his Second. By this time he had finished his studies at the Imperial and Royal Seminary, the Konvikt, where he had been given a free place because of his musical abilities, but he still maintained his links both with the school and his composition teacher, no lesser composer than the Court Kapellmeister, Antonio Salieri. It was also there that he would have heard, after supper every day, the student orchestras play symphonies, perhaps even his own First Symphony. Work on his Third Symphony stopped after just 47 bars, and laid aside for a couple of months, which is perhaps not surprising when you consider that, during 1815 and 1816, Schubert composed an amazing total of 382 works. When he returned to the D major symphony (his very first had been in this key, which – along with B-flat – is the easiest pitchwise for natural brass instruments) on 11 July 1815 he worked astonishingly quickly: he finished the first movement the next day, broke for a couple of days then picked up from the second movement on 15 July and signed the whole symphony off on 19 July. In length and stature, this is a slighter work than its immediate predecessor and, although not as harmonically adventurous, Schubert still used the subdominant to bring the second subject back into the recapitulation of the first movement (instead of the tonic: thus following his Second Symphony). He also started with a slow and stately introduction, with pulsing wind accompaniment, then a clarinet and flute mellifluous running melody. Schubert uses a similar upward scale in both the opening bars and the ensuing Allegro, which starts positively fizzing with its rocking clarinet theme, topped by the strident repeated triple chords before the oboe introduces the second subject. By contrast, the Allegretto is the calmest movement, although – like

Beethoven’s Seventh Symphony (which Schubert may well have heard in a performance just six months previously in the Imperial Riding School) – it is not marked particularly slow. Relaxed and songful, it allows the strings to open with a gentle theme, offering an answering motif to winds and the second phrase to flute. Clarinet with pizzicato string accompaniment characterises the middle section, before the opening music returns to end. The insistent Menuetto is almost a Beethovenian scherzo; his more usual Ländler-style movement, with its delightful wind writing, is confined to the more relaxed Trio (again as in his Second Symphony). The Finale is without doubt the most exhilarating movement and has been described as a cross between a tarantella and an opera buffa finale. Just think of the Finale to Mendelssohn’s Italian Symphony (actually written some 15 years later) to get an idea of the former, and Rossini’s comic operas for the latter. Although not perceived as successful in this area, Schubert always harboured operatic ambitions and left a number of failed or incomplete operas and Singspiels. It may be a simple case of hindsight, but one cannot help wondering if Schubert was as captivated as he was envious of the new operatic whiz-kid Rossini whose works were shortly to take Vienna by storm. Rossini’s company made their first visit to Vienna just over a year later, so it is not too fanciful to suggest that advance notice of this new comic phenomenon had already reached the Austrian capital. Instrumentation of this work Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: flutes (2), oboes (2), clarinets (2), bassoons (2) Brass: horns (2), trumpets (2) Timpani

© 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

19


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

上杉晃代

LE Hoai-nam Second Violin Principal Second Violin Assistant Principal

福原真美

蔡柏沂

CAI Pak-yi

單簧管 Clarinet

陳劭楠

CHAN Shaw-nan Sharon

● 方曉佳

周止善

Kiann CHOW

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

陳秋媛 ● 秦慶生 田口美奈子

Marrie Rose KIM Mami FUKUHARA FONG Hiu-kai Johnny CHEN Chiu-yuan 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

● 陳子信

CHAN Tsz-shun Elvis

▼ 劉琛彥

LAU Sum-yin

長號 Trombone

卞思琦

Christina BEAN

● 羅澤基

陳敏聰

Ringo CHAN

錢江

CHIN Kong

顏星安

NGAN Sing-on

陳學賢

(acting)

Christopher RODGERS CHAN Hok-yin

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

大提琴 Cello

大號 Tuba

● 張培節(休假)

CHANG Pei-chieh

▼ 貝樂安

Laurent PERRIN

(on leave)

何國芝

HO Kwok-chee Karey

朴詩媛

PARK Si-won

吳迎盈

WU Yin-yin

葉俊禧

YIP Chun-hei Eric

低音大提琴 Double Bass ● 永井雅美

Masami NAGAI

▼ 柯斯達

Santiago COSTA MARTÍNEZ HUANG Tun-pin

● 林榮燦

LAM Wing-tsan

定音鼓 Timpani ● 村本曉洋

Akihiro MURAMOTO

敲擊樂 Percussion ● 周展彤 小山理惠子

CHAU Chin-tung Rieko KOYAMA

豎琴 Harp ● 黃士倫

Ann HUANG

鍵琴 Keyboard ● 朱偉恆

Alan CHU

● 首席 Principal ▼ 助理首席 Assistant Principal Note Freelance Musicians: CHAN Ping-chi (陳秉智), Cecilia HO (何永妍), LI Xiao-hui (李曉慧), Winty WAN (雲凱弦), WEI Ning-yi (魏宁一), WONG Ka-lap (黃家立).

20

(acting)

Akiyo UESUGI

巴松管 Bassoon

中提琴 Viola

黃敦品

HUNG Chien-chun

雙簧管 Oboe ● 金勞思

TSAI Loo

第二小提琴助理首席

● 洪健鈞(署任)


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)

潘燊昌博士(司庫)

Dr Patrick S C POON (Treasurer)

陳育明先生

音樂總監

Music Director

Mr Patrick CHAN

葉詠詩

YIP Wing-sie

蔡加敏女士

Ms Carmen CHOI

首席客席指揮 Principal Guest Conductor

周莉莉女士

Ms Lily CHOW

柏鵬

Christoph POPPEN

鍾思源醫生

Dr CHUNG See-yuen

鍾陳碧璋女士

Mrs Shirley CHUNG

黃智成先生

Mr Chester HOANG

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)

史泰祖醫生

Dr SHIH Tai-Cho Louis

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

(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

樂團事務及節目 Orchestra & Programme

行政秘書 Executive Assistant to CEO:

何淑娟 Rose HO

樂團經理 Orchestra Manager:

陳成美 Marylu CHAN

會計經理 Accounting Manager:

李靄玲 Judith LEE

譜務管理 Librarian:

陳藹晴 Ivy CHAN

行政經理 Administration Manager:

黎潔雲 Winsome LAI

節目主任 Project Officer:

黃紫菱 Athena WONG

辦公室助理 Office Assistant:

楊瑞遠 YANG Jui-yuan

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

市場推廣及發展 Marketing & Development

舞台經理 Stage Manager:

楊植生 Bobby YEUNG

高級市場及業務拓展經理 Senior Marketing & Development Manager:

藝術行政主任 Arts Administration Officers:

Margaret YANG

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

傅嘉聰 Castor FU 黎希潼 Carvina LAU 高凱晴 Debbie KO

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

21


感謝您支持我們培育文化新一代

Thank you for investing in a cultural tomorrow 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*! 大眾支持 YOU donate

+

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.

23


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

24


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

• 史泰祖醫生 Dr Shih Tai Cho Louis

• Miss Cecilia Fok

• Mrs Emily Ting

• 潘燊昌博士及夫人 Dr & Mrs Patrick S C Poon

• 多位無名氏 Anonymous

• 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 • 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 In memory of Esther 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 • John & Anthea Strickland • 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

25


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 • 祈大衛教授 Prof David Clarke

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

• 席信 Mr Paul Jackson

• CLP Holdings Limited • 無名氏 Anonymous

• Luca, Caterina, Maurien, Joseph Jacobelli • 紀念劉葉珍女士 • 李樹榮博士 Dr Ernest Lee

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

• 廖炳輝醫生 Dr Liu Bing Fai

• 鍾思源醫生 Dr Chung See Yuen • 郭立成律師 • 史泰祖醫生 Dr Shih Tai Cho Louis Pearl Donors (HK$10,000 to HK$29,999) • 周愛琳醫生 Dr Irene Chau • 張德賢博士伉儷 Dr & Mrs Douglas Cheung

• 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 • 蘇國輝先生 • 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

• 林定國先生夫人 Mr and Mrs Lam Ting Kwok Paul

• Mr Peterson Wong

• Nathaniel Foundation Limited

• Ms Alice Yeung

• 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 • 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

26

• Mr Marcus Woo • 多位無名氏 Anonymous

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

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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