30.9.2017 (星期六 Sat) 8pm
香港大會堂音樂廳 HK City Hall Concert Hall
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
4.11.2017 (星期六 Sat) 8pm
香港大會堂音樂廳 HK City Hall Concert Hall $380 $260 $150
低音大提琴 Double Bass
魯伊斯 Edicson Ruiz • The youngest ever member of the Berlin Philharmonic, joined in 2003 at age 17 • Winner, International Solo Bass Competition 2001, USA • Former member of Simón Bolívar Symphony Orchestra & Youth Orchestra of Venezuela • Joined El Sistema at age 11
“Rightly regarded as the Wunderkind of the Berlin Philharmonic.” Berliner Morgenpost
莫扎特 馬廷森 艾夫斯 舒伯特 Mozart Rolf Martinsson Ives Schubert
《魔笛》序曲，K620 第一低音大提琴協奏曲，作品87 (2011) (香港首演） 《未解答的問題》 D大調第三交響曲，D200 The Magic Flute Overture, K620 Double Bass Concerto No 1, Op 87 (2011) (Hong Kong première) The Unanswered Question Symphony No 3 in D, D200
門票：城市售票網 Tickets at URBTIX 2111 5999 | www.URBTIX.hk 節目查詢 Programme Enquiries: 2836 3336 | www.HKSL.org
© SAMMY-HART
節目 Programme
指揮 Conductor
李布賴希 Alexander Liebreich
• Artistic Director & Chief Conductor, Polish National Radio Symphony Orchestra • Artistic Director, Festival Katowice Kultura Natura
適合6歲或以上觀眾 For ages 6+
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
指揮
節目
古特文
韓德爾
女高音
鄺勵齡 羅芷盈 高男高音
龐斯福德 男高音
杜博爾 男低音
胡永正 黃日珩 合唱指導
趙伯承 孫子承 合唱團
聲蜚合唱學院及 節日合唱團
場地規則 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。
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《以色列人在埃及》，HWV 54 自第一部份 交響曲：很緩慢的廣板
第二部份《出埃及記》 宣敘調：有一位新王興起（男高音） 獨唱高男高音與合唱：以色列人在嘆息 宣敘調：祂差遣祂的僕人摩西（男高音） 合唱：埃及人厭惡喝這河 的水 詠嘆調：青蛙在他們的土地上滋生（高男高音） 合唱：祂一吩咐 合唱：祂給他們降下冰雹 合唱：祂使黑暗籠罩 合唱：祂又擊殺他們國內所有的長子 合唱：祂卻領出自己的子民 合唱：埃及人就歡喜 合唱：祂斥責紅海 祂帶領他們走過深海 水淹沒他們的敵人 合唱：以色列看見耶和華大能 －中場休息20分鐘－
第三部份《摩西之歌》 合唱/進台詠：摩西和以色列人 我要向耶和華歌唱 二重唱：耶和華是我的力量（女高音 I/II） 合唱：這是我的神 我要讚美祂 二重唱：耶和華是戰士（男低音 I/II） 合唱：深水淹沒他們 合唱：耶和華啊， 的右手 發出烈怒 合唱：因 鼻中的氣 詠嘆調：仇敵說（男高音） 詠嘆調： 用風一吹（女高音） 合唱：耶和華啊，誰能像 大地就吞滅了他們 二重唱： 以 的慈愛（高男高音與男高音） 合唱：萬民聽見 詠嘆調： 將他們領進去（高男高音） 合唱：耶和華必作王 宣敘調：法老的馬匹（男高音） 合唱：耶和華必作王 宣敘調：米利暗女先知（男高音） 獨唱女高音與合唱：你們要歌頌耶和華
Conductor
Paul Goodwin Soprano
Louise Kwong Law Tsz-ying Countertenor
Simon Ponsford Tenor
Mark Dobell Bass
Caleb Woo Apollo Wong Chorus Masters
Patrick Chiu Felix Shuen Choruses
SingFest Choral Academy and Festival Chorus
Programme
George Frideric Handel
Israel in Egypt, HWV 54 From Part I Symphony: Largo assai
Part II Exodus Recitative: Now There Arose a New King (Tenor) Countertenor & Chorus: And the Children of Israel Sighed Recitative: Then Sent He Moses (Tenor) Chorus: They Loathed to Drink of the River Air: Their Land Brought Forth Frogs (Countertenor) Chorus: He Spake the Word Chorus: He Gave Them Hailstones Chorus: He Sent a Thick Darkness Chorus: He Smote All the Firstborn of Egypt Chorus: But As For His People Chorus: Egypt Was Glad Chorus: He Rebuked the Red Sea He Led Them Through the Deep But the Waters Overwhelmed Their Enemies Chorus: And Israel Saw That Great Work - 20-minute intermission -
Part III Moses’ Song
House Rules 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.
Chorus /Introitus: Moses and the Children of Israel I Will Sing Unto the Lord Duet: The Lord is My Strength (Sopranos I & II) Chorus: He Is My God And I Will Exalt Him Duet: The Lord Is a Man of War (Basses I & II) Chorus: The Depths Have Covered Them Chorus: Thy Right Hand, O Lord Thou Sentest Forth Thy Wrath Chorus: And With the Blast of Thy Nostrils Air: The Enemy Said (Tenor) Air: Thou Didst Blow (Soprano) Chorus: Who Is Like Unto Thee The Earth Swallowed Them Duet: Thou in Thy Mercy (Countertenor & Tenor) Chorus: The People Shall Hear Air: Thou Shalt Bring Them In (Countertenor) Chorus: The Lord Shall Reign Recitative: For the Horse of Pharaoh (Tenor) Chorus: The Lord Shall Reign Recitative: And Miriam, the Prophetess (Tenor) Soprano & Chorus: Sing Ye to the Lord
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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
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
古特文 Paul Goodwin 古特文以創意節目編排著稱，擅於重塑樂曲原有的 演奏風格，演出的曲目由14世紀到當代音樂都 有，相當廣泛。 古特文現為卡梅爾巴赫音樂節藝術總監及指揮，同 時為阿奎萊亞樂團的首席客席指揮。合作過的樂團 包括費城樂團、三藩市交響樂團、BBC愛樂、哈雷 樂團、伯明翰市交響樂團、蘇格蘭皇家國家樂團、 柏林音樂廳樂團、明尼蘇達樂團、美國國家交響樂 團、猶他州交響樂團、西雅圖交響樂團、聖保羅室 樂團、多倫多交響樂團、鹿特丹、奧克蘭、赫爾辛 基及斯德哥爾摩皇家愛樂，以及慕尼黑、法蘭克 福、漢諾威及萊比錫電台樂團等。 古特文於歌劇方面亦同樣出色，曾為柏林喜歌劇 院、馬德里皇家劇院、蘇格蘭歌劇團、澳洲歌劇 團、威爾斯國家歌劇團和卡爾斯魯厄國家大劇院等 © CARMEL BACH FESTIVAL
指揮。 近期古特文首度於日本指揮，在調布國際音樂節中 亮相。其他重點演出包括與加利西亞交響樂團、華 沙愛樂、墨爾本交響樂團、巴爾的摩交響樂團、香 港小交響樂團、國王提琴樂集、首爾愛樂、國立台 灣交響樂團、新世界交響樂團及波蘭國家電台交響 樂團合作。 古特文曾任英國古樂合奏團（AAM）的副指揮11 年，期間與樂團巡演及灌錄多張唱片，其中三張獲 提名美國格林美獎及英國留聲機獎。他亦曾任英國 室樂團的首席客席指揮六年，合作過的音樂家包括 狄卡娜娃、貝爾、皮莉斯、羅斯卓波維契及科切娜 等。此外，他曾灌錄其他錄音，包括史特勞斯、哈 特曼、韓德爾、艾爾加及浦羅哥菲夫等的作品。 在音樂教育方面，古特文曾與西班牙及荷蘭國家青 年樂團、德國青年愛樂、意大利青年樂團、海牙皇 家音樂學院，及兩所英國皇家音樂學院的樂團合 作；並曾為比利時伊利沙伯皇后大賽擔任客席指 揮。2007年，他獲頒德國哈雷市韓德爾榮譽獎， 以表揚他為演繹韓德爾作品的卓越貢獻。 6
Paul Goodwin is well known for his creative and
Goodwin was Associate Conductor of the
dynamic programming and incorporating period
Academy of Ancient Music (AAM) for 11 years,
style within the traditional orchestral world. He has
with which he toured extensively and made
achieved acclaim for delivering fresh, exciting and
recordings of Schütz’s choral music, Mozart’s
original accounts of mainstream repertoire as well
singspiel Zaide and two discs of music by John
as his historically informed interpretations. His
Tavener, commissioned for AAM. Three of these
extensive repertoire spans from the 14th century
CDs
to the present day.
Gramophone awards. He was also Principal Guest
Goodwin is Artistic Director and Conductor of
Conductor of the English Chamber Orchestra for
Carmel Bach Festival and Principal Guest
six years, collaborating with artists including Kiri Te
Conductor of Cappella Aquileia. He has conducted
Kanawa, Joshua Bell, Maria João Pires, Mstislav
orchestras throughout the world including the
Rostropovich and Magdalena Kozˇená. His other
Philadelphia Orchestra, San Francisco Symphony,
recordings include works by Strauss and
BBC Philharmonic, The Hallé, City of Birmingham
Hartmann, Handel’s Riccardo Primo and Athalia,
Symphony Orchestra, Royal Scottish National
and a highly acclaimed CD of Elgar's Nursery Suite
Orchestra, Konzerthaus Orchester Berlin,
for Harmonia Mundi. He also recorded two CDs
Minnesota Orchestra, National Symphony
with Munich Radio Orchestra for Sony – one
Orchestra of USA, Utah Symphony, Seattle
featuring Prokofiev’s Peter and the Wolf and the
Symphony, St Paul Chamber Orchestra, Toronto
other, Under the Stars, in collaboration with
Symphony Orchestra, Rotterdam, Auckland,
violinist Charlie Siem.
Helsinki and Royal Stockholm Philharmonics, and
Goodwin’s dedication to educational projects has
radio orchestras in Munich, Frankfurt, Hannover
led him to work with National Youth Orchestras in
and Leipzig.
Spain and Holland, Junge Deutsche Philharmonie,
In opera, Goodwin’s successes have included
Orchestra Giovanile Italiana, Royal Conservatoire
Gluck’s Iphigénie en Tauride (Komische Oper
of The Hague, and the orchestras of the Royal
Berlin), Britten’s Rape of Lucretia (Teatro Real
College and Royal Academy of Music in London.
Madrid), and Handel’s Orlando (Scottish Opera and
He was also a regular visiting conductor for the
Opera Australia), Jephtha (Welsh National Opera)
Queen Elisabeth Competition in Brussels. In 2007,
and Riccardo Primo (Badisches Staatstheater
Goodwin was awarded the Handel Honorary Prize
Karlsruhe).
of the City of Halle (Saale) in recognition of his
were
nominated
for
Grammy
and
extraordinary services to performances of works Recent and future highlights include his Japanese
by Handel.
conducting début at Chofu International Music Festival, and collaborations with Orquesta Sinfónica de Galicia, Warsaw Philharmonic, Melbour ne Symphony Orchestra, Baltimore Symphony Orchestra, Hong Kong Sinfonietta, Les Violons du Roy, Seoul Philharmonic, National Taiwan Symphony Orchestra, New World Symphony Orchestra and Polish National Radio Symphony Orchestra. 7
女高音 Soprano
鄺勵齡 Louise Kwong 鄺勵齡畢業於香
A graduate of the Chinese University of Hong
港中文大學、荷
Kong, Dutch National Opera Academy,
蘭皇家歌劇學
Conservatory of Amsterdam and Royal College of
院、阿姆斯特丹
Music in London, Louise Kwong has won
音樂學院及英國
numerous prizes at international competitions.
皇家音樂學院。
These include First Prizes at Salice d’Oro and
她曾贏得多個國
Concorso Internazionale Lirico Città Di Iseo in
際獎項，包括
Italy in 2015; Second Prize at the 7th Bell’Arte
2015年意大利柳
International Singing Competition in Belgium;
金國際聲樂比賽
and Second Prize, Audience Prize and Best
及以賽奧國際聲
Soprano Prize at the 18th Ferruccio Tagliavini
樂比賽冠軍、比
International Singing Competition in Austria. Her
利時第七屆美藝
operatic roles include Cio-cio-san in Madama
國際聲樂比賽亞軍，及奧地利第18屆泰利亞雲尼
Butterfly, Micaela in Carmen, Liù in Turandot,
國際歌劇大賽亞軍、觀眾大獎和最佳女高音獎。參
Santuzza in Cavalleria Rusticana, Anna in Anna
演過的劇目包括《蝴蝶夫人》 （蝴蝶夫人）、《卡門》
Bolena, La Contessa in The Marriage of Figaro
（米凱拉）、《杜蘭朵》（柳兒）、《鄉村騎士》（桑
and Fiordiligi in Così Fan Tutte.
桃莎）、《安娜．布連娜》（安娜）、《費加洛的婚
Kwong has been featured in several Hong Kong
禮》（伯爵夫人）及《女人皆如此》（費奧迪麗姬）
Arts Festival’s productions, including Hong Kong
等。
Odyssey, Chan Hing-yan’s chamber operas Heart
鄺勵齡曾於多套香港藝術節的製作中演出，包括
of Coral and Datong – The Chinese Utopia, which
《 世 紀 ．香 港 》、 陳 慶 恩 的 室 內 歌 劇 《 蕭 紅 》 及
received its European première in London this July.
《大同》，其中《大同》於今年7月在倫敦作歐洲
She has also been invited to perform at festivals
首演。此外，她曾獲邀參與不同音樂節，如阿姆
such as Grachtenfestival in Amsterdam (Fiordiligi
斯特丹格克頓音樂節（《女人皆如此》）。她近期
in Così Fan Tutte). She recently made her début at
亦首度在中國國家大劇院亮相，參演《這
the National Centre for the Performing Arts in
的黎
明靜悄悄》。
Beijing, singing the title role of Rita in The Dawns Here are Quiet.
鄺勵齡於2014年獲香港藝術發展局頒發年度藝術 新秀獎（音樂），並為2015年民政事務局局長嘉許 計劃的得獎者。
Kwong received the Young Artist Award (Music) from the Hong Kong Arts Development Council in 2014 and was an awardee of the Secretary for Home Affairs' Commendation Scheme in 2015.
8
女高音 Soprano
羅芷盈 Law Tsz-ying 羅芷盈2012年於
Law Tsz-ying earned a Bachelor of Music degree
香港浸會大學考
(Voice Performance and Pedagogy) from Hong
獲一級榮譽音樂
Kong Baptist University with first class honours and
學士學位（聲樂
Outstanding Award in 2012; and a Master’s degree
演唱及教學）並
(Vocal Performance) from Royal Holloway,
獲頒優異獎，其
University of London under the tutelage of Elaine
後赴倫敦大學皇
Pearce in 2015. She also achieved the LTCL Recital
家霍洛威學院隨
Diploma (Singing) with distinction in 2010 under
皮爾斯學習，於
the guidance of Chan Siu-kwan.
2015年取得音樂 碩士（聲樂演 唱）。她亦曾隨陳 少君學藝，於 2010年以優異成績考獲倫敦聖三一學院LTCL演奏 文憑（聲樂）。
Law was a Choral Scholar of The Choir of Royal Holloway, and performed as a soloist at St Martin-inthe-Fields, St Paul’s Cathedral (London), St George’s Bristol and Chapel Royal, Hampton Court Palace. She has participated in international tours, BBC radio and live TV broadcasts, and two recordings with Hyperion
羅芷盈曾為皇家霍洛威學院合唱團的合唱學者，
label. She has also performed for the Queen and
期間於聖馬田大教堂、倫敦聖保羅大教堂、布里
other British Royal family members at the
斯托聖喬治音樂廳及漢普頓宮皇家教堂擔任獨唱
Buckingham Palace, Royal Albert Hall, and the
演出；她亦曾參與巡演、BBC電台和現場電視廣
Magna Carta 800th Anniversary in 2014-2015.
播，及兩張Hyperion唱片錄音。此外，她曾於白金
Law was invited to perform in Hong Kong Arts
漢宮、倫敦皇家艾爾伯特音樂廳，及2014/2015年 《大憲章》800周年紀念活動上，為英女皇及英國 皇室成員獻唱。
Festival’s productions of Hong Kong Odyssey and Chan Hing-yan’s chamber opera Heart of Coral. Her sacred repertoire includes various Bach’s works
羅芷盈曾獲邀參演香港藝術節製作的《世紀．香港》
such as Christmas Oratorio and St John Passion,
及陳慶恩的室內歌劇《蕭紅》。其他演唱過的聖樂
Handel’s Messiah, Vivaldi’s Gloria, Mozart’s
作品包括多套巴赫的作品（如《聖誕神曲》和《聖
Requiem, Mass in C and Coronation Mass, Haydn’s
約翰受難曲》）、韓德爾《彌賽亞》、韋華第《榮耀
Creation, Brahms’ German Requiem, Fauré’s
頌》、莫扎特的《安魂曲》、C大調彌撒曲及《加冕
Requiem, Saint-Saëns’ Oratorio de Noël, and
彌撒曲》、海頓《創世紀》、布拉姆斯《德意志安魂
Cecilia McDowall’s Magnificat.
曲》、佛瑞《安魂曲》、聖桑《聖誕神曲》及麥道爾
Currently a full-time vocalist of Hong Kong
《尊主頌》等。
SingFest, Law has sung under the baton of
羅芷盈現為聲蜚合唱節的全職歌唱家，並曾在里
Helmuth Rilling, Yip Wing-sie, Stephen Coker and
霖、葉詠詩、顧克及韋納德的指揮下演出。
William Weinert.
9
高男高音 Countertenor
© SARAH MCKEE
龐斯福德 Simon Ponsford 龐斯福德常與各
An established soloist and recitalist, Simon Ponsford
地合唱團合作，
sings with many international ensembles, notably the
包括蒙台威爾第
Monteverdi Choir and The Tallis Scholars. He has
合唱團及塔利斯
sung oratorio solos with choral societies and
學者合唱團；他
chamber choirs across the UK at venues including
亦曾於英國的史
St John’s Smith Square, Gloucester Cathedral, Kings
密斯廣場聖約翰
Place and Westminster Abbey.
教堂、格洛斯特
Performance highlights included a tour of Bach’s
大教堂、倫敦藝
St Matthew Passion performed from memory with
文中心及西敏寺
the Monteverdi Choir, singing the alto solos in
等場地演出，並
Bach’s Christmas Oratorio at Gloucester Cathedral,
在不同的神劇中
and performing the cantatas by Buxtehude and
擔任獨唱。
Tunder at Keble Early Music Festival. Ponsford has
近年的演出包括與蒙台威爾第合唱團巡演巴赫的 《聖馬太受難曲》，於格洛斯特大教堂演出巴赫《聖
also released a CD of Elizabethan and Jacobean songs on Nimbus Records.
誕神曲》，及於牛津大學基布爾學院早期音樂節中
Born in a musical family in Gloucestershire,
演唱布斯泰胡特及敦達的清唱劇。龐斯福德亦曾推
Ponsford started singing at a young age in
出收錄伊利沙伯時代及詹姆斯一世年代歌曲的唱
Gloucester Cathedral Choir. He later studied at
片，由Nimbus發行。
King’s College, Cambridge, reading for a degree in
龐斯福德出生於音樂世家，自小為格洛斯特大教堂 合唱團成員。他其後於劍橋大學國王學院修讀英國 文學，同時為國王學院合唱團的合唱學者。居於溫 莎期間，龐斯福德加入聖喬治教堂合唱團五年，同 時於英國皇家音樂學院隨贊斯學習，並曾於梅瑞及 杜殊的大師班中演出。他以傑出成績考獲碩士學 位，並獲頒威爾遜獎學金及優異演出文憑。
English Literature whilst being a Choral Scholar in the King’s College Choir. He then moved to W indsor Castle and sang in the choir of St George’s Chapel for five years. Whilst at Windsor, Ponsford studied with Michael Chance at the Royal Academy of Music and participated in the masterclasses by Ann Murral and Helmut Deutsch. He graduated with a Master’s degree with
龐斯福德現隨金寶學藝，同時為西敏寺合唱團的專
distinction, and was awarded the S & M Eyres
業歌唱家。
Wilson Scholarship and a Diploma for outstanding performance. Ponsford currently studies with Veronica Veysey Campbell and is a Lay Vicar in the Choir of Westminster Abbey.
10
男高音 Tenor
© DAVID FERNANDES
杜博爾 Mark Dobell 杜博爾於英國肯
Originally from Tunbridge Wells in Kent, Mark
特郡出生，畢業
Dobell was a Choral Scholar of Clare College,
於劍橋大學，主
Cambridge, where he read Classics. He later
修古典文學，同
studied singing as a postgraduate at the Royal
時為克萊爾學院
Academy of Music, and was awarded the Clifton
的合唱學者。他
Prize for the best final recital.
其後於英國皇家
Dobell has worked as a soloist throughout Europe
音樂學院研讀聲
and North America with world-renowned
樂，並憑傑出的
conductors including Harry Christophers, John Eliot
畢業獨唱演出獲
Gardiner, Roger Norrington and James MacMillan.
頒克利夫頓獎。
His extensive repertoire includes many of the major
杜博爾常以獨唱 身份穿梭歐洲及
北美演出，曾與基斯杜化士、嘉狄拿、諾靈頓及 麥米蘭等指揮合作。他演唱的曲目廣泛，除了韓 德爾、巴赫及莫扎特的主要作品外，亦包括蒙台 威爾第、海頓、孟德爾遜、布列頓、杜夫及詹金 斯等的樂曲。近期演出包括蒙台威爾第《晚禱》 （皇家艾爾伯特音樂廳）、布列頓《聖尼古拉》（聖 奧爾本斯座堂）、舒茲《聖誕故事》 （倫敦史密斯廣 場聖約翰教堂）、巴赫《聖誕神曲》及帕特《受難 曲》（西敏寺）、莫扎特《安魂曲》 （聖地牙哥-康波 斯特拉和格拉納達）、韓德爾《彌賽亞》 （凡爾賽 宮）、韋華第《上主如是說》（阿姆斯特丹）及浦 賽爾《阿瑟王》 （愛丁堡阿瑟音樂廳）。 杜博爾於2016年演出過巴赫的《聖馬太受難曲》 （西敏寺）和B小調彌撒曲、韓德爾《亞歷山大的 饗宴》（瑞典烏普薩拉）和《阿西斯與加拉蒂亞》 （域摩堂），及莫扎特的《莊嚴晚禱》等。2017 年，他於英國巡演巴赫《尊主頌》，並曾為韓德爾 及海頓協會於波士頓及紐約演出蒙台威爾第《晚 禱》，另外亦演出巴赫《聖約翰受難曲》及海頓 《四季》。
works of Handel, Bach and Mozart, as well as pieces by composers such as Monteverdi, Haydn, Mendelssohn, Britten, Jonathan Dove and Karl Jenkins. Recent highlights include performances of Monteverdi’s Vespers (Royal Albert Hall), Britten’s St
Nicolas
(St
Albans
Abbey),
Schütz’s
Weihnachtshistorie (St John’s Smith Square, London), Bach's Christmas Oratorio and Pärt’s Passio (Westminster Abbey), Mozart's Requiem (Santiago de Compostela and Granada), Handel’s Messiah (Palace of Versailles), Vivaldi’s Dixit Dominus (Amsterdam) and Purcell’s King Arthur (Usher Hall, Edinburgh). In 2016, Dobell performed Bach’s St Matthew Passion at Westminster Abbey, Handel's Alexander's Feast in Uppsala, Sweden, Handel’s Acis and Galatea at Wigmore Hall, Mozart’s Solemn Vespers and Bach's Mass in B Minor. In 2017, he has performed Bach’s Magnificat around the UK, Monteverdi’s Vespers in Boston and New York for the Handel and Haydn Society, as well as Bach’s St John Passion and Haydn’s Die Jahreszeiten. Dobell also works with many leading British choirs
杜博爾亦常與英國的頂尖合唱團合作，如紅衣主教
and consorts including The Cardinall’s Musick,
音樂家合唱團、法吉里尼合唱團、加利合唱團及國
I Fagiolini, Gallicantus and The King’s Consort. He is
王古樂團。他同時為十六合唱團、奧蘭多古樂團及
a member of The Sixteen, The Orlando Consort
西敏寺合唱團的成員。
and the choir of Westminster Abbey. 11
男低音 Bass
胡永正 Caleb Woo Caleb Woo holds a Master of Music degree in
會大學考獲聲樂
Voice Performance and Literature from Eastman
及教學學士學位
School of Music, a bachelor’s degree in Voice
（一級榮譽），後
Performance and Pedagogy (first class honours)
於美國伊士曼音
from the Hong Kong Baptist University (HKBU), and
樂學院取得聲樂
the ATCL and LRSM diplomas. His teachers include
及文獻研究碩
Robert McIver, Jimmy Chan and Sanson Lau.
士，並曾考獲
Woo recently gave recitals performing Vaughan
L R S M 及 AT C L 文
Williams’ Songs of Travel, Brahms’ Vier Ernste
憑，師承麥艾
Gesänge and Schumann’s Dichterliebe. He
華、陳晃相及劉
performed Haydn’s The Creation with Hong Kong
永生等。
Sinfonietta under the baton of Helmuth Rilling in
胡永正近期的獨
2013, and participated in the premières of Chan
唱演出包括佛漢．威廉士《旅之歌》、布拉姆斯
Hing-yan’s chamber operas Heart of Coral and
《四首嚴肅的歌》及舒曼《詩人之戀》。他於2013
Datong at Hong Kong Arts Festival (HKAF). Other
年曾與香港小交響樂團及指揮里霖演出海頓《創世
performances include Brahms’ German Requiem
紀》，亦曾參與香港藝術節製作、陳慶恩的室內歌
with Eastman Rochester Chorus/William Weinert,
劇《蕭紅》及《大同》之首演。其他演出包括布拉
Mendelssohn’s St Paul with Hallelujah Oratorio
姆斯《德意志安魂曲》（伊士曼羅徹斯特合唱團/韋
Society in Singapore, Fauré’s Requiem at HKAF,
納德）、孟德爾遜《聖保羅》（新加坡哈利路亞聖樂
Handel’s Messiah with City Chamber Orchestra
社）、佛瑞《安魂曲》（香港藝術節）、韓德爾《彌
Hong Kong/Lio Kuokman at “Christmas Concert in
賽亞》（香港城市室樂團/廖國敏，香港電台第四台
the Park” of RTHK Radio 4, Mozart’s Requiem and
聖誕園林音樂會）、莫扎特《安魂曲》及柯夫《布
Orff’s Carmina Burana. In celebration of the 330th
蘭詩歌》等。2015/2016樂季，為紀念巴赫330周
Anniversary of Bach in 2015/2016, Woo also
年 誕 辰 ， 他 亦 分 別 與 聲 蜚 合 唱 節 、 Alpha &
performed Bach’s St John Passion, Magnificat and
Omega、馬來西亞聖樂節及東馬來西亞巴赫巡迴
a selection of cantatas with Hong Kong SingFest,
節慶樂團合作，演出巴赫的《聖約翰受難曲》、
Alpha & Omega, and at Malaysia Sacred Music
© QINMUSIC.COM
胡永正於香港浸
《尊主頌》及多首清唱劇。 胡永正現為宣道會屯門堂音樂指導、香港中文大學 和「琴．音樂中心」的聲樂教師，並為香港浸會大 學校牧處團隊音樂事工主任。他同時為美國聲樂教 師協會會員。
Festival and East Malaysia Bach Tour. Currently Music Director of Tuen Mun Alliance Church, Woo is also a Voice Instructor The Chinese University of Hong Kong and Qin Music, and Coordinator of Ensemble Music Ministries in HKBU. He is a member of the National Association of Teachers of Singing.
12
男低音 Bass
黃日珩 Apollo Wong 男低中音及指揮
Bass-baritone and conductor Apollo Wong has
黃日珩曾於多套
sung major roles in opera productions including
歌劇中擔演主要
Britten’s Albert Herring and A Midsummer Night’s
角色，包括布列
Dream, Handel’s Serse, Gounod’s Roméo et Juliette,
頓《艾拔．賀寧》
Puccini’s Turandot and La Bohème, Bizet’s Carmen,
和《仲夏夜之
Rossini’s Il Viaggio a Reims, Mozart’s Così Fan Tutte,
夢》、韓德爾《西
among others. He was also featured in the Hong
爾斯》、古諾《羅
Kong Arts Festival’s world première productions of
密歐與茱麗葉》、
Heart of Coral and Datong by Chan Hing-yan, as
浦契尼《杜蘭朵》
well as Before Brabant by Jeffrey Ching. His concert
及《波希米亞生
and oratorio repertoire includes Bach’s St John and
涯 》、 比 才 《 卡
St Matthew Passions, Beethoven’s Symphony No 9,
門》、羅西尼《漢
Brahms’ German Requiem, Fauré’s Requiem,
斯之旅》，及莫扎特《女人皆如此》等。他亦曾參
Mahler’s Symphony No 8, Mendelssohn’s Elijah,
演香港藝術節製作、陳慶恩的室內歌劇《蕭紅》和
Mozart’s Requiem and Puccini’s Messa di Gloria. He
《大同》，及莊祖欣《天鵝武士前傳》之世界首演。
has collaborated with conductors including Paolo
其音樂會及聖樂曲目則包括巴赫《聖約翰受難曲》
Olmi, Renato Palumbo, Joseph Rescigno, Helmuth
及《聖馬太受難曲》、貝多芬第九交響曲、布拉姆
Rilling and François-Xavier Roth.
斯《德意志安魂曲》、佛瑞《安魂曲》、馬勒第八交
Wong has won First Prize at Palm Springs Opera
響曲、孟德爾遜《以利亞》、莫扎特《安魂曲》及
Guild Vocal Competition and the Pasadena Opera
浦契尼《榮耀彌撒曲》等。合作過的指揮包括奧爾
Guild Vocal Scholarship, and made his European
米、柏林保、雷辛約、里霖及羅特等。
début at La Fenice Sale Apollinee, Venice, Italy. He
黃日珩是棕櫚泉歌劇協會聲樂比賽冠軍及柏薩迪納
has been chorus master for conductors including
歌劇協會獎學金得主，並曾於意大利威尼斯歌劇院
Lorin Maazel, Helmuth Rilling and Edo de Waart;
作歐洲首演。他曾為指揮馬捷爾、里霖及迪華特等
assistant conductor to Bruno Aprea in Opera Hong
的演出擔任合唱指導，並為香港歌劇院製作的
Kong’s (OHK) La Bohème; and conductor of OHK’s
《波希米亞生涯》擔任阿普雷亞的助理指揮。他亦
Summer Opera Camp productions of The Magic
曾指揮香港歌劇院歌劇夏令營製作《魔笛》和 《海盜王》。 黃日珩現為學士合唱團及管弦樂團的音樂總監。他 亦曾任香港新青年合唱團及香港歌劇院兒童合唱團 的音樂總監，並曾指揮香港管弦樂團演出。
Flute and The Pirates of Penzance. Currently Music Director of The Learners Chorus and Orchestra, Wong has also conducted Hong Kong Philharmonic and was Music Director of Hong Kong Youth Choir and OHK Children’s Chorus.
13
合唱指導 Chorus Master
合唱指導 Chorus Master
趙伯承 Patrick Chiu
孫子承 Felix Shuen
Patrick Chiu is a choral conductor born in Hong Kong. During his period of residency in Vienna, he has participated in various local professional performances and received tuition from professors at the Vienna Conservatory. Later he earned a scholarship to study at the University of Cincinnati’s College-Conservatory of Music, where he received his master’s degree in choral conducting. During his stay in Europe and the United States, he has worked with and studied under world-renowned maestros including Helmuth Rilling, James Levine and Harry Christophers. In 2010, Chiu and the Hong Kong Melody Makers won two Gold Awards in the World Choir Games. He was a recipient of the Award for Young Artist in the Hong Kong Arts Development Award 2012. Chiu is currently the Artistic Advisor of Hong Kong’s first professional a cappella theatre company, the Yat Po Singers, and the founder of the Hong Kong SingFest.
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孫子承自2007年 首次指揮演出 起，香港演出不 斷，亦曾於北 京、倫敦、紐約 及多倫多等國際 舞台演出。他先 後擔任過多個合 唱團的總監及指 揮，包括拔萃男 書院的多個合唱 團、香港青唱、 香港和聲及伊士曼音樂學院的多個合唱團。孫子承 於2013年起擔任聲蜚合唱節的合唱指導，與指揮大 師里霖、貝克及韋納德等緊密合作。他與拔萃男書 院合唱團亦於今年4月獲英國國際青年合唱節邀請， 在倫敦皇家艾爾伯特音樂廳演出，大獲好評。 © KATE LEMMON
© YAT HO TSANG
趙伯承為合唱指 揮，生於香港。 曾旅居維也納， 參與當地的專業 演出，並隨維也 納音樂學院的教 授學習，後獲獎 學金赴美國入讀 辛辛那堤大學音 樂學院，取得指 揮碩士學位。於 歐美期間曾跟從 各地的音樂大師學習，計有里霖、利雲及基斯杜化 士等，並獲卡拉揚音樂獎學金赴各音樂節演出。 2010年，趙伯承指揮香港旋律於世界合唱大賽摘 下兩項金獎，並獲頒2012香港藝術發展獎的藝術 新秀獎。趙伯承現為香港首個專業無伴奏劇團一舖 清唱的藝術顧問及聲蜚合唱節的創辦人。
孫子承現於其母校拔萃男書院擔任音樂科科主任一 職，2012年他於美國伊士曼音樂學院取得指揮碩士 學位，師隨韋納德、史格特戴及盧布曼。 Since 2007, Felix Shuen has been conducting extensively in Hong Kong, and has also made appearances on international stages including China, the United Kingdom, the United States, and Canada. He has served as director and conductor in various ensembles including the Diocesan Boys’ School Choirs, Hong Kong Young People’s Chorus, Hong Kong Voices, and several Eastman vocal ensembles. He received critical acclaim as one of the two chorus masters in SingFest since 2013, working closely with renowned world-class maestros Helmuth Rilling, Rolf Beck and William Weinert. Under his direction, the Diocesan Boys’ School Choir was recently invited by the International Youth Choir Festival to perform at the prestigious Royal Albert Hall. Shuen is currently working in his alma mater, Diocesan Boys’ School, as the Head of Music Department. He obtained his Master of Music degree at the Eastman School of Music in 2012, studying conducting under William Weinert, Mark Scatterday, and Bradley Lubman.
聲蜚合唱節 SingFest 聲蜚合唱節心繫培育與承傳。
Education is at the heart of SingFest.
作為註冊慈善團體，聲蜚旨在提供極高質素的演出
The mission of SingFest, a charitable organization, is to provide the highest quality of performances and innovative educational opportunities connecting local vocalists, instrumentalists, audiences and donors. Since 2012, SingFest has launched a series of choral-related education programmes for professional musicians, school teachers, students, as well as music enthusiasts, under the guidance of world-class maestros such as Helmuth Rilling, Rolf Beck and William Weinert. In 2014, SingFest Choral Academy, a regular choir, was established to nurture professional choral artists and gather young local talents.
及創新的教育計劃，連結本地歌唱家、演奏家、觀 眾及贊助人。自2012年，聲蜚與國際指揮大師合 作無間，其中包括里霖、貝克、韋納德等，為本地 音樂家、老師、中學生、大專生及音樂愛好者舉辦 了一系列合唱課程，更於2014年創立聲蜚合唱學 院，旨在致力培育專業合唱藝術家，匯集本地優秀 的音樂菁英。 2015年聲蜚由年度暑期合唱節發展至全年節目： 為慶祝巴赫330歲生辰，聲蜚開展「BACH 330」 計劃，共呈獻超過25個節目及教育活動，不僅吸 引本地音樂家及觀眾參與其中，更聚集了海外知名 大師及藝術人才。同年更獲圖林根巴赫週邀請於德 國巡演巴赫《聖誕神曲》，並參與香港電台製作的 《聖誕園林音樂會田園交響曲》。聲蜚於2016年演 出《巴赫劇場》，為本地首個古典合唱劇場製作， 為觀眾帶來耳目一新的體驗。 聲蜚現正開展「Choral Polygon」計劃，以一系列 創新節目推廣蒙台威爾第及巴赫的作品，觸動更多 人的心靈，啟發思考。
Established as a summer festival, 2015 marked a critical year as SingFest evolved into a year-round programme BACH 330. In celebration of Bach’s 330th birth anniversary and made up of over 25 choral events, BACH 330 connected the local community of musicians and audiences with international maestros and artists, receiving wide acclaim. A Germany tour of Bach Christmas Oratorio at the invitation of Thüringer Bachwochen followed, together with an appearance in RTHK’s production Christmas Concert in the Park – Pastoral Symphony. In 2016, SingFest staged Bach im Theater, the first classical choral theatre production in town, injecting innovation and vibrancy into the local choral scene. SingFest is now embarking on Choral Polygon, a remarkable annual project to promote refined genres by Monteverdi and Bach, and inspire humanity through the beauty of music.
“Choral Polygon” is financially supported by the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region. This concert is part of the project. 「 Choral Polygon」 獲 香 港 特 別 行 政 區 政 府 「 藝 能 發 展 資 助 計 劃 」 的 資 助 ， 本音樂會為其中一項節目。
SingFest is financially supported by the HKADC 聲蜚合唱節為藝發局資助團體
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聲蜚合唱學院及節日合唱團 SingFest Choral Academy and Festival Chorus 合唱團 Choir I 女高音
Soprano
女低音
Alto
徐卓怡
Madeleine HSUE
鄭芷欣
Joey CHENG
劉欣彤
Venice LAU
張凱晴
Peony CHEUNG
羅芷盈
LAW Tsz-ying
周曉恩
Bona CHOW
李馨寧
Deirdre LEE
許芷榕
Daisy HUI
李俞澄
Fifi LEE
吳泳楠
Gemma NG
吳雨縈
Christabel NG
蘇筠婷
Queenie SO
鄧灼華
Megan TANG
游佩珊
Natalie YAU
曾楚翹
Gloria TSANG
邱倩婷
Mandy YAU
黃思華
Rebecca WONG
姚翊淇
Stella YIU
男高音
Tenor
男低音
Bass
陳俊軒
Chris CHAN
鄭穎聰
Cyrus CHENG
陳煜文
Irwin CHAN
劉奕朗
LAU Yik-long
廖梓丞
Jason LIU
文柏渝
Rex MAN
勞展霖
Roger LO
孫子承
Felix SHUEN
謝迦密
Carmel TSE
謝燿廷
TSE Yiu-ting
葉家良
Fred YIP
葉永茂
Pasu YIP
合唱團 Choir II 女高音
Soprano
Alto
Andrea AU
區曉嵐
Helen AU
陳夢琳
CHAN Mung-lam
陳熙文
CHAN Hei-man
陳恩樂
Joyce CHAN
陳德美
May CHAN
陳悅晴
Kristy CHAN
張綽倩
Bernice CHEUNG
鍾穎琛
CHUNG Wing-sum
關學賢
Cynthia KWAN
賀善寧
Shannon HO
關芷瑩
Ophelia KWAN
郭岍
Rachel KWOK
劉思敏
Ruth LAU
莫依鈴
Elaine MOK
吳彥彥
NG Yen-yen
曾麗婷
Kenix TSANG
鄧皓忻
Magdelena TANG
麥蘊瑜
Whitney MAK
黃詠恩
Christine WONG
謝霈如
TSE Pui-yu
余碧玉
Hemiola YU
男高音
Tenor
男低音
Bass
鄭希諾
Samuel CHENG
趙伯承
Patrick CHIU
張讚豪
Julian CHEUNG
江梓濤
Tony KONG
張偉文
Raymond CHEUNG
林國浩
LAM Kwok-ho
程俊軒
Justin CHING
魏雋
Jonathan NGAI
方樂知
Roger FONG
施文傑
Brian SEE
林浩恩
Dominic LAM
王俊謙
Samuel WONG
黃耀德
Rio WONG
排練琴師 Rehearsal pianists: 張力安 Leona CHEUNG 黃正彥 Justin WONG
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女低音
區楚翹
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
● 洪健鈞（署任） 上杉晃代 ● 金勞思 福原真美
CAI Pak-yi
單簧管 Clarinet
陳劭楠
CHAN Shaw-nan Sharon
● 方曉佳
周止善
Kiann CHOW
保
Eiko HOSAKA
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
陳秋媛 ● 秦慶生 田口美奈子
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
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 大號 Tuba
● 張培節
CHANG Pei-chieh
▼ 貝樂安
Laurent PERRIN
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
黃敦品
Marrie Rose KIM
巴松管 Bassoon
● 陳子信
大提琴 Cello
(acting)
Akiyo UESUGI
雙簧管 Oboe
蔡柏沂
英子
HUNG Chien-chun
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 With kind permission of the Hong Kong Academy for Performing Arts: Shane LEVESQUE (龍雲山).
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節目介紹 韓德爾（1685-1759）
《以色列人在埃及》，HWV 54
合唱部份在扮演特定角色的獨唱者之間穿插。但在
時代的變遷—從意大利歌劇到英國神曲
種模式。它們就是《以色列人在埃及》和《彌賽亞》
300年前，當韓德爾在倫敦揚名立萬之時，意大利歌劇 正大行其道。韓德爾在剛出道時，曾在意大利逗留過 一段時間。他在前往意大利之前，便已創作了他的第 一批歌劇（當中只有1705年的《阿爾米拉》[Almira] 還完整地保留下來）。但在意大利的天空下，他的才華 獲得盡情的發揮，其時的歌劇作品包括為佛羅倫斯歌 劇院寫的《羅德里戈》（Rodrigo，1707）和威尼斯的 《阿格里皮娜》（Agrippina，1709）。自1710年起，他 在倫敦還繼續創作類似的作品，一直到1741年，總共 推出了36齣歌劇。但在這時，喬治國王治下的倫敦， 潮流正在改變。韓德爾很能掌握聽眾的口味，於是也 作出相應的改變，漸漸發展出一系列的神曲，以英文 而非意大利文寫作，合唱部份篇幅較長。因此他第二 期的音樂事業，都專注於這種新興的作品，它們對後 來的海頓（他在1790年代曾兩度造訪倫敦）和孟德爾 遜都深有啟發。海頓回到維也納後，寫了他的兩部經 典神曲《創世紀》和《四季》，而孟德爾遜不僅改編了 包括《以色列人在埃及》在內的一些韓德爾的神曲， 還創作了自己的神曲《以利亞》（Elijah）和《聖保羅》 （St Paul）。 韓德爾前後總共創作了約24套英文神曲，有些是根據 較早的意大利神曲改寫的，包括《阿西斯與加拉蒂亞》 （Acis and Galatea）和《時間與真理的勝利》（The Triumph of Time and Truth，這是他最後一套同類的神 曲，在1757年首演）。1730年代是他由意大利歌劇轉 型到英國神曲的時期，這時最早的一部作品是1732年 的 《 以 斯 帖 》（ E s t h e r ）， 之 後 是 《 德 博 拉 》 （Deborah，1733）、《阿塞里亞》（Athalia，1733）和 1738年的《掃羅》（Saul）。韓德爾大部份的神曲都以
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《聖經》或古希臘神話為基礎，角色就像音樂劇那樣，
1739年至1741年之間，韓德爾的兩套作品卻打破了這 （Messiah），雖然首演的反應都不太好，卻成為了他最 著名的作品。
倒敘—《以色列人在埃及》的誕生 1742年在都柏林首演的《彌賽亞》，因為直接採自 經文的歌辭內容而引起不少爭議。在倫敦，韓德爾 不敢像往常一樣推出這部作品，而是以慈善籌款的 名義作宣傳。根據《聖經》改寫的歌辭由詹南斯 （Charles Jennens）操筆，韓德爾第一次和他合 作，是在1738年的《掃羅》一劇。至於1739年的 《以色列人在埃及》，其曲辭作者不詳，但很可能也 是詹南斯。觀眾對該劇反應不一，其演出歷史也頗 為曲折，這可能與它奇怪的倒敘創作過程有一定程 度的關聯，接下來將解釋這點。 1737年年底，韓德爾為喬治二世的妻子卡羅琳王 后的葬禮創作了一首嚴肅的聖歌《錫安的路在哀 嘆》。按照韓德爾的習慣，他不會浪費這麼好的音 樂，於是他的第一個想法就是把它放進《掃羅》一 劇之中，作為哀悼掃羅和喬納森之死的挽歌。最 終，韓德爾決定在此曲的基礎上，創作一套全新的 作品，於是它便變成了描寫以色列人出埃及記（包 括各種災害和摩西把紅海分開的故事）的新神曲第 一部份，《以色列人為約瑟之死的哀嘆》（The Lamentations of the Israelites for the Death of Joseph）。作品的歌辭採自《出埃及記》和多首 《詩篇》，韓德爾也許沒有意識到，這意外地成為了 令他名垂青史的方程式。後來的《彌賽亞》也採用 了類似的經文，雖然頗有爭議地是出自《新約 聖經》。
第一部份既已妥當，韓德爾很快地在1738年
自《以斯帖》的選段和《阿爾辛娜》（Alcina）中
10月1日至11日之間撰寫了第三部份，將《出埃及
己捨棄的樂曲。但該劇的聲譽已經受損，除了
記》的第15章第1至21節的內容包含在內。10月
1740年的一次重演外，它此後都被擱置一旁，儘
15日他開始起草神曲的中間部份，即《出埃及記》
管韓德爾抽取了其中的一些音樂放在1746的《慶
（他也許曾經想以此命名整部神曲），五天後就完
典神曲》（Occasional Oratorio）中。1756年，韓
成了。11月初，作品的管弦樂配器也已竣工。然
德爾已屆晚年，他將《以色列人為約瑟之死的哀
而，首演在1739年4月4日才舉行，距離作品的完
嘆》剪裁一番後，與一段新的前奏一起，又放置
成已將近六個月，韓德爾剛於兩日前寫好了一首
在《慶典神曲》和《所羅門》（Solomon）中演
風琴協奏曲，而且肯定的是在神曲於國王劇院的
出。1771年，即韓德爾去世後12年，情況又變得
演出中，將之作為第二部份的引子來演奏。這首
更複雜。藍道爾（William Randall）第一次將這首
協奏曲有一個很有名的別號— 「布谷鳥和夜
神曲出版，卻完全刪去了第一部份，因此以後的
鶯」。作品之所以這麼快便完成，大抵是因為韓德
音樂會只演奏《出埃及記》和《摩西之歌》兩部
爾又一如既往地借用了其他作品，不僅有他自己
份。今晚我們所聽的就是這個版本，另外再加上
的，而且還有別的作曲家的樂曲。《出埃及記》
第一部份最開頭的交響曲。
這部份挪用了斯特拉代拉（Alessandro Stradella） 的小夜曲《你看到甚麼奇蹟》（Qual Prodigio è
《以色列人在埃及》的音樂
Ch’io Miri），韓德爾特意將此曲原來的獨唱旋律改
肅穆的引子與一連串的《哀嘆》相當吻合，這便形
寫成兩組四部合唱。在《摩西之歌》中，他又從
成了韓德爾原作的第一部份，內容是描述以色列人
17世紀的意大利作曲家艾爾巴（Dionigi Erba）那
在埃及被監禁的情況。值得注意的是，100年後，
竊來《聖母頌歌》（Magnificat）。艾爾巴的作品
孟德爾遜將《以色列人在埃及》改編為德文稿（他
本已是兩組四部合唱，韓德爾在此就直接引用不
在1829年第一次造訪英國時，研習了韓德爾的60
誤。樂隊部份，除了小號和鼓之外，韓德爾還添
卷樂譜原稿，這是其中一卷），拿回德國演出時，
置了三支長號。
把他自己少年時代創作的《小號序曲》（Trumpet
這部神曲在後世非常受歡迎，但其實其首演並不 十分成功。作品主要由合唱組成，而且只有幾段 宣敘調（其功能是敘述，所以像說白多於演唱，
Overture）當作了該劇的引子，調子從而變得更為 尖銳，篇幅也更長。而韓德爾原來的交響曲，則較 為灰暗和含蓄。
由一個稱為固定低音的小組伴奏），觀眾似乎對於
《出埃及記》的開首，男高音獨唱在兩段少有的宣
獨唱段落數量太少有些不滿。因此名重一時的獨
敘調中，為頭兩首合唱奠定了場景：埃及的新王征
唱家，包括女高音杜柏克（Elisabeth Duparc）、高
服了以色列人，上帝選擇了摩西和他的兄長亞倫為
男高音薩維奇（William Savage）、男高音比爾特
以色列人的自由而戰。第一段嚴肅的合唱形容了被
（John Beard）和兩位男低音瓦爾茲（Gustavus
征服的以色列人的苦難，第二段強力的賦格曲，則
Waltz）及萊恩荷特（Henry Reinhold）都沒有被
揭露了10種災害中的第一種— 尼羅河的水變成
充份派上用場。韓德爾很快就將情況補救過來，
血，殺死了河中所有的魚，顯示了上帝的威力。高
在第二和第三次演出（4月11和17日）的宣傳中，
男高音在弦樂恰如其份的跳躍主題動機牽引下，首
宣稱作品已「簡化並與歌曲交錯」，這些歌曲即來
先勾勒了青蛙滋生成災，然後描述動物和人類的瘟
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疫。合唱再帶出埃及人的另外兩種疫情—跳蝨和
接下來的四段合唱再次讚美上帝，中間穿插了兩
蒼蠅（注意嗡嗡的弦樂），接著是把農夫的莊稼一
段獨唱；第一段是高男高音和男高音的二重唱，
掃而光的蝗害。只是這些災害從來不曾以這樣甜美
第二段是高男高音感人肺腑的詠嘆調「
的聲音表達出來！一段同樣跳躍的管弦樂引子，透
領進去」，再加上合唱的榮耀讚歌「耶和華必作
過急速下降的音符，帶出了由定音鼓伴奏的冰雹
王」。最後的男高音宣敘調，由回到同一首讚歌的
暴，閃電同時引起了火災。弦樂和巴松管凝重的樂
合唱所打斷，帶出了幕終的合唱，米利暗（摩西
音，代表了此後三天上帝差遣而來的黑暗，合唱以
和亞倫的姐姐）帶頭跳起了歡慶的舞蹈，手上拿
緩慢而寂靜的唱段來形容這一情景。最後一種災
著古搖鼓（timbrel），逐漸來到了龐大的賦格二重
害，即埃及人每家每戶的長子都全數死亡，則由帶
合唱。為了與題材相配，韓德爾讓合唱在這次逃
刺般的和弦伴奏。
亡中成為真正的主角，就算是摩西本人都默不作
焦點繼而落在以色列人身上；一段較為抒情的合
聲，只有最後一段由女高音飾演的米利暗，才被
唱，形容上帝引領祂的子民離開埃及，在此韓德爾
賦予個人的聲音。
依照《詩篇》逐一描述：埃及人的恐懼；上帝令紅
歌辭見第27至30頁
將他們
海分開；以色列人在被分開的水中間逃亡（獨唱者 的順序是男低音、男高音、高男高音和女高音）；
此樂曲的樂隊編制 弦樂：
第一及第二小提琴、中提琴、大提琴、低音大提琴
木管樂：
雙簧管 (2)、巴松管 (2)
奏）。最後兩段合唱直接引用了《出埃及記》的經
銅管樂：
小號 (2) 、長號 (3)
文來讚美上帝的威力，內容既充滿敬畏又帶有恐
定音鼓
壯著膽子來追逐的埃及人被大水淹沒（定音鼓的輪
懼，此外也講述人們如何把摩西視為上帝的僕從，
古鍵琴、管風琴 獨唱女高音 (2)、高男高音、男高音、男低音(2)；兩組四部合唱
由他引領他們前進。 最後一部份的《摩西之歌》是逃離埃及後的歡慶場 面，雖然音樂經常回顧紅海的奇跡。所有歌辭都取
英文節目介紹：Nick Breckenfield
自《出埃及記》第15章，在此合唱和獨唱的比重
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。
較為均勻，包括了三段二重唱和四段獨唱，還有由 女高音帶領的終幕合唱。莊嚴的「進台詠」，帶出 了繁複的像賦格曲般的讚美詩「我要為耶和華歌 唱」。然後兩位女高音獨唱以更為莊重和服從的調 子繼續對上帝的讚美，其中一位是對另一位的回 應，像卡農曲一樣。接下來的兩段合唱表達了對上 帝更為堅定的信仰，在綿長的管弦樂引子之後，兩 位男低音回想起震怒的上帝，以及祂如何淹殺了埃 及人。其後的五段合唱重申了這一主題；在首次凝 重地思索敵人怎樣被淹沒後，則變為更歡慶的曲 調。男高音扮演起埃及人的角色，女高音則重述上 帝分開紅海的奇蹟來回應他，襯托他們的是甚為忙 碌的雙簧管伴奏。
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中文翻譯：行之
Programme Notes George Frideric Handel（1685-1759）
Israel in Egypt, HWV 54 Changing Time – from Italian Opera to English Oratorio When Handel was establishing himself in London 300 years ago, it was Italian opera that was all the rage. Handel had spent some of his early professional years in Italy and had already composed his first operas even before he travelled to Italy (of which only Almira, dating from 1705, is fully extant), but he really developed his talent for it under Italian skies, with Rodrigo for Florence (1707) and Agrippina for Venice (1709). From 1710 in London he produced such works every year up until 1741: a total of 36 operas. But by then fashions in Georgian London were changing and, astute to the demands of his potential audience, Handel changed too, gradually developing a series of oratorios, with greatly expanded choral parts and written in English, not Italian. Thus the second part of his career concentrated on this new type of work, which later would inspire both Haydn (who, having visited London twice in the 1790s, went back to Vienna and composed his two great oratorios, The Creation and The Seasons) and Mendelssohn (who not only made an arrangement of some Handel oratorios – including Israel in Egypt – but also composed his own oratorios: Elijah and St Paul). In all, Handel composed some 24 English oratorios, building on some even earlier Italian oratorios (including a couple he revisited to fashion English versions, including Acis and Galatea and The Triumph of Time and Truth, his last such work,
which received its first performance in 1757). The 1730s saw a decade of transition from Italian opera to English oratorio, with the earliest of the latter, Esther in 1732, followed by Deborah (1733), Athalia (1733) and then, in 1738, Saul. Most of Handel’s oratorios had a Biblical or Classical Greek basis and are cast as a music drama – with choruses interspersed with solo singers as named characters. But between 1739 and 1741 Handel fashioned two works that broke even that mould. Ironically, after awkward receptions at their premières, these works – Israel in Egypt and Messiah – have become his most popular works.
Composing Backwards – the Genesis of Israel in Egypt It is well known that Messiah, first performed in Dublin in 1742, was controversial because of the nature of its texts, taken direct from the scriptures. Handel did not dare present it as he would normally in London, but instead advertised performances as charity fundraisers. In Messiah Handel had set Biblical excerpts as fashioned by Charles Jennens, with whom he had first worked with on Saul in 1738. It is not known who provided the libretto for Israel in Egypt, which followed in 1739, but it is likely also to have been Jennens. As it happened Israel in Egypt had a very chequered reception and performance history, which might – in part, at least – be explained by its curious “backto-front” compositional history, as we will discover. In late 1737 Handel had composed a solemn anthem, The Ways of Zion Do Mourn, for the funeral of Queen Caroline, wife of King George II. As was his wont, Handel was keen not to let such good music go to waste, and his first thought was 23
to incorporate it into Saul – by way of an elegy for
Moses’ Song he turns to another late 17th-century
the deaths of Saul and Jonathan. In the end, a
Italian composer, Dionigi Erba to plunder a
decision was made to compose new music for that,
Magnificat. Here he “quoted” Erba, who had
so Handel’s original funeral anthem was still
already written double choruses. Handel includes
looking for a new home, until he decided it should
three trombones, in addition to trumpets and
be the first part of a new oratorio based on the
drums in his orchestra.
Israeli exodus from Egypt – the plagues, dividing of the Red Sea et al, with the first part, using the extant music, as The Lamentations of the Israelites for the Death of Joseph. With the Book of Exodus and various Psalms naturally forming his text, Handel stumbled upon a formula that – unbeknownst to him – would secure his posthumous reputation, given such similar textual basis of Messiah, albeit controversially from the New Testament.
come as a surprise that the première was not a success. The audience seems to have been dismayed at the paucity of solo numbers in the work, which is mainly conceived of choruses, and also – unusually – has very few recitative passages (declamations rather than songs, accompanied by a small group called a continuo, which have a narrative function). So the popular soloists – soprano Elisabeth Duparc (“La Franchesina” as she
Having already sorted the first part, Handel quickly
was known), countertenor William Savage, tenor
composed the third part – setting Exodus Chapter
John Beard and two basses, Gustavus Waltz and
15, verses 1 to 21 quickly between 1 and 11
Henry Reinhold – were underused, a situation
October 1738. On 15 October he started on the
Handel was keen to remedy immediately, as the
middle part of the oratorio, called Exodus (at one
second and third performances (on 11 and 17
point, it seems that might have been the title for
April) were advertised as “shortened and
the whole oratorio), which he finished sketching
intermixed with Songs” – ie excerpts from Esther
just five days later. The orchestrations were
and a discarded work from Alcina. But the damage
completed by the start of the next month.
seemed already to have been done. Save for one
However, it was nearly six months before it was
revival in 1740, the oratorio was put aside,
premiered, on 4 April 1739, by which time Handel
although Handel raided it for some music for his
had (just – two days earlier) completed an organ
1746 Occasional Oratorio. Late in Handel’s life, in
concerto which is almost certain he played as a
1756, it reappeared, shorn of the Lamentations
preface to the oratorio’s second part at the King’s
and with a new opening part, cobbled together
Theatre. This is best known by its nickname, “The
from the Occasional Oratorio and Solomon. The
Cuckoo and the Nightingale”. The speed of
situation was compounded in 1771, 12 years after
composition was surely helped by Handel’s
Handel’s death, when W illiam Randall first
characteristic borrowings, not only from himself
published the oratorio, omitting Part 1 entirely, so
but here – particularly – from other composers.
the tradition was established to hear just Exodus
Exodus utilises passages from Alessandro Stradella’s
and Moses’ Song. That is how we hear it tonight,
serenata Qual Prodigio è Ch’io Miri, which Handel
with the addition of the Symphony from the very
moulded to his purposes expanding the earlier
beginning of Part 1.
composer’s solo lines into double choruses, while in
24
Given the oratorio’s subsequent popularity, it may
Israel in Egypt – The Music The sombre introduction befits a succession of Lamentations that forms Handel’s original Part One, setting the scene of the incarcerated Israelites in Egypt. It is interesting to note that when – 100
following three days of darkness God sends, which the chorus describes in a section that is both slow and hushed. The final plague – that of the death of the firstborn in every Egyptian household – is accompanied by stabbing chords.
years later – Mendelssohn adapted Israel in Egypt
The focus now turns to the Israelites; and following
(one of the 60 volumes of original Handel scores he
a much more lyrical chorus, describing God leading
had studied on his first visit to Britain in 1829) for
His people away from Egypt, Handel follows the
performance in Germany, translated as Israel in
Book of Psalms in describing by turns: the fear of
Ägyten, he interpolated one of his teenage
the Egyptians; God’s command to the Red Sea to
overtures, known as the Trumpet Overture, which
part; the escape of the Israelites through the gap in
offers a much more strident – and longer –
the water (first with the basses, then the tenors,
introduction to the story. In Handel’s original, the
altos and finally the sopranos); and how the now
Symphony much darker and subtler.
more-emboldened Egyptians were drowned by the
At the beginning of Exodus, the tenor soloist, in two of the rare recitative passages, sets the scene for both the first two choruses: a new king in Egypt subjugating the Israelites and God’s choosing of Moses and his brother Aaron to fight for the Israelites’ freedom. The first sombre chorus
crashing waters (rumbling timpani) when they attempted to follow. The final two choruses of the Part (now quoting Exodus) are in praise of the might of God, a mixture of awe and fear, and how Moses was seen as God’s servant who would lead them.
describes the Israelites’ plight and their
The final part – Moses’ Song – is a celebration
subjugation, while the second – set as a powerful
following the escape from Egypt although it often
fugue – unveils the first of the 10 plagues – the
revisits the miraculous parting of the Red Sea. All
water of the Nile turning to blood, killing all the
the text is taken from Exodus chapter 15, and here
fish – confirming the majesty of God. The
the balance between choral and solo voice
countertenor, with an apposite jumping motif in
numbers is more equal, with three duets and four
the strings, conjures up first the plague of frogs
solos, as well as the soprano leading the final
and then the epidemic of disease in both animal
chorus. After the majestic Introitus, which
and human populations. The chorus intone the
introduces the busy fugal-like hymn of praise “I
next pair of afflictions for the Egyptians – lice and
Will Sing Unto the Lord”, two solo sopranos
flies (note the buzzing strings) and then the plague
continue His praises in much more stately and
of locusts, stripping farmers’ produce of all
subdued way, one the echo of the other, as in a
nutrient. Never has such disasters sounded so
canon. The chorus are suitably imposing in their
sweet! A similarly jaunty orchestral introduction
affirmation of their faith in God in the next two
with swiftly downward runs leads to the timpani
numbers, before two solo basses, after lengthy
accompanying the thunderstorms of hail, with
orchestral introduction, open the reminiscences of
lightning starting fires on the ground. Sombre
vengeful God and how he smote the Egyptians by
tones from strings and bassoons illustrate the
drowning them. Over the next five numbers, the
25
chorus reiterate the theme; more celebratory after the first, sombre, contemplation of their enemies’ drowning. A tenor solo takes the Egyptians’ part, answered by the soprano retelling God’s actions to stir the waters of the Red Sea, with busy oboe accompanying lines underneath. The following four choruses return to praising the Lord, interspersed with two solo items; the first a duet for countertenor and tenor and then a heartfelt aria for countertenor, “Thou Shalt Bring them In”, topped by the chorus’ glorious paean “The Lord Shall Reign For Ever and Ever”. The final recitative for tenor – interrupted by a choral return to that same paean – leads to the concluding chorus, where Miriam (Moses and Aaron’s sister) leads a celebratory dance, timbrel (like a tambourine) in hand, which builds to a massive fugal edifice for double chorus. As befits the subject matter, in Israel in Egypt Handel made the chorus the real protagonist in the action, even if Moses himself is left silent and only Miriam, as embodied by the soprano in the final number, is granted an individual voice. Instrumentation of this piece Strings: 1st & 2nd violins, violas, cellos, double basses Woodwinds: oboes (2), bassoons (2) Brass: trumpets (2), trombones (3) Timpani Harpiscord, organ Solo sopranos (2), countertenor, tenor, basses (2) Double chorus
© 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
26
Libretto
歌辭
Part II: The Exodus
第二部份《出埃及記》
Recitative (Tenor) Now there arose a new king over Egypt, which knew not Joseph; and he set over Israel taskmasters to afflict them with burdens; and they made them serve with rigour. (Exodus 1:8,11,13)
宣敘調（男高音） 有一位不認識約瑟的新王興起，統治埃及; 於是埃及人 派監工管轄他們，用勞役苦待他們。埃及人嚴厲地強迫 以色列人做工。 （《出埃及記》1:8,11,13）
Solo Countertenor and Chorus And the children of Israel sighed by reason of the bondage, and their cry came up unto God. They oppressed them with burdens and made them serve with rigour; and their cry came up unto God. (Exodus 2:23; 1:11,13)
獨唱高男高音與合唱 以色列人因做苦工，就嘆息哀求；他們因苦工所發出的 哀聲達於神。埃及人嚴厲地強迫以色列人做工。他們的 哀聲達於神。 （《出埃及記》2:23; 1:11,13）
Recitative (Tenor) Then sent He Moses, His servant, and Aaron whom He had chosen. These showed His signs among them, and wonders in the land of Ham. He turned their waters into blood. (Psalm 105:26,27,29)
宣敘調（男高音） 祂差遣他的僕人摩西和祂所揀選的亞倫，在敵人中間顯 祂的神蹟，在含地顯祂的奇事。祂使埃及的水變為血。 （《詩篇》105:26-27,29）
Chorus They loathed to drink of the river. He turned their waters into blood. (Exodus 7:18; Psalm 105:29)
合唱 埃及人厭惡喝這河 的水。祂使埃及的水變為血。 （《出埃及記》7:18 ; 《詩篇》 105:29）
Air (Countertenor) Their land brought forth frogs, yea even in their kings’ chambers. He gave their cattle over to the pestilence; blotches and blains broke forth on man and beast. (Psalm 105:30; Exodus 9:9)
詠嘆調（高男高音） 青蛙在他們的土地上滋生，王宮的內室也是如此。祂令 他們的牛隻都染瘟疫，使埃及全地的人和牲畜身上起泡 生瘡。 （《詩篇》 105:30;《出埃及記》9:6,9）
Chorus He spake the word, and there came all manner of flies, and lice in all their quarters. He spake; and the locusts came without number and devoured the fruits of their ground. (Psalm 105:31,34,35)
合唱 衪一吩咐，蒼蠅就成群飛來，並有跳蝨進入他們四境。 衪一吩咐，就有蝗蟲蝻子上來，不計其數，吃光他們地 上各樣的菜蔬，吞盡他們田地的出產。 （《詩篇 》105:31, 34-35》）
Chorus He gave them hailstones for rain; fire, mingled with the hail, ran along upon the ground. (Psalm 105:32; Exodus 9:23,24)
合唱 衪給他們降下冰雹為雨，在他們的地上降下火焰。 （《詩篇 》105:32; 《出埃及記》9:23-24》）
27
Chorus He sent a thick darkness over all the land, even darkness which might be felt. (Exodus 10:21)
合唱 衪使黑暗籠罩埃及地；這黑暗甚至可以摸得到。 （《出埃及記》10:21）
Chorus He smote all the firstborn of Egypt, the chief of all their strength. (Psalm 105:36)
合唱 衪又擊殺他們國內所有的長子，就是他們強壯時頭生 的。 （《詩篇 》105:36）
Chorus But as for his people, He led them forth like sheep. He brought them out with silver and gold; there was not one feeble person among their tribes. (Psalm 78:52; 105:37)
合唱 衪卻領出自己的子民如羊，在曠野引導他們如羊群。衪 卻帶領自己的百姓帶著金子銀子出來，衪支派中沒有一 個走不動的。 （《詩篇》 78:52; 105:37）
Chorus Egypt was glad when they departed, for the fear of them fell upon them. (Psalm 105:38)
合唱 他們出來的時候，埃及人就歡喜；因為埃及人懼怕他 們。 （《詩篇》 105:38）
Chorus He rebuked the Red Sea, and it was dried up. He led them through the deep as through a wilderness. But the waters overwhelmed their enemies, there was not one of them left. (Psalm 106: 9,11)
合唱 衪斥責紅海，海就乾了。 衪帶領他們走過深海，如走曠野。 水淹沒他們的敵人，沒有一個存留。 （《詩篇》 106:9,11）
Chorus And Israel saw that great work that the Lord did upon the Egyptians; and the people feared the Lord, and believed the Lord, and His servant Moses. (Exodus 14:31)
合唱 以色列人看見耶和華向埃及人所施展的大能；百姓敬畏 耶和華，並且信服耶和華和衪的僕人摩西。 （《出埃及記》14:31）
Part III: Moses’ Song
第三部份 《摩西之歌》
Chorus/ Introitus Moses and the children of Israel sang this song unto the Lord, and spake saying: I will sing unto the Lord, for He hath triumphed gloriously, the horse and his rider hath He thrown into the sea. (Exodus 15: 1)
合唱/進台詠 那時，摩西和以色列人向耶和華唱這歌，說：我要向耶 和華歌唱，因祂大大得勝，將馬和騎馬的投在海中。 （《出埃及記》15: 1）
Duet (Sopranos I & II) The Lord is my strength and my song, He is become my salvation. (Exodus 15: 2)
二重唱（女高音I/II） 耶和華是我的力量，是我的詩歌，祂也成了我的拯救。 （《出埃及記》15: 2）
Chorus He is my God, and I will prepare Him an habitation, my father’s God. And I will exalt Him. (Exodus 15: 2)
合唱 這是我的神，我要讚美祂；我父親的神，我要尊崇祂。 （《出埃及記》15: 2）
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Duet (Basses I & II ) The Lord is a man of war, Lord is His name. Pharaoh’s chariots and his host hath He cast into the sea; his chosen captains also are drowned in the Red Sea. (Exodus 15: 3–4) Chorus The depths have covered them, they sank into the bottom as a stone. (Exodus 15: 5)
二重唱（男低音I/II） 耶和華是戰士；耶和華是祂的名。法老的戰車、軍兵， 祂已拋在海中；法老精選的軍官都沉於紅海。 （《出埃及記》15: 3-4）
Chorus Thy right hand, O Lord, is become glorious in power, thy right hand, O Lord, hath dashed in pieces the enemy. And in the greatness of thine excellency, thou hast overthrown them that rose up against thee. Thou sentest forth thy wrath, which consumed them as stubble. (Exodus 15: 6–7)
合唱 耶和華啊， 的右手施展能力，大顯榮耀；耶和華啊， 的右手摔碎仇敵。 大發威嚴，摧毀了 的敵人； 發出烈怒，吞滅他們如同碎秸。 （《出埃及記》15: 6-7）
Chorus And with the blast of thy nostrils the waters were gathered together, the floods stood upright as an heap, and the depths were congealed in the heart of the sea. (Exodus 15: 8) Air (Tenor) The enemy said, I will pursue, I will overtake, I will divide the spoil, my lust shall be satisfied upon them, I will draw my sword, my hand shall destroy them. (Exodus 15: 9)
合唱 因 鼻中的氣，水就聚成堆，大水豎立如壘，海的中心 深水凝結。 （《出埃及記》15: 8）
Air (Soprano) Thou didst blow with the wind, the sea covered them; they sank as lead in the mighty waters. (Exodus 15: 10) Chorus Who is like unto thee, O Lord, among the gods? Who is like thee, glorious in holiness, fearful in praises, doing wonders? Thou stretchest out thy right hand. The earth swallowed them. (Exodus 15: 11–12)
詠嘆調（女高音） 用風一吹，海水就淹沒他們；他們像鉛沉在大水之 中。 （《出埃及記》15: 10）
Duet (Countertenor, Tenor) Thou in thy mercy hast led forth thy people which thou hast redeemed. Thou hast guided them in thy strength unto thy holy habitation. (Exodus 15: 13)
二重唱（高男高音、男高音） 以慈愛引領 所救贖的百姓； 以能力引導他們到 的聖所。 （《出埃及記》15: 13）
合唱 深水淹沒他們；他們好像石頭墜到深處。 （《出埃及記》15: 5）
詠嘆調（男高音） 仇敵說：我要追趕，我要追上，我要分擄物，在他們身 上滿足我的心願，我要拔刀，親手毀滅他們。 （《出埃及記》15: 9）
合唱 耶和華啊，眾神明中，誰能像 ？誰能像 ，至聖至 榮，可頌可畏，施行奇事！ 伸出右手，大地就吞滅了 他們。 （《出埃及記》15: 11-12）
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Chorus The people shall hear, and be afraid; sorrow shall take hold on them, all the inhabitants of Canaan shall melt away; by the greatness of thy arm, they shall be as still as a stone; till thy people pass over, O Lord, which thou hast purchased. (Exodus 15: 14–16)
合唱 萬民聽見就顫抖；疼痛抓住非利士的居民。迦南所有的 居民都融化。耶和華啊，因 膀臂的大能，他們如石頭 寂靜不動，等候 百姓過去，等候 所贖的百姓過去。 （《出埃及記》15: 14-16）
Air (Countertenor) Thou shalt bring them in, and plant them in the mountain of thine inheritance, in the place, O Lord, which thou hast made for thee to dwell in, in the Sanctuary, O Lord, which thy hands have established. (Exodus 15: 17)
詠嘆調（高男高音） 要將他們領進去，栽在 產業的山上，耶和華啊，就 是 為自己所造的住處，主啊，就是 手所建立的聖 所。 （《出埃及記》15: 17）
Chorus The Lord shall reign for ever and ever.
合唱 耶和華必作王，直到永永遠遠！ (Exodus 15: 18)
《出埃及記》15: 18）
Recitative (Tenor) For the horse of Pharaoh went in with his chariots, and with his horsemen into the sea, and the Lord brought again the waters of the sea upon them; but the children of Israel went on dry land in the midst of the sea. (Exodus 15: 19) Chorus The Lord shall reign for ever and ever. (Exodus 15: 18)
宣敘調（男高音） 法老的馬匹、戰車和戰車長下到海中，耶和華使海水回 流到他們身上；以色列人卻走在海中的乾地上。 （《出埃及記》15: 19）
Recitative (Tenor) And Miriam the prophetess, the sister of Aaron, took a timbrel in her hand, and all the women went out after her with timbrels and with dances, and Miriam answered them: (Exodus 15: 20–21)
宣敘調（男高音） 那時，米利暗女先知，亞倫的姊姊，手 拿著鈴鼓；眾 婦女也跟她出去打鼓跳舞。米利暗回應他們： （《出埃及記》15: 20-21）
Solo Soprano & Chorus Sing ye to the Lord, for He hath triumphed gloriously. The Lord shall reign for ever and ever. The horse and his rider hath He thrown into the sea. The Lord shall reign for ever and ever. I will sing unto the Lord, for He hath triumphed gloriously; the horse and his rider hath He thrown into the sea. (Exodus 15: 21,18)
獨唱女高音與合唱 你們要歌頌耶和華，因祂大大得勝， 耶和華必作王，直到永永遠遠！ 將馬和騎馬的投在海中。歌頌耶和華，耶和華必作王， 直到永永遠遠！我要歌頌耶和華，因祂大大得勝；因祂 大大得勝，將馬和騎馬的投在海中。 （《出埃及記》15: 21,18）
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合唱 耶和華必作王，直到永永遠遠！ （《出埃及記》15: 18）
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.
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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 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 • 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 • 祈大衛教授 Prof David Clarke
Jade Donors (HK$50,000 to HK$99,999)
• Ms Rose Ho
• CLP Holdings Limited • 無名氏 Anonymous
• 席信 Mr Paul Jackson • Luca, Caterina, Maurien, Joseph Jacobelli • 紀念劉葉珍女士
Ruby Donors (HK$30,000 to HK$49,999)
• 李樹榮博士 Dr Ernest Lee
• 鍾思源醫生 Dr Chung See Yuen • 郭立成律師 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
• 廖炳輝醫生 Dr Liu Bing Fai • 陸文靜小姐 Ms Anna, Man Ching Luk • 吳思博先生及蕭泳欣女士 Winny & Nigel Ng • 吳榮奎先生 Mr Ng Wing Fui Nicholas • 蘇國輝先生 • Mr and Mrs Robert Tang
• 林定國先生夫人 Mr and Mrs Lam Ting Kwok Paul
• 曾健鵬先生夫人 Mr & Mrs Paul Tsang • 黃乃禧先生 Mr Wong Nai Hay
• Nathaniel Foundation Limited
• Mr Peterson Wong
• 孫永輝及施熙德伉儷 Edith and Stephen Sun
• Mr Marcus Woo
• 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
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• Ms Alice Yeung • 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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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
樂團事務及節目 Orchestra & Programme
會計經理 Accounting Manager:
李靄玲 Judith LEE
樂團經理 Orchestra Manager:
陳成美 Marylu CHAN
行政經理 Administration Manager:
黎潔雲 Winsome LAI
譜務管理 Librarian:
陳藹晴 Ivy CHAN
辦公室助理 Office Assistant:
楊瑞遠 YANG Jui-yuan
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
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:
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梁凱文 Carmen LEUNG
藝術行政主任 Arts Administration Officers:
傅嘉聰 Castor FU 高凱晴 Debbie KO
當代音樂研究 Contemporary Music Research: 鄺展維 Charles KWONG