香港大會堂音樂廳Concert HallHong Kong City Hall

演出長約 2 小時，包括一節 20 分鐘中場休息Running time: approximately 2 hourswith a 20 minute interval

25.2 .2006

成員名單Quartet

四重奏介紹Quartet Profile

曲目Programme

樂曲介紹Programme Notes

生平介紹Biographies

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為了讓大家對這次演出留下美好印象，請切記在節目開始前關掉手錶、無㵟電話及傳呼機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙，多謝合作。

To make this performance a pleasant experience for the artists and other members ofthe audience, PLEASE switch off your alarm watches, MOBILE PHONES and PAGERS.Eating and drinking, unauthorised photography and audio or video recording areforbidden in the auditorium. Thank you for your co-operation.

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沙菲爾澳洲結他四重奏

SaffireThe Australian Guitar Quartet

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照片 Group photographs© Tom Caldwell 2005

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澳洲航空公司為沙菲爾結他四重奏成員提供航空服務

Members of Saffire are flown in by

斯拉華．格里哥利揚Slava Grigoryan

加里夫．科克Gareth Koch

卡琳．蕭浦Karin Schaupp

倫納德．格里哥利揚Leonard Grigoryan

沙菲爾澳洲結他四重奏Saffire - The Australian Guitar Quartet

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沙菲爾澳洲結他四重奏Saffire - The Australian Guitar Quartet

2002年在悉尼港口舉辦的一場大型戶外音樂會，撮合了澳洲四名頂尖結他手，組成沙菲爾。沙菲爾現在的成員為卡琳．蕭浦、斯拉華．格里哥利揚、加里夫．科克、倫納德．格里哥利揚。很少獨當一面的演奏家會走在一起，成為長期拍檔。這四位結他巨星，在各自巡迴獨奏的緊密檔期中，抽出時間，放下架子，以熱情洋溢、創意迭出、無比歡愉的音樂彼此交流，這也許就是沙菲爾紅透四方，並成了澳洲最叫座的古典樂隊的訣竅，為結他音樂開拓了新領域。

沙菲爾吸引了澳洲不少知名作曲家為他們作曲，包括奈杰爾．韋斯特萊克、李察．查爾頓、伊連娜．卡斯-雪寧等。沙菲爾突破一般結他樂隊的配器慣例，採用了三個標準結他、一個八弦結他、一個感聲（或叫多布羅）結他、一個鋼弦結他、一個上低音結他、一個八度音程結他和一個佛蘭明高結他。台上可多至十支結他，由演奏者在曲與曲之間，甚至在一首樂曲當中，調度使用，變化組合，令演奏活力十足，音色繽紛多彩。沙菲爾將古典音樂、世界音樂、民族以至搖滾音樂等不同傳統的樂器，結合得天衣無縫。

Formed spontaneously in 2002 for a large outdoor concert set on Sydney Harbour, Saffirecomprises four of Australia’s top guitarists — Karin Schaupp, Slava Grigoryan, GarethKoch and Leonard Grigoryan. Rarely do soloists come together to form a permanentensemble. In the case of Saffire perhaps this is the secret to their incredible success —four star soloists making time in their solo touring schedules and leaving their egos at thedoor to share a passionate, innovative and irresistibly joyful musical exchange. Notsurprisingly Saffire has gone from strength to strength, having become established asAustralia’s highest selling classical ensemble and chartering new territory on the guitar.

Saffire have inspired a number of Australia’s leading composers to write especially for thegroup — among them Nigel Westlake, Richard Charlton, Elena Kats-Chernin and others.Having moved beyond the boundaries of a standard guitar ensemble, Saffire includes threestandard, an eight-string, a dobro, a steel string, a baritone, an octave guitar and a flamencoguitar in their instrumentation. With as many as ten guitars on stage, the guitarists switchinstruments between works and sometimes even within works creating a high-energyperformance with a wide sound spectrum. Saffire seamlessly bring together instrumentsfrom different traditions of music; from classical and world music to folk and rock.

Quartet Profile 四重奏介紹

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浦雷托流士 (1571-1621)四首舞曲（選自《 耳西科瑞》）庫朗舞曲I－庫朗舞曲II－芭蕾舞曲－沃爾塔舞曲

葛拉納多斯 (1867-1916)第11首《吉卜賽人狂歡節舞曲》及第6首《霍達舞曲》（選自《十二首西班牙舞曲》）

巴托克 (1881-1945)《六首羅馬尼亞民族舞曲》手杖舞腰帶舞頓足爵士舞號笛舞羅馬尼亞波爾卡舞快舞

皮亞蘇拉 (1921-1992)《魔鬼的愛情》

羅蘭特．戴爾斯 (1955-)《仿皮探戈》

深紫 （1968年成立之重搖滾樂隊）《高速公路之星》

－ 中場休息 －

奈杰爾．韋斯特萊克 (1958-)《六尾魚組曲》琵琶魚太陽魚青咀龍占伸口魚葉狀海龍飛魚

凱爾特民謠《她走過市集》

比爾．惠倫 (1950-)《美國之航》《大河之舞》（選自舞劇《大河之舞》）

Programme曲目

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Michael Praetorius (1571-1621)Four Dances (from Terpsichore)Courante I - Courante II - Ballett - La Volta

Enrique Granados (1867-1916)No 11, ZambraNo 6, Rondalla Aragonesa(from 12 Danzas Españolas)

Béla Bartók (1881-1945)Six Romanian Folk DancesStick DanceSash DanceStomping DanceHornpipe DanceRomanian PolkaFast Dance

Astor Piazzolla (1921-1992)Romance del Diablo

Roland Dyens (1955- )Tango en Skaï

Deep Purple (Hard Rock group formed in 1968)Highway Star

– Interval –

Nigel Westlake (1958- )Six FishGuitarfishSunfishSpangled EmperorSling-Jaw WrasseLeafy Sea DragonFlying Fish

Celtic TraditionalShe Moved Through the Fair

Bill Whelan (1950- )American WakeRiverdance(from Riverdance: The Show)

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浦雷托流士四首舞曲（選自《 耳西科瑞》）

德國音樂家浦雷托流士，曾在萊比錫、紐倫堡和拜羅伊特等地工作。他於法蘭克福受教育，後成為當地聖馬林教堂的風琴手。他一生致力教堂音樂，出版了二十多本聖詠集。他也編纂世俗音樂，最著名的就是以希臘女舞神為名的《忒耳西科瑞》，其中包含三百一十二首舞曲，分四部、五部和六部舞曲，浦雷托流士為這些舞曲特別選用不同大小的魯特琴。沙菲爾受他啟發，也混合各種結他來編排這些舞曲。

葛拉納多斯第11首《吉卜賽人狂歡節舞曲》及第6首《霍達舞曲》（選自《十二首西班牙舞曲》）

葛拉納多斯的《西班牙舞曲》寫於1892至1900年間，是他最動人的作品之一，其中每首都令人感受到西班牙人的驕傲憂鬱的靈魂。這些《西班牙舞曲》要求演奏者有高度演繹技巧，節奏上必須充滿活力、色彩、想像力和詩意。葛拉納多斯結合了西班牙音樂况的舞蹈和民歌元素，並賦之予優雅氣質和魅力。吉卜賽歌曲和安達魯西亞民間音樂的融合，能令人興奮陶醉；瀰漫在許多西班牙作曲家作品况的，正是這種風味。

巴托克《六首羅馬尼亞民族舞曲》

1905年，巴托克對匈牙利、斯洛伐克和羅馬尼亞的民間音樂，進行仔細及科學化的研究。1914年，他寫道：「很難想像還有人會在這動盪年代搜集民歌，但要做還是可以的。令人詫異的是，這跟在和平時期做的搜集工夫竟沒有兩樣。農民活得如此歡快，無憂無慮，你會以為他們根本不把戰爭放在心上。」1915年，巴托克完成了《六首羅馬尼亞民族舞曲》，並已搜羅了大約一萬六千首匈牙利、羅馬尼亞、斯洛伐克、保加利亞、羅塞尼亞、塞爾維亞，甚至阿拉伯的民歌。

他於1910到1915年間的創作甚少，這時期推出的大量作品，都來自他由1909年起採集的羅馬尼亞民歌，許多更是珍貴之作，其中為鋼琴而寫的《六首羅馬尼亞民族舞曲》，由他親自改編給小型交響樂隊演奏，成了他最受歡迎的樂曲之一。此後幾乎每一種樂器都有這首舞曲的改編演奏版本。巴托克把農民樂手用奇特的小提琴、長笛和風笛演繹他樂曲的版本記載下來，從中可看出他創作的樂曲如何含蓄細膩。他獨特的個人風格結合異域風情的微妙和特性得以活現，讓表演者和聽眾都能心領神會。

巴托克認為民族音樂既有助於發掘和聲上各種新的可能，也可使旋律和節奏的傳統觀念更加豐富。

Programme Notes樂曲介紹

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皮亞蘇拉《魔鬼的愛情》

探戈舞曲起源於十九世紀九十年代，環境惡劣、低下階層聚居的布宜諾斯艾利斯市郊。既出自移民工人階級，早期的探戈舞曲帶有西班牙輕歌劇、哈巴內拉舞曲、波爾卡舞曲、華爾茲舞曲和米隆加舞曲的影子。原先的探戈為小提琴、長笛和結他三重奏，到上世紀四十年代以前，隨着城市發展愈趨繁榮，探戈成了電台和舞廳的常備節目。這是傑出的交響樂團、樂隊領班和歌手顛倒眾生的歲月，皮亞蘇拉在回憶錄中談到其中許多人，他們都彷彿散發着迷人的魅力。

也是在這段時期，皮亞蘇拉着手改革探戈的傳統形式和音色。及至五十年代中期，在他留學巴黎，師從納迪亞．布蘭格之後，皮亞蘇拉便已準備好揚棄探戈一切規則。在《魔鬼的愛情》况，皮亞蘇拉保留了探戈的酸楚及抒情調子，卻拒絕淪於傷感和自憐，他吸收了拉威爾、德布西、普契尼和梅湘等人的影響，偶爾採納格利．莫里根和藍尼．特里斯坦奴的「酷派爵士」，用來改變探戈的和音。皮亞蘇拉使樂曲擺脫舞廳風格，利用賦格曲、「行走低音」指法和令人聯想起巴托克的粗野重音，為樂曲注入新的活力。

羅蘭特．戴爾斯《仿皮探戈》

1978年，結他手羅蘭特·戴爾斯在巴黎一個派對上，即興演奏了《仿皮探戈》，這首樂曲自此成為他的名作之一。戴爾斯形容此曲為一個「玩笑」，或是一件贗品 — 事實上曲名的「skaï」指的就是假皮革。他建議演奏者不要太煞有介事，寧可重現樂曲誕生時那種歡樂的派對氣氛。沙菲爾聽從了他的忠告，演奏此曲時特地「添枝加葉」。

深紫《高速公路之星》

「樂曲節奏迅速而猛烈，快得幾乎令人不安，歌詞更將樂曲轉化為一把殺人不眨眼的刀。」1972年《滾石雜誌》這段話，乾淨利落的道出了《高速公路之星》的強勁動力及節拍。這隊英國搖滾樂隊曾表示，此曲源自一次長途汽車之旅。樂隊成員羅杰．格魯華和伊安．基蘭在途上開始構思和弦的發展及琢磨歌詞。到目的地後他們隨即排練新作，當晚便在樸茨茅斯會堂首演。後來這首樂曲和著名的《水上煙》一起收進「深紫」灌錄的《機械頭》專輯。由於《高速公路之星》這首樂曲快得令人幾無喘息空間，要求演奏者技藝純熟，所以把它放在結他四重奏曲目當中，無疑是對結他技術的重大挑戰，但也是一場可觀的技藝表演。

樂曲除了節奏躍動強烈外，另一特點是很少運用三度和音，反而着重四度和五度和音。這個特色由結他四重奏音樂彈來，明顯產生了一種像教會調式音樂（有時幾近東方音樂）的效果和凱爾特情調。

－ 中場休息 －

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奈杰爾．韋斯特萊克《六尾魚組曲》

一陣奔瀉而出的和弦為韋斯特萊克新作的四重奏展開了序幕，稍為靜默之後，結他此起彼落，音色像飛魚在海上翻騰，閃閃發光。樂曲彷彿真的盪漾出活潑生機，其明亮照人的風格泛起陣陣熱情異放的音符。樂曲的斑斕色彩在一般結他四重奏中極為少見，這得歸功於不同尋常的結他組合。

卡琳和斯拉華彈的古典結他是主音，演繹大部份旋律素材，且經常互相應和。與之對立的則是李奧納德的鋼弦結他的微微顫音，以及加里夫彈的共鳴器結他的低沉聲音；這兩種結他能以令人迷醉的獨特方式，拓闊樂隊的音域，使音色顯得更繽紛多彩。共鳴器結他一向用於藍調音樂，現在一個「古典」作曲家竟拿來入樂，看似奇怪，但一旦用在《六尾魚組曲》之中，效果卻出奇的好，簡直像水一般起伏有致，波浪滔滔。共鳴器甚至借助瓶頸滑動技巧，在第五樂章《葉狀海龍》况製造出「鯨魚之歌」的效果。

《六尾魚組曲》整首都予人輕鬆愉快、如魚得水的感覺，作曲技巧掌握到家，和聲處理時而如水珠剔透，時而如飛魚入水。韋斯特萊克說：

「樂章形成之際，彷彿自有生命，各具特色。我想起在大自然見過的魚─ 海洋生物千差萬別、奇美無匹、神秘莫測，令我深深着迷。那時我正閱讀李察．法納根的大作《古爾德魚類圖鑑》，受了他影響也未可知。」

韋斯特萊克不單只創作供音樂廳演奏的樂曲，也曾替電影作曲，包括《南極洲》和《寶貝小豬嘜》。《六尾魚組曲》由沙菲爾委約創作，2004年於第三屆澳洲結他賽及結他節中首演。

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場刊中譯：昌明

凱爾特民謠《她走過市集》

比爾．惠倫《美國之航》《大河之舞》（選自舞劇《大河之舞》）

若問：「什麼是凱爾特音樂？」最實際的答案也許是：「在凱爾特國家產生的音樂。」這些國家包括：愛爾蘭、蘇格蘭、威爾斯、愛爾蘭的馬恩島、英格蘭的康瓦爾、法國的布列塔尼、還有一些西班牙和葡萄牙地區（凱爾特伊比利亞），其中以愛爾蘭尤其重要。

凱爾特音樂包含很多元素，但主要指被稱為「凱爾特」的各個地區的音樂傳統。這傳統一直都把外來音樂兼收並蓄，近年來所受的當代音樂影響，有搖滾樂、爵士樂、高科技舞曲和迷幻舞曲等。另外，凱爾特音樂也受許多非音樂的因素左右，如民族身份認同及凱爾特國家的政治自決問題。

在包羅廣闊的凱爾特音樂中，一方面有世代相傳的樂曲和傳統調子，《她走過市集》的結他四重奏改編雖算有當代感，但樂曲始終是傳統之作。旋律結構簡單，但其中的形式卻變化多端。

凱爾特音樂的有趣特色之一是採用了五聲音階。愛爾蘭和蘇格蘭民間音樂，都在五聲音階中把旋律的運用推向極致，經常包含兩個八度的旋律。

凱爾特音樂也有迥然不同的一面，就是高科技的音樂，由民間音樂跟搖滾樂、爵士樂、民族或舞廳曲目等融合而成。

在愛爾蘭，到目前為止，近年音樂史上最受歡迎的演出就是《大河之舞》了。原來的七分鐘交響樂作品《大河之舞》，是用來跳愛爾蘭踢躂舞的。愛爾蘭作曲家惠倫完成了《大河之舞》的舞劇版，收入了《美國之航》，此後這個作品便巡迴世界各地，觀眾數以百萬。這朵凱爾特奇葩，最富於動感的是它交織多種類型和文化的實驗手法。《大河之舞》是凱爾特傳統包容現代及世界其他音樂風格的傑出例子。

樂曲介紹：加里夫．科克

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Michael PraetoriusFour Dances (from Terpsichore)

Michael Praetorius was educated at Frankfurt and became organist ofSt Marien in Frankfurt, and also worked at various times in Leipzig,Nuremberg and Bayreuth. Praetorius devoted most of his life to churchmusic and published more than 20 collections of chorales. He alsocompiled collections of secular music, the most famous of which isTerpsichore, consisting of 312 dances in four, five and six parts. Praetoriusspecifies lutes of different sizes as the instruments used in his dancemusic. Saffire has used this model as the inspiration in arranging thedances for ‘mixed guitars’.

Enrique GranadosNo 11, ZambraNo 6, Rondalla Aragonesa(from 12 Danza Española)

The Danzas Españolas (Spanish Dances) by Enrique Granados, writtenbetween 1892 and 1900, are amongst his most attractive pieces, each ofthem evocative of Spain and its proud melancholic soul. The DanzasEspañolas require great interpretive skill, and demand the utmost rhythmicvitality, colour, imagination and poetic feeling. Granados combines theelements of dance and folksong, which lie at the heart of Spanish music,with great elegance and charm. It is this heady mixture of Gypsy songand Andalusian folk music which permeates the work of so many Spanishcomposers.

Béla BartókSix Romanian Folk Dances

In 1905 Bartók undertook a profound and scientific study of the true folkmusic of Hungary, Slovakia and Romania. In 1914 he wrote: “It is hard toimagine that anyone could go on collecting folk songs in times like these,but it can be done. The amazing thing is that you can do it exactly as inpeace time. The peasants are so merry and light-hearted, one might thinkthey don’t care a rap about the war.” By 1915, the year in which the SixRomanian Folk Dances were written, Béla Bartók had amassed some16,000 Hungarian, Romanian, Slovak, Bulgarian, Ruthenian, Serbian andeven Arabic folksongs.

His original compositions between 1910 and 1915 are sparse, andthe bulk of his output from this time is derived from the Romanianmaterial he had started to gather in 1909. There are many treasures tobe found here, including the Six Romanian Folk Dances for piano, oneof his most popular works which the composer himself arranged forsmall orchestra.

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Since then the work has been arranged for almost every conceivableinstrument. An examination of Bartók’s transcript of what the peasantmusicians actually played him on their strange violins, flutes and bagpipesreveals the subtlety and delicacy of the composed version. His uniquelypersonal style unifies the exotic nuances and mannerisms, rendering themalive and intelligible to the concert performer and sympathetic listener. InBartók’s view folk music was as fruitful in revealing new harmonicpossibilities as it was in enriching conventional conceptions of melodyand rhythm.

Astor PiazzollaRomance del Diablo

Tango emerged in the 1890s in the tough lowly suburbs around the edgesof Buenos Aires. Born of the mostly immigrant working class, early tangocarried echoes of zarzuelas, habaneras, polkas, waltzes and milongas.Originally it was played by a trio comprising violin, flute and guitar. By the1940s, riding a wave of prosperity, tango became a staple of radio andthe ballrooms. It was a time of great orchestras, bandleaders and singers,many of whom Piazzolla recalls in his memoirs as if invoking magicalspirits.

During the 1940s, however, Piazzolla was already reworking tango'straditional form and sound. By the mid 1950s, after his stay in Paris andstudies with Nadia Boulanger, Piazzolla was ready to do away with therules altogether.

In Romance del Diablo Piazzolla retains tango’s poignancy and lyricismwhile rejecting its tendencies towards sentimentality and bouts of self-pity. He revised tango’s harmonic language by incorporating the influencesof Ravel, Debussy, Puccini and Messiaen, as well as the occasional nodto the cool jazz of Gerry Mulligan and Lennie Tristano. Piazzolla movedaway from the dance floor but infused the music with a new vitality byusing fugues, a walking bass and urgent brutish accents reminiscent ofBéla Bartók.

Roland DyensTango en Skaï

Guitarist Roland Dyens improvised the Tango en Skaï at a party in Parisin 1978. Since then it has become one of his most famous compositions.Dyens describes the piece as “a joke”, or imitation – in fact skaï is aFrench caricature for fake leather. He advises performers not to take thepiece too seriously, but rather to recreate the party atmosphere in whichit was born. Saffire have taken his advice by performing it with several‘additions’.

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Deep PurpleHighway Star

“The pace is blistering, almost too fast for comfort, with lyrics that turn itinto something breathtakingly homicidal.” This extract from Rolling StoneMagazine in 1972 neatly sums up the driving energy and high octanecharacter of Highway Star.

According to the British rock band the genesis of Highway Star was a coachtrip, during which band members Roger Glover and Ian Gillan began workingon chord progressions and lyrics to a song. Upon arrival the new work wasrehearsed, and later that evening Highway Star received its debut atPortsmouth Guildhall. The subsequent recording, which includes the famousSmoke on the Water, was released on Deep Purple’s Machine Head album.

The inclusion of Highway Star into guitar quartet repertoire, with its relentlesstempo and huge virtuosic demands, makes it a technically challenging yetspectacular concert item. Apart from the pulsating rhythm, the music isdefined by its spartan use of thirds, and emphasis on the harmonic intervalsof the fourth and fifth. In the hands of a guitar quartet this feature creates adistinctly modal (at times almost Eastern) and subtle Celtic effect.

– Interval –

Nigel WestlakeSix Fish

In the brief silence following the cascading chords which open NigelWestlake’s new quartet, the guitars spill into the music like sparkling flashesof darting fish. The piece then literally ripples to life, its bright reflectivetextures fizzing with effervescence. The splashes of colour in Six Fish, rarelyheard in guitar quartet repertoire, are due to the unusual grouping of guitars.

Two classical guitars, played by Karin and Slava, carry much of the melodicmaterial and are frequently involved in a dialogue with one another. Theseare pitted against the shimmering sound of a steel string guitar (playedby Leonard) and a throaty resonator guitar (played by Gareth) which serveto open up and colour the sound of the ensemble in a fascinating andunique manner. The resonator guitar, with its traditional blues associations,would appear at first glance to be a curious choice of guitar for a ‘classical’composer, but the effect of the resonator in Six Fish is strangely undulatingand swelling – almost aqueous. The resonator even produces ‘whalesong’in Leafy Sea Dragon – thanks to the bottleneck slide technique.

Throughout Six Fish there is a feeling of buoyancy, and the compositionaltechniques are deftly handled – from glistening harmonics like droplets,to diving liquid slides. Nigel Westlake comments:

“As the movements took shape, they seemed to take on a life of theirown, each one marked by individual, distinguishing characteristics. I wasreminded of various fish I have encountered in the wild – the diversity,awesome beauty and weirdness of sea creatures is of great interest to

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me. I was also reading Richard Flanagan’s extraordinary work Gould'sBook of Fish at the time, which may have been an influence.”

Nigel Westlake’s presence extends well beyond the concert hall - he hascomposed scores for four Imax films (including Antarctica) and the recentfilm Babe. Six Fish was commissioned by Saffire and premiered at the3rd Australian Guitar Competition and Festival in 2004.

Celtic TraditionalShe Moved Through the Fair

Bill WhelanAmerican Wake RiverdanceRiverdance(from Riverdance: The Show)

A practical answer to the question: “What is Celtic music?” may perhapsbe answered thus: It is the music produced in Celtic countries, namely:Ireland, Scotland, Wales, the Isle of Man, Cornwall and Brittany, certainSpanish and Portuguese regions (Celtic Iberia), but especially Ireland. Celticmusic is a compound of many elements, but fundamentally it is thetraditional musical heritage of the various territories we identify as ‘Celtic’.This brew has been peppered with many ingredients, most recentlycontemporary musical influences, from rock and jazz to techno and trance.Apart from its inherent musical qualities, Celtic music has also beeninfluenced by wide-ranging non-musical factors, such as a new sense ofcultural identity and political self-determination with the Celtic nations.

At one end of the spectrum we have the traditional songs and tunesplayed as they have been for generations. Although the arrangement forguitar quartet of She Moved Through the Fair is, in a sense, contemporary,it nevertheless belongs to this tradition. The melody has a simple structure,but within this displays a remarkable diversity of form.

One of the most interesting features of Celtic music is the use of thepentatonic scale. In the folk music of Ireland and Scotland the melodicpotential of the five note scale is exploited to the full, and melodiescommonly embrace a range of two octaves. At the other end of thespectrum are the high-tech, state-of-the-art fusions generated as folkmeets rock, jazz, ethnic or dance-floor grooves.

Looking across to Ireland, by far the biggest phenomenon in recent musicalhistory is Riverdance. The original seven minute orchestral piece, Riverdance,was conceived for hard-shoe Irish dance. When Irish composer Bill Whelancompleted Riverdance: The Show, which incorporates the piece AmericanWake, it went on to play to millions of people world-wide. The most dynamicfeature of this new Celtic flowering is the cross genre or cross culturalexperimentation. Riverdance is an outstanding example of Celtic traditionsembracing both the modern world and other world music styles.

All Programme Notes © Gareth Koch

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Biographies 生平介紹

卡蓮·蕭浦是國際數一數二的

年輕結他手，她的演奏既熱

情又感性，有德國報章譽之

為「完美無瑕，仿如奇蹟」。蕭浦經常

於世界各地舉辦獨奏會，在協奏曲音

樂會况作獨奏演出，並參加音樂節，

她獨特的台風及熱情洋溢、魅力迫人

的演奏，吸引了好幾位作曲家特別為

她編寫樂曲。

蕭浦推出了四張備受好評的獨奏專

輯：《獨白》（1997）、《傳說》（1998）、《召喚》（2000）和《夢》（2004）。英國《古典結他雜誌》讚揚首張大碟《獨白》

「在各方面俱開風氣之先」，而加拿大

的《渥太華市民報》則形容她第二張唱

片《傳說》「演奏特別詩意濃郁，令人精

神一振。」她所有獨奏唱片推出不久即

成為暢銷古典作品，高踞古典流行榜

前列，行銷世界各地，極受歡迎。

蕭浦合作過的交響樂團有倫敦愛樂樂

團、香港管弦樂團、塔斯馬尼亞交響

樂團和美國斯普林菲爾德交響樂團。

K arin Schaupp is one of the mostoutstanding young guitarists on theinternational scene; she is a passionateand lyrical performer whose playing has beenhailed by the German press as “so perfect, socomplete, that it seems like a miracle”. Schauppperforms widely on the international stage, as arecitalist, concerto soloist and festival guest andher unique stage presence and magical,passionate playing have inspired severalcomposers to write works especially for her.

Schaupp has released four highly acclaimedsolo albums: her debut Soliloquy (1997) wasfollowed up by Leyenda (1998), Evocation(2000), and Dreams (2004). Classical GuitarMagazine (UK) praised Soliloquy as “a pace-setting performance in all respects...”, while theOttawa Citizen (Canada) described KarinSchaupp’s playing on Leyenda, with “The poeticintensity and sense of elation in her playing aretruly quite special”. All of her solo albums haveproven to be classical best-sellers shortly aftertheir release. The albums rode high on theclassical charts and are enjoying internationalsuccess as their worldwide release continues.

Karin Schaupp’s orchestral engagementsinclude the London Philharmonic, Hong KongPhilharmonic, Tasmanian Symphony andSpringfield Symphony (USA).

Karin Schaupp卡琳‧蕭浦

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斯拉華·格里哥利揚經常於世

界各地方獻藝，其演奏生氣

勃勃，令人歎為觀止。《紐約

時報》讚揚他在紐約的首次演出為「異

常出色，其演奏獨樹一幟，富有大師

風範」。1996年，斯拉華在倫敦的威格莫爾音樂廳首演，好評如潮。2002年他的唱片《奏鳴曲與幻想曲》贏得澳

洲唱片業協會古典唱片大獎，被譽為

澳洲音樂史上的重要唱片之一。

斯拉華跟世界許多頂尖交響樂團合作

過，包括倫敦愛樂樂團、英國廣播公

司交響樂團、墨爾本交響樂團、悉尼

交響樂團、英國北方小交響樂團、以

色列交響樂團、德累斯頓電台交響樂

團、奧地利克拉根福交響樂團和英國

曼徹斯特哈雷管弦樂團等。

1998年斯拉華獲選為該年度澳洲青年藝術家。2000年，他在悉尼奧運會藝術節的澳洲室樂團演出中擔任獨奏。

S lava Grigoryan has performed extensivelythroughout the world and continues toamaze audiences with dazzling andvibrant performances. Reviewing his New Yorkdebut, the New York Times said: “A remarkablerecital — what comes across here is guitarplaying of uncommon originality and authority”.Slava Grigoryan’s 1996 debut at Wigmore Hallwas received with rave reviews. His 2002 discSonatas and Fantasies won the AustralianRecording Industry Association award forClassical Album of the Year and is consideredone of the landmark releases in Australianmusical history.

He has appeared with many of the world’sleading orchestras, including the LondonPhilharmonic, BBC Concert Orchestra,Melbourne Symphony Orchestra, the SydneySymphony Orchestra, the Northern Sinfonia,Israel Symphony Orchestra, Dresden RadioOrchestra, the Klagenfurt Symphony Orchestrain Austr ia and the Hal le Orchestra inManchester, UK.

In 1998 Slava Grigoryan was named YoungAustralian of the Year for the Arts. In September2000, he appeared as soloist with the AustralianChamber Orchestra as part of the 2000 SydneyOlympic Arts Festival.

Slava Grigoryan斯拉華‧格里哥利揚

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加里夫·科克足跡遍及世界各

地，演奏佛蘭明高、古典及

世界音樂。他十二歲在西班

牙開始學習結他，後獲獎學金進入悉

尼音樂學院、皇家馬德里音樂學院和

維也納音樂學院。

《維也納日報》形容他於歐洲灌錄的首

張唱片「不同凡響」，英國《古典結他雜

誌》的樂評人則說「這是我評論過的唱

片中最好的一輯。」科克除了擔任音樂

會獨奏，參與室樂演出，也從事各式

各樣的音樂活動。他曾與一些歐洲最

好的當代樂團、劇場和佛蘭明高舞蹈

團合作。

科克擁有音樂博士學位，論文探討創

作過程的本質以及創作進行中潛意識

的運作。他也是沙菲爾結他四重奏的

創辦人之一，沙菲爾首張專輯甫推

出，即攀上澳洲古典樂流行榜第一

位，2003年更贏得了澳洲唱片業協會之最佳古典專輯獎。

Gareth Koch has performed extensivelythroughout the world in a careerencompassing flamenco, classical andworld music styles. He began studying the guitarat age 12 in Spain, and later won scholarshipsto the Sydney Conservatory, Royal MadridConservatory and the Vienna Academy ofMusic.

Reviewing his recording debut in Europe,Vienna’s Wiener Zeitung commented: “Koch’splaying is phenomenal”, while Britain’s ClassicalGuitar Magazine stated: “This is possibly thebest CD I have ever reviewed”. In addition tobeing a concert soloist and chamber musicianGareth Koch has enjoyed an immensely variedmusical career. He has collaborated with someof Europe’s finest contemporary ensembles,theatres and flamenco dance companies.

Gareth Koch holds a PhD in Music and hisdissertation explored the nature of the creativeprocess and the workings of the subconsciousmind during the act of creation. He is a foundingmember of Saffire - The Australian GuitarQuartet. Saffire’s debut album soared to numberone within days of its release in the AustralianClassical Music charts and in 2003 won theAustralian Recording Industry Associationaward for best Classical Album.

Gareth Koch加里夫‧科克

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倫納德．格里哥利揚精通古典

及爵士音樂，演奏、作曲及

編曲兼擅，為沙菲爾生色不

少。他經常於澳洲國內外音樂節表

演，在墨爾本交響樂團等多個交響樂

團擔任獨奏。

2002年，倫納德在斯拉華．格里哥利揚的獲獎專輯《奏鳴曲與幻想曲》中演

出。2003年，格里哥利揚兄弟合錄新專輯《玩樂》，大獲好評，並揚威各大

排行榜，隨後兩兄弟在澳洲巡迴演

出。2004年，兩兄弟和長笛演奏家珍．拉特一起在國內巡迴表演三個

月，演奏他們充滿拉丁美洲色彩的唱

片《巴西》。

2005年2月，格里哥利揚兄弟與昆士蘭交響樂團合作灌錄西班牙作曲家羅

德里戈的結他協奏曲。

2005年4月及6月，倫納德與斯拉華到阿拉伯聯合酋長國、南非、英國和歐

洲巡迴表演，大受歡迎。

L eonard Grigoryan is at home in bothclassical and jazz genres and brings toSaffire great versatility as a player,arranger and composer. He has appearedregularly at festivals in Australia and abroad andhas been a soloist with a number of orchestras,including the Melbourne Symphony Orchestra.

In 2002, he featured on Slava Grigoryan’s award-winning debut CD for ABC Classics Sonatas andFantasies. Then in 2003 Leonard Grigoryanrecorded a new album Play with his brotherSlava, which received good reviews and enjoyedsuccess in the charts. Leonard toured nationallywith Slava following the release of Play and thebrothers continue to perform together. In 2004,Leonard joined Slava Grigoryan and flautist JaneRutter on stage for a three month national tourwith Brazil, their Latin American inspired CD.

In February 2005, Leonard Grigoryan and hisbrother recorded the Rodrigo Concerto with theQueensland Orchestra. In April and June 2005,Leonard enjoyed a highly successful tour of theUnited Arab Emirates, South Africa, the UK andEurope with his brother.

Leonard Grigoryan倫納德‧格里哥利揚