香港小交響樂團由香港特別行政區政府資助Hong Kong Sinfonietta is financially supported by the Government of the Hong Kong Special Administrative Region

香港小交響樂團為香港大會堂場地伙伴Hong Kong Sinfonietta is the Venue Partner of the Hong Kong City Hall

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12.11.2015(星期四 Thu) 7:30pm

香港演藝學院香港賽馬會演藝劇院

HK Jockey Club Amphitheatre, HK Academy for Performing Arts

主持 Presenter

赫登伯格Håkan Hardenberger

Solider_HP_OP2.pdf 1 30/10/15 1:11 pm

主持 Presenter

赫登伯格 Håkan Hardenberger

節目

加布里埃利 《宗教交響曲集》(1597)：第12調式器樂曲

亞爾諾特 第一銅管五重奏，作品73 (1961)

活潑的快板

夏康舞曲：稍快的行板

神采飛揚的

托馬士 宗教禮儀號曲 (1947)天使報喜

福音

啟示錄

耶穌受難日巡遊

Programme

Giovanni Gabrieli Sacrae Symphoniae (1597): Canzon Duodecimi Toni

Malcolm Arnold Brass Quintet No 1, Op 73 (1961)Allegro vivaceChaconne: Andante con motoCon brio

Henri Tomasi Fanfares Liturgiques (1947)AnnunciationÉvangileApocalypseProcession du Vendredi-Saint

完全銅管樂Håkan Hardenberger x HKS Brass

All About Brass

各位觀眾：

為求令表演者及觀眾不致受到騷擾，請將鬧錶、傳呼機和手提電話的響鬧裝置關上。同時請勿在場內飲食或擅自攝影、錄音或錄影。多謝合作。

Dear Patrons,To avoid undue disturbance to the performers and other members of the audience, please switch off the beeping devices on your alarmwatches, pagers and mobile phones before the performance. We also forbid eating and drinking, as well as unauthorized photography,audio or video recordings in the auditorium. Thank you for your co-operation.

場地規則 House Rules

吳嘉美 Kathleen Ng客戶服務部經理 Customer Services Manager電話 Tel: 2584 8500 | 圖文傳真 Fax: 2584 8739

香港演藝學院 Hong Kong Academy for Performing Arts

香港灣仔告士打道一號 1 Gloucester Road, Wanchai, Hong Kong

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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。

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、美國芭蕾舞劇院、英國皇家芭蕾舞

團、馬林斯基大劇院芭蕾舞團、莫斯科大劇院芭蕾

舞團、英國國家芭蕾舞團、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。

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。樂團灌錄過多套鐳射唱片，收錄了不少華人作

曲家的優秀作品；由DECCA發行的《就是古典音

樂》系列，2014年11月推出第三集，不及兩個月

便取得金唱片佳績。

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

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。

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；在歐洲計有法國的聖里奇音樂節、漢斯夏季

音樂會及普羅旺斯拉羅克．昂迪榮國際鋼琴音樂

節、意大利的米凱朗傑利國際音樂節和維琴察音

樂節、立陶宛的兩個音樂節及波蘭華沙愛樂音樂

廳；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）及上海之春國際音樂節等。樂團自2006

年起五度獲邀參加日本東京《 》音樂祭，

並於2015韓國統營國際音樂節作韓國首演，10月

於瑞士首演。

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。

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

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Hong Kong Sinfonietta is one of Hong Kong’s

flagship orchestras. With 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

pass ionate per formances and innovat ive

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, The Royal

Ballet, Mariinsky Ballet, Bolshoi Ballet, English

National Ballet, American Ballet Theatre, 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. The third album has been awarded a Gold

Record since its release in November last year.

On the educational front, Hong Kong Sinfonietta

has pioneered specially-designed concerts for

different age groups. New concepts on the Hong

Kong concert stage, Good Music for Kids, Good

Music for Babies, Know Your Classical Music,

Short-cut to Classical Music and HKS McDull Music

Project have provided a new realm in audience

development. 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,

Les Flâneries Musicales d’Été de Reims and

Saint-Riquier Festival in France, Festival Pianistico

Internazionale Arturo Benedetti Michelangeli and

Settimane Musicali al Teatro Olimpico in Italy, 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 in

Nagano and at La Folle Journée in Tokyo and Niigata.

In 2015, the orchestra was invited to perform in

Korea at the Tongyeong International Music Festival

and made its début in Switzerland in October.

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 Seij i 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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主持 Presenter

赫登伯格 Håkan Hardenberger

赫登伯格是當今最偉大的小號演奏家，演繹經典曲

目已是超凡入聖，亦是推廣很多重要小號新作的先

鋒，備受國際尊崇。

赫登伯格經常與世界頂尖樂團演出，包括紐約愛樂

樂團、維也納愛樂樂團、倫敦交響樂團、巴伐利亞

電台交響樂團、瑞典電台交響樂團，並與著名指揮

布萊茲、哈汀、帕佛．約菲和冼文等合作。不少作

曲家特別為赫登伯格譜寫新作，包括帕特、伯特威

斯爾、亨策和馬丁遜，其中葛魯伯的作品《空靈》

今年已經由赫登伯格及柏林愛樂作第70次演出。

今年夏天，赫登伯格再度參與鄧肯活音樂節，之後

與尼爾遜斯指揮的波士頓交響樂團分別於BBC逍遙

音樂會、琉森國際音樂節和科隆愛樂音樂廳巡演，

後者更是赫登伯格於該音樂廳2015/2016駐場計劃

的首個音樂會。這樂季他還會回到科隆與馬勒室樂

團演奏特奈奇以他名字命名的小號協奏曲，另外又

與瑞典室樂團演奏巴赫。赫登伯格將於倫敦愛樂管

弦樂團的「號聲響起」音樂會系列作開季演出，為

觀眾帶來不同種類的音樂會，並會在皇家音樂學院

舉行大師班。2015/2016樂季其他演出包括世界首

演佩庫的小號協奏曲和祖拉斯的雙協奏曲，馬爾默

新音樂廳的開幕音樂會，以及與德累斯頓國家樂

團、奧地利藝術家樂團和香港小交響樂團的合作。

指揮也是赫登伯格音樂生涯中的重要一環，他曾指

揮德累斯頓愛樂、BBC愛樂和馬爾默交響樂團等。

此外，他又分別與鋼琴家潘提納和敲擊樂手卡瑞合

作，經常舉辦二重奏音樂會。

赫登伯格為不少知名唱片公司錄製唱片，最近推出

的有華林的《漁王》協奏曲，早前的其他錄音包括

與聖馬田樂團合作的電影音樂及流行曲，以及葛魯

伯和施威爾特斯克的作品。

赫登伯格生於瑞典馬爾默，他自八歲起跟尼爾頌學

習小號，及後在巴黎音樂學院和洛杉磯分別跟小號

大師堤博和史蒂文斯進修，他現時亦是馬爾默音樂

學院的教授。

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Håkan Hardenberger is the greatest trumpet soloist

today. Alongside his phenomenal performances of

the classical repertory, he is also held in high regard

as a pioneer of significant and virtuosic new

trumpet works.

Hardenberger performs with the world’s leading

orchestras, including the New York Philharmonic,

Vienna Philharmonic, London Symphony,

Symphonieorchester des Bayerischen Rundfunks

and Swedish Radio Symphony. Conductors he

regularly collaborates with include Pierre Boulez,

Daniel Harding, Paavo Järvi and David Zinman. The

works written for and championed by

Hardenberger include those by Arvo Pärt, Sir

Harrison Birtwistle, Hans Werner Henze, Rolf

Martinsson and HK Gruber’s concerto Aerial, which

has received its 70th performance by Hardenberger

with Berlin Philharmonic this year.

In summer 2015, Hardenberger returned to the

Tanglewood Music Festival, followed by tour

concerts with Boston Symphony and Andris

Nelsons at the BBC Proms, Lucerne Festival and

Philharmonie Cologne. The latter concert marked

the opening of Hardenberger’s Residency at the

Philharmonie in 2015/2016. He will return to

Cologne with Mahler Chamber Orchestra playing

Mark-Anthony Turnage’s trumpet concerto Håkan

and Bach with Swedish Chamber Orchestra. He will

open The Trumpet Shall Sound series by the

Philharmonia Orchestra with various concerts and a

public masterclass at the Royal College of Music.

Further highlights in 2015/2016 present the world

premières of Thierry Pécou’s trumpet concerto and

Betsy Jolas’ double concerto; the opening concert

of Malmö’s new concert hall and with Dresdner

Staatskapelle, Tonkünstler Orchestra and Hong

Kong Sinfonietta.

Conducting has become an integral part of

Hardenberger’s music making. He conducts

orchestras such as Dresden Philharmonic, BBC

Philharmonic and Malmö Symphony. In recital, he

has duo partnerships with pianist Roland Pöntinen

and percussionist Colin Currie.

His extensive discography on the Philips, EMI,

Deutsche Grammophon, BIS and Ondine labels

includes his latest recording of Rolf Wallin’s

concerto Fisher King. Previous discs feature the

Academy of St Martin in the Fields with new

arrangements of film and pop melodies as well as a

disc of works by Gruber and Schwertsik.

Hardenberger was born in Malmö, Sweden. He

began studying the trumpet at the age of eight

with Bo Nilsson in Malmö and continued his

studies at the Paris Conservatoire, with Pierre

Thibaud and in Los Angeles with Thomas Stevens.

He is a professor at the Malmö Conservatoire.

6

節目介紹

��銅管樂為��般�人�小號��都是力量的象徵，如果�相������的�，

一支小號可以摧毀耶利哥（Jericho）的城牆。號角則是狩獵的象徵，一齊吹奏的時候

它們又有很堂皇的典禮味道。總之，銅管樂響亮清澈的聲音，可以從所有弦樂和木管

樂、甚至敲擊樂中脫穎而出，有時低沉的咆哮則有如惡魔。除此以外，銅管樂還有很

亮麗的外觀，其炫目之處讓其他樂器家族都要失色。因此，我們絕不會以害羞和內斂

去形容銅管樂。

為了向大家呈現銅管樂的多面性，赫登伯格在今晚的音樂會特別選來了英國作曲家亞

爾諾特輝煌的銅管五重奏，還有兩首不太炫耀、且頗有宗教色彩的作品。由此大家便

可以較全面地領略到銅管樂的特色。

銅管樂的歷史相當悠久。有證據顯示，約2,500年前，埃及人就開始使用金屬樂器了，

後來羅馬人利用新的冶金工藝，打造出各種管狀的金屬樂器。他們採用的金屬包括了

青銅、紅銅、銀，甚至金，但之後一般都是以混成的黃銅作材料。當然，由於其聲音

響亮，銅管樂最適宜用於戶外演奏，或在狩獵、作戰時使用。

��的銅管樂頗為�始，它們不能吹奏�度�所有的音符。�些「自然的」樂器（�

古樂隊採用的就是「自然小號」和「自然圓號」）並無按鍵，純粹由嘴唇和吹氣的壓力

去控制。而法國號則可以用右手伸進樂器的號口（bell）來控制，還可以藉此產生很多

不同的效果。長號是靠號管的伸縮來產生或改變音高，因此能夠發出半音，很自然

地，它在15世紀末便已應用於器樂曲中了。

然而就像弦樂、木管樂，尤其是鍵琴家族，銅管樂在過去都在不斷地演變。19世紀

初，大約在1815年，便發明了影響銅管樂至鉅的閥鍵。它的重要性就是能夠透過壓下

閥鍵，增長或縮短管子的長度而產生不同音高的音符，圓號和小號因此能奏出全部半

音音階的音符。就讓我們一起在今晚的音樂會，來慶祝閥鍵誕生200周年吧！

銅管家族有四個主要成員。第一種是圓號，但卻很有爭議性，有些人並不認為它是銅

管樂。圓號樂手肯定覺得自己與其他銅管樂手不同；事實上，在管弦樂團的陣形中，

圓號並沒有和銅管樂坐在一起。人們更傾向把它視為木管樂的一員，在木管五重奏中

它亦是其中一份子，可是在銅管五重奏中它也佔了一席。

從音高順次而下，其他主要銅管樂器包括了嘹亮的小號、圓潤的長號和低沉的大

號。但除了樂器本身，銅管樂手還有其他裝備，例如塞進管口，使音量減低的弱音

器。而弱音器也有不同的種類，有些可以讓樂器發出刺耳的銼聲，還有一些能產生

不同的音色。

7

加布里埃利（約 1553/6–1612）

《宗教交響曲集》 (1597)：第12調式器樂曲1597年，意大利作曲家加布里埃利受到威尼斯聖

馬可教堂雄偉的建築啟發，出版了他的《宗教交響

曲集》。

像他的舅舅安德烈（Andrea，他採用了舅舅的姓

氏），加布里埃利在慕尼黑的阿爾布雷希特五世公

爵（Duke Albrecht V）的宮廷中隨拉索（Orlando

di Lasso）學習音樂。1579年左右，公爵去世後他

便回到威尼斯。1585年，他在聖馬可教堂擔任第

二管風琴師，成為他舅舅的同事。一年後安德烈去

世，加布里埃利即接過了首席管風琴師的職位。他

利用聖馬可教堂華麗的拜占庭式建築，為合唱團和

室樂撰寫了不少著名的具有應答效果的作品，以及

大量的器樂曲和奏鳴曲。這些作品用銅管樂來演

奏，效果特別好。

《宗教交響曲集》由加爾丹奴（Gardano）出版，

共有16首器樂曲和45首聲樂曲，可說回顧了加布

里埃利始自1585年所寫的作品，當中包括了許多

銅管室樂曲。聖馬可教堂本身即有一組訓練有素的

管樂手，他們由威尼斯總督贊助，尤其出色的是短

號（cornetts）和古長號（sackbuts），即小號和長

號的前身。其中最為精彩的器樂曲之一由兩組銅管

樂演奏，兩組樂器會互相呼應。作品原本寫給八支

短號和兩支古長號，平均地分為兩組。今晚演出的

版本，則改編給兩組銅管樂，每組有兩支小號，一

把圓號和兩支長號。

在聖馬可教堂，兩組銅管樂可以在教堂的兩側分開

排列，但即使在音樂廳，10位樂手坐或站在一起

的時候，我們仍可以清晰地聽到兩組樂器交叉和應

的線條。

亞爾諾特（1921–2006）

第一銅管五重奏，作品73 (1961)

活潑的快板

夏康舞曲：稍快的行板

神采飛揚的

英國作曲家亞爾諾特最為人熟悉的大概是他的電影

配樂，包括贏得奧斯卡的《桂河橋》、大衛 連

（David Lean）導演的《女大不中留》和《一飛衝

天》，還有《六福客棧》和《劇盜柔腸》。但其實他

的出身是一名小號手，在1940年代先後成為倫敦

愛樂樂團（兩任）和BBC交響樂團的首席小號手。

故此在他豐富的作品目錄中，有不少即與銅管樂有

關。他撰寫了兩首銅管五重奏，第一首（作品73）

寫於1961年，較短的第二首（作品132）在相差幾

近30年後，才在1988年面世。此外，他又寫了九

首交響曲，為一連串獨奏樂器撰寫的協奏曲（包括

長笛、雙簧管、單簧管、牧童笛、圓號、小號、口

琴、結他、管風琴、小提琴、中提琴、大提琴，還

有雙鋼琴協奏曲和一首三手雙鋼琴協奏曲），和數

之不盡的芭蕾舞曲和室樂等。

第一銅管五重奏是為紐約銅管五重奏撰寫的，成員

包括了兩支小號，圓號、長號和大號各一把，作品

面世後瞬即成為經典。它由快-慢-快三個樂章組

成，首尾兩個樂章較為輝煌，而中間的夏康舞曲則

稍為深沉，後者以長號的華采段結束。開頭小號的

高鳴頗有點浦賽爾的影子（浦賽爾的作品也曾被用

於布列頓的《青年管弦樂指南》中），之後樂曲安

頓於穩定重複的樂句，讓大號可以炫耀一番，接著

是其他樂器輪流獨奏。嚴肅的夏康舞曲之後，高音

銅管發出慟哭一般的齊奏，然後出現了長號的華采

段以及響亮而緩慢的大號。終樂章以奔跑的切分節

奏開始，繼而神奇地把舞廳音樂和爵士樂結合在一

起，歡快地把樂曲帶到結尾。

8

托馬士（1901–1971）

宗教禮儀號曲（1947）天使報喜

福音

啟示錄

耶穌受難日巡遊

法國作曲家托馬士最著名的作品大概是在1944年

為巴黎音樂學院年度考試而創作的小號協奏曲（但

音樂總監認為作品難度太高，聲稱「以這樣的作

品，沒有人可以拿到首獎」）。他出生於馬賽，是科

西加人的後裔。他於巴黎音樂學院學習，在1927

年贏得羅馬大獎。他也是一位指揮家，對舞台情有

獨鍾，撰寫了約10套芭蕾舞曲和五套歌劇。他逝

世時還在創作《哈姆雷特》的歌劇版本。

《宗教禮儀號曲》與歌劇也有一點關聯，有些段落

其實是取自托馬士在1942至1944年之間創作的歌

劇《馬涅阿拉》（Miguel Mañara）的第二幕。托馬

士最先是在1935年聽到了馬涅阿拉（?1627–1679）

的故事，當時一個電台要為米洛茲（Oscar Milosz）

寫於1914年的一齣關於馬涅阿拉的戲劇製作節

目，說這是一部「五幕的神秘劇」，托馬士受邀為

其創作插曲。馬涅阿拉是一個真實版的唐璜，跟

其他版本的唐璜不同（像莫扎特的就被拋進地

獄），馬涅阿拉找到了贖罪的機會，在信仰中度過

餘生。其後10年托馬士以馬涅阿拉的故事作為歌

劇的藍本，將之寫成四幕六場的作品，全劇在

1956年首演。

馬涅阿拉皈依基督這件事，托馬士或許頗為同情，

因為他本身就有類似的經歷，不過他是受了婚姻失

敗，情場失意的挫折。除了創作這部歌劇，他在

1945年被委任為蒙地卡羅歌劇院的指揮。就是在

此處，他為音樂會演出撰寫了《宗教禮儀號曲》

（原稱《號曲協奏曲》），採用了四把圓號、三支小

號、三支長號、一把大號和敲擊樂。

在歌劇的第二幕，馬涅阿拉為其年輕妻子吉羅拉瑪

的死哀傷不已，他是為了她而浪子回頭：他聽到窗

外紀念基督聖體的巡遊的聲音，情緒更為激動，當

時正奏起這首宗教號曲。「天使報喜」由每支輪流

上升的銅管樂帶出，隨後是忽前忽後，彈跳重複的

三連音主題動機。接著樂曲變得稍慢、嚴肅而寧

靜，樂句搖擺不定。當號曲重現，也就是這段音樂

響亮的收結，整段形容天使加百列在宣佈，瑪利亞

將成為聖子的母親。「福音」一段加進了定音鼓，

與獨奏長號一起宣讀出一長段的教義，之後所有銅

管柔和而緩緩地加入。接下來的「啟示錄」由銅管

樂各自的咆哮展開，繼而它們在敲擊樂的協助下一

起奔馳。在此托馬士以小號的吼叫代表了四騎士：

瘟疫、戰爭、饑餓、死亡，他們會在世界末日那天

將人類一掃而空。「耶穌受難日巡遊」（發生在受

難日前夕，即濯足節，又稱「神聖星期四」）是全

曲最後也是最長的樂�。它由��的小鼓、�和莊

嚴的定音鼓啟動。銅管樂像從遠方悄悄而來，聲音

越來越大時，就像巡遊隊伍走近了我們，但步伐仍

頗緩慢。在尾段，馬涅阿拉獲得了精神上的頓悟，

在歌劇中他意識到他的餘生將在教會度過。樂部在

此時細分，展開了連串獨奏，隨後上升到一個莊重

的結句。

英文節目介紹：Nick Breckenfield英國作家Nick Breckenfield專門撰寫節目介紹，

曾任whatsonwhen.com的古典音樂及歌劇版編輯13年，

現於支持青年音樂家的博萊蒂-布托妮信托基金會工作。

中文翻譯：行之

9

Programme Notes

What is it about brass instruments? Trumpets (particularly) have always had a martial context (indeed,if you believe the Bible, a trumpet can bring down the walls of Jericho), and horns are the epitome ofthe hunt. En masse they are de rigueur for ceremonial purposes. They certainly have a clarion qualitythat can cut through any amount of strings or winds (and even percussion), or can growl in thedepths to portray real menace, but there is a visual aspect too: no other family of instruments shine sobrightly. So you could never describe the brass section as being shy and reticent.

In his exploration of brass, Håkan Hardenberger frames a typically virtuosic brass quintet, by Britishcomposer Malcolm Arnold, with two less overtly brassy showpieces, both with sacred connotations.Thus we have a fully rounded overview of the orchestral brass section.

Brass instruments have a very long history – there is evidence of the Egyptians using metalinstruments some 2,500 years ago, and the Romans also used various metal instruments, fashionedby the new skills metal-workers were able to devise to create tubes. The metals used included bronze,copper, silver – even gold – but the family of instruments has become known by the common alloy,brass. Of course, given the nature of the sound, brass instruments were ideal for use outdoors, inhunting or in battle.

The early instruments were primitive in the sense that they could not play all the notes in the octave; these“natural” instruments (period instrument bands play with “natural trumpets” and “natural horns”) werecontrolled by lip pressure and, in the case of the French Horn, the use of the right hand in the bell of theinstrument, which could also be used for various effects. The trombone produces different pitches by using aslide that can easily extend or shorten the length of tubing the sound has to carry, and thus change the pitch,so it comes as no surprise that for instrumental music, the trombone was in use from the late 15th century.

However, just as the string and woodwind families, and especially keyboard instruments, developedover time, so too did the brass instruments. In the early 19th century – around 1815 – valves wereinvented for brass instruments. Their importance was to be able to easily change the length of pipingused to produce a note by the simple depression of a valve. The immediate effect was to allow hornsand trumpets to play all notes on the scale, depending on which combination of the three, or fourvalves they use. Tonight’s concert is perhaps a 200th birthday celebration for the valve!

There are four main members of the brass family, and the first is – arguably – not a brass instrumentat all. Certainly French Horn players regard themselves apart from the other brass players – indeed, inmost orchestral layouts, they sit in a different place. In fact the horn sees itself more as part of thewoodwind section, and is one of the five components of a woodwind quintet, as well as one of thefive components in a brass quintet as well.

In descending order of pitch, the other main brass players are the high and bright-sounding trumpet,the mellow trombone and the deep tuba. But the instrument itself is not the only part of a brassplayer’s armoury. From time to time you may see players inserting various different implements intothe bells of their instruments. These are mutes. In general they subdue (or muffle) the sound, butbrass players have various different mutes that have different effects on the sound, to make it quieteror more rasping and many other shades in between.

10

Giovanni Gabrieli (c 1553/6–1612)

Sacrae Symphoniae (1597) : Canzon Duodecimi Toni In 1597 Ital ian composer Giovanni Gabriel ipublished his Sacrae Symphoniae (“SacredSymphonies”), music inspired by the architecturalmajesty of St Mark’s in Venice.

Like his uncle, Andrea, Giovanni Gabrieli studied inMunich at the court of Duke Albrecht V (withOrlando di Lasso, no less) before returning toVenice probably around 1579 after Albrecht’sdeath. He became a colleague of his uncle at StMark’s in 1585 as second organist, but only for ayear, as Andrea died, after which Giovanni tookover as principal organist. He is famous for usingthe architectural splendour of the Byzantine Basilicaof St Mark’s to create antiphonal effects for choirs,ensembles and a substantial body of works ofcanzonas and sonatas, which work especially wellfor brass.

The Sacrae Symphoniae – 16 instrumental and 45vocal works, published by Gardano – representedsomething of a retrospective of his works written since1585, including many brass ensembles as the basilicahad a well-established group of wind-players (piffari) –courtesy of the Doge of Venice – particularly strong incornetts and sackbuts (early trumpets and trombonesrespectively). One of the most lavish of theinstrumental works is a Canzon (Gabrieli’s title wasunusual: canzon per sonar – “song for playing”) fortwo groups of brass, which – as the title suggests –echo each other. It was originally scored for eightcornetts and two sackbuts, divided equally. Tonight thework is played in an arrangement for two brass choirseach comprising two trumpets, one horn and twotrombones.

In St Mark’s the two brass choirs could beseparated antiphonally, but Gabrieli composes theseparate lines clearly enough to hear the echoesbouncing back and forth, even if all 10 players areseated (or stood) together.

Malcolm Arnold (1921–2006)

Brass Quintet No 1,Op 73 (1961)

Allegro vivace

Chaconne: Andante con moto

Con brio

British composer Malcolm Arnold is perhaps best,and most immediately, known for his film scoreswhich include Oscar-winning Bridge Over the RiverKwai, Hobson’s Choice and The Sound Barrier forDavid Lean, The Inn of the Sixth Happiness andWhistle Down the Wind. But in the 1940s hestarted his career as a trumpeter: he was principaltrumpeter in both the London Philharmonic (twice,in fact) and the BBC Symphony Orchestra. So it isno surprise that his compositions – which includenine symphonies, innumerable concertos for abewildering array of solo instruments (flute, oboe,clarinet, recorder, horn, trumpet, harmonica, guitar,organ, violin, viola and cello, let alone the doublepiano concerto and a concerto for two pianos,three hands), numerous ballets and an impressivecatalogue of chamber music – should have aspecial affinity with brass. He composed two BrassQuintets – his first Op 73 in 1961, followed nearlythree decades later in 1988 with his second shorterquintet Op 132.

The First Brass Quintet – scored for two trumpets,horn, trombone and tuba – was composed for theNew York Brass Quintet, and rapidly achieved classicstatus. Cast in three movements – fast–slow–fast – itmixes virtuosity in its outer movements with a darkercentral Chaconne, complete with trombonecadenza. There is a hint of Purcell (as filteredthrough Britten’s A Young Person’s Guide to theOrchestra) in the trumpets’ opening flourishes,which settle down into a steadier repetition ofphrases allowing the tuba to shine, heraldingspotlights on all the other instruments. After thesombre Chaconne, brightened first with the higherbrass in a keening chorale before the trombonescadenza and sonorously slow tuba, the Finalemiraculously merges music hall and jazz styles, aftera syncopated galloping start. It brings the quintet toa rollicking close.

11

Henri Tomasi (1901–1971)

Fanfares Liturgiques (1947)Annunciation

Évangile

Apocalypse

Procession du Vendredi-Saint

French composer Henri Tomasi is probably bestknown for his Trumpet Concerto, which dates from1944 (composed for the Paris Conservatoire finalsthat year, but deemed too difficult with the directorarguing “with music like that, I won’t have a singletop prize”). Tomasi was born in Marseilles, ofCorsican heritage, and studied music at the ParisConservatoire, winning the Prix de Rome in 1927.As well as being a conductor, he had a natural benttowards the theatre, composing some 10 balletsand five operas and working on an operatic versionof Hamlet when he died.

The piece we hear tonight – Tomasi’s FanfaresLiturgiques – has an operatic connection, in that itsindividual parts are taken from the second act ofhis opera Miguel Mañara, which he worked onbetween 1942 and 1944. Tomasi was firstintroduced to the extraordinary life of a real-lifeDon Juan – Don Miguel Mañara Vincentelo de Leca(?1627–1679), who found his own redemption(rather than other literary Don Juans, like Mozart’s,who are punished for their womanising by beingdragged to hell) and ended his life in a religiousorder – when, in 1935, he was asked to writeincidental music for a radio production of OscarMilosz’s 1914 play, described as a “mystery in fiveacts”. The following decade he used the story asthe basis of an opera, fashioned in four acts and sixscenes. It was first fully staged in 1956.

Tomasi may well have felt some sympathy withMañara’s turn to religion, as Tomasi did much thesame thing, though in his case after both hismarriage failing and a doomed affair. In addition towriting the opera, part of his re-entry into societywas, in 1945, his appointment as conductor atMonte Carlo Opera, and it was there and then thathe fashioned his brass fanfares (originally entitledFanfares Concertantes) for concert performance,

uti l is ing four horns, three trumpets, threetrombones, tuba and percussion.

In Act II of the opera, Mañara mourns his youngwife Girolama, for whom he gave up his dissolutelife: his mood enhanced by hearing the CorpusChristi procession outside the window, hence thereligious fanfares. The Annunciation is heralded byupward searches by each of the brass instrumentsin turn, followed by a repeated triplet motifricocheting back and forth, then slowing to bemore sombre and hushed, here with an oscillatingphrase. The fanfares return for a resounding close –the whole depicting angel Gabriel’s announcementthat Mary is to be the mother of God’s son.Évangile (literally “Good news” – that is, Gospel)adds timpani to the brass, together announcing alengthy sermon by solo trombone, after which all,gently (first muted) and slowly join in. The ensuingdepiction of the Apocalypse starts with urgentoutbursts for the brass separately, then joining in agalloping rhythm, again with percussion help, overwhich the trumpets snarl in Tomasi’s description ofthe Four Horsemen said to sweep throughhumanity at the end of days, representingPestilence, War, Famine and Death. By far thelongest movement is the final one, Good FridayProcession (which in essence happens on the eveof Good Friday, on Maundy Thursday), preceded byrat-a-tatting side drum, cymbals and sombretimpani. The quiet brass sound as if they are faraway, and they get louder as if the procession iscoming towards us, reiterating their slow march.Towards the end, Miguel Mañara achieves aspiritual epiphany – the musical timbres partingand starting a series of solos – where, in the operahe understands his future life is in the church. Themusic rises to a monumental close.

© Nick Breckenfield, 2015

British programme-note writer Nick Breckenfield was theClassical Music and Opera Editor for whatsonwhen.com for 13 years

and now works for the Borletti-Buitoni Trustwhich awards young classical music artists

12

長笛 Flute上杉晃代

雙簧管 Oboe● 金勞思

福原真美

單簧管 Clarinet● 方曉佳

陳秋媛

巴松管 Bassoon● 秦慶生

田口美奈子

圓號 Horn● 包文慶

東出真澄

岑慶璋

關山明

小號 Trumpet● 黃山

丹尼路

長號 Trombone● 羅澤基

陳學賢

低音長號 Bass Trombone江子文

大號 Tuba● 林榮燦

定音鼓 Timpani● 村本曉洋

敲擊樂 Percussion● 周展彤

小山理惠子

豎琴 Harp● 黃士倫

鍵琴 Keyboard● 朱偉恆

Akiyo UESUGI

Marrie Rose KIMMami FUKUHARA

FONG Hiu-kai Johnny CHEN Chiu-yuan

CHIN Hing-sangMinako TAGUCHI

PAW Man-hing HermannMasumi HIGASHIDESHUM Hing-cheungBenny KWAN

HUANG ShanDanilo DELFIN

Christopher RODGERSCHAN Hok-yin

KONG Tze-man Jason

LAM Wing-tsan

Akihiro MURAMOTO

CHAU Chin-tungRieko KOYAMA

Ann HUANG

Alan CHU

小提琴 Violin格德霍特

樂團首席

張文蕊副樂團首席

李海南第二小提琴首席

蔡路第二小提琴助理首席

蔡柏沂

馮佳

���子

賈舒晨

顧洛臻

呂灝然

羅蔚敏

彭曉筠

佐 木智佳子

楊宇思

葉紹羲

★ 陳劭楠

★ 周止善

★ 許榮臻

中提琴 Viola● 陳子信

▼ 劉琛彥

陳敏聰

錢江

顏星安

大提琴 Cello● 張培節

▼ 貝樂安

何國芝

朴詩媛

吳迎盈

葉俊禧

低音大提琴 Double Bass● 永井雅美

▼ 高斯達

★ 鄭曉文

James CUDDEFORDConcertmaster

CHEUNG Man-yui KittyAssociate Concertmaster

LE Hoai-namSecond Violin Principal

TSAI LooSecond Violin Assistant Principal

CAI Pak-yiFENG JiaEiko HOSAKAJIA Shu-chenJohn KRUERAmbrose LUILUO Wei-minPANG Hiu-wanChikako SASAKIYANG Yu-siYIP Siu-hayCHAN Shaw-nan SharonKiann CHOWMark HUI

CHAN Tsz-shun ElvisLAU Sum-yinRingo CHANCHIN KongNGAN Sing-on

CHANG Pei-chiehLaurent PERRINHO Kwok-chee KareyPARK Si-wonWU Yin-yinYIP Chun-hei Eric

Masami NAGAI Santiago COSTA MARTÍNEZCHENG Hiu-man Phoebe

● 首席 Principal▼ 助理首席 Assistant Principal★ Orchestral Associate

Notes - Freelance Musicians: CHEUNG Ho-sing (張浩昇), HU Xiao-yang (胡瀟洋), Mandy LO (勞善雯), MAN Hay (文曦).

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

13

Honorary Governors

Mrs Alice KING

Mr SHIH Wing-ching

Ms Serena YANG

Board of Governors

Mr Y K CHAN (Chairman)

Dr Patrick S C POON (Treasurer)

Mr Patrick CHAN

Dr CHUNG See-yuen

Mrs Shirley CHUNG

Mr JAT Sew-tong

Dr Steven LAM

Ms LAU Man-man Lisa

Mr Stephen TAN

Prof C K Michael TSE

Mr Patrick YEUNG

Honorary Company Secretary

Tricor Tengis Limited

Honorary Legal Consultant

Hogan Lovells

Honorary Orthopaedic Surgeon

Dr Dan HOOLEY

榮譽監察委員

金董建平女士

施永青先生

楊雪姬女士

監察委員會

陳鋈鋆先生（主席）

潘燊昌博士（司庫）

陳育明先生

鍾思源醫生

鍾陳碧璋女士

翟紹唐先生

林煥樟博士

劉文文女士

陳智文先生

謝智剛教授

楊偉添先生

義務公司秘書

卓佳登捷時有限公司

義務法律顧問

霍金路偉律師行

義務骨科專科醫生

傅偉俊醫生

駐團藝術家 HKS Artist Associates

石家豪 Wilson SHIEH (2015-2016)

��� CHU Pak-him (2014-2015)

麥淑賢 MAK Su-yin (2014-2015)

羅詠媞 Wendy LAW (2013-2014)

盧思泓 LOO Sze-wang (2012-2013)

伍宇烈 Yuri NG (2011-2013)

李嘉齡 Colleen LEE (2010-2011)

黎志華 Jason LAI (2009-2011)

楊嘉輝 Samson YOUNG (2008-2009)

伍卓賢 NG Cheuk-yin (2006-2008)

樂團行政 Administration

行政總裁 Chief Executive Officer: 楊惠 Margaret YANG

總經理 General Manager: 李浩儀 LEE Ho-yee

行政秘書 Executive Assistant to CEO: 何淑娟 Rose HO

會計經理 Accounting Manager: 李靄玲 Judith LEE

辦公室助理 Office Assistant: 楊瑞遠 YANG Jui-yuan

市場推廣及發展 Marketing & Development

公關及市場推廣經理PR & Marketing Manager: 莫皓明 Amanda MOK

業務拓展經理 Development Manager: 陳曉茵 Cynthia CHAN

助理市場推廣經理Assistant Marketing Manager: 何珮鈴 Pauline HO

市場推廣主任 Marketing Officer: 梁凱文 Carmen LEUNG

音樂總監

葉詠詩

首席客席指揮

柏鵬

Music Director

YIP Wing-sie

Principal Guest Conductor

Christoph POPPEN

樂團事務及節目Orchestra & Programme

樂團經理 Orchestra Manager: 陳成美 Marylu CHAN

節目經理 Special Projects Manager: 李莉 Lily LEE

譜務主任 Library Officer: 陳藹晴 Ivy CHAN

節目主任 Project Officer: 黃紫菱 Athena WONG

節目主任 Programme Officer: 丘靄雪 YAU Oi-suet Icy

樂團事務主任 Orchestra Officer: 陳靄婷 Tobie CHAN

舞台經理 Stage Manager: 楊植生 Bobby YEUNG

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

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

室樂篇 Chamber works by Brahms

降B大調第一弦樂六重奏，作品18：第一樂章D小調第三鋼琴及小提琴奏鳴曲，

作品108：第一樂章*

B小調單簧管五重奏，作品115：第一樂章降E大調圓號三重奏，作品40：第四樂章G小調第一鋼琴四重奏，作品25：第四樂章*

交響樂篇 Symphonic works by Brahms

G小調第五匈牙利舞曲學院節慶序曲，作品80海頓主題變奏曲，作品56a（選段）

C小調第一交響曲，作品68：第一樂章E小調第四交響曲，作品98：第四樂章

Hungarian Dance No 5 in G minorAcademic Festival Overture, Op 80Variations on a Theme of Joseph Haydn, Op 56a (excerpts)

Symphony No 1 in C minor, Op 68: 1st movement Symphony No 4 in E minor, Op 98: 4th movement

String Sextet No 1 in B-flat, Op 18: 1st movementSonata for Piano & Violin No 3 in D minor,

Op 108: 1st movement*

Clarinet Quintet in B minor, Op 115: 1st movementHorn Trio in E-flat, Op 40: 4th movementPiano Quartet No 1 in G minor, Op 25: 4th movement*

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 financiallysupported by the Government of the Hong Kong Special Administrative Region

7.1.2016 (星期四 Thu) 7:30pm

香港演藝學院香港賽馬會演藝劇院HK Jockey Club Amphitheatre, HK Academy for Performing Arts$250 $180 (英語講解 In English)

9.1.2016(星期六 Sat) 7:30pm

香港演藝學院香港賽馬會演藝劇院HK Jockey Club Amphitheatre, HK Academy for Performing Arts$280 $220 (英語講解 In English)

首席客席指揮／主持Principal Guest Conductor/Presenter

柏鵬Christoph Poppen• Principal Conductor, Cologne Chamber Orchestra• Artistic Director, Marvão International Music Festival, Portugal• Music Director, Deutsche Radio Philharmonie (2007-2011)• Artistic Director, Munich Chamber Orchestra (1995-2006)

鋼琴 Piano (只演7.1.2016 only)

李嘉齡 Colleen Lee(駐團藝術家 HKS Artist Associate

2010/2011)

“Enlightening and immensely rewarding.”

BBC Music Magazine

購票熱線 Ticket Booking: 31 288 288 | www.hkticketing.com節目查詢 Programme Enquiries: 2836 3336 | info@hksinfonietta.org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

20%OFF凡同時購買1月7及9日音樂會之正價門票，

可獲8折優惠20% discount when you purchase full-price tickets

to both concerts on 7 & 9.1.2016

門票由11月14日起於快達票售票網*公開發售 Tickets available at all outlets* from 14.11.2015* 位於香港會議展覽中心、香港演藝學院、演藝學院古蹟校園-伯大尼、藝穗會、亞洲國際博覽館、九龍灣國際展貿中心及K11 Select的售票處，以及遍佈全港的通利琴行。

* HK Convention & Exhibition Centre, The HK Academy for Performing Arts, The Academy's Landmark Heritage Campus-Bethanie, Fringe Club, AsiaWorld-Expo, KITEC, K11 Select and Tom Lee Music Stores.

適合6歲或以上觀眾 For ages 6+快達票將額外收取每張門票的顧客服務費 HK Ticketing applies a customer service fee to all tickets purchased via its network. The fee is additional to the face value of the ticket and is payable upon purchase of tickets.

我們相信古典音樂適合所有人。

香港小交響樂團一直致力拉近古典音樂與普羅大眾

間的距離。除了常規音樂會，樂團亦積極以富創意

及別樹一格的手法把古典音樂帶給觀眾。因為我們

深信，以熱誠奏出的音樂能觸動和激勵人心。

有賴您的支持，我們的音樂才可接觸更多的市民。

請捐款支持樂團或學生票資助計劃！

年度捐款 HK$100 或以上？謝謝！我們會為您準備收據作申請扣稅之用。

年度捐款 HK$1,000 或以上？

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。

查詢 Enquiries : fundraising@hksinfonietta.org or (852) 2836-3336.

WE BELIEVE THAT CLASSICAL MUSIC IS FOR EVERYONE.

Apart from standard orchestral repertoire, we go an extra mile to design special concerts tailor-made for di­ erent music lovers because we believe good music delivered with passion can touch, move and inspire our society.

Hong Kong Sinfonietta relies on public support. Please donate to our General Fund or Student Ticket Scheme!

Planning to donate over HK$100?Thank you! We will prepare an o­ icial receipt for you for tax deduction.

Planning to donate over HK$1,000?Thank you! We will prepare an o­ icial 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.

This is Hong Kong Sinfonietta.

This is ALSO Hong Kong Sinfonietta.

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2015/2016 樂季贊助機構 Sponsors of the 2015/2016 Season

主要贊助機構 Major Sponsors

酒店伙伴 Partner Hotel

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

Serena Yang

Hong Kong Economic & Trade Office in SingaporeThe Government of the Hong Kong Special Administrative Region

謝謝！Thank You Partners!

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贊助人及捐款者 Patrons & Donors

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

亞洲保險有限公司 Asia Insurance Co Ltd

陳鋈鋆先生 Mr Chan Yuk-kwan

潘燊昌博士及夫人 Dr & Mrs Patrick S. C. Poon

唐柏泉醫生 Dr Patrick Tong

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

陳嘉何醫生夫人 Dr & Mrs Chan Ka Ho

Mr Patrick Chan

Lowell and Phyllis Chang

Dedicated Violinist Fund

梁烈安先生及夫人 Mr & Mrs Leung Lit On

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

Mr Eric Tsang

多位無名氏 Anonymous

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 organisationswho have supported us with a donation in the past year.

STAR Donors (HK$10,000 to HK$29,999) Donors (HK$1,000 to HK$9,999)

BELIEVING MUSIC CAN加拿大琴行 Canada Piano CoDr Eugene K ChanJonman, Monika & Joel Chan FamilyMr Chan Si Nang陳燕婷Mrs Elizabeth ChaoMs Laura Chen張綺華小姐 Ms Helen Cheung張玉堂先生Kenyon & Leonard ChowMr Lewvis ChoyMs Amanda Chui閃電仔仔 Flash馮新健先生 Mr John Sun-kin Fung馮元志 Louis Fung何靖邦先生 Mr Ho Ching PongMs Rose HoMrs Elsie Hui高靜芝 Sophia KaoMs Betsy LaiMr Jackson Lam

Ms Lisa LauMs Anna Lo馬宗傑先生 Mr Tony MaHayden Majajas & Andy ChenPhilippe de Marcillac大通會計事務所

Masterpoint Professional LtdMr Anthony Nappi吳志強先生Ms Jane NgPoon Shing Chi and Liao E WenDr John SandersonMs Eunice TongMr Paul Tsang曾健鵬先生夫人 Mr & Mrs Paul TsangWig the PigMr Wong Ho Ming AugustineMr Peterson Wong葉紹羲先生 Mr Yip Siu-hay徐閔女士 Ms Helen Zee多位無名氏 Anonymous

北山堂基金Bei Shan Tang Foundation

Prof T M Chan周愛琳醫生 Dr Irene ChauDr Polly Cheung張�昌博士

Dr Thomas H C CheungDr Vivian Cheung張黎慧文

Vivian W M Cheung鍾思源醫生

Dr Chung See YuenMr Eugene Fung關卓然先生

Mr William Kwan Cheuk Yin

Mr Allan LeungMrs Adeline Lui莫扎特迷 Mozart’s Fan彭嘉碧女士

Ms Rotina PangRuth & Sidney冼為堅先生

Mr David Sin Wai-kinMr and Mrs Robert C. TangMs Veronica Wai曹延洲醫生

Dr Tsao Yen-chowDr & Mrs

Arthur Van Langenberg多位無名氏 Anonymous

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

Ms Cecilia Fok潘燊昌博士及夫人 Dr & Mrs Patrick S. C. Poon芝蘭基金會 Zhilan FoundationJade Donors (HK$50,000 to HK$99,999)

CLP Holdings Limited

中原電器行有限公司

無名氏 Anonymous

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

陳求德醫生 Dr Chan Kow Tak

鍾思源醫生 Dr Chung See Yuen

Premium Friends張�昌博士

Dr Thomas H C Cheung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冼為堅先生 Mr David Sin Wai-kinMr T L Tsim萬美宜 Christine Van多位無名氏 Anonymous

亞洲保險有限公司Asia Insurance Co Ltd

Mr Patrick Chan

周愛琳醫生 Dr Irene Chau

張德賢博士伉儷Dr & Mrs Douglas Cheung

郭立成律師

林柏年醫生夫人 Dr & Mrs Samuel Lam

Mr and Mrs Lam Ting Kwok Paul

Nathaniel Foundation Limited

彭嘉碧女士 Ms Rotina Pang

孫永輝及施熙德 Edith and Stephen Sun

偉華基金 Wai Wah Foundation

王永平教授

多位無名氏 Anonymous

BELIEVING MUSIC CAN

Mr Iain Bruce

Dr Eugene K Chan

Jonman, Monika & Joel Chan Family

Miss Julia Chan

Mr Chan Kwan Ho

Ms Anastasia Chao

Prof David Clarke

席信 Mr Paul Jackson

Luca, Caterina, Maurien, Joseph Jacobelli

Tasha Lalvani

紀念劉葉珍女士

李樹榮博士 Dr Ernest Lee

廖炳輝醫生 Dr Liu Bing Fai

陸文靜小姐 Ms Anna Luk

Prof Mak Su-yin

莫嫣小姐 Miss Jennifer Mok

吳思博伉儷 Mr & Mrs Nigel & Winny Ng

吳榮奎先生 Mr Ng Wing Fui Nicholas

魏玉華小姐 Ms Winnie Ngai

蘇國輝先生

Ms Amy Tam

Mr Mark Tong

曾健鵬先生夫人 Mr & Mrs Paul Tsang

詹德隆先生 Mr T L Tsim

Dr Wong Hin Yeuk

黃乃禧先生 Mr Wong Nai Hay

王煒東先生

Mr Marcus Woo

Ms Alice Yeung

徐閔女士 Ms Helen Zee

多位無名氏 Anonymous

Pearl Donors (HK$10,000 to HK$29,999) Opal Donors (HK$1,000 to HK$9,999)

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

民政事務局 Home Affairs Bureau

康樂及文化事務署Leisure and CulturalServices Department

香港電台Radio Television Hong Kong

太古地產 Swire Properties

通利琴行 Tom Lee Music Co Ltd

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捐款表格 Donation Form

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 本人（等）的銀行及分行的名稱My/Our Name(s) as recorded on Statement/Passbook My/Our Bank Name and Branch(in block letters) 銀行號碼 分行號碼 本人（等）的戶口號碼

Bank No. Branch No. 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

信用卡 Credit Card□匯財卡 Visa □萬事達卡 Mastercard

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 ofthe above stated amount to the Hong Kong Sinfonietta Limited until further notice. I agreethe validity of this agreement will continue before or after the expiry date of my credit cardaccount. Cancellation or variation of this authorization shall be given to the Hong KongSinfonietta Limited ten working days prior to the date on which such cancellation orvariation 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

□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.

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.

先生／小姐／女士／博士／教授 Mr/Miss/Mrs/Ms/Dr/Prof

中文姓名 Surname First Name 電話 Tel 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，只用作郵寄回條及其他通訊之用。

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

捐款人資料 DONOR INFORMATION

此欄不用填寫 For Official Use Only 本機購專用 For Hong Kong Sinfonietta Use Only (Donor’s Ref. #)

銀行專用 For Bank Use Only (Signature(s) verified)

捐款方式 DONATION METHOD

• 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/ouraccount to that of the above named beneficiary in accordance with such instructions asmy/our Bank may receive from the beneficiary and/or its banker and/or its banker’scorrespondent from time to time provided always that the amount of any one suchtransfer shall not exceed the limit indicated above.

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

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

• I/We understand that I/we must maintain sufficient funds in the account one businessday (before the close of branch banking hours) before the transfer date (as specified inthe instructions received by my/our Bank from the beneficiary and/or its banker and/orits banker’s correspondent from time to time) for the transfer authorized herein. I/Weagree that should there be insufficient funds in my/our account to meet any transferauthorized herein, my/our Bank will be entitlted, at its absolute discretion, not to effectsuch a transfer in which event the Bank may levy its usual charges and may cancel thisauthorization at any time without notification to me/us. For the avoidance of doubt, theBank 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 expirydate written above (whichever shall first occur). I/We agree that if no transaction isperformed on my/our account under such authorization for a continuous period of 30months, my/our Bank reserves the right to cancel the direct debit arrangement withoutprior notice to me/us, even though the authorization has not expired or there is noexpiry date for the authorization.

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

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”.

我樂意支持香港小交響樂團培育文化新一代，現捐助 □ 每月定期捐款I would like to support the Hong Kong Sinfonietta with HK$ __________________ monthly donation

以支持樂團的 for its □日常經費 General Fund □ 一次性捐款□學生票資助計劃 Student Ticket Scheme one-off donation

C

M

Y

CM

MY

CY

CMY

K

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