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

酒店伙伴 Partner Hotel

18.4.2015(星期六 Sat) 8pm

香港大會堂音樂廳HK City Hall Concert Hall

音樂總監／指揮

Music Director/Conductor

葉詠詩Yip Wing-sie

長號 Trombone

米利謝爾

Fabrice Millischer

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ReHKSinfonJanIssue.pdf 1 31/12/2014 12:12 PM

最愛長號：《墮落天使路西法》

The Fall of Lucifer Symphonic Poem for Trombone & Orchestra

音樂總監/指揮 Music Director/Conductor

葉詠詩 Yip Wing-sie

長號 Trombone

米利謝爾 Fabrice Millischer

各位觀眾 Dear Patrons,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。

In order to make this performance apleasant experience for the artists and othermembers of the audience, please refrainfrom recording, filming, taking photographs,and also from smoking, eating or drinking inthe auditorium. Please ensure that yourmobile phones and any other sound andlight emitting devices are switched offbefore the performance. Thank you for yourkind co-operation.

場地規則 House Rules

節目

西貝遼士 《戀人組曲》，作品14戀人：充滿動力的行板其愛人的路：小快板晚安！⋯⋯再會！：小行板

貝爾根 《墮落天使路西法》(2009)（為長號和樂隊而作的交響詩）

光明

叛亂

深淵

－中場休息15分鐘－

貝多芬 A大調第七交響曲，作品92稍稍綿延的—活潑的小快板急板—稍慢的急板朝氣蓬勃的快板

Programme

Sibelius Rakastava, Op 14 (The Lover) The Lover: Andante con motoThe Path of his Beloved: AllegrettoGood Evening!... Farewell!: Andantino

Patrick Burgan La Chute de Lucifer (2009)Symphonic Poem for Trombone & Orchestra

Lumière RévolteAbîmes

- 15-minute intermission -

Beethoven Symphony No 7 in A, Op 92Poco sostenuto – VivaceAllegrettoPresto – Assai meno prestoAllegro con brio

2

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、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、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。

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。

樂團剛於韓國統營國際音樂節首演，今年十月將

首度出訪瑞士。

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

3

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,

Pinchas Zukerman, The Royal Ballet, Mariinsky

Ballet, Bolshoi 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. 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, Saint-

Riquier Festival and Les Flâneries Musicales d’Été de

Reims 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, Kanazawa 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 will

make its début in Switzerland in October.

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傳真 Fax : (852) 2783 9819網址 Website: www.HKSL.org

4

音樂總監／指揮 Music Director/Conductor

葉詠詩 YIP Wing-sie

© Y

VONN

E CH

AN

亞洲樂壇備受尊崇的指揮家葉詠詩，於2002年起

出任香港小交響樂團音樂總監。

葉詠詩在1985年贏得法國貝桑松第35屆國際青年

指揮大賽冠軍及「金豎琴」獎，並在1988年獲第

八屆東京國際指揮比賽獎項。她曾先後出任香港大

學的學院藝術家、新加坡國立大學楊秀桃音樂學院

王鼎昌傑出客座教授、廣州交響樂團的首席指揮和

音樂總監及香港管弦樂團的駐團指揮。

葉詠詩經常獲邀擔任世界各地樂團的客席指揮，曾

合作的包括中國中央樂團、中國國家交響樂團、上

海交響樂團、首爾愛樂樂團、大阪管弦樂團、新日

本愛樂交響樂團、札幌、讀賣、台灣、布里斯本、

墨爾本、昆士蘭等交響樂團及新西蘭的奧克蘭愛樂

樂團等。在歐洲，她曾與法國圖盧茲國家樂團、貝

桑松室樂團、波蘭華沙愛樂樂團、西班牙特納里夫

島交響樂團、捷克科希策省樂團合作演出。此外，

她亦曾率領廣州交響樂團於國際知名的維也納音樂

協會會堂（黃金大廳）演出及參與北京國際音樂

節。葉詠詩曾與多位國際知名的獨奏家合作，包括

杜美、傅聰、明茨、普爾曼、穆特及蘇嘉文等；近

年曾指揮的歌劇包括香港小交響樂團伴奏的《詩人

李白》及台灣愛樂的《畫魂》。

繼2004年葉詠詩帶領香港小交響樂團代表中國參

加「中國在法國」文化年的成功演出後，經常獲邀

赴世界各地演出，當中包括美國、加拿大、波蘭、

巴西、阿根廷、烏拉圭，以及法國、意大利、日

本、韓國和立陶宛的音樂節。在中國，她曾帶領樂

團於中國交響樂之春（北京國家大劇院）、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演出，並將於2015年10月

率領樂團首度出訪瑞士。

生於廣州，香港長大的葉詠詩，憑香港皇家賽馬會

音樂基金獎學金遠赴倫敦皇家音樂學院攻讀；後於

美國印第安納大學取得小提琴及指揮碩士學位。

1986和1992年夏季，她分別獲得哥士域斯基獎學

金及小澤征爾獎學金前往鄧肯活音樂中心研習指

揮。指導過她的指揮大師包括狄瑪爾、伯恩斯坦、

小澤征爾、米亞及艾德敦。葉詠詩於1990年獲選

為香港十大傑出青年之一，2006年獲香港公開大

學頒授榮譽文學博士學位，2007年她獲法國文化

部頒發「藝術及文學騎士勳章」，2010年獲英國皇

家音樂學院頒授院士榮銜（FRCM），並於2013年

獲香港各界婦女聯合協進會頒發「香港六藝卓越女

性」獎，及由香港政府授勳銅紫荊星章，表揚她在

音樂界的傑出成就。

5

A highly respected and influential figure in Asia’s

orchestral music scene, Yip Wing-sie has been the

Music Director of Hong Kong Sinfonietta since

2002. Positions she has previously held include the

University Artist of The University of Hong Kong,

the Ong Teng Cheong Distinguished Visiting

Professor at the Yong Siew Toh Conservatory of

Music, National University of Singapore, Principal

Conductor and later Music Director of Guangzhou

Symphony Orchestra and Resident Conductor of

Hong Kong Philharmonic Orchestra.

Winner of the First Prize as well as “LYRE d’OR” in

the 35th Concours International de Jeunes Chefs

d’Orchestre de Besançon, France in 1985 and a

prizewinner in the 8th Tokyo International

Conducting Competition in 1988, Yip is in great

demand as a guest conductor in Asia. Orchestras

she has conducted include the Central

Philharmonic Orchestra of China, China National

Symphony Orchestra, Shanghai Symphony

Orchestra, Seoul Philharmonic, Osaka Philharmonic,

New Japan Philharmonic, Tokyo Mozart Players, the

symphony orchestras of Sapporo, Yomiuri, Taiwan,

Tasmania, Melbourne and Queensland as well as

the Auckland Philharmonia of New Zealand. In

Europe, Yip’s engagements have included concerts

with the Orchestre National du Capitol de Toulouse

and the Chambre Orchestre de Besançon in France,

Warsaw Philharmonic in Poland, Spain’s Tenerife

Symphony Orchestra and the Czech State

Orchestra of Kosice. She has also conducted at

prestigious venues and festivals such as the Vienna

Musikverein (Grossersaal), Beijing Music Festival,

Fukuoka’s Asian Month Festival in Japan, Hong

Kong Arts Festival and Macao International Music

Festival. Yip has collaborated with such renowned

artists as Augustin Dumay, Fou Ts’ong, Shlomo

Mintz, Anne-Sophie Mutter, Itzhak Perlman and

Pinchas Zukerman. Operas she has conducted

include Guo Wen-jin’s Poet Li Bai and the world

première of La Peintre with Taiwan Philharmonic.

As Music Director of Hong Kong Sinfonietta, Yip

has taken the orchestra on tour in recent years to

Canada, the USA, Japan (La Folle Journée in Tokyo

and Niigata), Korea (Tongyeong International Music

Festival), France (Festival International de Piano La

Roque d’Anthéron, Les Flâneries Musicales d’Été in

Reims and Saint-Riquier Festival), Italy (Festival

Pianistico Internazionale Arturo Benedetti

Michelangeli in Brescia and Bergamo and

Settimane Musicali al Teatro Olimpico in Vicenza),

Poland (National Philharmonic Hall in Warsaw),

Beijing (National Centre for the Performing Arts),

Shanghai (China Shanghai International Arts

Festival/Expo 2010 Shanghai and Shanghai Spring

International Music Festival), Lithuania and in the

South America in Argentina, Brazil and Uruguay.

Yip wil l lead the orchestra in its début in

Switzerland in October, 2015.

Born in Guangzhou and brought up in Hong Kong,

Yip studied at the Royal College of Music in London

before going on to the Indiana University at

Bloomington, USA, where she obtained her

Master’s Degree in violin performance and

conducting. As the winner of the Koussevitsky

Scholarship and the Seiji Ozawa Fellowship Award,

Yip spent the summers of 1986 and 1992 attending

the conducting seminar and fellowship programmes

at the Tanglewood Music Center. Her mentors

included great maestros such as Norman Del Mar,

Leonard Bernstein, Seiji Ozawa, Gustav Meier and

David Atherton. In 1990, Yip was named one of

Hong Kong’s Ten Outstanding Young Persons. Other

awards she has received include an honorary

doctorate by the Open University of Hong Kong,

“Chevalier dans l’Ordre des Arts et des Lettres” by

the Ministry of Culture and Communication of

France, Fellow of the Royal College of Music

(FRCM), “Hong Kong Women of Excellence in the

Six Arts Award” by the Hong Kong Federation of

Women and the Bronze Bauhinia Star (BBS) by the

Hong Kong Government.

6

米利謝爾曾與不少知名樂團合作，例如SWR斯圖加

特電台交響樂團、維也納室樂團、法國圖盧茲國家

樂團、聖彼得堡隱士廬交響樂團、法國南錫市交響

樂團和烏克蘭國家交響樂團。他亦曾於華盛頓、北

京、東京、首爾、慕尼黑、柏林、日內瓦和巴黎等

地舉行獨奏會。米利謝爾自2008年起與其長號四

重奏「四長號」一同演出，又經常出席銅管樂的各

大音樂節。

米利謝爾1985年生於音樂世家，從小熱愛音樂，

曾學過鋼琴和大提琴，最終選擇了長號。在學期

間，米利謝爾以大提琴家身份獲巴黎國家高等音樂

學院頒發首獎，期後以長號與古長號家身份獲頒里

昂國家高等音樂學院的首獎。

米利謝爾現與著名銅管樂品牌柯塔合作，其吹奏的

長號為 Legend 420 NSBHST。

長號 Trombone

米利謝爾 Fabrice Millischer

米利謝爾是2007年第56屆慕尼黑ARD國際音樂大

賽冠軍，被公認為當今最才華洋溢的長號手之一。

米利謝爾剛於2014年憑《法國長號協奏曲》唱片

獲得德國ECHO古典大獎的最佳年度錄音（20/21

世紀音樂），其中收錄了今次音樂會中與香港小交

響樂團合奏，貝爾根的《墮落天使路西法》。米利

謝爾於2014年11月獲法國克羅斯學院頒發獨奏家

大獎，也是第一位長號演奏家贏得法國音樂大獎的

「年度新秀獎」。

米利謝爾對現代音樂有濃厚興趣，經常參與長號作

品的創作，不少現代音樂作品也是為他而寫，其中

包括吉洛為長號和銅管樂組所寫的長號協奏曲、佩

呂雄的《劇本》、塞羅的《野性的呼喚》以及貝爾

根的《墮落天使路西法》。

7

Winner of the First Prize at the 56th ARD

International Music Competition 2007 in Munich,

Fabrice Millischer is recognized as one of the most

gifted and talented trombone players of his

generation.

Millischer has just received the prestigious award by

ECHO Klassik 2014 in Germany under the category

“Concert Recording of the Year (20th/21st century

music)” for his CD French Trombone Concertos

recorded with Deutsche Radio Philharmonie, which

included La Chute de Lucifer, the trombone

concerto by Patrick Burgan that he will perform in

tonight’s concert with Hong Kong Sinfonietta. He

was also awarded the “Grand Prix Soliste

Instrumental” by Académie Charles Cros in France

in November 2014. In 2011, he was the first

trombone player to become “Révélation Soliste

Instrumental de l’Année” at Victoires de la

Musique Classique.

Having a great interest in contemporary music,

Millischer has been involved in the creation of a

number of works for the trombone. Many

contemporary musical pieces have been composed

and dedicated to him, including Trombone

Concerto by Jean Guillou, Libretto by Etienne

Perruchon, L’Appel Sauvage by Alain Celo as well

as Burgan’s La Chute de Lucifer.

Mil l ischer has performed with prestigious

orchestras such as SWR Stuttgart Radio Symphony

Orchestra, Vienna Chamber Orchestra, Orchestre

National du Capitole de Toulouse, St Petersburg

Orchestra of the State Hermitage, Orchestre

Symphonique et Lyrique de Nancy and National

Symphony Orchestra of Ukraine. He also gave solo

recitals in Washington, Beijing, Tokyo, Seoul,

Munich, Berlin, Geneva and Paris. Since 2008, he

plays with his trombone quartet “Quartbone” and

he is regularly part of the main festivals dedicated

to brass instruments.

Born into a family of musicians in 1985, Millischer’s

love for music started with the piano, turned to the

cello and ultimately to the trombone. During his

musical education, Millischer successively received

two “Premier Prix” from the Conservatoire

Supérieur de Musique in Paris as a cellist and from

the Conservatoire Supérieur de Musique in Lyon as

a trombonist and sackbut player.

Millischer is presently working with the brass

instruments manufacturer Antoine Courtois Paris

and plays the Legend 420 NSBHST.

8 8

門票：城市售票網 Tickets at URBTIX 2111 5999 | www.URBTIX.hk節目查詢 Programme Enquiries: 2836 3336 | info@hksinfonietta.org適合6歲或以上觀眾 For ages 6+

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

© M

ARCO

BOR

GGRE

VE

鋼琴 Piano

奧歷 Florian Uhlig

25.4.2015(星期六 Sat) 8pm

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

$320 $220 $140

節目Programme

貝多芬 第三《蕾奧諾拉》序曲，作品72b舒曼 A小調鋼琴協奏曲，作品54西貝遼士 A小調第四交響曲，作品63

Beethoven Leonore Overture No 3, Op 72bSchumann Piano Concerto in A minor, Op 54Sibelius Symphony No 4 in A minor, Op 63

指揮 Conductor

佛里斯．維塞斯Roberto Forés Veses

“A remarkable ability to transmit every moment of music.”

Classiqueinfo.com

★★★★BBC Music Magazine

“A stroke of genius!”Die Zeit

“A perceptive Schumann interpreter.”The Guardian

“His playing was concentrated and clear,outstandingly expressive and virtuosic.”

Stuttgarter Nachrichten

• Chief Conductor and Artistic Director,Orchestre d’Auvergne, France

• Winner and Special Prize of Jury,Luigi Mancinelli Opera Conductors’ Competition, Italy

9

門票：城市售票網 Tickets at URBTIX 2111 5999 | www.URBTIX.hk節目查詢 Programme Enquiries: 2836 3336適合6歲或以上觀眾 For ages 6+

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

“Paul Meyer is a figure of rare grace and relaxed elegance in classical music.”

Herald Tribune

「梅耶演奏出如絲般細膩的音色，

力度和樂句都掌握得完美無瑕。」

《留聲機》雜誌

單簧管 Clarinet

梅耶 Paul Meyer

© E

DITH

HEL

D

聯合主辦 Co-presenter

康樂及文化事務署贊助場地及售票服務Venue and ticketing

services sponsored by the Leisure and Cultural

Services Department

獨家贊助 Exclusive sponsor

23.5.2015(星期六 Sat) 8pm

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

$360 $220 $140

節目Programme

拉威爾 《悼念公主的帕凡舞曲》尼爾森 單簧管協奏曲，作品57德布西 第一單簧管狂想曲西貝遼士 第六交響曲，作品104

Ravel Pavane pour une Infante DéfunteNielsen Clarinet Concerto, Op 57Debussy Première RhapsodieSibelius Symphony No 6, Op 104

音樂總監／指揮 Music Director/Conductor

葉詠詩 Yip Wing-sie

10

西貝遼士（1865–1957）

《戀人組曲》，作品14戀人：充滿動力的行板

其愛人的路：小快板

晚安！⋯⋯再會！：小行板

1911年，在被診斷患上了咽喉腫瘤後，西貝遼士

接受了治療。在這個嚴峻的時刻，他正撰寫第四交

響曲（香港小交響樂團將於兩星期後的音樂會演奏

這首作品）。同年，《戀人組曲》經常被演奏的版

本也已竣筆，但其實早在1893年它的初版已面

世，是為赫爾辛基大學男聲合唱團撰寫的一首用來

參加合唱比賽的無伴奏作品。三段歌詞取自隆洛特

（Elias Lönrott）收集和出版的芬蘭民族史詩《彈康

特勒琴的少女》（Kanteletar），當時西貝遼士也在

撰寫取材自另一部史詩的大型合唱交響曲《庫勒沃》

（Kullervo）。在比賽中《戀人》一曲得了第二。為

了讓作品獲得更多演出的機會（同時也考慮到一般

的男聲合唱團或許不如大學合唱團那般水準高

超），次年西貝遼士將作品改編給男聲合唱和弦

樂，四年後又改編為無伴奏男女聲合唱曲。

時隔13年，西貝遼士再次把作品翻出來。他把聲

樂完全刪去，只留下作品和樂章的標題來顯示原有

的敘事性。這次大幅度的修改，使作品與西貝遼士

作於1909年的最後一首弦樂四重奏《友情之聲》

（Voces Intimae，作品56）聽起來頗相近。

在響亮的低音和弦襯托下，第一小提琴奏出了上升

樂句。情調是克制的，甚至帶點哀傷，恰好與隆洛

特描述尋找「戀人」的詩句相配。樂章的末尾稍快

而安靜，兩次都由中提琴帶動，翻滾而低沉的定音

鼓則起了支持作用。但樂章的情調並沒有出現根本

的變化，最後仍是痴迷地結束。由追憶「戀人」去

向而引起的一陣緊張的氛圍，充斥於第二樂章小快

板中，靜悄悄的第一和第二小提琴顯得更為唏噓。

一段大提琴獨奏似乎讓樂章稍現光明，接近尾聲時

響起了六下清冷的三角鐵，樂章最後在一片光明的

上升樂音中消散。在終樂章開首，獨奏小提琴和大

提琴取代了西貝遼士第三個版本（男女聲合唱）中

的女高音和男中音聲部。快速的滾動和定音鼓再次

試圖抹去灰暗的情調，但另一次節奏的改變又把音

樂減速，作品又短暫地陷入迷思，最後「相當緩慢

的」段落似乎在作出含蓄的道別，並帶有絲絲

悔意。

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

敲擊樂： 定音鼓、三角鐵

這個樂季反復出現的主題是偉大芬蘭作曲家西貝遼士的150歲冥壽。這場音樂會的開場作品，

便是一首他為弦樂、定音鼓和三角鐵撰寫的精緻小組曲。這部作品的內容取自芬蘭的傳奇《戀

人》，是一個關於尋找失蹤愛人的故事。接踵而來的樂曲故事更為震撼，那是貝爾根為長號和

樂隊撰寫的交響詩《墮落天使路西法》，由作品的題獻人米利謝爾演奏。而貝多芬不可抑止的

第七交響曲，雖然寫於拿破崙戰爭期間，卻把我們帶回歡娛的境地。這首作品節奏輕快、令人

手舞足蹈，無怪曾被華格納譽為「舞曲的完美典範」。

節目介紹

11

貝爾根（1960年出生）

《墮落天使路西法》為長號和樂隊而作的交響詩

（取材自米爾頓《失樂園》）

光明

叛亂

深淵

貝爾根稱他2009年為長號和樂隊撰寫的《墮落天

使路西法》為「交響詩」，而非「協奏曲」。首演在

2010年3月9日於法國里昂音樂廳舉行，由今晚的

獨奏家米利謝爾和里昂的國立高等音樂舞蹈學院樂

團合作演出，指揮是夏巴（Péter Csaba）。之後的

第一次錄音，為米利謝爾作伴奏的是他曾擔任首席

的德國電台愛樂樂團，由凱恩（Ulrich Kern）指

揮，並贏得了2014年ECHO古典大獎的最佳年度錄

音（20/21世紀音樂）。

貝爾根出生於法國格勒諾布爾（Grenoble），在圖

盧茲（Toulouse）音樂學院求學期間，因為聽了瓦

雷茲（Edgard Varèse）和杜蒂耶（Henri Dutilleux）

的作品而產生了作曲的興趣。他後來移居巴黎，在

國立高等音樂學院師隨馬萊克（Ivo Malec）和格

里賽（Gérard Grisey），又在意大利錫耶納

（ S i e n n a）的奇吉阿娜音樂學院（A c a d e m i a

Chigiana）受教於多納托尼（Franco Donatoni），

在巴黎的電子音樂權威機構—巴黎音樂及聲學中

心（IRCAM）—隨穆雷爾（Tristan Murail）和馬

努里（Philippe Manoury）學習。

曾贏得多個獎項的貝爾根，現時是圖盧茲大學的作

曲及即興演奏副教授。他的作品既抒情亦感性，具

有很強烈的劇場效果，其中包括三套歌劇：《影象

之源，那喀索斯償願之處》（2000）、《小飛俠或溫

蒂的真實故事》（2006）以及即將面世的、為男高

音阿蘭尼亞（Roberto Alagna）撰寫的《謎語》。

貝爾根為長號和樂隊撰寫的「交響詩」，取自於米

爾頓寫於17世紀末、有關人類從伊甸園墮落的詩

篇《失落園》（有兩個版本，第一個出版於1667

年，有10章；第二個出版於米爾頓去世的1674

年，有12章）。它以撒旦和他的門徒被逐出天堂，

跌進地獄（米爾頓所稱的Tartarus）開始。之後，

天使拉菲爾（Raphael）來到人間，向亞當發出警

告，說撒旦計劃化身為路西法來危害人間，路西法

本來是「光明天使」，但現在卻是黑暗的使者。貝

爾根在音樂中依照路西法墮落的故事，把第一樂章

名為「光明」，第二樂章是撒旦的「叛亂」，最後一

個樂章是充滿怒氣的「深淵」，被貶罰到該處的撒

旦，要圖謀報復。

根據貝爾根的樂曲介紹，我們大致上可以把作品的

內容概括如下：一段柔和的弦樂音簇展開了第一樂

章，它形容沐浴在光明之中的天國。在音簇伴奏

下，出現了飄渺如仙音的大提琴獨奏，之後與更高

音的弦樂獨奏交織在一起。隨著一陣上行音，木管

開始吹奏，作品所描述的主角由長號帶出，就如

「大提琴的孿生兄弟」。這是一段哀愁、孤寂的旋

律，但隨即上升為不安的高潮，接著又安靜下來，

儘管不時閃現的敲擊樂、鋼琴、木管樂和豎琴的撥

奏開始騷動，把音樂不可阻擋地帶進第二樂章。弦

樂發出緊張的滴答聲，象徵著撒旦的叛亂。

第二樂章是最長的一章，它是首「生動的12音列賦

格曲，其接續的演變包括了叛軍與天兵的戰鬥」。

樂器不斷增加，或與獨奏者爭持，或助他一臂之

力。在氣氛越來越緊張之際，獨奏長號吹出了兩個

長音，像是戰鬥時發出的號令。鼓加入了這場衝

突，但音樂的衝擊忽然消退，讓更多的弦樂和「滴

答的」木管出現（或者是「��」更為�當，之後

弦樂發出了像赫爾曼 [Bernard Hermann] 在希治閣的

電影《觸目驚心》[Psycho] 所採用的弦樂尖刺聲），

在上面的長號首先拖著一段旋律，然後像馬一樣嘶

叫。這段「嚴肅、呼嘯如巖漿般的混合物把撒旦推

到了天堂的邊緣」，他「從天上墜落，足足掉了九

天那麼久」。敲擊樂一連串馬勒式的漸強加重了長

號憤怒的咆哮，後者演變成浩大的華采段，形容

「墮落天使撒旦被擊敗後，恢復神智時發出的

聲音」。

作為最後一個樂章，「深淵」是「一段沉重而痛苦

的進行曲，撒旦重新喚醒他的軍隊，正式建立了地

獄。邪惡力量現在有了它的君王」。首先由低音巴

松管奏出的低沉的咕噥聲，啟動了樂曲緩慢的步

履，之後再由長號接續，繼而又加入重新出現的獨

12

奏大提琴。它們一起奏響痛苦的二重奏，又瞬間沉

靜下來。貝爾根從較宏觀的角度看待撒旦愚蠢的行

為，認為他的反叛是徒勞無功的，或者只會把他拋

入一個「新的巨大的深淵：即存在之荒誕的

啟示？」

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： 長笛 (2) 、短笛 (1) 、雙簧管 (1)、英國管 (1) 、

單簧管 (2)、低音單簧管 (1) 、巴松管 (2) 、

低音巴松管 (1)

銅管樂： 圓號 (2) 、小號 (2) 、長號 (2) 、大號 (1)

敲擊樂： 定音鼓、馬林巴琴、顫音琴、鐘琴、鈸、吊鈸、

風鈴、木風鈴、木魚、棘輪、三角鐵、大鼓、

小軍鼓、獅吼鼓、桶子鼓、平鑼、邦戈鼓

豎琴 (2) 、鋼片琴

獨奏長號

貝多芬（1770–1827）

A大調第七交響曲，作品92稍稍綿延的—活潑的

小快板

急板—稍慢的急板

朝氣蓬勃的快板

雖然貝多芬從1811年秋到1812年中，用了好幾個月

的時間寫成了第七交響曲，但首演卻要等到1813年

12月8日，在一場為陣亡士兵的遺孀和孤兒籌款的

慈善音樂會上舉行。那年秋天，在慘烈的哈諾

（Hanau）戰役中，拿破崙遭奧地利和巴伐利亞聯軍

擊敗，從此失去了在歐洲的霸權，逐漸走向衰亡。

這場音樂會由貝多芬的朋友梅塞爾（ J o h a n n

Nepomuk Mälzel，拍子機發明者）籌備，在維也

納大學禮堂舉行。當晚的節目，除了這首交響曲

外，還有貝多芬的《威靈頓之勝利》（Wellington’s

Victory，作品91，又名《戰爭交響曲》，用以紀念

威靈頓公爵在1813年6月21日於西班牙擊敗拿破崙

的維多利亞戰役）。以當時的情勢可以想像，這兩

首作品都會大受歡迎，皆因《戰爭交響曲》以法國

戰敗為題材，而第七交響曲則充滿了歡欣和努力不

懈的精神。結果徇眾要求，節目又在12月12日加

演了一場。兩場音樂會上，聽眾都要求重奏第七交

響曲的第二樂章—小快板。

日趨嚴重的失聰令這兩場成為了貝多芬最後公開指

揮的音樂會。參與了這兩場音樂會的作曲家兼小提

琴家施波爾（Louis Spohr）憶述貝多芬在排練時遇

到的問題。當貝多芬指揮到一個長音卻不能聽到的

時候：

「他跳起來，因為在他的計算中，這時強音應

該開始了。當樂隊沒有跟隨他的指示，他露

出了吃驚的樣子，盯著樂隊發現他們還在奏

弱音，直到樂隊（難得地仍是一個整體）的

動作顯示他們已奏出強音的時候，他的姿態

才回復正常。幸好這滑稽的插曲沒有在正式

演出時出現。」

貝多芬在此曲的開頭鋪設了一段緩慢的、足有62

個小節之多的4/4拍引子。短促的強奏和弦在一個

柔弱的2分音樂段之間穿插，弦樂上行的16分音階

靜靜地出現，和木管樂輕柔的、下降的2分音對

答。忽然樂隊強而有力的齊奏令我們精神一振。然

後樂隊雙簧管吹出了一節哀怨的切分音，為後來活

潑的快板埋下伏線，而更為特別的地方就是採用了

與基調關係疏離的C大調。接著重複的16分音與音

階和2分音共同交織出另一個樂思。哀怨的主題再

度出現，這次由長笛在更為疏離的F大調奏出。隨

著弦樂和木管樂之間的緊張度越來越強，貝多芬巧

妙地利用靜止與音符，清理了五彩紛繁的樂音，讓

6/8拍活潑的快板以切分節奏的形式悄悄地湧進

來。貝多芬刻意強調音量對比，一個強音（forte）

符號對他來說永遠不夠，他總要用上倍強音

（fortissimo），正如最後的數個小節那樣。

雙簧管、巴松管和圓號奏出的A小調和弦很快減輕

為倍弱音（pianissimo），由此便開始了第二樂章小

快板。低音弦樂靜靜地奏出了樂章的基本脈動：

4分—8分—8分—4分—4分音，很少上下移動多於

一個音步。第二小提琴與第一小提琴先後出現，而

當木管樂的八度音程進來的時候，樂隊便奏起了倍

強音。之後是一段更為流暢的4分音主題，由單簧

管和巴松管奏出，A大調三連音的伴奏則與之形成

13

對比。隨著兩個主題的重現，開首的「莊嚴的舞曲」

也重新奏起，到樂章結束時，又響起了開頭的那一

下和弦，然後漸漸減弱，直至消失。

起伏不定的F大調諧謔曲（Scherzo）令人喘不過

氣來，木管樂和弦樂則把主題交互演繹。D大調

的中段（Trio）浸染在獨特的8分音之中，這��

然節奏標號仍是急板，但相對卻較慢。施塔德勒

（Abbé Stadler）稱這原本是奧地利南部的一首朝

聖者頌歌。諧謔曲和中段都有重複，諧謔曲甚至

還在中段之後再度出現，並闖入了中段的四個小

節。而在樂章的最後五個和弦，同樣又再響起了

諧謔曲的節奏。

活躍的終樂章開始的時候，特別強調了交響曲的主

調：A大調。木管和銅管樂倍強音的兩個16分音的

節奏，以懾人的氣勢開始，呼應著急速的弦樂8分

音符。由此我們進入了迴旋的、分為兩部份的主

題，每一部份都以高速重複。8分音—兩個16分音

的節奏在不斷彈跳，尤其是小提琴和小號，都在高

音域徘徊。效果甚為激越（演奏者就更能感受到

了），即使是音量減弱、樂段變得較為秀氣的時

候，速度仍沒有絲毫放鬆。在接近終結的時候，貝

多芬很有心思地透過漸強至三個強音符號（fff），

營造無與倫比的張力，令樂曲激昂地結束。這在他

的交響作品�（亦即是說很可能在他的所有作品中）

還是第一次出現，真是太精彩了。

此樂曲的樂隊編制

弦樂： 第一及第二小提琴、中提琴、大提琴、低音大提琴

木管樂： 長笛 (2) 、雙簧管 (2)、單簧管 (2)、巴松管 (2)

銅管樂： 圓號 (2) 、小號 (2)

定音鼓

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

C

M

Y

CM

MY

CY

CMY

K

CD ad bw ol.pdf 1 19/3/15 1:47 pm

14

Jean Sibelius (1865–1957)

Rakastava, Op 14 (The Lover)

The Lover: Andante con moto

The Path of his Beloved: Allegretto

Good Evening!... Farewell!: Andantino

Although finding its final – and most often heard –form in 1911, after the diagnosis and treatment ofhis throat tumour (thus in the more austere days ofhis Fourth Symphony, which, incidentally, is thefinal work in next week’s Hong Kong Sinfoniettaconcert), Rakastava started life as an a cappellawork for male voice choir some two decadesearlier. Setting three texts from the Finnish nationalepic Kanteletar, collected and published by EliasLönrott, around the same time that Sibelius wascomposing his vast choral symphony, Kullervo(based on another epic), Rakastava was composedfor a choral competition for the choir of HelsinkiUniversity in 1893. Sibelius won second prize and,to ensure the possibility of wider performances(and for men’s choirs who were perhaps not asvirtuosic as the University’s), the following year hearranged it for male voices and strings. Four yearslater he arranged it for a cappella mixed choir.

A further 13 years passed and he once again tookup the music, this time dispensing with voicescompletely, leaving only the work’s andmovements’ titles to indicate a narrative. The music

has undergone a transformation, with perhaps itsclosest association to Sibelius’ last String QuartetOp 56 subtitled Voces Intimae (Intimate Voices)composed two years earlier in 1909.

Over sonorous lower chords the first violins soundtheir rising phrases. The mood is restrained, sadeven – equating to Lönrott’s verses describing thesearch for “the lover”. Twice towards the endviolas lead faster, quiet murmurings, underpinnedby a hushed timpani roll, but the mood of thepiece is not substantially altered and the movementends raptly. An air of urgent expectancy, fired bymemories of where “the lover” had been, fills theever-quiet muted rustlings of the divided first andsecond violins in the Allegretto second movement.A solo cello has a brief spot to shine, and towardsthe end the triangle adds six subtle chimes, beforethe music evaporates with an upward flourish. Soloviolin and cello take the soprano and baritone partsof Sibelius’ third (mixed-choir) version of the musicat the start of the final movement. Once againfaster scurrying and timpani rolls attempt to lightenthe mood, but another tempo change slows themusic and deepens the emotions, briefly, beforethe final Lento assai section offers a restrainedfarewell, tinged with a sense of regret.

Instrumentation of this piece

Strings: 1st & 2nd violins, violas, cellos, double basses

Percussion: timpani, triangle

A recurring theme this season is the 150th anniversary of the birth of the great Finnishcomposer, Jean Sibelius. Here he opens the concert with a delicate rarity, a little suite for strings,timpani and triangle based on Finnish legend, about someone looking for the lost lover –Rakastava. A more earth-shattering story ensues, Patrick Burgan’s “Symphonic Poem” fortrombone and orchestra, The Fall of Lucifer, played by its dedicatee, Fabrice Millischer, whileBeethoven – even in the midst of the Napoleonic Wars – brings us back from the brink with hisirrepressible Seventh Symphony. Suffused with toe-tapping rhythms, not surprisingly it received afamous epithet from Richard Wagner as “the apotheosis of the dance”.

Programme Notes

151515

Patrick Burgan (born 1960)

La Chute de LuciferSymphonic Poem for Trombone & Orchestra(after John Milton’s Paradise Lost)

Lumière

Révolte

Abîmes

Composed in 2009 and premiered by tonight’ssoloist in the Lyon Auditorium on 9 March 2010,with the Orchestra of the Conservatoire NationalSupérieur de Musique et de Danse in Lyon andconductor Péter Csaba, Patrick Burgan’s La Chutede Lucifer (The Fall of Lucifer) is described as a“Symphonic Poem”, rather than a “Concerto”, fortrombone and orchestra. In its subsequent world-première recording, Fabrice Mil l ischer wasaccompanied by the orchestra of which he wasprincipal, the Deutsche Radio Philharmonie underUlrich Kern, which duly won an ECHO KlassikAward for best 20th/21st century concertorecording 2014.

Born in Grenoble, Patrick Burgan was inspired tocompose after hearing works by Edgard Varèse andHenri Dutilleux, guiding his choices at ToulouseConservatory. Moving to Paris, where he studied atthe Conservatoire National Supérieur de Musiqueunder Ivo Malec and Gérard Grisey, he also studiedwith Franco Donatoni at Sienna’s AcademiaChigiana and with Tristan Murail and PhilippeManoury at Paris’ powerhouse of electronic music,IRCAM.

Currently Associate Professor in composition andimprovisation at Toulouse University, Burgan haswon many prizes. His music, both expressive andsensual, has an undeniable theatrical aspect, and –not surprisingly – has included three operas: LaSource des Images ou Narcisse Exaucé (2000), PeterPan ou la Véritable Histoire de Wendy MoiraAngela Darling (2006) and the forthcomingEnigma, written for tenor Roberto Alagna.

Burgan’s “symphonic poem” for trombone andorchestra is based on John Milton’s late 17th-century poetic version of the Biblical Fall of Man

from the Garden of Eden, Paradise Lost (publishedin two editions, the first in ten books in 1667, thesecond in 12 books in the year of Milton’s death,1674). It starts with Satan and his disciplesbanished from Heaven and plummeting into Hell(which Milton names Tartarus). In later chapters,the angel Raphael comes down to earth to warnAdam of Satan’s plans to tarnish the earth in thefigure of Lucifer – once the “angel of light” butnow the bringer of darkness. Burgan follows thestory of Lucifer’s initial fall from grace in music,with the first movement describing Light, thesecond Satan’s Revolt and the final movement, thefiery Abyss into which Satan is cast and from whichhe plots his revenge on earth.

Paraphrasing Burgan’s own note in French we candescribe the music as follows. A gentle stringcluster – describing the celestial kingdom bathed inlight – opens the first movement, underpinning anethereal solo voice: the cello, later intertwiningwith even-higher solo strings. With an upwardswirl the wind start to sound and the protagonistshows himself in his true guise on the trombone –“twin brother of the cello”. It is a mournful,lonesome melody to start, but rises to a moreanguished climax, before calming itself – thoughflashes of percussion, piano, woodwind, harpstrumming start to intrude, leading inexorably intothe second movement with a nervous ticking forthe strings, depicting Satan’s Revolt.

By far the longest movement, the second is “alively twelve-tone fugue whose successivedevelopments include the battles of the rebel armyagainst the seraphim angels”. Instruments pile on,pitted against or aiding and abetting the soloist.Excitement builds and the solo trombone emits twolong notes, as if a calling cry for battle. Drumsenter the fray, but the musical onslaught suddenlypares away for more string and wind ticking(“clucking” might better describe it here, whilelater the strings offer Bernard Hermann-like stringscreeches – straight out of Hitchcock’s Psycho),over which the trombone first holds a melodybefore whinnying like a neighing horse. This“serious and whirring magma pushes [Satan] to

16

the limits of heaven” as he is “cast into a fall thatwill last nine days”. A series of Mahlerian crescendifor percussion punctuate the trombone’s angrygrowls, which develop into a massive cadenza,describing “the voice of the angel who, afterdefeat, regains consciousness”.

To end, Abyss is: “a heavy and painful march inwhich Satan awakens his army and inauguratesPandemonium. Evil now has its monarch.” Lowgrumbling (first for the contrabassoon) sets up aslow tread, eventually sounded by the tromboneand later featuring a return of the solo cello,leading to an anguished duet, only to be abruptlysilenced. Burgan sees Satan’s folly in a widercontext, that his revolt is futile and perhaps onlythrows him into a “great new abyss: the revelationof the absurdity of existence?”.

Instrumentation of this piece

Strings: 1st & 2nd violins, violas, cellos, double basses

Woodwinds: flutes (2), piccolo (1), oboe (1), English horn (1),

clarinets (2), bass clarinet (1), bassoons (2),

contrabassoon (1)

Brass: horns (2), trumpets (2), trombones (2), tuba (1)

Percussion: timpani, marimba, vibraphone, glockenspiel,

cymbals, suspended cymbal, wind chimes,

wooden chimes, woodblocks, ratchet,

triangle, bass drum, snare drum, lion’s roar,

tom-toms, tam-tams, bongo

Harp (2), celesta

Solo trombone

Ludwig van Beethoven (1770–1827)

Symphony No 7 in A, Op 92Poco sostenuto – Vivace

Allegretto

Presto – Assai meno presto

Allegro con brio

Although composed between late 1811 and mid-1812, Beethoven did not premiere his SeventhSymphony until 8 December 1813, at a benefitconcert for the orphans and widows of the soldierswho had died at the battle of Hanau, on 30/31October, where Austrian and Bavarian forcesdefeated Napoleon’s army, a major contribution tothe end of the Napoleonic Wars.

The concert, organised by Beethoven’s friendJohann Nepomuk Mälzel ( inventor of themetronome), was held in the Hall of ViennaUniversity and also included Beethoven’s “BattleSymphony” or Wellington’s Victory, Op 91, whichhad been composed to commemorate the Duke ofWellington’s victory over Napoleon at Vitoria, Spainon 21 June 1813. It certainly served the occasionand, not surprisingly, both symphonies weregreeted with enormous enthusiasm. Such was theconcert’s success that it had to be repeated, lock,stock and barrel, four days later. At both concertsthe Allegretto of the Seventh Symphony had to beencored immediately.

These concerts marked the last time Beethovenconducted in public, owing to his deafness. LouisSpohr, the composer and violinist who was in theorchestra, reported the consequence of Beethoven’sdeafness when he conducted through a held notethat he could not properly hear:

“Beethoven jumped into the air at the pointwhere, according to his calculation, the forteought to begin. When the orchestra did notfollow his action, he looked startled and staredat the orchestra to see that it was still playingpianissimo, and he only found his bearingswhen the orchestra (still together!) visiblycame in loud! Fortunately this comical incidentdid not take place at the actual performance.”

17

Beethoven opens with a massive slow introduction,all 62 bars of it, where forte, short chords cutthrough the winds’ initial piano minim phrase.Quietly the strings enter with semiquaver risingscales, alternating with the winds’ gently fallingminims and, suddenly, the full force of theorchestra makes us sit up. A syncopated hint of themain Vivace is first given to the plaintive, oboe (inthe remote key of C major) before the music buildsacross repeated semiquavers mixing with the otherthemes, only for the flute (in the even more remotekey of F later) to bring back the plaintive keening.Beethoven skilfully – as much with silence as withactual notes – and seamlessly speeds up and ushersin the 6/8 Vivace, a dotted dance rhythm thatsweeps all before it. Intriguingly Beethoven innearly all cases goes for extremes of volume: asimple forte is never usually enough. Invariably hemarks fortissimo, as in the final few bars.

Oboes, bassoons and horns introduce A minor in achord that quickly dies away to pianissimo to openthe Allegretto. Quietly, lower strings intone thebasic pulse of the movement: crotchet-quaver-quaver-crotchet-crotchet, which rarely steps up ordown by more than one pitch at a time. Secondviolins and, eventually, first violins are allowed entryand a fortissimo is reached when the winds comein, in octaves. A more flowing crotchet theme(clarinets and bassoons), with triplet accompanimentin A major, provides central contrast. Both themesreturn and the first “solemn dance” also reappearsto end the movement, with an exact repeat of theopening chord, dying away.

The F major Scherzo rises and falls in breathtakingfashion with winds and string hurling the themeback and forth. The associated Trio, with itsdistinctive quaver dip, is in D major and at a slowertempo – although still marked presto. Abbé Stadlerreported that it was based on a pilgrims’ hymnfrom Lower Austria. Both Scherzo and Trio return,and the Scherzo even returns after that, runninginto four bars of the Trio, but suddenly we findourselves hurtled back to the Scherzo’s pulse forfive conclusive chords.

The hectic Finale starts by reinforcing thesymphony’s tonic key: A major. Abrupt stringquavers are answered with wind and brass doublesemiquavers (all fortissimo): a rousing fanfare motiffrom which we are thrown headlong into theswirl ing, two-part main theme, played atexhausting speed. The quaver / double-semiquaverrhythm ricochets around and violins and trumpets,particularly, are instructed to play notes at the topof their range. Even when the volume dies downand the music becomes daintier, the speed is notallowed to relax. Beethoven builds the tension socarefully that he achieves a climactic crescendo tofff for the first time in his symphonic work (andprobably, therefore, in all music), as the symphonythunders to a close.

Instrumentation of this piece

Strings: 1st & 2nd violins, violas, cellos, double basses

Woodwinds: flutes (2), oboes (2), clarinets (2), bassoons (2)

Brass: horns (2), trumpets (2)

Timpani

© Nick Breckenfield, 2015British programme-note writer Nick Breckenfield was the

Classical Music and Opera Editor for whatsonwhen.com for 13 yearsand now works for the Borletti-Buitoni Trust

which awards young classical music artists

長笛 Flute上杉晃代（休假）

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 (on leave)

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（休假）

���子

賈舒晨

顧洛臻

呂灝然

羅蔚敏

彭曉筠

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

金普玹

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 Jia (on leave)

Eiko HOSAKAJIA Shu-chenJohn KRUERAmbrose LUILUO Wei-minPANG Hiu-wanYANG Yu-siYIP Siu-hayCHAN Shaw-nan SharonKiann CHOWMark HUI

CHAN Tsz-shun ElvisLAU Sum-yinRingo CHANCHIN KongKIM Bo-hyun NGAN Sing-on

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

Masami NAGAI Santiago COSTA MARTÍNEZCHENG Hiu-man Phoebe

18

Notes1. Guest Principal Flute – Sami JUNNONEN (于諾寧).2. Freelance Musicians: CHOI Tsz-wing (蔡芷穎), Cecilia HO (何永妍), Izumi NIKAIDO (二階堂泉), Yuko SAITO (齊藤優子),

Harty TAM (譚泳佳), TONG Wing-ka Penny (湯穎嘉), TSE Yan-yin Yany (謝欣燕), WONG Chun-hong John (黃俊匡).

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

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

19

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

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

Mr JAT Sew-tong

Dr Steven LAM

Ms LAU Man-man Lisa

Mr Stephen TAN

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

翟紹唐先生

林煥樟博士

劉文文女士

陳智文先生

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 Officers: 麥敬琳 Karen MAK

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

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！

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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.

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This is Hong Kong Sinfonietta.

This is ALSO Hong Kong Sinfonietta.

2323

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主要贊助機構 Major Sponsors

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謝謝！Thank You Partners!

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MegaSTAR Patron (>HK$500,000)

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

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

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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 HoDan and Sheryl HooleyMrs Elsie Hui高靜芝 Sophia KaoMs Betsy LaiMr Jackson Lam

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

Masterpoint Professional Ltd吳志強先生

Ms Jane Ng魏玉華小姐 Ms Winnie NgaiPoon Shing Chi and Liao E WenMs Amy TamMs Eunice Tong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 YinMr Allan Leung

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-kinMrs Lisa SiuMr and Mrs Robert C. TangPatrick & Selena TsangMs Veronica Wai曹延洲醫生

Dr Tsao Yen-chowDr & Mrs

Arthur Van Langenberg多位無名氏 Anonymous

2525

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施永青基金有限公司 Shih Wing Ching Foundation Ltd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 Donor (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藝倡畫廊 Alisan Fine Arts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 LtdMr Patrick Chan周愛琳醫生 Dr Irene Chau張德賢博士伉儷

Dr & Mrs Douglas Cheung高惠充先生 Mr Geoffrey KoMr and Mrs Lam Ting Kwok PaulNathaniel Foundation Limited彭嘉碧女士 Ms Rotina Pang 偉華基金 Wai Wah Foundation Ms Christine Yip多位無名氏 Anonymous

BELIEVING MUSIC CANMr Iain BruceDr Eugene K ChanJonman, Monika & Joel Chan FamilyMr Chan Kwan HoMs Anatasia ChaoMr P L ChoyProf David ClarkeMr Paul Jackson岳家 Jacobelli Family Stephanie & Amelie JatTasha Lalvani紀念劉葉珍女士

李樹榮博士 Dr Ernest Lee廖炳輝醫生 Dr Liu Bing FaiMs Anna LukHayden Majajas & Andy Chen

Prof Mak Su-yin莫嫣小姐 Miss Jennifer Mok吳卓橋和吳悅希 Nathan Ng & Nathalie Ng吳思博伉儷 Mr & Mrs Nigel & Winny Ng吳榮奎先生 Mr Ng Wing Fui Nicholas蘇國輝先生

Mr Mark Tong曾健鵬先生夫人 Mr & Mrs Paul Tsang詹德隆先生 Mr T L TsimDr Wong Hin Yeuk黃乃禧先生 Mr Wong Nai Hay王煒東先生

Mr Marcus WooMs Alice Yeung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

26

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

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LER 6.6.2015

(星期六 Sat) 8pm

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

$320 $220 $140

節目Programme

盧托斯瓦夫斯基 交響變奏曲巴托克 第二小提琴協奏曲舒曼 D小調第四交響曲，作品120

Symphonic VariationsBartók Violin Concerto No 2Schumann Symphony No 4 in D minor, Op 120

指揮 Conductor

林敬基 Ken Lam

小提琴 Violin

索科洛夫 Valeriy Sokolov• Winner, George Enescu International Competition 2005

“Technically immaculate.”The Strad

“Sokolov's violin playing requires every superlative in the dictionary.”

Classic FM

“Expert direction.”The Wall Street Journal

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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

門票：城市售票網 Tickets at URBTIX 2111 5999 | www.URBTIX.hk節目查詢 Programme Enquiries: 2836 3336適合6歲或以上觀眾 For ages 6+

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

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Student Ticket final.pdf 1 29/05/2013 2:07 PM