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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小提琴 Violin

格德霍特 James Cuddeford

指揮 Conductor

彭德雷茨基 Krzysztof Penderecki

24.10.2015(星期六 Sat) 8pm

香港大會堂音樂廳HK City Hall Concert Hall

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指揮 Conductor

彭德雷茨基 Krzysztof Penderecki

小提琴 Violin

格德霍特 James Cuddeford

節目

彭德雷茨基 第二小提琴協奏曲，「變形」(1992-1995)

不太快的快板－活潑的快板－較慢的－原速－小快板－生動的快板－

活潑的快板－再慢些－行板－活潑的－嬉戲的－激烈地－

富有動力的行板－原速

－中場休息15分鐘－

蕭斯達高維契 A大調第15交響曲，作品141

小快板

慢板－廣板

小快板

慢板－小快板

聯同香港演藝學院音樂學院學生

Programme

Penderecki Violin Concerto No 2, “Metamorphosen” (1992-1995)

Allegro ma non troppo – Allegro vivace – Meno mosso –Tempo primo –Allegretto – Allegro vivo – Allegro vivace – Molto meno mosso – Andante –Vivace – Scherzando – Feroce – Andante con moto – Tempo primo

- 15-minute intermission -

Shostakovich Symphony No 15 in A, Op 141 AllegrettoAdagio – Largo AllegrettoAdagio – Allegretto

In collaboration with School of Music, The Hong Kong Academy for Performing Arts

彭德雷茨基與蕭斯達高維契

Penderecki & Shostakovich

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 a pleasant experience for the artists and other members of the audience, please refrain fromrecording, filming, taking photographs, and also from smoking, eating or drinking in the auditorium. Please ensure that your mobilephones and any other sound and light emitting devices are switched off before the performance. Thank you for your kind co-operation.

場地規則 House Rules

4

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

5

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,

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 has been 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

6

指揮 Conductor

彭德雷茨基 Krzysztof Penderecki

彭德雷茨基是當代音樂史上最偉大的作曲家之一，

在古典音樂界舉足輕重。

彭德雷茨基1933年生於波蘭德比札，於克拉科夫

音樂學校學習音樂並於大學修讀哲學、藝術史和文

學史。1954年，他於克拉科夫音樂學院跟隨馬拉

維斯基和維霍維奇學習作曲，四年後剛畢業迅即被

委任為學院教授，並於1972年出任院長。

彭德雷茨基年輕時已嶄露頭角，他最廣為人知的

《給廣島受難者的輓歌》於1961年獲得聯合國教科

文組織大獎，《聖路加受難曲》獲北萊因-威斯特

法倫藝術大獎(1966)和意大利大獎(1967)，而他為

奧斯維辛集中營受難者所寫的《末日經》則獲頒西

貝遼士金獎(1967)和意大利大獎(1968)。彭德雷茨

基在國際樂壇的聲望日增，獲邀於世界各地巡演，

又在各重要的學院如德國埃森富克旺音樂學院

(1966-1968)和耶魯大學(1973-1978)教學。

彭德雷茨基一直以來獲獎無數，包括波蘭作曲家聯

盟大獎、維胡里基金會西貝遼士獎、波蘭國家大

獎、意大利羅倫佐大獎、多項格林美獎、聯合國教

科文組織音樂大獎、格羅邁亞作曲獎，以及波蘭、

德國、法國、意大利及日本等國家頒發的最高等級

之榮譽動章。

2013年是彭德雷茨基的80歲壽辰，有不少音樂會

和音樂節特別演奏他的作品。華沙更有一個專為他

的音樂度身訂造的音樂節，當中有不少知名的音樂

家參與，包括指揮馬捷爾、杜托爾、格杰夫、雅諾

夫斯基、史拉堅和李布賴希，以及獨奏家和組合如

穆特、巴舒密特、米勒索特和上海四重奏等。

去年，彭德雷茨基指揮以色列愛樂樂團演奏他的

《波蘭安魂曲》，他於三月成為美國寇蒂斯音樂學院

的駐校作曲家，他的新作《這天》11月於布魯塞

爾首演，該作品是為紀念第一次世界大戰爆發的一

場音樂會而寫。

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One of the world’s greatest living composers,

Krzysztof Penderecki is a monumental figure in

modern music history.

Born in Debica in 1933, Penderecki studied music

at the Kraków Conservatory and philosophy, art

history and literary history at the local university

before going to study composition with Artur

Malewski and Stanislas Wiechowicz at the Kraków

Academy of Music from 1954. Upon graduation, in

1958, he was appointed professor at the Academy,

where he became the Rector in 1972.

Early success came when Penderecki won the

UNESCO Award for his most famous Threnody for

the Victims of Hiroshima in 1961, Nordrhein-

Westfalen Great Art Award (1966) and the Prix

Italia (1967) for St. Luke Passion, Sibelius Gold

Medal (1967) and the Prix Italia again in 1968 for

Dies Irae, written in memory of the victims of

Auschwitz. As his international reputation (also as a

conductor) grew, Penderecki was invited on

extended concert tours around the world and also

taught at important institutions including Essen

Folkwang Hochscule (1966-1968) and Yale

University (1973-1978).

Throughout the years, Penderecki received

numerous awards including Prize of the Union of

Polish Composers, Sibelius Prize of the Wihuri

Foundation, National Prize of Poland, Premio

Lorenzo il Magnifico medal of Italy, Grammy

Awards, UNESCO Music Prize, Grawemeyer Award

for Music Composition, and some of highest

decorations by countries such as his native Poland,

Germany, France, Italy and Japan, among others.

The year 2013 marked Penderecki's jubilee. On the

occasion of his 80th birthday, many concerts and

festivals featuring the composer's works took

place. A festival dedicated to Penderecki's music

was held between 17 and 23 November in

Warsaw, with great artists such as Lorin Maazel,

Charles Dutoit, Valery Gergiev, Marek Janowski,

Leonard Slatkin and Alexander Liebreich. Among

the soloists and ensembles performing Krzysztof

Penderecki's music were Anne-Sophie Mutter, Yuri

Bashmet, Daniel Müller-Schott, Shanghai Quartet,

and many others.

In February 2014, the composer conducted his

Polish Requiem in concerts with the Israel

Philharmonic Orchestra. In March, Krzysztof

Penderecki was a Composer-in-Residence at the

Curtis Institute in Philadelphia. The première of

Krzysztof Penderecki's newest work, Dies Illa,

written to commemorate the centenary of the

outbreak of World War I, took place in November

2014 in Brussels, as part of a special concert

entitled "Thousand Voices for Peace".

小提琴 Violin

格德霍特 James Cuddeford

現任香港小交響樂團首席的格德霍特生於澳洲布里

斯本，七歲開始學習音樂，12歲獲全額獎學金入

讀英國曼奴軒音樂學校，並先後入讀皇家北部音樂

學院及曼徹斯特大學，師從曼奴軒、李文宙和庫爾

塔克。此外，格德霍特是多個重要獎項得主，包括

荷蘭查爾斯．赫南國際室樂大賽首獎。

格德霍特經常以獨奏家及室樂演奏家身份在歐、

亞、澳洲等地演出，曾於多個著名國際音樂節及音

樂廳亮相。他曾與多個樂團合作，包括瑞士利斯室

樂團、BBC蘇格蘭國家樂團、德國耶拿愛樂樂團、

昆士蘭交響樂團、阿得萊德交響樂團、塔斯曼尼亞

交響樂團及香港小交響樂團等，亦曾與李爾、羅

森、科瓦切維奇、奧蒂斯、哥連斯、曼奴軒、朱仁

拿及戴柏圖合作演奏室樂。

格德霍特是一位當代音樂的出色詮釋者，曾首演多

首當代作品，包括庫爾塔克、伯特威斯爾和斯莫利

的小提琴作品。他也是一位作曲家，15歲參加BBC

青年作曲家大賽，成為最年輕的一位晉身決賽的參

賽者，16歲獲昆士蘭交響樂團委約創作及首演他

第一首正式的管弦作品。格德霍特的作品曾被澳洲

弦樂四重奏和納殊樂團等在歐美及亞洲等地演奏、

錄音和廣播，亦獲委約為日本尺八大師中村明一及

悉尼音樂學院的一百周年紀念等創作新曲。

格德霍特於1998年加入澳洲弦樂四重奏，之後擔

任葛蘭傑弦樂四重奏及悉尼獨奏家樂團的小提琴

手。他曾於阿得萊德大學艾爾德音樂學院和澳洲音

樂學院任教，及於世界各地舉辦大師班。

格德霍特曾為ABC Classics、Tall Poppies 和Melba

灌錄唱片。他演奏用的是一把1769年製的格里安

諾名琴。

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Currently Concertmaster of the Hong Kong

Sinfonietta, James Cuddeford has emerged as one

of Australia’s leading musicians, having achieved

international recognition as both violinist and

composer.

After commencing his musical studies at age seven,

Cuddeford won a full scholarship at age 12 to

study at the Yehudi Menuhin School in England. He

continued his studies in performance at the Royal

Northern College of Music and composition at the

University of Manchester. His principal teachers

were Yehudi Menuhin in violin, and Karlheinz

Stockhausen and György Kurtág in composition.

He has won a series of important competitions

including the first prize in the 1996 Charles

Hennen International Competition in Holland.

James Cuddeford has performed extensively

throughout Europe, Asia and Australia as both

soloist and chamber musician. He has frequently

appeared at major international festivals in many of

the world’s most prestigious halls. As a chamber

musician, James has collaborated with artists such

as John Lill, Charles Rosen, Stephen Kovacevich,

Cristina Ortiz, Michael Collins, Heinz Holliger,

Yehudi Menuhin, Bruno Giuranna and Michel

Dalberto. He has performed concertos with

orchestras including the Camerata Lysy Switzerland,

BBC Scottish National, Hong Kong Sinfonietta,

Jena Philharmonic Germany, Queensland, Adelaide

and Tasmanian Symphony Orchestras.

As a highly active and renowned interpreter of

contemporary music, James Cuddeford has worked

with and premiered the music of many of the most

important composers of our time, including violin

works by Dean, Kurtág, Smalley and Birtwistle. At

age 15, Cuddeford was the youngest finalist in the

BBC Young Composer of the Year, and the

following year the Queensland Philharmonic

Orchestra commissioned and premiered his first

major orchestral work. His compositions have been

performed, recorded and broadcast in Europe,

North America and Asia by groups such as the

Nash Ensemble, Australian String Quartet, Psappha

Ensemble, and the Sonos Chamber Orchestra of

New York. Recent commissions include works for

the Japanese Shakuhachi Grandmaster Akikazu

Nakamura, the Sydney Conservatorium of Music

“100 Year Celebrations” and Ensemble Offspring.

James Cuddeford joined the internationally

acclaimed Australian String Quartet in 1998, and

was subsequently violinist with the Grainger

Quartet and Sydney Soloists. Cuddeford lectured in

violin at both the Elder Conservatorium and the

Australian Institute of Music, and has given master

classes at many major institutions around the

world.

James Cuddeford has recorded for ABC Classics,

Tall Poppies and Melba Recordings. He plays on a

violin made by Nicolò Gagliano in Naples, 1769.

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走在前衛與傳統之間的傳奇作曲大師：彭德雷茨基 文：鄺展維

如果要��一個現代古典樂�最重要的作曲大師的

清單，恐怕眾說紛紜。但若說彭德雷茨基是其中一

位，則應該無人反對。英國《衛報》把他譽為「波

蘭當今最重要的作曲家」，彭德雷茨基亦廣被認為

是繼蕭邦後，為古典音樂發展帶來最大影響的波蘭

作曲家。

一個活生生的古典樂壇傳奇，彭德雷茨基半世紀的

創作歷程，已是一部精彩的音樂演化史。其風格演

變之複雜，德國小提琴天后穆特形容為猶如畢加索

—多變，而且包含多種矛盾。這麼一位巨匠的創

作風格，實在非三言兩語所能總結。正如畢加索，

又��多�、史����基這些在一生時間�創�

出幾種不同的獨特創作風格的大師，彭德雷茨基不

同時期的作品可以為觀眾帶來殊不一樣的印象。

年輕的彭德雷茨基在60年代初首先以《給廣島受

難者的輓歌》（Threnody for the Vict ims of

Hiroshima）、《螢光》（Fluorescences）及《多形

異象》（Polymorphia）等激進的前衛作品震撼歐洲

樂壇，踏上歷史舞台。這些作品試圖脫離傳統作

曲語言，卻又異於當時的歐洲現代音樂風潮，同

時受其時新誕生的電子聲音所啟發，以嶄新的角

度重新審視作曲系統和樂器處理手法，大量使用

一些傳統上被視作噪音的極端演奏技巧和不協和

音�等，揭示了��樂��被發�的聲響可能。

彭德雷茨基直言，當時希望「把聲音從一切傳統

中釋放」。把音樂帶離了對旋律、和聲等元素的傳

統認知，揭示音樂本來是聲響的本質，這些反叛

的作品，開展出一種新的聲音美學，至今仍被視

作前衛音樂的重要經典。

彭德雷茨基欲突破傳統框框，因前衛而聲名大噪，

卻對此道路產生了質疑。對於前衛音樂，他後來坦

言：「那些革新、實驗和對形式的反覆思量，其實

破�大於�設。我發現前衛的路其實哪�也�不

到。」而彭德雷茨基相信，能把他從前衛之形式主

義的����出來的，是他一度���脫離的傳

統。在60年代中創作的《聖路加受難曲》（St Luke

Passion）�，彭德雷茨基重�了傳統作曲技法中

的旋律寫作、對位法、和聲技巧、以及曲式設計

等，與其本身別樹一格的現代風格結合出一個獨特

的音樂世界，在當中不同時代的作曲語言平行並

存。一度站在前衛尖端的作曲鬼才，轉向從傳統取

經，彭德雷茨基再次展現出另一種藝術可能。

彭德雷茨基從70年代開始也越趨向於以古典曲式

創作大型作品，至今帶來了多首龐大的交響曲和協

奏曲。彭德雷茨基曾表示，在交響曲創作中他希望

延續自布魯格納、馬勒等人的交響曲之魂，他相

信：「我�可以在舊的形式�創�出新的音樂。在

舊的背景下，新的東西之效果更加強烈而更能被表

明出來。」彭德雷茨基這後來的風格，相比起年輕

時追求聲音的革新，更重於聲音所蘊含的靈性與感

性，亦更常以宗教主題為創作題材，不論美學上、

技法上都染上了一些浪漫主義音樂的色彩，因此有

人稱之為「新浪漫主義」。

彭德雷茨基一生的創作歷程走在新與舊、前衛與傳

統、革新與承傳之間，他的音樂世界也令人看到，

在這命題上的藝術選擇，其實並非不能相容的兩種

極端。當年他為他的《聖路加受難曲》曾剖白：

「這部受難曲被評為前衛也好，傳統也好，也不重

要。對我來說，這作品『真』（genuine），就已經

足夠。」不論在哪一個階段的創作，彭德雷茨基也

是充滿直覺與靈感，對他所相信的音樂方向毫無保

�。一生在音樂的國度�發�、��，一路走來，

這位大師有如此體會：「藝術的路就如迷宮，不是

一條只往前走的直線，而是有時要拐彎，也有時要

後退，再找到前進的路。」

鄺展維為香港作曲家，英國約克大學哲學博士，主修作

曲。現為香港小交響樂團作當代音樂研究。

13

節目介紹

彭德雷茨基（1933年生）

第二小提琴協奏曲，

「變形」（1992-1995）

不太快的快板－活潑的快板－較慢的－原速－

小快板－生動的快板－活潑的快板－

再慢些－行板－活潑的－嬉戲的－

激烈地－富有動力的行板－原速

彭德雷茨基的第一和第二小提琴協奏曲，完成時間

相隔了將近20年。第一協奏曲創作於1974至1976

年之間，題獻人是史頓（Isaac Stern），並由史頓

本人在1977年4月27日於瑞士巴塞爾首演。第二協

奏曲同樣受到一位傑出小提琴家的啟發，那就是穆

特（Anne-Sophie Mutter）。她曾與彭德雷茨基合

作，在1988年的琉森國際音樂節中演繹他的第一

小提琴協奏曲。第二協奏曲在1992至1995年間創

作，花的時間更長。彭德雷茨基在完稿後，在樂譜

最後一小節下面寫上「克拉科夫（Kraków），

1995年復活節星期六」的字樣。

作品由萊比錫M D R電台（M i t t e l d e u t s c h e r

Rundfunk Leipzig）委約，並在1995年6月24日於

該電台主辦的夏日音樂節中首演，由題獻人穆特與

M D R交響樂團演出，指揮是楊遜斯（M a r i s s

Jansons）。穆特之後在1997年1月將作品錄製成唱

片，該版本由作曲家指揮倫敦交響樂團演奏。唱片

在1998年由DG唱片公司發行，為慶祝該公司創建

百年的紀念錄音之一，並獲格林美獎。

相隔了約四份一個世紀的兩首現代經典之作，同於今晚的音樂會出現。波蘭作曲家和指揮家彭

德雷茨基除了獻演他創作於1995年的第二小提琴協奏曲，還會指揮蕭斯達高維契於1971年，

在面對頑疾的同時所寫下的最後一首交響曲。兩首作品都證明了調性音樂持久的生命力—儘

管上世紀中葉開始，反傳統的前衛音樂風行一時，然而音樂和聲建構經過過去的500年考驗，

至今仍屹立不倒。

蕭斯達高維契和彭德雷茨基（當中接近60年的生涯）都曾活在蘇維埃政權的陰影下。蕭斯達高

維契在俄國至少兩度受到當局的嚴厲批評，他的作品因此也發展出公開與私我的兩種面貌，後者

最常見於15首意旨幽遠的弦樂四重奏中。他總共創作了15首交響曲，最後一首也許是最具個人

意識的，素材不但許多取自自己的作品，還有不少借用其他的作曲家，尤其是羅西尼和華格納。

彭德雷茨基早期在祖國波蘭創作的作品都非常前衛，最佳的例子是《給廣島受難者的輓歌》

（Threnody for the Victims of Hiroshima，1960）和《聖路加受難曲》（St Luke Passion，

1966）。但隨後的十年，他卻採用了較有調性的手法，例如第一小提琴協奏曲和第二交響曲，

後者借用了聖誕節的頌歌《平安夜》。現時彭德雷茨基共完成了七首交響曲（第一至第八，當

中第六還沒有完成），還有不少協奏曲、室樂和合唱曲。最近他完成的作品包括了雙小提琴協

奏曲和一首豎琴協奏曲。

除了作曲，彭德雷茨基還是國際知名的指揮家。他經常演繹蕭斯達高維契的交響曲，並贏得了

蘇聯指揮家馬拉溫斯基（Yevgeny Mravinsky）的高度讚譽，而馬拉溫斯曾指揮多首蕭斯達高維

契交響曲的首演。

14

像他大部份的協奏曲和純管弦交響曲一樣，彭德雷

茨基的第二小提琴協奏曲也只有一個樂章，然而在

其緩緩展開的音樂架構中包含了一系列不同的段

落，恰如其份地概括了作品的名稱《變形》。

樂曲開始由平鑼一下敲聲配上弦樂以重複的A音奏

出一個緩慢的脈動，然後是一陣沉默。這脈動重複

一次後，之後再往前推進，獨奏此時加入，拉出了

一下綿長的低音A，繼而奏起了主題，並升到四個

八度以上無比高的音域。陰沉的步子返回時，音樂

開始重疊，爬升到一個高潮，當中加入了銅管的號

曲。在咆哮的低音大提琴之上，精神奕奕的單簧管

鼓動弦樂奏起一段熱烈、尖銳的主題，最後由獨奏

接過，並與之一起飛舞。值得注意的還有一小段款

擺的樂句，它會像幽靈一樣不斷重複，糾纏不去。

獨奏推動音樂向前，直至撞上一個和弦，才減慢速

度。哀怨的銅管抑制了高揚的情緒，而緩慢行進的

弦樂則試圖走出低谷。獨奏木管的努力，在難度極

高的獨奏小提琴的幫助下，顯得較為成功，而且還

有清澈的敲擊樂點奏在一旁助陣。接著是圓號和單

簧管靜悄悄的二重奏，夾帶著叮叮的三角鐵、排鐘

和鋼片琴，之後的小提琴獨奏變得若有所思：似乎

是暴風雨來臨前暫時的寧靜。幸而樂曲的動力透過

獨奏者的急轉，形成了一段綿長的賦格曲，而獨奏

者則較其他樂器遲進入。突然，銅鑼與最開頭的重

複音符，把音樂帶回凡間，小提琴的線條與柔和的

木管融合在一起，特別是英國管，它試圖將音樂提

升，而獨奏者則往下盤旋。

重複的弦樂/銅鑼音符，象徵了開頭段落的另一次

回歸，而一個由低音弦樂奏出的主題動機，在定音

鼓和小鼓的策動下快速前進，直至獨奏者出現，像

一個簡短的發展部一樣加速。這與蕭斯達高維契的

音樂大同小異，小鼓、鈸和隨後的木琴加強了更為

細密的音樂架構。但緩慢的銅管和接續下行的低音

單簧管，減慢了音樂的速度，繼而含有自辯意味

的、精神抖擻的獨奏，在樂隊之上織出了一個低

沉、悔咎的音符，隨後在行板段落和巴松管奏響一

段二重奏，下面再次由銅鑼襯托著。樂曲接著發展

成一段間奏，直至款擺、嗡嗡的主題動機在樂隊之

間傳遞，最後在進入再現部時，由獨奏者接過。小

提琴此時變得更為繁複，包括與木管的一段撥奏對

話，其後在小鼓的伴奏下，帶出一段炫人耳目、長

篇快速的旋律。

一段樂隊的高潮鼓動獨奏者，使之變得更為粗獷和

奇幻：嘎嘎的主題動機由樂隊接過，並被反覆強

調。在展開魔鬼般的長篇華采段時，向上的爬升使

得獨奏高不可攀。但接下來樂曲並沒有急著衝向勝

利的終點。猛烈的樂隊重現時不過曇花一現。另一

下銅鑼的敲擊帶出了浩大的行板段落，再次回溯到

最開頭的樂音。獨奏者奏出了一段步履蹣跚的樂

句，之後以雙音與自己進行對話，並構築起最後的

一個段落，穆特形容這一段是「一個葬禮的場景，

靈魂超越了肉體，飛到天堂之上」。這�的線條是

向上的，與樂隊普遍的下沉形成對比，協奏曲也在

平靜而迷幻的色彩中終結。

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 (2)、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 (4)、小號 (2) 、長號 (3)

敲擊樂： 定音鼓、三角鐵、鈴樹、吊鈸、鈸、平鑼、搖鼓、

桶子鼓、小軍鼓、大鼓、管鐘、鐘琴、木琴、

馬林巴琴

鋼片琴

獨奏小提琴

蕭斯達高維契（1906-1975）

A大調第15交響曲，作品141小快板

慢板－廣板

小快板

慢板－小快板

蕭斯達高維契在1970年病倒，幾乎不能執筆撰寫

他構思中的樂曲。他開始創作一首具有大量個人表

述的元素的新交響曲。也許因為能重新執筆讓他感

到欣慰，在1971年4月開始起草之後，他很快就在

6月完成了第一樂章，當時他在烏拉爾山東面庫爾

干（Kurgan）的伊利薩洛夫醫生（Dr Il izarov）

15

的 診 所 留 醫 ， 治 療 他 的 「 小 兒 痳 痺 症 」

（poliomyelitis，他在1970年花了相當長時間在診所

療養）。之後他出席了在列寧格勒附近的列皮諾

（Repino）舉行的作曲家����會，在那�把�

下的部份完成。在寫到終樂章時，他的思路似乎有

些阻滯。一般他每天都會在早上工作，然後陪他的

朋友巴斯勒（Venyamin Basner）散步，接著在一

時進午餐。一天，蕭斯達高維契對巴斯勒說，他不

能去散步了，因為忽然有了創作的靈感，其後蕭斯

達高維契連續工作了好幾天，盡力把作品完成。

1971年7月尾的一天，巴斯勒知道蕭斯達高維契又

可以來和他作午餐前的散步。不幸地，在完成了交

響曲僅僅兩個月後，蕭斯達高維契第二次心臟病

發。作品的首演次年於莫斯科舉行，由蕭斯達高維

契的兒子馬克辛（Maxim）指揮。

儘管是一首回歸到純管弦樂的作品，而且也恢復了

傳統的四樂章形式，第15交響曲仍因其明澈的手

法而顯得別具一格。樂隊很少一起齊奏，蕭斯達高

維契也將高雅和通俗的元素緊密地結合在一起，尤

其是，除了引用自己的作品之外，他還引用了羅西

尼和華格納的作品。這是甚為怪誕的樂章，首先由

兩下鐘琴聲開頭，然後是長笛莽撞的獨奏，和之後

踉蹌的巴松管，迎來了帶出第二主題的乾淨的小號

（風格與羅西尼的片段頗相近），接著是《威廉．泰

爾》序曲中那「賽馬日主題」，後者在插入樂曲五

次後兩個主題便一起演奏了。注意敲擊樂的運用，

它在樂曲中有著很持久的效力。

相對而言，在長篇、稀疏的慢樂章（在此交響曲，

第二和第四樂章最為凝重），大提琴和長號都先後

有相當重要的獨奏部份（前者採用了12音序的作

曲手法）。它以哀怨的銅管合奏展開，並款擺於慢

板和廣板之間。樂章嚴肅而漫長，相對於作曲家較

早期的交響曲，或許最能展現其個性。在篇末，蕭

斯達高維契以敲擊樂帶出了一段甚為獨特的滴答主

題動機，它曾被認為代表了蕭斯達高維契在醫院中

使用的生命維持器，雖然現在這種看法似乎已不能

成立。然而更為吊詭的是，這個主題動機是引用自

作曲家自己的第四交響曲。他在該首作品最後的一

次綵排時，決定將之擱置，理由是歌劇《莫桑斯克

的馬克白夫人》（Lady Macbeth of Mtsensk）在

1936年遭到批評，結果第四交響曲要到1961年3

月才舉行首演。

諧謔曲是蕭斯達高維契最辛辣的小品之一，清晰的

結構和單樂器線條同樣別具一格。當中還引用了他

自己姓名的縮寫（D-S-C-H，適用於德文的記譜

法），之前他在第十交響曲已採用了同一手法。同

樣地，樂章中也有第四交響曲敲擊樂主題動機的影

子，簡短的樂章也以此為終結。

華格納是第四樂章的先驅，樂章引用了他在歌劇

《指環》系列中的命運主題動機，並以齊格弗里德

中的葬禮音樂通過定音鼓節奏呼應。當小提琴在小

快板的開頭奏起一段旋律時，它們又先以華格納

《特里斯坦及伊索德》前奏曲的頭三個音符作為引

子。早期演繹者如奧曼第（Eugene Ormandy，他

指揮費城樂團錄製了交響曲的唱片）的分析認為，

這是「一幅音樂的油畫，可以題為『他們不應被遺

忘 』」， 同 時 中 段 綿 長 的 「 帕 薩 卡 利 亞 」

（passacaglia），其低音部既是第七交響曲《列寧格

勒》中著名的戰爭主題的回應，也被認為是蕭斯達

高維契為俄國革命中的死難者（無論是死於敵手還

是被國家所犧牲）發出的明確的答辯。最後，持續

而機械化的敲擊樂主題再次出現，將蕭斯達高維契

這首交響樂經典帶到了結句。

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 (2)、單簧管 (2)、

巴松管 (2)

銅管樂： 圓號 (4)、小號 (2) 、長號 (3) 、大號 (1)

敲擊樂： 定音鼓、三角鐵、響板、平鑼、桶子鼓、小軍鼓、

大鼓、鈸、木魚、鐘琴、木琴、顫音琴

鋼片琴

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

16

Programme Notes

Two modern classics, composed within a quarter-of-a-century of each other come together in

tonight’s concert, welcoming the great Polish composer and conductor Krzysztof Penderecki in

both capacities. His Second Violin Concerto from 1995 is followed by Dmitri Shostakovich’s final

symphony, composed in 1971 as he faced a number of health crises. Both works prove (if proof

is needed) of the lasting relevance of tonality in music; how – despite the iconoclasm of the

avant-garde in the third quarter of the last century – the basic harmonic building blocks of music

that had stood the test of time over the previous 500 years or so are still as relevant now as they

ever were.

Both Shostakovich and, for nearly six decades of his life, Penderecki lived under the shadow of

the Soviet regime. Shostakovich, in Russia, at least twice suffered the opprobrium of the Soviet

authorities and developed both a public and private face – the latter most often intimately set to

music in his series of 15 string quartets. His final symphony – of which there are also 15 – is

perhaps his most intimate symphony, full of self references as well as snatches of music by earlier

composers, particularly Rossini and Wagner.

Penderecki’s early music in his native Poland – best epitomised by both his Threnody for the

Victims of Hiroshima (1960) and St Luke Passion (1966) – was as avant-garde as they come; but

by the following decade, with the likes of his First Violin Concerto and Second Symphony, in

which he uses the Christmas carol Silent Night, he had adopted a more tonal palette. Currently

there are seven Penderecki symphonies (numbered to No 8, but the Sixth is yet to be finished), as

well as concertos, chamber and choral music. Most recently there has been a Concerto for Two

Violins and a Harp Concerto.

But on top of his compositional career, Penderecki has pursued an international career as a

respected conductor. He has always programmed the symphonies of Shostakovich, even

receiving the highest praise from Soviet conductor Yevgeny Mravinsky, who premiered a number

of Shostakovich’s symphonies.

17

Krzysztof Penderecki (born 1933)

Violin Concerto No 2,“Metamorphosen” (1992-1995)

Allegro ma non troppo – Allegro vivace –

Meno mosso – Tempo primo – Allegretto –

Allegro vivo – Allegro vivace – Molto meno mosso –

Andante –Vivace – Scherzando – Feroce –

Andante con moto – Tempo primo

Nearly two decades separate the completion of

Penderecki’s First and Second Violin Concertos.

The first, composed between 1976 and 1977, had

been dedicated to and premiered by Isaac Stern in

Basel on 27 April 1977. The Second was also

inspired by a great violinist, this time Anne-Sophie

Mutter – whom Penderecki had conducted in his

First Violin Concerto at the Lucerne Festival in 1988 –

and was composed over an even longer period,

between 1992 and 1995; Penderecki noting its

completion by adding “Kraków, Easter Saturday

1995” beneath the final bar.

It was commissioned by Mitteldeutscher Rundfunk

(MDR) Leipzig and premiered during the MDR

Musiksommer festival on 24 June 1995 by its

dedicatee Anne-Sophie Mutter with the MDR

Symphony Orchestra conducted by Mariss Jansons.

Mutter subsequently recorded the work with the

composer conducting the London Symphony

Orchestra in January 1997, and the CD release, a

Grammy winner, was issued as part of Deutsche

Grammophon’s centenary celebrations in 1998.

Like most of his concertos and purely orchestral

symphonies, Penderecki’s Second Violin Concerto is

cast in one single movement, although

encompassing a number of different sections,

amidst its slowly evolving musical architecture,

aptly describing the composer’s own name for the

concerto, Metamorphosen.

A slow pulse of repeated As, tinged with a gong

and followed by silence is issued twice by the

strings, and extended slightly. Repeated again and

growing further, this time the soloist joins in,

issuing a long held low A and taking up the theme,

rising four octaves to a stratospheric high note. The

sombre pace returns and begins to overlap and rise

to a climax, brass fanfares added. Over the ensuing

grumbling basses, a spirited clarinet encourages

the strings to a feverish spiky theme that eventually

the soloist takes hold of and flies with. Note also a

tiny oscillating phrase which will come back and

haunt the music again and again.

The soloist pushes the music on until another

crushing chord and slow, mournful brass put a

dampener on the high spirit. A slow string

progression tries to climb out of this trough. The

solo wind is more successful, aided by the solo

violin as it tries its hand at some typical virtuosity,

to which is added some distinctive chiming

percussion timbres. Horn and clarinet duet quietly,

latterly with triangle, bells and celesta tinkling,

before the solo violin becomes more thoughtful:

something of a calm before the storm of another

violent outburst. Thankfully the energy, over which

the soloist pirouettes, is transferred into an

extended fugal passage, to which the soloist is a

latecomer. But suddenly the gongs and repeated

notes of the very beginning bring the music back

down to earth, with the violin line joined by soft

wind, particularly the English horn again

attempting to raise the music, while the soloist

spirals down.

The repeated string/gong notes signify another

return to the opening, but then a faster motif on

lower strings, quickly pushed on by timpani and

drums before the violinist enters, acts as something

of a short development section, speeding up. This

is not dissimilar to Shostakovich’s music, with

drum, cymbal then xylophone underpinning the

ever-denser musical fabric. But slow brass and then

falling bass clarinet dissipates the speed, and a

rather apologetic, high-mettled soloist weaves a

quiet note of contrition above the orchestra, before

duetting with a bassoon in an Andante section,

underneath which the gong sounds again. This

develops into an Intermezzo before the oscillating

18

buzzing motif is passed through the orchestra and

taken by the soloist as the music leads into a

recapitulation section. The violin part becomes

more virtuosic, including a pizzicato conversation

with the wind and the ensuing bravura playing, in

a long, fast melody accompanied by drum.

An orchestral climax encourages the violin to be

more strident, then flighty: its chugging motif

taken up and rammed home by the orchestra.

Successive rises again pitch the solo into its highest

reaches as it starts the fiendish extended cadenza.

But there is no subsequent rush to a triumphant

end. When the orchestra returns with stabbing

ferocity it is short lived. A further gong stroke

ushers in a great Andante con moto, once again

referencing the very opening music. The soloist

offers a slow, stepwise sequence, later double-

stopping in a duet with itself, building to a final

section which the original dedicatee, Anne-Sophie

Mutter, describes as “a scene of burial, in which

the soul triumphs over the body and soars aloft to

heaven”. Here the line is upwards against the

orchestra’s prevalent downward pull and the

concerto ends serenely, if rather enigmatically.

Instrumentation of this piece

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

Woodwinds: flutes (2), piccolo (1), oboes (2),

English horn (1), clarinets (2), bass clarinet (1).

bassoons (2), contrabassoon (1)

Brass: horns (4), trumpets (2), trombones (3)

Percussion: timpani, triangles, bell tree,

suspended cymbals, cymbals, tam-tam,

tambourine, tom-tom, snare drum,

bass drum, tubular bells, glockenspiel,

xylophone, marimba

Celesta

Solo violin

Dmitri Shostakovich (1906–1975)

Symphony No 15 in A,Op 141

Allegretto

Adagio – Largo

Allegretto

Adagio – Allegretto

In 1970 Shostakovich had been ill, almost to the

point that he was not able to write down the

compositions he was thinking of. When he started

a new symphony (he did not know then it would be

his last) it was one of his hugely personal

statements. Perhaps relieved to be back composing,

he wrote it quite quickly having started sketches in

April 1971. In June he had finished the first

movement while staying at Kurgan, at Dr Ilizarov’s

clinic east of the Urals, where he was being treated

for his “poliomyelitis” (he had spent a substantial

part of 1970 at the clinic recovering). He then went

to the Composers’ Union retreat at Repino (near

Leningrad – now St Petersburg) and worked on the

rest. Seemingly he had a mental block when he

came to the Finale. His normal daily pattern was to

work in the morning then accompany his friend

Veniamin Basner for a walk and lunch around 1pm.

One day, Basner was told by Shostakovich that he

did not think he would come for a walk that day as

inspiration had hit, and Shostakovich worked

solidly for a few days to complete the work, before

one day in late July 1971 Basner was told that he

could come round again for their pre-prandial

walk. Unfortunately, only two months after he had

finished writing the Symphony, Shostakovich

suffered a second heart attack. The première was

the year after composition, in Moscow, with

Shostakovich’s son, Maxim, conducting.

Despite the return to solely orchestral forces, and

indeed a return to the always-expected four

movements of the symphony, the 15th stands out

in a new clarity. Rarely does the whole orchestra

play together and then there is Shostakovich’s

heightened mixture of material (high-brow and

19

low-brow), particularly in his quotations from not

only his own works, but also other composers:

Rossini and Wagner. Barely has the opening

movement begun – two chimes on bells (or actually

glockenspiel – did Shostakovich know Nielsen’s

Sixth Symphony, which begins similarly on a

triangle, I wonder?), before what we know as the

“Lone Ranger” (or in Hong Kong the “horse race”

theme) appears in the jaunty guise of the final

section of Rossini’s Overture to William Tell

(although at the time in Russia this very theme was

particularly associated with toys in a toy shop).

Shostakovich’s second theme of the first movement

is in a similar style to the Rossini snatch and during

the latter’s five interruptions, they appear once

together. This is a whimsical movement with its

cheeky flute opening solo and ensuing bassoon

bumbling heralding the clean textures for the

trumpets to usher in the second theme (and then

Will iam Tell). Note to the important use of

percussion, which is to have a lasting effect.

By contrast the long, sparse, slow-movement (in

this Symphony gravity is weighted to the second

and fourth movements) – opening with a mournful

brass chorale and which oscillates between Adagio

and Largo – has important solo parts for resonant

cello and then trombone (the former solo is, by the

way, Shostakovich using twelve-note compositional

techniques). Sombre and extended, this is perhaps

the most recognisable facet of the composer from

the earlier symphonies in this work. At the end

Shostakovich turns to the percussion and

introduces a distinctive tick-tocking motif – once

suggested (though now, seemingly unsubstantiated)

to be a musical representation of the life-support

equipment that had been wired to Shostakovich in

hospital. However, more intriguingly, it is a self

quotation, from his Fourth Symphony, which he

had withdrawn during final rehearsals in the face

of the adverse reaction to his opera Lady Macbeth

of Mtsensk in 1936, and which had only received

its belated première in March 1961.

The Scherzo is one of Shostakovich’s acerbic little

gems, again remarkable for its clearer textures and

single instrumental lines. There is also a self-

reference to his initials D-S-C-H (which works in

German notational nomenclature) which he had

used particularly in his Tenth Symphony. There are

also hints of the Fourth Symphony’s percussion

motif, which is how the brief movement ends.

Wagner is the herald of the final movement, with his

fate motif from the Ring cycle, answered by the

timpani rhythm of Siegfried’s funeral music. When

the violins are allowed a melody at the opening of

the Allegretto they preface it with the first three

notes of Wagner’s Tristan Prelude. Early interpreters –

like Eugene Ormandy (who recorded it with his

Philadelphia Orchestra) – saw this as “a musical

canvas that could be entitled ‘They Shall Not Be

Forgotten’” and an illusion to the famous war

theme in the Seventh Symphony (Leningrad) in the

ground bass of the long central passacaglia has

been seen as a clinching argument for Shostakovich

seeing this as a testament to the horrors of Russia’s

revolutionary dead, whether at the hands of their

enemies or the state. Finally, the instant mechanical

percussion motif returns to end the movement and

Shostakovich’s symphonic canon.

Instrumentation of this piece

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

Woodwinds: flutes (2), piccolo (1), oboes (2), clarinets (2),

bassoons (2)

Brass: horns (4), trumpets (2), trombones (3), tuba (1)

Percussion: timpani, triangle, castanets, tam-tam,

tom-tom, snare drum, bass drum, cymbals,

woodblocks, glockenspiel, xylophone,

vibraphone

Celesta

© 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

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

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

Notes1. Freelance Musicians:

Brian CHAN (陳子俊), CHAN Shiu-hang Olive (陳肇珩), CHOI Tsz-wing (蔡芷穎), Grace GUO (郭豫雯), Shelagh HEATH (洪韋嘉儀), Cecilia HO(何永妍), Wilfred MA (馬偉懷), Rosie MILLS GOH (吳玫瑰),Yuko SAITO (齊藤優子), TENG Yuk Sophia (丁鈺), TONG Wing-ka Penny (湯穎嘉),VONG Wai-man Raymond (王偉文), WONG Chun-hong John (黃俊匡).

2. APA student (with kind permission of the Hong Kong Academy for Performing Arts): YEUNG Kin-man Sunny (楊健文).

21

第一小提琴 First Violin魏寧一

李珺君

楊韻飛

陳朗瑚

第二小提琴 Second Violin王倩兒

陳藝翹

陽芊

吳步謙

中提琴 Viola蔡書麟

杜娟

鄧詠旋

朱嘉欣

大提琴 Cello陳駿軒

譚敬深

黃泰城

俞菁妍

低音大提琴 Double Bass趙逸穎

蘇嘉樂

黃梓豪

區凱堯

長笛 Flute許嘉晴

圓號 Horn李鑒軒

小號 Trumpet冼楚翹

敲擊樂 Percussion鄭美君

鄺敏蔚

WEI Ning-yi Felix LI Junjun CeciliaYEUNG Wan-fei Jonathan CHAN Long-wu Vanessa

WONG Sin-i Nina CHAN I-cute Bernini YANG Qian NG Bo-him Matthew

CHOI Shu-lun ChrisDU JuanTANG Wing-shuen RebeccaCHU Ka-yan Katrina

CHAN Chun-hin BernardTAM King-sum ShawnWONG Tai-shing CalvinYU Ching-in Stella

CHIU Yat-wing Evette SO Ka-lokWONG Tsz-ho CharlieAU Hoi-yiu Mabel

HUI Ka-ching Alice

LEE Kam-hin Alvin

SIN Chor-kiu Dorothy

CHENG Mei-kwan EmilyKWONG Man-wai Eugene

參與蕭斯達高維契第15交響曲演出之香港演藝學院學生The orchestra is joined by the following students from The Hong Kong Academy for Performing Arts

in Shostakovich’s Symphony No 15:

22

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

Mrs Shirley CHUNG

Mr JAT Sew-tong

Dr Steven LAM

Ms LAU Man-man Lisa

Prof C K Michael TSE

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

鍾陳碧璋女士

翟紹唐先生

林煥樟博士

劉文文女士

謝智剛教授

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 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

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。

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This is Hong Kong Sinfonietta.

This is ALSO Hong Kong Sinfonietta.

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26

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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

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)

陳嘉何醫生夫人 Dr & Mrs Chan Ka HoMr Patrick Chan

Lowell and Phyllis Chang

Dedicated Violinist Fund

梁烈安先生及夫人 Mr & Mrs Leung Lit On

Mr Eric Tsang

多位無名氏 Anonymous

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 Amy TamMs 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 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-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 CANMr Iain BruceDr Eugene K ChanJonman, Monika & Joel Chan FamilyMiss Julia ChanMr Chan Kwan HoMs Anastasia ChaoProf David ClarkeMr Paul JacksonLuca, Caterina, Maurien, Joseph JacobelliStephanie & 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 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

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

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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 URBTIX2111 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

7.11.2015(星期六 Sat) 8pm

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

$340 $220 $140

節目Programme

孟德爾遜 《美麗的梅露西娜》序曲，作品32舒曼 A小調大提琴協奏曲，作品129布拉姆斯 D大調第二交響曲，作品73

Mendelssohn The Fair Melusine Overture, Op 32 Schumann Cello Concerto in A minor, Op 129Brahms Symphony No 2 in D, Op 73

首席客席指揮 Principal Guest Conductor

柏鵬 Christoph Poppen

大提琴 Cello

柏斯卡爾Aurélien Pascal

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樂在咫尺 UpClose Encounters:

柏斯卡爾室樂聚Chamber Music & Dialoguewith Aurélien Pascal節目包括舒曼降E大調鋼琴五重奏及

高大宜的大提琴獨奏作品。Programme includes Schumann’s Piano Quintetin E-flat and solo cello work by Kodály.

8.11.2015 (星期日 Sun) 3pm

香港大會堂音樂廳 HK City Hall Concert Hall

$250 (觀眾席設於舞台上 Audience seated on stage)

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：快達票售票網

Tickets at outlets

31 288 288 | www.hkticketing.com節目查詢 Programme Enquiries: 2836 3336適合6歲或以上觀眾 For ages 6+

指揮／小號 Conductor/Trumpet

赫登伯格Håkan Hardenberger

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13.11.2015(星期五 Fri) 8pm

香港演藝學院香港賽馬會演藝劇院

HK Jockey Club Amphitheatre, HK Academy for Performing Arts

$480 $320 $180

節目Programme

海頓 降E大調小號協奏曲，Hob VIIe:1浦羅哥菲夫 古典交響曲，作品25拉威爾 《庫普蘭之墓》普拉尼爾 小號協奏曲 (1966)

米歇爾／彭迪南編 《一體兩面》龍格蘭／彭迪南編 《海鷗》

Haydn Trumpet Concerto in E-flat, Hob VIIe:1Prokofiev Classical Symphony, Op 25Ravel Le Tombeau de CouperinRobert Planel Concerto for Trumpet & Strings (1966)

Joni Mitchell/Pöntinen arr Both Sides, Now for Trumpet & String Orchestra

Jan Lundgren/Pöntinen arr The Seagull for Trumpet & String Orchestra

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

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.

20% OFF凡同時購買11月12及13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 12 & 13 November

2015

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