本月，第四台將現場直播倫敦交響樂團三場在香港文化中心舉行的音

樂會。想起來，該團與香港可謂關係密切。

好些本地影迷其實已不經意地在 1977 年上映的《星球大戰》配樂中，

聽過樂團的精彩演出。至於觀賞他們的音樂會，要數到 1964 年倫敦

交響樂團首度世界巡演，其中一站是在開幕只有兩年的香港大會堂獻

技。之後，樂團曾多次訪港。不過，部份本地樂迷可能跟我一樣，首

次「看」到他們的演出是在電視節目中。大約在八十年代初逢星期日

晚上，我常在電視機前「駐守」觀看倫敦交響樂團的錄影室音樂會。

在其中一集節目中，指揮普烈文問一位雙簧管手如何熱身，他立即

吹奏拉威爾《庫普蘭之墓》那著名的引子……1983 年，我終於有機

會現場欣賞倫敦交響樂團的演出。由於只能買到合唱席的位置，所以

我要從後台入場，亦因此能與那位髮型很獨特，正等候出台的雙簧管

手站在一起。他就是後來出任香港演藝學院音樂學院院長達十年直至

2003 年退休，已故的甘閔霆。

繼任甘閔霆成為香港演藝學院院長的顧品德，同樣擔任該職十年，亦

同樣曾受聘於倫敦交響樂團。1971 年他首度訪港，身份是樂團的小

提琴手。其曾祖父是倫敦交響樂團的創團人之一，祖父和父親分別是

樂團的低音大提琴手及雙簧管手。他與樂團的關係可說是代代相傳。

倫敦交響樂團與香港的連結更不止於此。2014 年，我們的陳以琳

在倫敦交響樂團的唐娜泰拉 ˙弗里克國際指揮大賽中勝出，並於

2015/16 樂季擔任該團的助理指揮。

倫敦交響樂團這次帶來更多香港連結。我們的李嘉齡和沈靖韜分別為

首兩場音樂會擔任鋼琴獨奏。收聽第四台的現場直播，你更可建立你

個人的「香港－倫敦交響樂團」連結！曲目詳情及一篇由音樂歷史學

者周光蓁撰寫的專文刊於第 7 頁。

本月，除了這三場音樂會外，第四台亦帶來另一個矚目演出，為的是

紀念克拉拉˙舒曼誕生二百週年。她不獨是作曲家舒曼的太太，更

是音樂史上其中一位最顯赫的女鋼琴家，亦是作曲家。在這場一號錄

播室音樂會，本地鋼琴家吳美樂會聯同小提琴家格德霍特和大提琴家

鮑力卓合演克拉拉˙舒曼的作品。吳美樂亦會身兼主持，在一連五

集克拉拉與女藝術家（英語節目）中介紹克拉拉的生平，並論及女性

在音樂史上的地位。除此之外，本月第四台音樂會亦有好些來自歐洲

的演出，其中包括克拉拉 ˙ 舒曼的作品，敬請留意！

This month, Radio 4 broadcasts live the three London Symphony Orchestra (LSO) concerts from Hong Kong Cultural Centre. LSO has many connections with Hong Kong!

First and foremost, some Hong Kong cinemagoers certainly enjoyed listening to LSO when they watched the 1977 blockbuster Star Wars, the music of which was played by LSO. City Hall first welcomed them in 1964, two years after our cultural landmark opened. It was LSO’s first world tour. From then on, the Orchestra has visited Hong Kong on other occasions. But, like me, a handful of local music lovers might have first seen and heard them on TV instead! Around early 80’s, I used to watch LSO’s studio concert programmes on Sunday evenings.

I remember in one episode an oboist was asked by the conductor André Previn how he warmed up for a performance. Straightaway, he played the tricky solo from Ravel’s Le tombeau du Couperin... My first opportunity to see LSO live came in 1983 when a last-minute choir-stall ticket allowed me for the first time to enter City Hall Concert Hall through the backstage! That oboist, with his easily recognisable frizzy hair, now happened to stand next to me while he was waiting to get on stage. He was the late Anthony Camden who subsequently was Dean of Music at The Hong Kong Academy for Performing Arts (HKAPA) for ten years until his retirement in 2003.

Incidentally, Camden’s successor at HKAPA, Benedict Cruft, who held the same post for another ten years, also played for LSO. His first trip to Hong Kong was as a tutti violinist in the Orchestra’s visit in 1971. His great-grandfather was one of LSO’s Founders, while his grandfather and father were the Orchestra’s double bass and oboe players respectively. Cruft’s association with LSO literally spans over four generations.

LSO’s connections with Hong Kong go beyond that. Hong Kong’s Elim Chan won the Donatella Flick LSO Conducting Competition in 2014 and became the Orchestra’s Assistant Conductor in the 2015/16 season.

LSO’s visit this month will make more Hong Kong connections. Hong Kong’s Colleen Lee and Aristo Sham will appear as piano soloists in the first two concerts. Tune in to Radio 4’s three live broadcasts for your own LSO-Hong Kong connections! Turn to p. 7 for the full programmes and a special article about the Orchestra written by music historian Oliver Chou.

On top of these three concert broadcasts, this month Radio 4 also offers you a live recital at Studio One to celebrate the 200th anniversary of the birth of Clara Schumann. She made her name first as an international pianist and then as the wife of Robert Schumann promoting his music through her concerts. She was a refined composer, too. In this special recital, Hong Kong pianist Mary Wu will join violinist James Cuddeford and cellist Richard Bamping to perform Clara Schumann’s works. Mary will also host a 5-part series Clara and Other Female Artists to examine this artist’s life and to talk about gender in music history. More than that, this month’s Live on 4 includes a number of concerts from Europe that feature works by Clara Schumann. Don’t miss these bicentenary views of a great performer and composer!

SEPTEMBER 2019

Anthony Camden, one of LSO’s musicians who has close associations with Hong Kong. He was more than a player, from 1975-1987, he was also Chairman of the Orchestra.

甘閔霆是倫敦交響樂團前團員，

與香港關係密切。他不單是樂

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31 Café 976 週末咖啡館

32 Friends of Radio 4 第四台之友

33 New Releases 碟碟不休

34 Concert Highlights 音樂會轉播精選

37 Main Programme Chart 節目時間表

38 Programme Highlights

48 Coda

節目精華

Jazzing Up 爵士靈感

Music from China 樂在神州

歌劇世界

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SPECIAL FEATURES 特稿 From Temple to Theatre – A Parade of Chinese Music

London Symphony Orchestra LIVE on Radio 4倫敦交響樂團 第四台現場直播

從宗廟到舞台–中國音樂巡禮

14 Clara Schumann – The Forgotten Legend克拉拉‧舒曼 ─ 被遺忘的天才女作曲家

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From Temple to Theatre – A Parade of Chinese Music 從宗廟到舞台 – 中國音樂巡禮1 October (Thu) 8:00pm

Emperor Yongzheng (1678-1735 A.D.) of the Qing Dynasty playing the guqin

Jim Chang 鄭學仁

China is one of the most ancient global civilisations. In looking over the thousands of years in its long history, when music first appeared in China is still a mystery today. It was not uncommon for kings and emperors in ancient China to bury their material possessions with them, yet, some unearthed relics excavated from these early archaeological sites suggest that music in China may have already existed long before any written history.

Evidence from the PastAn amazing discovery in the late 1970s from the tomb of Marquis Yi of Zeng ( 曾侯

乙墓 ) shocked the world and served as solid evidence that musical instruments had already existed in the Zhou ( 周 ) Dynasty in the first millennium B.C. The earliest classification system for music instruments, the Bayin ( 八 音 ), literally known as the “Eight Sounds”, was first derived according to the material used in the construction of the instruments. Early music of China was known to be closely related to imperial ceremonies in the courts, in connection with ritual worshipping in the shrines or temples, or folk festivals in local communities. Yayue ( 雅樂 ), which means “elegant music”, is the term given to describe court music that was used as a tool to reinforce the Confucian doctrines, either being used in governing the country, or for nurturing the moral well-being of a gentleman.

Imperial BrillianceThe Han ( 漢 ) and Tang ( 唐 ) Dynasties were regarded as the most brilliant imperial periods in the history of China. Following the growth in trading and cultural connections with its neighbouring clans, Imperial China then was able to enjoy the increasing influx of foreign culture. Foreign musical instruments were adopted, assimilated, and finally claimed as the indigenous Chinese instruments as we see nowadays. Common names such as the dizi ( 笛子 ), a transverse membrane flute, the pear-shaped plucked lute named pipa ( 琵 琶 ), or the double-reed wind instrument named guanzi ( 管子 ), which was originally known as bili ( 篳篥 ), were examples of these. The Tang Dynasty had indeed nourished a most fascinating era of Chinese music history and the flourishing banquet music named Yanyue ( 燕樂 ) became a trademark of the Dynasty. From the Song ( 宋 ) Dynasty onward, district chamber ensembles, music-dramas or local operas with a more prominent secular style stepped on to the musical stage of the nation and became popular in different provinces or regions. At the same time, another significant foreign musical addition in the form of a two-stringed fiddle from the northern Mongols named the xiqin (奚琴 ), nowadays known as huqin ( 胡琴 ), assumed its leading role in theatres. Chuida ( 吹

打 ) music and Sizhu ( 絲竹 ) music, literally music of “wind and percussion” and “silk and bamboo” respectively, were gradually developed to mark the differentiating music styles between the South and the North.

Musicians in paradise in Yulin Cave 25, Tang Dynasty. Instruments (from bottom): pipa, sheng, flute or reed flute, and seashell.

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Former Chief Librarian of Hong Kong Central Library,

Doctor in Music Librarianship

Chang Hok-yan

中國音樂，源遠流長。遠自周禮雅樂，經歷漢、唐盛世

鼓吹宴饗之樂，宋元以達明清帶有濃厚俗樂色彩的地方

戲曲、民間樂種，以至近代興起的現代中國民族樂團，

為中國音樂交織出一幅繽紛絢爛的錦圖。10 月 1 日 ( 星

期四 ) 晚上 8 時，鄭學仁會以英語主持從宗廟到舞台 ─

中國音樂巡禮。

Western InfluencesIn the late 19th century, Western music culture started to arrive in Imperial China and introduced strong changes to traditional Chinese music. The increasing Westernisation brought in western music elements, and resulted in the hybridised modern Pan-Chinese orchestra, which was developed to perform modern Chinese compositions. For almost a century now, these mixed orchestral ensembles still are found in theatres and even concert halls, providing modern Chinese music enjoyment to the audiences. All of these influences come together with the regional music to make up the colourful music diversity of China.

Tune in to From Temple to Theatre on 1 October (Thu) at 8pm for a concise introduction to Chinese music.

Confucius, Philosopher of the Chinese, published by Jesuit missionaries in Paris in 1687.

SEPTEMBER 2019 | FINE MUSIC | COLUMNS 專欄FINE COLUMNS 專欄MUSIC 5JUNE 2019

請 收 聽 逢 星 期 一 至 六 黃 昏 6 時 的藝壇快訊，

了 解 海 外 及 城 中 最 新 的 藝 術 資 訊 。

Tune in to Artbeat every Saturday at noon formore arts happenings around town.

Dutch cellist Anner Bylsma died on 25 July in Amsterdam at age 85. His superb technique and beautiful tone colour made him a well-recognised cellist worldwide. He was also a pioneer in historically informed performance, excelling at works by Baroque composers such as Bach and Vivaldi.

Born on 17 February 1934, Bylsma received his first lessons from his father, who was also a musician. At 16, he enrolled at the Royal Conservatory, The Hague, and studied with Carel van Leeuwen Boomkamp, who introduced him to Baroque cello and historically informed performance. In 1957, he won the school’s Prix d’excellence, and two years later won First Prize in the Pablo Casals Competition in Mexico, showing his talent at a young age.

In 1962, Bylsma became the Principal Cellist of the Royal Concertgebouw Orchestra, but left to pursue his career in solo and ensemble performances six years later. He founded L’Archibudelli with violinist Vera Beths and violist Jürgen Kussmaul, performing Classical and Romantic pieces on period instruments. He often collaborated with Frans Brüggen and Gustav Leonhardt, who were also forerunners in historically informed performance. They performed worldwide and recorded numerous albums, contributing immensely to the development of authentic performances.

荷蘭大提琴家拜士瑪在 7 月 25 日於阿姆斯特丹逝世，享年八十五

歲。拜士瑪的大提琴技術精湛，音色亮麗，是公認的大師級演奏家。

同時，他亦是復古風格演奏的先驅，特別擅長演繹巴赫、韋華第等

巴羅克作曲家的作品。

1934 年 2 月 17 日出生的拜士瑪，年幼時由同為音樂家的父親傳授

音樂知識。十六歲時，他入讀海牙皇家音樂學院，跟隨利芬保甘學

習大提琴，從中認識到巴羅克大提琴及復古風格演奏。1957 年，

他奪得學院的卓越大獎，並在兩年後於墨西哥舉行的卡索斯大賽贏

得首獎，年紀輕輕已漸露鋒芒。

1962 年，拜士瑪成為阿姆斯特丹音樂廳樂團的大提琴首席，六年

後他為了投放更多時間於獨奏和室樂演出而離任。他與小提琴家比

斯和中提琴家古斯莫創立羊腸弦古樂團，以復古樂器演奏古典及浪

漫時期的作品。他亦經常與另外兩位復古風格演奏先驅布魯根和利

安夏特合作，到世界各地演出之餘亦灌錄了大量唱片，對復古演奏

的發展影響深遠。

Cellist Anner Bylsma Has Died大提琴家

拜士瑪逝世

Charles Chik 戚家榮

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Three piano concertos in the programmes featuring Colleen Lee, Aristo Sham, and Emanuel Ax as soloistsStandard repertoire including works by Haydn, Brahms, Prokofiev, and Rachmaninov balanced by a less often heard masterpiece by contemporary composer John AdamsA favourite work by Britten, The Young Person’s Guide to the Orchestra, will be played in Hong Kong 73 years after its world premiere by the LSO The Orchestra, which has been under the batons of iconic figures such as Elgar, Vaughan Williams, Barbirolli, Bernstein, and Abbado, is led on this tour by its current Music Director Sir Simon Rattle

Tune in to Radio 4 for the three concerts brought to you LIVE from Hong Kong Cultural Centre!

One of the most reputable orchestras in the world, the London Symphony Orchestra (LSO), will return to Hong Kong in three sold-out performances.

三位鋼琴家李嘉齡、沈靖韜和艾斯分別擔任鋼琴獨奏

除海頓、布拉姆斯、浦羅歌菲夫和拉赫曼尼諾夫的標準曲目外，樂迷還可以欣賞到現代作曲家亞當斯的大作

布烈頓家傳戶曉的《青少年管弦樂隊指南》當年由倫敦交響樂團作世界首演。七十三年後，同一隊樂團在香港上演同一首作品

曾指揮倫敦交響樂團的名家星光熠熠，包括艾爾加、佛漢威廉士、巴比洛利、伯恩斯坦和亞巴度。是次訪港演出由現任音樂總監力圖領軍

香港電台第四台為你現場直播這三場在香港文化中心舉行的音樂會！

世上極享盛名的樂團 ─ 倫敦交響樂團重臨香港，三場音樂會的門票均已售罄。

London Symphony OrchestraLondon Symphony Orchestra

倫 敦 交 響 樂 團倫 敦 交 響 樂 團 第 四 台 現 場 直 播

SEPTEMBER 2019 | FINE MUSIC | COVER STORY 封面故事

LIVE on Radio 4LIVE on Radio 4

第 四 台 現 場 直 播

7

The First HK ConcertHow many of us would remember István Kertész, the legendary but ill-fated Hungarian maestro, who conducted a full concert of Beethoven, Elgar, Kodály, and Brahms at the Hong Kong City Hall to conclude the LSO’s three-concert debut in November 1964? Future conductor Neville Marriner was the Second Violin Principal.

Kertész was sharing the podium with the other conductor, then 37-year-old Colin Davis, in the first LSO world tour, celebrating its 60th anniversary. The celebration year was marred by the death of LSO's Principal Conductor Pierre Monteux, who died in July 1964. Kertész took up the post of Principal Conductor of the LSO in 1965.

The Sensational SecondWhen the LSO returned to Hong Kong for five concerts in March 1966, Colin Davis conducted a sensational performance of Berlioz’s Symphonie Fantastique. “A firm grip of Berlioz’s flair” is the headline of a review in the Tai Kung Pao by the late music critic Tung Chor.

But all eyes were on the final concert when Patsy Toh, a former student at DGS, was the soloist in Beethoven’s Fourth Piano Concerto, thus setting up the first LSO-Hong Kong collaboration.

A New Home AnnouncedThe 1966 tour coincided with a breaking news concerning the present home of the LSO: the Barbican Centre. A long-awaited agreement in LSO’s favour was announced on the day of the first Hong Kong concert. Due to time difference, a special long-distance phone line was set up at the City Hall backstage for Ernest Fleischmann, the Orchestra’s Managing Director, to address the London press.

A Great Cellist RememberedAnother LSO tour in Hong Kong that ran into breaking news was at the last of two concerts celebrating the 10th anniversary of the city’s handover to Chinese s o v e r e i g n t y. T h e h a p p y mood stopped when Lennox Mackenzie, Concertmaster and Chairman of LSO, told the full-house audience of the death of Mst is lav Rost ropov ich, who had performed a record 31 concertos wi th LSO in summer 1965. The concert on 27 April 2007, with Daniel Harding conducting Mahler’s Fifth Symphony, was played in memory of the great cellist.

Oliver Chou

A Musical Tale of Two Cities: London Symphony Orchestra @ Hong Kong since 1964

A Musical Tale of Two Cities: London Symphony Orchestra @ Hong Kong since 1964If London and Hong Kong taken as the tale of two cities, then the London Symphony Orchestra (LSO) has provided the soundtrack for some special moments.

Making the ninth appearance in Hong Kong this month since its first visit in 1964, the LSO has produced a series of bygone musical landmarks for the city and for its own, too.

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SEPTEMBER 2019 | FINE MUSIC | COVER STORY 封面故事8

To some extent, Harding, then LSO's Principal Guest Conductor, owed the position to Hong Kong. In 2004, he stood in for Russian maestro Gennadi Rozhdestvensky, who had withdrawn due to health reasons, and conducted two acclaimed concerts of Shostakovich’s Fifth and Sibelius’ Fifth symphonies, to celebrate a double-bill: the 30th anniversary of LSO’s debut at the Hong Kong Arts Festival and the LSO centennial global tour.

A Sensational BroadcastA change of conductor also happened in 1974 when LSO Principal Conductor André Previn called in sick and cancelled not two but six scheduled concerts at the 2nd Hong Kong Arts Festival. Two substitute conductors, Erich Bergel and Walter Weller, joined Bernhard Klee and Guido Ajmone-Marsan to perform a record 11 concerts at the City Hall in less than two weeks. The live broadcast on RTHK Radio 2, with Chan Ho-choi as the presenter and Chung Wai-ming as the host, was truly star-studded.

Previn and RachmaninovPrevin’s three consecutive concerts at the City Hall in May 1971 were a prelude to the LSO's historic visit to the Soviet Union later that year. A major showpiece in the programme was Rachmaninov’s Second Symphony, a work that Previn recorded in 1973 and has since been an LSO calling card.

Of all nine LSO visits to Hong Kong, only the 1971 and 2019 tours are led by its Principal Conductor, and with Rachmaninov’s 2nd on both programmes. With Previn’s death earlier this year, it is only fitting to hear this work at the opening concert of the 2019 tour.

Camden and CruftThe 1971 roster contains two names that are as inseparable to LSO as to Hong Kong. Anthony Camden, Principal Oboe and Chairman of the LSO (1975-1987), was Dean of Music at The Hong Kong Academy for Performing Arts (HKAPA) from 1993 to 2003. He was instrumental in securing the contract for the LSO to record the music for the Grammy Award–winning film Star Wars in 1977, and the appointment of Claudio Abbado as LSO’s Principal Conductor in 1979.

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Benedict Cruft, Camden’s HKAPA successor (2003-2 0 1 3 ) , i s t h e f o u r t h generation of his family in the LSO. His great-grandfa ther, a v io l i s t , was one of the founding players in 1904. His father, John Cruft, was oboist and chief administrator s u c c e e d e d b y E r n e s t Fleischmann in 1959.

A Dual HistoryEx-LSO members aside, the list of local musicians performing with the LSO

has been on the rise following Patsy Toh/Colin Davis. They include chorister Margaret Yang/Leonard Bernstein (1989), violinist Kitty Cheung/Valery Gergiev (2008), composer Fung Lam/ François-Xavier Roth (2009), and Elim Chan, LSO’s Resident Conductor (2015-2016) after winning the Donatella Flick Conducting Competition. Her scheduled concert with LSO in the 2019/20 season at the Barbican will include Rachmaninov’s Third Piano Concerto, a work Aristo Sham will be the soloist with Sir Simon Rattle conducting at the Hong Kong Cultural Centre later this month.

Long live the musical tale of two cities!

Benedict Cruft was Dean of Music at HKAPA from 2003 to 2013.香港演藝學院音樂學院前院長顧品德

(2003-2013)

SEPTEMBER 2019 | FINE MUSIC | COVER STORY 封面故事

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Anthony Camden (second left) was Chairman of the LSO (1975-1987) while Karl Böhm (centre) was President.甘閔霆（左二）在1975至1987年出任倫敦交響樂團主席期間，布恩（中）是樂團

總裁。

從事中外音樂歷史研究和樂評，遊走於學府、傳媒。

Oliver Chou 周光蓁An award-winning music historian and critic juxtaposing

between academic research and journalism.

哈丁的首席客席指揮一職，其實從香港開始。2004 年樂團慶祝建團

一百週年作全球巡演，兼亮相香港藝術節三十週年。原定由俄羅斯指

揮元老羅狄士雲斯基執棒，可是他因病請辭。最後由時年二十八歲的

哈丁救場，指揮蕭斯達高維契、西貝流士第五交響曲。幾個月後，哈

丁獲樂團委以重任。

臨時救場並非新事。遠在 1974 年的第二屆香港藝術節，時任首席指

揮的普烈文因病缺席六場演出，改由貝高、韋拿兩位指揮補上，與另

外兩位指揮合演十一場音樂會，其中包括香港首演馬勒的《大地之

歌》。音樂會安排在港台第二台現場直播，由鍾偉明主持、陳浩才作

介紹，可謂絕配。

普烈文與拉赫曼尼諾夫

普烈文早於 1971 年 5 月率團來港演出三場，其中包括拉赫曼尼諾夫

第二交響曲，可以說是同年樂團歷史性首訪蘇聯的熱身。列寧格勒的

演出後傳奇指揮馬文斯基一句評語：「為何不演全曲？」普烈文自此

採用不刪節的版本，包括 1973 年的不巧錄音，成為樂團亮麗名片。

不說不知，倫敦交響樂團九度訪港，只有 1971 年和 2019 年是由首席

指揮執棒的，兩次都包括拉赫曼尼諾夫的第二交響曲。普烈文今年 2

月辭世，這次訪港演出三場，首場選演這首交響曲最合適不過。

甘閔霆與顧品德

樂團演奏外，與香港的樂緣亦包括個別成員，例如香港演藝學院兩任

音樂學院院長甘閔霆（1993-2003）和顧品德（2003-2013）均為樂團

資深成員。前者兼任主席期間促成《星球大戰》電影錄音以及聘任亞

巴度出任樂團首席指揮。後者的曾祖父更是樂團 1904 年的創團成員，

父親則任樂團主管，1959 年由費舒曼接任。

近年港人與倫敦交響樂團合作亦有上升之勢，例如合唱團成員楊

惠 / 伯恩斯坦（1989）、小提琴張文蕊 / 葛濟夫（2008）、作曲家

林丰 / 羅夫（2009），陳以琳更憑 2014 年倫敦指揮大賽冠軍成為樂

團 2015-2016 年的駐團指揮，在新樂季將指揮拉赫曼尼諾夫第三鋼

琴協奏曲，即本月第二場在港演出的曲目。

音樂雙城記，樂緣不息！

首度訪港

1964 年樂團慶祝成立六十年，首次全球巡演。可是出發前首席指揮

蒙都因高齡去世，11 月在香港大會堂演出的三場，由當年三十七歲的

哥連．戴維斯和較他小兩歲的匈牙利指揮寇蒂斯執棒。後者在第三場背

譜指揮布拉姆斯第一交響曲，已故樂評前輩東初對之極為讚賞，稱是樂

隊全然奏出作品的「雄偉氣魄」。不足一年後，寇蒂斯獲任為樂團首席

指揮。

1966 年 3 月樂團再訪香江，連演

四場和一場學生專場，全部由哥連．

戴維斯指揮。首場壓軸的白遼士

《幻想交響曲》，東初以標題「深

得白遼士神韻」高度評價演出。但

更為矚目的，是最後一場演出的貝

多芬第四鋼琴協奏曲，由曾就讀女

拔萃的卓一龍擔任獨奏，自此開始

了半世紀樂緣。

1966 年訪港期間，樂團投標申請

巴比肯中心作為駐地的決定在 3 月

3日倫敦上午宣佈，即上述演出《幻

想交響曲》的前夕。為方便樂團總

經理費舒曼回應倫敦媒體提問，大

會堂在音樂廳後台安設一部長途電

話，音樂會結束後作訪談。

音樂會悼紀念羅斯卓波維契

另一次該團訪港遇上突發新聞是 2007 年回歸十週年誌慶演出的第二

場。音樂會開始前，首席小提琴手兼樂團主席麥堅士宣佈：與樂團合

作半世紀，包括 1965 年夏天一連演出三十一首大提琴協奏曲的羅斯

卓波維契數個小時前去世，樂團決定把音樂會獻給大師。剛好當晚演

出馬勒第五交響曲，由哈丁指揮，開始時小號吹出葬禮進行曲主題，

成為歷史的一刻。

假如香港與倫敦合演一部雙城記，配樂必然少不了倫敦交響樂團。

這隊幾乎肯定是歷來唱片、電影錄音最多的樂團，自 1964 年首訪香港，連同本月的三場演出，已經是第九次。個別音樂會所留下的回憶，對

香港以至該團都是彌足珍貴的記錄。

周光蓁

半 世 紀 音 樂 雙 城 記 ─ 倫 敦 交 響 樂 團 訪 港 拾 趣半 世 紀 音 樂 雙 城 記 ─ 倫 敦 交 響 樂 團 訪 港 拾 趣

House programme of the LSO’s Hong Kong debut concerts倫敦交響樂團首度訪港演出的場刊

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LSO

SEPTEMBER 2019 | FINE MUSIC | COVER STORY 封面故事 11

How did the collaboration come about?

It was the LCSD who approached me around a year ago about performing with the LSO. I was asked to propose a works list, and I put a few pieces from different periods, such as Beethoven, Schumann, Rachmaninov, and Prokofiev. At the end they decided on Prokofiev’s Third Piano Concerto.

Rachmaninov’s 3rd was my first choice for the LSO concert, as it is one my favourite pieces – it has such clever, highly pianistic and deeply moving writing throughout. I thought it would be the perfect vehicle with which I make my debut with the LSO.

Performing HistoryTell us about the past performances of the concerto of your choice. For your information: the LSO gave the UK premiere of Prokofiev’s 3rd with the composer as the soloist in 1922, and the world premiere of Rachmaninov’s 4th in 1929, also with the composer as soloist.

I first performed Rach 3 in 2015 at Harrow, and since then I have also performed it in Italy and Argentina.

I performed Prokofiev 3 when I was a student at HKAPA. I didn’t know the composer performed this piece with the LSO. The fact that this piece remains in its repertoire after all these years shows its popularity among audiences and performers.

Favourite PerformancesWho is your favourite pianist(s) playing the concerto in question?

I like Martha Argerich, who has played Prokofiev 3 many times over the years but each time in very different styles. Vladimir Ashkenazy, too, who recorded the work with the LSO, is impressive in his spontaneous reading.

Pre-concert Chat with Soloists: “Performing with LSO is…”

Colleen Lee 李嘉齡

鋼琴家的演奏清單

這次合作演出是如何成事的？

大約在去年這個時候吧，康文署跟我接觸，說我和 Aristo 將會與

倫敦交響樂團一起演出，但沒說日期。我就按他們建議，自選幾

首協奏曲，包括貝多芬、舒曼、拉赫曼尼諾夫、浦羅歌菲夫。結

果樂團選擇了浦羅歌菲夫的第三鋼琴協奏曲。

與倫敦交響樂團合演拉赫曼尼諾夫第三鋼琴協奏曲是我的首選。

作品從頭到尾充滿智慧、鋼琴韻味、感人肺腑的樂句。能夠與該

樂團首演這首我的至愛之一，我想那是完美的安排。

李嘉齡、沈靖韜演前分享心得李嘉齡、沈靖韜演前分享心得周：周光蓁 李：李嘉齡 沈：沈靖韜

O: Oliver Chou C: Colleen Lee A: Aristo Sham

O:

C:

A:

O:

C:

A:

O:

C:

Rach 3 is so deeply personal, there are many compelling performances and interpretations of the piece.

Some of my recent favourites include those of Arcadi Volodos and Daniil Trifonov, and [two months ago] I heard a live performance by Yefim Bronfman and NY Phil at the Vail Festival – truly breathtaking in his stealthy explosions and long-term developmental lines.

A Distinguished CompanyWhat does performing with the LSO mean to you?

Performing with the LSO and Sir Simon Rattle is very much an honour and I am so looking forward to be able to make music with musicians of such artistry and integrity – I am sure I will take away a lot of inspiration and wisdom from this experience. It was also my late guardian (of my UK years), Sir David Tang's dream for me to perform with the LSO, and I am overjoyed to finally fulfil his dream.

Of course it’s very special for me and a good thing for local artists to perform with top orchestras such as the LSO. I look forward to en joy ing the mus ic-making process and hope that the home audience will enjoy it so that they would return for more classical music, visiting orchestras or otherwise.

A:

O:

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請分享一下過去你演奏相關協奏曲的經驗。謹提供一點參考資

料：1922 年倫敦交響樂團為浦羅歌菲夫第三鋼琴協奏曲作英

國首演，由作曲家擔任獨奏。1929 年樂團世界首演拉赫曼尼

諾夫第四鋼協，同樣由作曲家獨奏。

我在香港演藝學院唸書時與學校樂隊首次演出協奏曲。噢，我

不知道作曲家與倫敦交響樂團演過這首作品呢！經過那麼多年，

作品還是樂團的保留曲目，足證音樂家們和聽眾對這首作品的

喜愛。

我在英國哈羅公學首次演出拉赫曼尼諾夫第三鋼琴協奏曲，之

後也在意大利和阿根廷演過。

周：

李：

沈：

周：

李：

沈：

SEPTEMBER 2019 | FINE MUSIC | COVER STORY 封面故事

Pre-concert Chat with Soloists: “Performing with LSO is…”

12

Colleen Lee 李嘉齡

Live broadcast 現場直播：

22/9/2019 (Sun 日 ) 8pm

Repeat broadcast 重播：

27/9/2019 (Fri 五 ) 4pm

Live broadcast 現場直播：

24/9/2019 (Tue 二 ) 8pm

Repeat broadcast 重播：

30/9/2019 (Mon 一 ) 2pm

London Symphony Orchestra / Simon Rattle 倫敦交響樂團 / 力圖

Broadcast Date & Time 播放日期及時間

Haydn: Symphony No. 86 in D, Hob. I: 86Prokofiev : Piano Concerto No. 3 in C, Op. 26 (Piano: Colleen Lee)Rachmaninov: Symphony No. 2 in E minor, Op. 27海頓：D 大調第八十六交響曲，Hob. I: 86浦羅歌菲夫：C 大調第三鋼琴協奏曲，作品 26 ( 鋼琴：李嘉齡 )

拉赫曼尼諾夫：E 小調第二交響曲，作品 27

Britten: The Young Person’s Guide to the Orchestra, Op. 34Rachmaninov: Piano Concerto No. 3 in D minor, Op. 30 (Piano: Aristo Sham)Brahms: Symphony No. 2 in D, Op. 73布烈頓：青少年管弦樂隊指南，作品 34

拉赫曼尼諾夫：D 小調第三鋼琴協奏曲，作品 30 ( 鋼琴：沈靖韜 )

布拉姆斯：D 大調第二交響曲，作品 73

Programme 曲目

Live broadcast 現場直播：

25/9/2019 (Wed 三 ) 8pm*

Aristo Sham 沈靖韜

鋼琴家眼中的鋼琴家

上述協奏曲，可有心儀的鋼琴家？

亞嘉莉殊。這麼多年來，她多次與不同的樂團、指揮演過浦羅歌

菲夫的第三鋼琴協奏曲，每次都彈出不同的風格和見解。另外，

還有與倫敦交響樂團錄過這首作品的阿殊堅納西，他的自發

演繹也令我印象深刻。

拉赫曼尼諾夫的第三鋼琴協奏曲充滿性格，自然有不少讓人觸動

的演奏和演繹。近期我喜歡霍洛多斯、特霍諾夫的演奏。[ 兩個

月前 ] 我聽了布朗夫曼與紐約愛樂在維爾音樂節的現場演出，對

他的隱性張力和長距發展線條，感到無比震撼。

期待＋期待

跟倫敦交響樂團合作對你有什麼意義？

我十分榮幸可以與力圖爵士和倫敦交響樂團合演，期待與藝德

兼備的音樂家們共樂，從而吸取更多靈感和智慧。這次演奏亦

圓了我在英國的監護人、已故鄧永鏘爵士一直希望我與該樂團合

演的夢。能夠償其夙願，我很激動。

周：

李：

沈：

我很自豪，作為一位本地藝術家，能夠與倫敦交響樂團這樣頂

級樂團合奏，這固然是一次非常特別的演出經驗。但我期待享

受共樂的過程，亦希望聽眾聽得開心，並留下一次愉快的經驗。

日後不論是外來樂團與否，盼望他們也繼續出席其他音樂會。

周：

沈：

李：

* Due to broadcast right restrictions, this concert will not have a repeat broadcast 由於轉播權所限，這場音樂會將不會重播

Brahms: Piano Concerto No. 2 in B flat, Op. 83 (Piano: Emanuel Ax)Adams: Harmonielehre 布拉姆斯：降 B 大調第二鋼琴協奏曲，

作品 83 ( 鋼琴：艾斯 )

亞當斯：和聲教案

Emanuel Ax 艾斯

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Mar

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倫敦交響樂團 第四台現場直播London Symphony Orchestra LIVE on Radio 4

SEPTEMBER 2019 | FINE MUSIC | COVER STORY 封面故事 13

Clara Schumann – The Forgotten Legend

“Music gives a soul to the Universe, wings to the Mind, flight to the Imagination and life to Everything”

~ Plato

Performer in LoveShe was already performing on the national stage at age 10, a life-long pursuit that continued until her last years. Her struggle to be married to Robert Schumann was an iconic story of true love overcoming family expectations and resistance. Despite the father’s heavy opposition, the young lovers found ways to exchange letters and to meet in secret. Robert often waited for hours just to see her for a few precious minutes following her performances. Eventually, love won out, via the courts when Robert defeated her father.

She found her true home in her relationship with Robert who also struggled with developing his own musical gifts against the dark emotions of depression and the elusive acceptance of the musical world. She bore eight children and shouldered the large part of the running and finances of the family. She still found time to help Robert with his composition and was the sole performer of all his piano music. They often exchanged compositional ideas and the “Clara-motto-theme,” a descending scale in five notes, was quoted in many of Robert’s works.

Consummate SkillsOver and above all this, to the world she was a supreme pianist. We can catch a glimpse of her artistry from a review after her performance in Manchester England on 20 May 1856. “Clara Schumann, a musical genius of the highest order: Comparing Madame Schumann with the leading pianists of the day, we would say at once that she surpasses them all in that great quality which

we sum up expressively by the word ‘soul’... She has become a golden gate through which her spirit passes into the purest region of harmony.”

In 1837, Clara gave the premiere of Beethoven’s Appassionata Sonata in Berlin from memory, which the pianist Theodor Leschetizky maintained that she was the first pianist to do so in public. This also invited scorn from the critics who regarded playing without the score meant a certain disrespect towards

What do we know about the soul-scape of a legendary musician whose life was filled with gifts, responsibilities, calls from her heart and her life-long struggles in response with her divided devotion?

Clara Schumann (1819-1896) was a child prodigy from a broken family, her father Friedrich Wieck was both wholeheartedly devoted to her musical development and yet remained insufferably controlling. Typical daily routines included training of skills in singing, violin, counterpoint, harmony, composition, theory and a two-hour piano practice but with his hand in every single detail. Her diary entry recorded that she was not even allowed to read. Still there were memories of him tearing up a musical score during his fury over her lack of discipline.

Robert and Clara Schumann 舒曼夫婦

Mary Wu

the composer, and applause from those such as the poet Franz Grillparzar (1791-1872) who admired her undivided musical immersion, and subsequently wrote the poem “Clara and Beethoven” depicting the wild enthusiasm over her playing.

Clara was a virtuoso with a pure soul that strived to be appreciative and subservient to the composers’ musical profundity and essence.

Home and StageThe miraculous fact that she could retain her virtuosic skill after long periods of heavy domestic responsibilities in raising a large family of children was ironically attributed to the single-minded, oftentimes ferocious, early practice discipline from her father with whom she found reconciliation some years after her marriage. Also paradoxically her absence from the performing stage helped her to grow in deeper appreciation of the “soul” in music. She expressed once: “the less I perform, the more I despise mechanical virtuosity”.

An Introspective ComposerClara’s work as a composer was much under-appreciated.

From a young age she felt the call and the joy of composing music: “Composing gives me great pleasure…there is nothing that surpasses the joy of creation, if only because through it one wins hours of self-forgetfulness, which one lives in a world of sound.”

At 14 she completed her Op. 7 piano concerto and gave its premiere two years later at the Leipzig Gewandhaus with Felix

Mendelssohn as conductor. As her musicianship grew and from the influences of many great composers of her times such as Chopin and Robert, she abandoned the virtuosic music that dazzled and moved toward music coming from the searching of the soul.

Like all true searchers in the soul-scape, she often had doubts about her compositional ability: “I once believed that I possessed creative talent, but I have given up this idea… a woman must not desire to compose…. there had never yet been one able to do it. Should I expect to be the one?”

The Pleasure of MusicAmidst a life of doubts and demands, Clara wrote some of the most beautiful and creative compositions of her day, including songs, choral pieces, a piano trio and three Romances for violin and piano, inspired by Robert’s birthday, and dedicated to violinist Joseph Joachim, who declared them to be “a marvelous, heavenly pleasure”.

After Robert's major mental breakdown in 1854 (he died in 1856), Clara resumed her busy piano career and would often give the premieres of the works of Robert, whose spirit gave her a fundamental strength to live. She became an editor (1879-1893), together with Johannes Brahms, of all of Robert's music. To the end of her days, to his memory, she played each concert dressed in black.

In 1878, she became the head of the piano department of the Hoch, Frankfurt, Conservatory until 1892. She suffered from progressive deafness and immobility and died in Frankfurt in 1896, a year before Brahms. Her composition and teachings were mainly spread by her students Fanny Davies, Adele Verne, Leonard Barwick, Nathalie Janotha, Clement Harris, and Carl Friedberg.

A Creative TalentAs a person, Clara was an inspirational, talented, creative, and independent character. She was devoted to Robert Schumann all her life, managed to raise seven children (one child died aged one) and have a piano career over a span of six decades. She composed more than thirty works and her life has been made into films including Dreaming (Träumerei) in 1944, Song of Love in 1947, and Geliebte Clara in 2008.

Her life as a pianist, composer, devoted wife, mother, manager of the household, and editor inspires thoughts towards the challenge of being a female professional and mother in the 19th century, an educator, a contemporary enthusiast etc.

Clara at age 15 十五歲的克拉拉

SEPTEMBER 2019 | FINE MUSIC | COVER STORY 封面故事 15

Robert and Clara Schumann’s children舒曼夫婦的孩子

鋼琴家，2003 年香港十大傑出青年及 2010 年

香港藝術發展局最佳藝術家（音樂）。

Mary Wu 吳美樂Pianist, Top Ten Outstanding Young Persons in Hong Kong

2003 and ADC Hong Kong Best Artist (Music) 2010.

「音樂賦予宇宙靈魂，令思想長上翅膀，飛到無限想像的國度，賜給萬物生命的精彩。」

~ 柏拉圖

無懼阻攔的真愛

克拉拉 (1819-1869) 生於破

碎的家庭，父親雖全心全意

培育她在音樂上發展，但又

極盡嚴苛。小克拉拉十歲已

開始長達六十年的鋼琴演奏

生涯。她與羅伯特 ‧ 舒曼的

婚姻是經典真愛戰勝家族意

願阻撓的真人版。

婚後克拉拉生下八名子女。

她基本上獨力打理家庭，養

育孩子，是家庭財政的重大

支柱，但仍會協助丈夫創作

音樂。

別具天賦的音樂家

在外界看來，克拉拉是一位燦爛無比的演奏家。1856 年，曼徹斯特

的樂評曾說：「她是最高品位的音樂天才，是音樂裡靈魂的縮寫，

是一個能自由出入通往純全音樂境界大門的靈魂。」

克拉拉自幼享受作曲的樂趣。十四歲創作了鋼琴協奏曲作品 7，兩年

後與指揮孟德爾遜合演。但作為真正的探索家，她常常受到自我懷

克拉拉‧舒曼 ─ 被遺忘的天才女作曲家

疑以及女性是否先天沒有作曲能力的困擾。最終她仍寫下富於創意

而又極之優美的傳世作品。自 1878 年起，她出任德國法蘭克福音樂

學院鋼琴系主任達十四年之久。

她的作品超過三十多首。她生命的傳奇亦被拍成電影，包括 1944 年

的《夢境》、1947 年的 《愛歌》和 2008 年的《愛人 ─ 克拉拉》。

克拉拉作為演奏家、作曲家、賢妻良母、大管家和教育家，令人思

想到十九世紀的職場專業女性，與今天處於同樣境況的專業女性的

心路歷程會否相同？

在一連五集「克拉拉與女藝術家」（英語節目）特輯裡，我會播放

克拉拉和其他女性作曲家與演奏家的音樂。我亦十分高興能邀請指

揮家官美如、作曲家鄧慧中、歌唱家兼醫生徐行悅和萬能演奏家羅

乃新，與你分享今天如克拉拉一樣的女性音樂家

的心路歷程。歡迎你在 9 月逢星期日上午 10 時

收聽，亦可以在網上重溫 (radio4.rthk.hk)。同

時，歡迎你在 9 月 25 日 ( 星期三 ) 晚上 8 時來

到香港電台一號錄播室，欣賞「女性的篇章-克拉拉·舒曼音樂會」。

她是一位十分著名但又被人忽視的音樂家，雖天賦才藝，卻一生背負生活的重擔。然而，她的心底裡

又有著美妙樂音在不停地呼喚她。大家知否她是如何應對這責任與呼喚呢？

A Woman’s ViewDo join us on Sunday mornings at 10am in September for five episodes devoted to Clara and Other Female Artists, where interviews with conductor Carmen Koon, composer Joyce Tang, singer/doctor Michelle Tsui, and pianist Nancy Loo will share their thoughts inspired by the fascinating life of Clara Schumann. There will be music of hers as well as other female performers and composers.

In addition, you are invited to a live concert, in honour of the 200th anniversary of Clara Schumann’s birth. The programme includes solo piano music, her transcribed songs of Robert Schumann, the Op. 22 Violin and Piano Romances, Fugitive Pieces, Romance and Boléro for trio (transcribed by me) and her Op. 17 Piano Trio. Please do come and join us on 25 September (Wed) at 8pm at RTHK Studio One.

吳美樂

SEPTEMBER 2019 | FINE MUSIC | COVER STORY 封面故事

NEVERMINDBAROQUE ENSEMBLE

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“High baroque chamber music of the very finest quality” – Rondo Magazine

算吧啦巴洛克樂團Premiere Performances of Hong Kong is financially supported by the Art Development Matching Grants Scheme of the Government of the Hong Kong Special Administrative Region

飛 躍 演 奏 香 港 獲 香 港 特 別 行 政 區 政 府 「 藝 術 發 展 配 對 資 助 計 劃 」 的 資 助

28 OCT 2019Monday 8pm

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

$480 / $300 / $200 / $100

PR Partner

www.urbtix.hkTickets available at購買門票 www.pphk.org and

Jean Rondeau, harpsichordAnna Besson, flute

Louis Creac’h, violinRobin Pharo, viola da gamba

CollaboratorPartner

The content of this programme does not reflect the views of the Government of the Hong Kong Special Administrative Region 節目內容並不反映香港特別行政區政府的意見

2019 Nevermind FM 210x275mm v2.indd 1 22/8/2019 4:01 PM

17

Programme 曲目

Schumann (Clara Schumann trans.): In der Fremde, Op. 39, No. 1

Sehnsucht, Op. 51, No. 1

Clara Schumann: Romance in A minor, Op. 21, No. 1

Schumann (Clara Schumann trans.): Frühlingsnacht, Op. 39, No. 12

Clara Schumann: Three Romances, Op. 22

Clara Schumann (Mary Wu trans.): Four Fugitives Pieces, Op. 15

Clara Schumann: Piano Trio in G minor, Op. 17

Clara Schumann (Mary Wu trans.): Romance and Caprice à la

Boléro from ‘Character

Pieces’, Op. 5

舒曼 ( 克拉拉‧舒曼改篇 )：在異鄉，作品 39，第一首

渴望，作品 51，第一首

克拉拉‧舒曼：A 小調浪漫曲，作品 21，第一首

舒曼 ( 克拉拉‧舒曼改篇 )：春夜，作品 39，第十二首

克拉拉‧舒曼：三首浪漫曲，作品 22

克拉拉‧舒曼 ( 吳美樂改篇 )： 四首瞬間音樂，作品 15

克拉拉‧舒曼：G 小調鋼琴三重奏，作品 17

克拉拉‧舒曼 ( 吳美樂改篇 )： 浪漫曲與波萊羅風格的隨想曲，

選自《個性小品》，作品 5

James Cuddeford, violin 小提琴：格德霍特

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Richard Bamping, cello 大提琴：鮑力卓

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Mary Wu, piano 鋼琴：吳美樂

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克拉拉‧舒曼為人熟識。她是作曲家舒曼的賢妻，是布拉姆斯和約

甘的知交，亦是以美麗音色與詩意演繹為人推崇的頂尖鋼琴家。在

她誕生二百週年之際，鋼琴家吳美樂會為你展示克拉拉的另一面 ─

為女性開創先河的十九世紀作曲家。吳美樂將聯同香港小交響樂團

樂團首席，曾任澳洲弦樂四重奏小提琴手的格德霍特，以及香港管

弦樂團大提琴首席，亦為活躍的室樂樂手的鮑力卓，合奏克拉拉的室

樂創作。

這場音樂會將於 9 月 28 日（星期六）晚上 8 時及10 月3 日（星期四）

下午 2 時，在「第四台音樂會」播出。

It is widely known that Clara was the supportive wife and mother in the Schumann family, a lifelong friend of Johannes Brahms and Joseph Joachim, and a great pianist who conquered Europe with her colourful tone and poetic sound. To celebrate the 200th anniversary of the birth of this remarkable artist, pianist Mary Wu will put Clara Schumann’s creative output in the spotlight and share with you Clara’s chamber works in a recital. She will be joined by violinist James Cuddeford, Hong Kong Sinfonietta’s Concertmaster and Richard Bamping, Hong Kong Philharmonic Orchestra’s Cello Principal. James Cuddeford is former member of the internationally acclaimed Australian String Quartet. Cellist Richard Bamping is a sought-after chamber musician. Come to this recital to discover Clara Schumann, the foremost female composer of the 19th century.

The concert will be broadcast in Live on 4 on 28 September (Sat) at 8pm and repeated on 3 October (Thu) at 2pm.

Opus Clara - A Celebration Recital of the Other Schumann女性的篇章 - 克拉拉 · 舒曼音樂會

Date 日期 ： 25/9/2019 (Wed 星期三 )

Time 時間 ： 8:00pm

Venue 地點 : Studio One, Broadcasting House,

30 Broadcast Drive, Kowloon Tong, Kowloon, Hong Kong

香港九龍塘廣播道 30 號香港電台廣播大廈一號錄播室

Name 姓名：

Address 地址：

E-mail 電郵地址：

Tel. 電話： （Day 日間）

FOR4 Membership No. 第四台之友會員編號 (if applicable 如適用 )：

No. of Tickets 門票數量

(Please specify the no. of tickets, maximum 4) ( 請列明數量，最多四張 )

Information collected will be used exclusively for ticket distribution purpose

資料只作派發門票之用

Please return the complete form to 請將表格傳送至：Post 郵寄：Radio 4, RTHK, 30 Broadcast Drive, Kowloon Tong, Hong Kong 香港九龍塘廣播道 30 號香港電台第四台Fax 傳真：2339-6427 Enquiries 查詢：2339-6425E-mail 電郵 : radio4@rthk.hkYou may also download this form (PDF) from Radio 4’s website (radio4.rthk.hk)你亦可以在第四台網頁 (radio4.rthk.hk) 下載本表格 (PDF)

「女性的篇章 - 克拉拉 ·舒曼音樂會」門票索取表格

‘Opus Clara - A Celebration Recital of the Other Schumann’ Ticket Request Form

SEPTEMBER 2019 | FINE MUSIC | COVER STORY 封面故事 19

The Sunday Opera September repertoire consists of one of the world's greatest classical comedies with prophetic political overtones, an intense romantic drama on the theme of love versus honour against a background of medieval chivalry, plus three pairs of shorter masterpieces by four important 20th-century composers from Spain, Italy, and Austria.

The Marriage of Figaro was the first fruit of the extremely successful collaboration between the musical genius of Wolfgang Amadeus Mozart (1756-1791) and the literary talent of Lorenzo da Ponte (1749-1838). The latter was to produce two more superb libretti for Mozart in the final years of the composer's life.

It was Mozart who suggested to da Ponte that they adapt their work from Caron Pierre Augustin Beaumarchais’ eponymous play, written in 1781, which was famous as a theatrical entertainment and was a subject of lively debate and controversy throughout Europe. Its theme deals with the delicate and difficult relationship between different social classes, and its treatment is full of pungent satirical wit and political innuendoes foreshadowing the tremendous social upheaval about to shake the aristocratic world. Mozart used Beaumarchais’ characters as mouthpieces to express his own resentment to existing conditions, clothed in a comic and ironic tone.

The opera's first performances at the Vienna Burgtheatre in 1786, just three years before the French Revolution, were immensely successful, so much so that Emperor Joseph had to forbid encores of the ensemble numbers in order to avoid undue delay of the final curtain.

Our recording features bass-baritone José van Dam as Figaro, baritone Ruggero Raimondi as Count Almaviva of Seville, soprano Barbara Hendricks as Figaro's bride Susanna, soprano Lucia Popp as the Countess. The Ambrosia Opera Chorus and the Academy of St. Martin in the Fields give a fine performance under conductor Neville Marriner.

This early work of Giuseppe Verdi (1813-1901), the fifth of his 28 operas, was composed for the prestigious Teatro La Fenice of Venice. It marked his first collaboration with the librettist Francesco Maria Piave who, for the next 20 years, was to be his most frequent creative partner. When they decided to base their new opera on Victor Hugo's drama Hernani, published in 1830, they were choosing a subject that was already famous throughout Europe as a symbol of romanticism in French literature. Ernani was given its premiere in March 1844 with great success.

The plot presents a serious treatment of the concepts of chivalry, honour, and heroic patriotism, which Verdi always found inspiring, with particular reference to Italy's struggle for independence from foreign rule and its aspirations to be a unified nation.

1 September: Mozart's Le nozze di Figaro

8 September: Verdi's Ernani

Sundays 2:00pm Lo King-man

SEPTEMBER 2019 | FINE MUSIC | COLUMNS 專欄

José van Dam, bass-baritone

Barbara Hendricks, soprano

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Carlo Guasco as Ernani at the first performance

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Two Spanish masterpieces of moderate length will be presented on this mid-September day: Goyescas by Enrique Granados (1867-1916), and La vida breve by Manuel de Falla (1876-1946).

Granados was born in Lérida and brought up in Barcelona, where he lived most of his life. His favourite artist was the romantic painter Francisco Goya whose works inspired his greatest composition, the piano suite Goyescas, published in 1911, which provided the basic musical material for his opera of the same name, completed in 1915. Librettist Fernando Periquet supplied the text to fit the melodies.

The plot centres around the entangled relationship and rivalry between two pairs of lovers. The jealous antagonism among them breaks out at a ball, resulting in one of the young men being killed.

Our cast features the excellent Mexican tenor Ramón Vargas and celebrated Spanish soprano María Bayo, who are supported by the Orfeón Donostiarra Chorus and the Madrid Symphony Orchestra. Antoni Ros Marbà is the conductor.

15 September: Granados' Goyescas and Falla's La vida breve

SEPTEMBER 2019 | FINE MUSIC | COLUMNS 專欄

The opera is full of attractive and memorable melodies which Verdi carefully assigned to his four main characters. To heighten the effect of this romantic drama, Verdi sought to balance the principal solo voices with powerful choral passages. Ernani became extremely popular after its successful first performance in Venice. It was regarded as a symbol of Italian patriotism and an icon of the spirit of Risorgimento, the nation's reawakening.

An excellent live recording made at the Teatro alla Scala of Milan will be played, with tenor Plácido Domingo in the title role, soprano Mirella Freni as his beloved Elvira, baritone Renato Bruson as King Carlos of Spain, and bass Nicolai Ghiaurov as Duke da Silva. Riccardo Muti conducts the Chorus and Orchestra of La Scala Theatre, Milan.Sophie Löwe as Elvira at the first

performance

María Bayo, soprano

Born in the port of Cádiz in the Andalusia region, Manuel de Falla studied at the Royal Conservatory of Madrid, where he won the first prize in piano performance and had his first compositions published at the age of 23. He went to Paris in 1907, where he came under the beneficial influence of friends including Debussy, Ravel, and Dukas, who were appreciative of his talents. His compositions achieved great success during his sojourn in France. These include the ballet The Three-Cornered Hat, produced by Diaghilev and designed by Picasso.

Falla's music is deeply rooted in his native Andalusian folk idiom, particularly the flamenco and the canto jondo styles. He began to compose his two-act operatic masterpiece La vida breve (The Short Life) in 1905, completed it in Paris in 1907, and revised it for its premiere in Nice in 1913. It won high praises from many important musicians, critics, and audiences alike, as well as an award from the Royal Academy of Madrid.

The opera tells the tragic story of the betrayal of Salud by her fiancé Paco, who abandons her to marry a rich woman. Falla's beautiful score recreates the atmosphere of Granada with masterly ingenuity.

Our cast is led by the great Catalan soprano Victoria de los Ángeles and Argentinian tenor Carlos Cossutta. The Orfeón Donostiarra Chorus and the Spanish National Orchestra perform under the baton of Rafael Frühbeck de Burgos.

21

Ferruccio Busoni (1866-1924) was born in the Tuscan town of Empoli in Italy. He was a child prodigy who began his concert career as a pianist at the age of seven and had his own compositions performed at nine. After studying in Vienna, Graz, and Leipzig, he started to develop his highly successful career as virtuoso pianist, composer, conductor, editor, writer, pedagogue, and theorist. In 1904, following a period of teaching in Helsinki, Moscow, and Boston, Busoni settled in Berlin, which became the base of his main artistic and creative activities until his death in 1924.

Alecchino is the second of Busoni's total output of four operas, all set to German libretti written by himself. Its composition occupied the years 1913-1916 and was completed when the composer was living in neutral Switzerland to escape the war. The main character, Harlequin, is derived from the traditional Italian pantomime known as commedia dell'arte. In the opera's structure of four musical movements, he is in turn presented as a rogue, a warrior, a husband, and a conqueror. Critics have identified in the music some hints of the tone-row system invented by Arnold Schoenberg, here used by Busoni with remarkable freedom. Some commentators described the work as an anti-war satire.

The world premiere of Arlecchino took place in Zürich in May 1917. Because it was too short in duration for a full evening's entertainment, Busoni composed his two-act opera Turandot to serve as an accompanying piece.

These two one-act operas were both based on Oscar Wilde's literary works: A Florentine Tragedy (Eine florentinische Tragödie), an unfinished dramatic fragment, and The Birthday of the Infanta, a tragic fairy tale for children. They were set to music by the Austrian composer Alexander Zemlinsky (1871-1942) whose creative talent was harshly suppressed by the Nazi regime because of his Jewish origin.

Eine florentinische Tragödie is a psychological thriller in which a middle-class merchant confronts his wife's lover, the son of the Duke of Florence, and finally kills the younger man. There is a surprise ending to the story.

Der Geburtstag der Infantin was at first given the title Der Zwerg (the Dwarf), but later changed back to the original title of Oscar Wilde's story, The Birthday of the Infanta. It is a tragic fairy tale in which the protagonist is made to choose a bride for himself. Not realising that this

SEPTEMBER 2019 | FINE MUSIC | COLUMNS 專欄

Back in 1905, Busoni had composed the incidental music for a production of the play Turandot by the 18th-century Venetian dramatist Carlo Gozzi. The composer re-arranged this music into an orchestral suite which he now used as the basis for his short opera to be presented as a double bill with Arlecchino.

Turandot, daughter of the emperor of China, challenges all suitors for her hand with three riddles. She will marry the one who answers correctly, but those who fail are executed. Kalaf, an exiled foreign prince, takes up the challenge. Turandot is awakened by love, and the opera ends happily. The same story was set by Giacomo Puccini seven years later into a romantic Italian grand opera with enormous success. (Its last 15 minutes of music was completed by Franco Alfano upon Puccini's death in 1924).

Actor Ernst Theo Richter interprets the role of Arlecchino, supported by baritone Wolfgang Holzmair as the priest and soprano Suzanne Mentzer as Colombina; soprano Mechthild Gessendorf sings the part of Turandot and tenor Stefan Dahlberg that of Kalaf, in a recording featuring the Chorus and Orchestra of the Opera of Lyon conducted by Kent Nagano.

29 September: Zemlinsky's A Florentine Tragedy and The Birthday of the Infanta

22 September: Busoni's Arlecchino and Turandot

Score cover of Busoni’s Turandot Suite

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Prof. Lo King-man, producer, and director of numerous opera

productions in Hong Kong.

Lo King-man

Kenneth Riegel, tenor

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is a joke, the dwarf chooses the young Princess Clara. When he sees for the first time in his life how ugly he looks in the mirror, he collapses in utter despair and dies with a broken heart.

Zemlinsky's music bridges the height of romant ic ism and the twelve-tone modernist style, but he retains tonality and melody, though treating these elements in a free and personal way with extraordinary dexterity.

Simone, the Florent ine merchant, is sung by bass Guillermo Sarabia; his wife Bianca by mezzo-soprano Doris Soffel; and Guido, her lover, by tenor Kenneth Riegel, who also interprets the role of the Dwarf, with soprano Inga Nielsen singing the part of the Infanta Clara. The Radio Symphony Orchestra of Berlin performs under conductor Gerd Albrecht in both operas.

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The MarimbaThe marimba is a wooden keyboard percussion instrument with keys made of rosewood or a similar somewhat soft wood with resonating chambers underneath. It is larger, lower in pitch, more mellow, and less penetrating than the xylophone. The name “marimba” is said to mean “mother of song” in certain African languages. The earliest uses of the modern marimba were in popular and dance music but it soon disappeared in favour of the vibraphone, with its superior portability, greater penetrating power, and ability to sustain notes. But recently a number of performers are reclaiming the role of the marimba in popular music.

Mika Yoshida is a very talented and ambitious marimbist who not only tours the world but also runs her own music festival in her home prefecture of Kumamoto in Southern Japan. Her grandparents played traditional Japanese instruments and her mother was a pianist. Yoshida started on piano, became fascinated with drums, and then discovered marimba, which she considers the perfect balance between the two. She is an admirer of Chick Corea, who composed the piece Marika for her. She has toured and recorded with superstar drummer Steve Gadd, bassist Eddie Gomez, and clarinettist Richard Stolzman, whom she married. She now is known as Mika Stolzman.

Lev Slepner is the driving force behind Marimba Plus, a nonet formed in 1999 by graduates of The Russian Gnesin Academy of Music and Moscow State Conservatory. Slepner is both marimbist and composer for the group, who say they “reinterpret classical, academic traditions and ethnic rhythms and tones with jazz improvisation and modern tendencies and technologies.” To date they have released ten CDs; Slepner’s Celestial Elephant begins with a bizarre avant-garde cadenza on the basset horn - perhaps the only basset-horn cadenza in all jazz.

Christopher Coleman is a composer, conductor,

and trombonist and leader of Hong Kong's

Big Swingin' Band.

Saturdays at 10:00pm

Christopher Coleman

Christopher Coleman 高爾文

Mika and Richard Stolzman

New Instruments, New Faces

主持高爾文在逢星期六晚上 10 時播出的爵士靈感 ( 英語節目 )，將為你介紹馬林巴琴和鋼鼓如何

融入爵士樂，並會選播分別由 Mika Stolzman、Lev Slepner 及 Othello Molineaux 演繹的名曲。

New Instruments, New Faces

SEPTEMBER 2019 | FINE MUSIC | COLUMNS 專欄

The Steel PanThe steel pan, also known as the steel drum, is an instrument of relatively recent invention but long evolution. It emerged from the slave culture of Trinidad and Tobago in the late 1700s. Percussion ensembles of found instruments such as pieces of bamboo, frying pans, trash-can lids, and the like, were formed to celebrate Carnivale.

The US Navy arrived in the 1940s and brought with them 55-gallon oil drums, which, when emptied and discarded, were inverted and the bottoms were hammered into various shapes to create up to 30 pitches per drum. Bass pans may have as few as three notes per drum as the lower notes take much more surface area to create. These pans were added to and gradually overtook the earlier percussion groups.

Although steel pan bands have always been associated with popular music, it is Othello Molineaux, from Trinidad and Tobago, who is widely credited with bringing the instrument to jazz. Molineaux made his own recordings, but primarily collaborates with other musicians. He regularly played with bassist Jaco Pastorius, and was the soloist on Pastorius’ unreleased album Holiday for Pans. Molineaux has also recorded with Ahmad Jamal and the group Chicago and collaborated with flamenco-jazz fusion bassist Carles Benavent on his album Fenix.

Please join me to hear the work of these fabulous musicians and much more on RTHK Radio 4’s Jazzing Up.

I’ve long been interested in discovering new musical instruments, and in finding new uses for traditional instruments. In previous episodes of Jazzing Up, I’ve played music by Paul Hanson, a jazz bassoonist; Rufus Harley, a jazz bagpiper; and Vincent Chancey, a jazz French horn player. The most commonly used pitched percussion instrument used in jazz is the vibraphone, but recently I’ve been listening to jazz marimba and steel pan, and I’m happy to have this opportunity to share this wonderful music with you.

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FINE MUSICSEPTEMBER 2019

塵紓

藝評人；文史專欄作家；

國際藝評會董事

以浪漫筆觸傳達政治訊息同樣，八十年代初電視開始普及之際，中央電視台聯同福建電視台拍攝了一齣分上下集推出的電

視劇《何日彩雲歸》。光看劇名，真的以為是一齣講述盼望情人早日歸來的愛情劇。愛好詩詞的

朋友，一看就知道「何日彩雲歸」這五個字，其實是化自宋代詞人晏幾道傳世名作【臨江仙】：

「當時明月在，曾照彩雲歸」。原詞本意是記敘詞人酒醒夢後，佇立樓台，惦記情人訴說相思。

怎料到這齣電視劇《何日彩雲歸》竟然是講述國民黨兩位軍官由於長離故土，因此十分思念祖國，

希望盡快回歸祖國懷抱。以如此浪漫的筆觸，傳達鮮明的政治訊息，手法倒也別致！劇裡當然不

乏歌曲，而其中的一首「何日才相會」，當年一經唱出，就成為傳遍四方的名曲。在那個年代成

長的人民，可曾記得曲中的唱詞：「我無家可歸；你有國難回。同是天涯淪落人。苦瓜苦籐，緊

緊相隨……」？

本月的「樂在神州」將會管窺電影和電視在往昔發展過程中所創作的音樂，從而了解這類作品在

廣闊無垠的音樂園地裡所佔的位置，而前述的電影和電視劇歌曲，將會連同其他影視音樂在節目

裡播出。不管我們主觀上是否喜愛，這類作品確是音樂史上的重要印記。

以文藝的片名講述「反特」

Wong Kin-ting 塵紓

八十年代影視音樂管窺逢星期五下午 3 時正

然而，有些從業員還是秉持以往方針，拍攝一些宣揚政治的電影。珠江電影

製片廠的《霧都茫茫》，就是一例。單從片名看，還以為是一齣文藝氣色很

濃的電影。如果再從電影裡的歌曲名稱〈春風最曉戀人意〉以至曲內歌詞：

「嘉陵江，水悠悠；清畔江水，滾滾流…… 」，更會不假思索，推定是一

齣言情的浪漫電影。怎知這齣電影原來講述霧都重慶在解放後不久，雙方特

務鬥智角力的驚險懸疑過程。又例如，當大家聽到電影歌曲〈山茶花〉裡的

「山茶花，山茶花，潔白的山茶花，笑迎風雪開，燦爛似明霞…… 」，又

怎會猜到，這原來是上海電影製片廠為傳揚董必武在二十年代的事跡而拍攝

的《楚天風雲》？

上世紀八十年代初，中國電影業隨著「改革開放」所展開的步伐，進入新發展期。不少滿懷幹勁的從業員摒棄了建國後 「文藝從屬政治，

文藝服從政治」的既定方針，嘗試以不同主題和手法，為當時年產超過一百部的電影增采添華，並藉此開拓多條新路徑。一時間倒有百花

競秀的景象。

In this month’s Music from China, broadcast in Cantonese on Fridays at 3pm, Wong Kin-ting will give a brief account of the developments of film and television music, by showcasing selected pieces that have a bearing on the music scene in recent decades.

《楚天風雲》宣傳海報

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2007 年 9 月 6 日

三大男高音之一巴筏洛堤因癌病離世，享年七十一歲。

1741 年 9 月 14 日

經過連續二十三日不眠不休的努力，韓德爾完成創作偉大的神劇

《彌賽亞》。

1869 年 9 月 22 日

在贊助人的威迫下，華格納的《萊茵河的黃金》於慕尼黑首演，卻

禁止作曲家觀看排練。

1999 年 9 月 27 日

男高音杜鳴高成為第二位於紐約大都會歌劇院樂季開幕音樂會中，演

出場次最多的歌唱家。

樂器種類繁多，有拉的、吹的、彈的。然而，有一種樂器非常普及，

無論是古典音樂、宗教音樂、流行音樂以至爵士樂都不能缺少。鋼

琴是鍵盤家族中最重要的樂器之一。全新環節 ─ 「品味音樂」，讓

我們回到過去，重溫一下鍵盤樂器的演變過程。細聽在歐洲不同地

區不同時期，由管風琴演奏的早期音樂，以至在巴羅克時期盛行由

古鍵琴演出的大師之作，如巴赫 (Bach) 的前奏與賦格曲 (Prelude and

Fugue)、福祿貝加 (Froberger) 的觸技曲 (Toccata)、拉摩 (Rameau)

的《野人》(Les Sauvages) 、D．史卡拉第 (D. Scarlatti) 的奏鳴曲

(Sonata) 等。

上月介紹過的笙，在十八世紀從中國

傳到西方。本月我們倒過來，了解一

件由西方傳入中國的樂器 ─ 揚琴。

演奏者以琴竹在各條弦線上遊走敲打，

好不靈活，所以揚琴作為獨奏樂器很有

魅力。在戲曲、說唱和器樂合奏裡亦

常見揚琴的蹤影，在廣東音樂中更有

重要的角色。自小接觸粵樂的郭嘉瑩，

會來到節目介紹揚琴的歷史和演奏技

巧，亦會談談廣東音樂的發展和傳承。

Raymond Chung 鍾子豪開放時間 : 逢星期六下午 2 時正

九月開學！週末聽古典音樂！

穿越音樂時空 – 黃嘉浩

品味音樂 – 許旻蒓 ( 新環節 + 新主持！ )

愛樂 Coffee Chat - 馬盈盈

揚琴家郭嘉瑩

Radio 4’s music magazine weekend youth show Café 976 (Cantonese programme) hosted by Raymond Chung, Toby Wong, Joycelyn Hui, Charles Chik, and Tina Ma, will be cooking up something musical, inspiring, and interesting for everyone. The programme is broadcast every Saturday at 2pm.

踏入 9 月，悠長的暑假正式結束，莘莘學子都要返回校園迎接新挑

戰！音樂神探當然繼續與你一起迎難而上，破解各式各樣的音樂奇

案。9 月份要調查的案件有：

7/9 楊納傑克 (Janáček)：在霧中

14/9 韋華第 (Vivaldi)：秋天

21/9 葛利格 (Grieg)：《培爾．金特》第一組曲

28/9 葛利格 (Grieg)：《培爾．金特》第二組曲

音樂神探 – 戚家榮

SEPTEMBER 2019

16 SEP 20 SEP

23 SEP 30 SEP

2 SEP 6 SEP 9 SEP

13 SEP

4 OCT

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Date 日期 Highlights 重點推介

18/9Wed 三

8:00pm

23/9Mon 一

2:00pmRepeat 重播

Herbert Blomstedt and Bamberg Symphony OrchestraIn the annual Kissinger Sommer Music Festival at Bad Kissingen, Germany, the vigorous, nonagenarian conductor Herbert Blomstedt directs the Bamberg Symphony in a historic programme, that the Leipzig Gewandhaus Orchestra took with them in their first tour abroad to Switzerland in 1916. Beethoven’s powerful Eroica Symphony opens the concert, followed by Richard Strauss’ transcendent orchestral tone poem Death and Transfiguration, closing with Wagner’s Overture to Tannhäuser.

Mozartfest Würzburg 2019: Opening ConcertThis year’s Mozart Festival asks the controversial question of whether or not Mozart is a romanticist. It opens with tenor Julian Prégardien singing arias by Mozart, Haydn, and Schubert. These are alternated with the Freiburg Baroque Orchestra, led by v io l in is t Lorenza Borrani, per forming movements of Mozar t ’s stormy Symphony No. 25 and the First Symphony by Méhul, who is considered by some the first ‘Romantic’ composer.

Pianist Paul Lewis“Lewis brought his customary intelligence and intensity… with endless shifts in colour and weight.” (The Guardian) The much-acclaimed British pianist takes the stage of London’s Royal Festival Hall, weaving connections between Brahms, Beethoven, and Haydn. Brahms’ seven Fantasies are reflective in nature, at times soul-searching, while Beethoven’s seven miniature Bagatelles were written one year before his Eroica Symphony, showing his earlier search for a personal style. Revered by Brahms and Beethoven, Haydn helped to establish the long-standing genre of keyboard sonata. In this concert, we will hear his contrasting sonatas in C minor and in E flat.

Herbert Blomstedt, conductor指揮：比奧斯達

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Julian Prégardien, tenor男高音：比加定

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音樂會轉播精選 HIGHLIGHTS OF CONCERT BROADCASTS

烏茲堡莫扎特音樂節 2019：揭幕音樂會

本年度的烏茲堡莫扎特音樂節，主題是一條具爭議的問題：「莫扎特是浪漫派作曲家嗎？」在音樂會中，男高音比加定亮相，演唱

莫扎特、海頓、舒伯特的多首詠歎調，歌曲與歌曲之間的器樂演奏，有由小提琴家波蘭妮帶領夫來堡巴羅克樂團，送上風雨交加的

莫扎特第二十五交響曲的選段，亦會送上被稱為第一位「浪漫派」作曲家的梅裕爾的第一交響曲。

Paul Lewis, piano鋼琴：李維斯

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鋼琴家李維斯

《衛報》形容鋼琴家李維斯的演奏「一貫具備智慧和張力……色彩與重量從不間歇地變化著。」這位享負盛名的英國鋼琴家在

本場倫敦皇家節日大廳的獨奏會中獻技，探索布拉姆斯、貝多芬和海頓之間的連繫。布拉姆斯的七首幻想曲深具沉思特質，探

尋心靈；貝多芬早期的七首小品，則是在「英雄」交響曲前一年創作，聽得出他正在尋覓個人風格。海頓深得布拉姆斯與貝多芬

敬重，其作品確立了鍵盤奏鳴曲在後來的悠久地位。節目中將分別送上他的 C 小調與降 E 大調奏鳴曲，兩首作品頗具對比。

SEPTEMBER 2019 | FINE MUSIC | COLUMNS 專欄

11/9Wed 三

8:00pm

16/9Mon 一

2:00pmRepeat 重播

比奧斯達與班貝格交響樂團

基辛根夏季音樂節每年於德國巴德基辛根舉行。今年有年逾九旬，仍舊精力旺盛的指揮家

比奧斯達，領導班貝格交響樂團演出一套標誌著重要歷史的曲目，就是萊比錫布業大廳樂

團 1916 年首次出國帶往瑞士時演奏的樂曲。貝多芬強勁有力的「英雄」交響曲率先揭開序

幕，然後是李察‧史特勞斯超凡脫俗的交響詩《死與變容》，最後以華格納的《湯豪舍》序

曲作結。

20/9Fri 五

8:00pm

25/9Wed 三

2:00pmRepeat 重播

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Hong Kong Chinese Orchestra: Opening Concert of the 43rd Orchestral SeasonThe Hong Kong Chinese Orchestra kicks off its new season with Wang Danhong’s orchestral suite Morning Star Lilies Forever. The substantial work, in six movements with overture and coda, speaks about the rugged life of people living in the northern Shaanxi plateau in China, depicting scenes from the battle of the drums to praying for rain. The Orchestra is joined in this celebration of the region’s folk customs by an impressive array of guest artists: the Shaanxi Broadcasting Chinese Orchestra, Mizhi Wind and Percussion Ensemble, folk singer Su Wen, narrative singer Gao Yongyuan, banhu soloist Shen Cheng, and suona soloist Wang Zhanzhan. Yan Huichang conducts.

香港中樂團：第四十三樂季開幕音樂會

香港中樂團展開新年度樂季，由閻惠昌指揮，演奏王丹紅的民族管弦樂組曲《永遠的山丹丹》。這套大型作品由六個樂章，加上序

曲與尾聲組成，訴說陝北高原的人民於黃土地上生活的堅韌不拔，刻劃鬥鼓和祈雨等情景。香港中樂團是次夥拍的演出陣容強大，

包括陝西省廣播電視民族樂團、米脂吹打樂團、民歌演唱家蘇文、說書演唱家高永原、板胡獨奏家沈誠、嗩吶獨奏家王展展，攜手

歌頌陝北的豐厚民風。

Su Wen, folk singer民歌演唱：蘇文

Shaanxi Broadcasting Chinese Orchestra and Mizhi Wind and Percussion Ensemble陝西省廣播電視民族樂團及米脂吹打樂團

Gao Yongyuan, narrative singer說書演唱：高永原

Date 日期 Highlights 重點推介

27/9Fri 五

8:00pmLIVE

現場直播

2/10Wed 三

2:00pmRepeat 重播

Mon ： Great Pianists Isaac DroschaTue : Zooming In Livia Lin星期三 ： 字得其樂 黎慧因

Thu ： The Golden Voices Lo King-man星期五 ： 今日話當年 馬盈盈

星期六 ： 碟碟不休 胡銘堯

星期日 ： 樂在神州 塵紓

Mon – Fri 星期一至五 : 7:55am, 12:55pm, 7:55pmWeekends 周末 : 9:55am, 4:55pm, 7:55pm

- be in touch in 3 minutes

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Shen Cheng, banhu板胡：沈誠

Wang Zhanzhan, suona嗩吶：王展展

SEPTEMBER 2019 | FINE MUSIC | COLUMNS 專欄 35

(1st b/c: Wed)( 首播：星期三 )

(1st b/c: Thu)( 首播：星期四 )

(1st b/c: Fri)( 首播：星期五 )

(1st b/c: Sat)( 首播：星期六 )

Morning Call with Stacey Rodda清晨妙韻 盧廸思

In Touchwith Music程迷古典Colin Touchin

杜程

Play by Ear週末隨想

Synthia Ko高德儀

ArtbeatStacey Rodda

盧廸思

Sunday Morningon 4

週日早晨Cleo Leung

梁敏瑩

Non-stop Classics美樂無休

Stacey Rodda / Ben Pelletier / Jerome Hoberman盧廸思 / 彭禮傑 / 何博文

Four for Classics with Livia Lin

Jazz and more... with Kathy Lam

New Releases (Mon & Fri) 碟碟不休 ( 星期一及五 )

Live on 4 第四台音樂會(Repeat 重播 )

Church Service主日崇拜

Songs of the Earth 大地之歌

Yu Siu-wah 余少華Jimmy Shiu 蕭樹勝

Children’s Corner親親童樂日

Nancy Loo 羅乃新

Music from China樂在神州

Wong Kin-ting 塵紓

C a n t i l e n a自投羅網

Nancy Loo 羅乃新

Sunday Opera 歌劇世界Lo King-man

盧景文

Café 976週末咖啡館

Raymond Chung& Friends

鍾子豪與友人

Alex Tam譚天樂

(1st Sunday 首個週日）

SundayDivertimento星夜樂逍遙

Wendy Ng伍穎文

Jazzing Up爵士靈感

Christopher Coleman高爾文

Music of Friends

(Repeat 重播 )

Human Voices人聲

Gladys Lau 劉建婷

Keyboard Music鍵盤音樂

Daphne Lee 李德芬

Chamber Music室樂

Raymond Chung 鍾子豪

Original Soundtrack電影原聲配樂

Charles Chik 戚家榮

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Music à la Carte (Tue & Thu : Chinese Music) 午間精點 ( 星期二及四：中樂篇 )Dennis Wu / Jenny Lee / Charles Chik / Tina Ma / Chu Siu-wai 胡銘堯 / 李嘉盈 / 戚家榮 / 馬盈盈 / 朱紹威

Live on 4 第四台音樂會

Presenters' Choice 美樂同行

凌崎偵四時行樂

林家琦不太古典

Music Journal音樂備忘錄

Calvin Lai 賴建群

室樂雅敘

Music of Friends室樂雅敘

Hidden Gems巨匠遺珠

Lesley Chan 陳家曦

Youth inHarmony音符出少年Cleo Leung/Gladys Lau梁敏瑩 /劉建婷

When Words Meet Music與文同樂

When Words Meet Music與文同樂

Isaac Droscha 艾樂冊

MomentMusical音樂瞬間

FINE MUSIC MAIN PROGRAMME CHART 節目時間表SEPTEMBER 2019

Tunes toRemember人約黃昏後

Joanne Tam/Emma Liu 譚綺旻 / 廖碧楨

Clara and Other Female Artists 克拉拉與女藝術家

Mary Wu 吳美樂

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1/9/2019 (Sun 星期日 )

2:00pm SUNDAY OPERA 歌劇世界Mozart: Le nozze di Figaro 150’Figaro: José van Dam (b)Count Almaviva: Ruggero Raimondi (br)Countess Rosina Almaviva: Lucia Popp (s)Susanna: Barbara Hendricks (s)Ambrosia Opera Cho., Acad. of St. Martin in the Fields / Neville Marriner莫扎特：費加洛的婚禮費加洛：范丹姆（男低音）阿瑪維瓦伯爵：雷蒙第（男中音）伯爵夫人：樸比（女高音）蘇珊娜：韓迪絲（女高音）亞布斯安歌劇合唱團、聖馬田室樂團 / 馬連拿

8:00pm MUSIC OF FRIENDS 室樂雅敘Scott MacIsaac (p) Chopin: Scherzo No. 2 in B flat, Op. 31 9’ Polonaise in A flat, Op. 53, ‘Heroic’ 6’ Nocturne No. 1 in A minor, Op. 59 4’ Étude in A minor, Op. 25, No. 1, ‘Winter Wind’ 4’

Recorded at RTHK Studio Two on 8/2/2019.

麥啟新（鋼琴）蕭邦：降 B 大調第二諧謔曲，作品 31 降 A 大調波蘭舞曲，作品 53，「英雄」 A 小調第一夜曲，作品 59 A 小調練習曲，作品 25，第一首，「冬風」

2019 年 2 月 8 日香港電台二號錄播室錄音。

2/9/2019 (Mon 星期一 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Lucas Macías Navarro (ob)Raffaele Giannotti (bn)Lorenza Borrani (v)Gabriele Geminiani (vc)Orch. Mozart, Bologna / Bernard HaitinkHaydn: Sinfonia Concertante in B flat, Hob. I:105 23’Beethoven: Symphony No. 3 in E flat, Op. 55, ‘Eroica’ 55’

Recorded at LAC, Lugano, on 24/4/2019.

Scott MacIsaac麥啟新

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2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Reykjavík Midsummer Music FestivalIlya Gringolts, Anahit Kurtikyan (v)Yura Lee (va)Leonard Elschenbroich, Jakob Koranyi (vc)Jacek Karwan (db)Emilía Rós Sigfúsdóttir (f)Mark Simpson (cl)Víkingur Ólafsson, Katia & Marielle Labèque (p)Saariaho: Sept Papillons 10’Shostakovich: Piano Quintet in G minor, Op. 57 34’Ravel: Ma mère l'Oye 15’Saint-Saëns: Carnival of the Animals 23’

Recorded at Norðurljós Chamber Music Hall, Harpa Concert Hall, Reykjavík, on 22/6/2019.

拿華路（雙簧管）賈諾替（巴松管）波拉尼（小提琴）基米尼安尼（大提琴）波隆那莫扎特樂團 / 凱亭海頓：降 B 大調交響複協奏曲，Hob. I:105貝多芬：降 E 大調第三交響曲，作品 55，「英雄」

2019 年 4 月 24 日盧加諾藝術文化中心錄音。

8:00pm YOUTH IN HARMONY 音符出少年Asian Pacific Choral Summit in Hong Kong 2019 ─ Asian Pacific Youth Choir ConcertThe Asia Pacific Youth Choir made up of 42 singers selected from 9 countries and regions, gives its debut in Hong Kong under the baton of Vivian Ip.

Die Konzertisten / Felix YeungChau Chin-tung (Chinese Drum)Caleb Yuen (marimba)Ivan Wan (vibraphone) Ešenvalds: The Heavens’ FlockErnest Hui: Shudaonan

Asia Pacific Youth Cho. / Vivian Ip Hamilton: Sunrise at Mangawhai Darius Lim: SeasonsYu Man-ching Donald: A Parting Wish, from ‘Three Tang Chinese Poems’Ešenvalds: The Time has Come

ONE Ch. Cho. / Lim Ai-hooiRheinberger: AbendliedHernandez: Rosas PandanSouth African Folk Song (Khumalo arr.): Sizongena

Asia Pacific Youth Cho. / Vivian IpAlexander Wong (p)Yip Ho-kwen Austin: Black Hezhe Tribe Folk Song (Shui Jiangtian arr.): Usuli Boat SongTiboli Folk Song (Palaruan arr.): Koyu No Te BululIndonesian Folk Song (Juliette Lai arr.): Suriram Indonesian Folk Song (Ken Steven arr.): Hela Rotan

Asia Pacific Youth Cho., Die Konzertisten, ONE Ch. Cho. / Vivian IpAlexander Wong (p)Steve Ho: I Just Want to Sing

Presented by the Hong Kong Children’s Choir. Recorded at Hong Kong Cultural Centre Concert Hall on 23/7/2019.

亞太合唱高峰會 2019 ─ 亞太青年合唱團音樂會

由 42 位來自 9 個國家及地區組成的亞太青年合唱

團，將在葉詠媛帶領下首次在港演出，為觀眾展現

新一代合唱力量。

Die Konzertisten / 楊欣諾

周展彤（中國鼓）袁永軒（馬林巴琴）

雲維華（電顫琴）艾遜霍斯：天國的羊群許家臻：蜀道難

亞太青年合唱團 / 葉詠媛咸美頓：在曼哥華的日出林健雄：季節余文正：送崔九，選自《唐詩三首》艾遜霍斯 : 時機已到

ONE 室內合唱團 / 林愛慧萊恩寶格：晚歌賀南狄斯：羅薩斯 ˙ 潘丹南非民歌（庫馬洛改編）：我們將進入

亞太青年合唱團 / 葉詠媛黃歷琛（鋼琴）

葉浩堃：黑赫哲族民歌（Shui Jiangtian 改編）：烏蘇里船歌菲律賓民歌（巴拉路安改編）：山上有顆漂亮的樹印尼民歌（Juliette Lai 改編）：蘇莉拉姆印尼民歌（Ken Steven 改編）：拉藤歌

亞太青年合唱團、Die Konzertisten、ONE 室內合唱團 /葉詠媛黃歷琛（鋼琴）何崇志：我要學唱歌

香港兒童合唱團主辦。2019 年 7 月 23 日香港文化

中心音樂廳錄音。

雷克雅未克仲夏音樂節格林哥茲、古提基恩（小提琴）李葉月（中提琴）艾信布洛、哥蘭伊（大提琴）卡雲（低音大提琴）適夫多替（長笛）森遜（單簧管）奧拉夫遜、拉貝克姊妹（鋼琴）薩利亞荷：七蝴蝶蕭斯達高維契：G 小調鋼琴五重奏，作品 57拉威爾：鵝媽媽聖桑：動物狂歡節

2019 年 6 月 22 日雷克雅未克哈帕音樂廳北極光室樂廳錄音。

8:00pm LIVE ON 4 第四台音樂會Christian Gerhaher (br)Berlin Phil. Orch. / Iván FischerDvořák: Legends, Op. 59, Nos. 6 & 10 10’Wolf: Three Harfenspieler Songs 7’ Four Mörike Songs 11’ Anakreons Grab 2’Schubert: Symphony No. 9 in C, D. 944, ‘Great’ 52’

Recorded at Philharmonie, Berlin, on 20/12/2018.

葛哈爾（男中音）柏林愛樂樂團 / 艾雲 ˙ 費殊德伏扎克：傳奇，作品 59，第六及十首胡爾夫：三首豎琴手歌曲 四首莫里克歌曲 安那克里昂之墓舒伯特：C 大調第九交響曲，D. 944，「偉大」

2018 年 12 月 20 日柏林愛樂廳錄音。

4/9/2019 (Wed 星期三 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）BBC Proms 2014Rachel Redmond, Katherine Watson (s)Reinoud van Mechelen, Cyril Auvity (t)Marc Mauillon (br)Cyril Costanzo (b)Les Arts Florissants / William ChristieRameau: Deus noster refugium (Psalm 46) 27’ Quam dilecta tabernacula (Psalm 84) 20’ In convertendo Dominus (Psalm 126) 25’

Recorded at the Royal Albert Hall, London, 29/7/2014.

英國廣播公司逍遙音樂節 2014列蒙、嘉芙蓮 ˙ 屈臣（女高音）米舒蓮、柯域提（男高音）摩伊龍（男中音）哥基坦蘇（男低音）繁花古樂團 / 克里斯蒂拉摩：上帝是我們的避難所（詩篇四十六篇） 你的居所何等可愛（詩篇八十四篇） 歸回上主（詩篇一百二十六篇）

2014 年 7 月 29 日倫敦皇家亞爾拔音樂廳錄音。

SEPTEMBER 2019 | FINE MUSIC | PROGRAMME HIGHLIGHTS 節目精華

Asia Pacific Youth Choir亞太青年合唱團

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5/9/2019 (Thu 星期四 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）BBC Proms 2014Christina Landsharmer (s)Gerhild Romberger (ms)Steve Davislim (t)Dmitry Belosselskiy (b)Members of Leipzig Opera Cho.Leipzig Gewandhaus Cho.Leipzig Gewandhaus Children’s Cho.London Sym. Cho.Leipzig Gewandhaus Orch. / Alan GilbertCerha: Paraphrase on the Opening of Beethoven’s Symphony No. 9 14’Beethoven: Symphony No. 9 in D minor, Op. 125, ‘Choral’ 64’

Recorded at the Royal Albert Hall, London, on 12/9/2014.

英國廣播公司逍遙音樂節 2014蘭莎瑪（女高音）羅貝格（女中音）戴維斯林（男高音）貝洛西斯基（男低音）萊比錫歌劇合唱團成員萊比錫布業大廈合唱團萊比錫布業大廈兒童合唱團倫敦交響樂團合唱團萊比錫布業大廈樂團 / 基爾拔謝夏：以貝多芬第九交響曲的開首改寫的模擬曲貝多芬：D 小調第九交響曲，作品 125，「合唱」

2014 年 9 月 12 日倫敦皇家亞爾拔音樂廳錄音。

8:00pm LIVE ON 4 第四台音樂會Jakob Högström (br)Magnus Svensson (p)Cecilia Zilliacus (v)Amalie Stalheim (vc)David Huang (p)Clara Schumann: Walzer 3’ Der Abendstern 2’ Beim Abschied 5’ Piano Trio in G minor, Op. 17 31’ Romance in B minor 6’

Recorded at Berwaldhallen, Stockholm, on 23/11/2018.

8:00pm LIVE ON 4 第四台音樂會Kristine Gether (a)Rasmus Gravers Nielsen (t)Danish Nat. Concert Cho. / Bart van ReynRachmaninov: Vespers, Op. 37 53’

Recorded at Trinity Church, Copenhagen, on 10/5/2019.

基德（女低音）尼爾遜（男高音）丹麥國家音樂會合唱團 / 雷恩拉赫曼尼諾夫：深情晚禱，作品 37

2019 年 5 月 10 日哥本哈根聖三一教堂錄音。

6/9/2019 (Fri 星期五 )

2:00pm MUSIC OF FRIENDS (REPEAT) 室樂雅敘（重播）Prog. as 1/9/2019, 8:00pm節目與 2019 年 9 月 1 日晚上 8 時相同

8:00pm LIVE ON 4 第四台音樂會 BBC Celebrity ShowcaseCécile Ousset (p)Chopin: Ballade No. 4 in F minor, Op. 52 11’ Two Nocturnes, Op. 15, Nos. 1 & 2 10’Fauré: Theme and Variations, Op. 73 15’Debussy: Images, Book I 15’

Recorded at the Wigmore Hall, London, on 3/4/2000.

英國廣播公司名人展播奧西（鋼琴）蕭邦：F 小調第四敘事曲，作品 52 兩首夜曲，作品 15，第一及第二首佛瑞：主題與變奏曲，作品 73德布西：意象，第一冊

2000 年 4 月 3 日倫敦威格摩音樂廳錄音。

7/9/2019 (Sat 星期六 )

8:00pm YOUNG MUSIC MAKERS FINAL CONCERT (1) 樂壇新秀閉幕音樂會 (1)Tsoi Wai-yin (suona)So To (sheng)Christy Poon (p)Folk Tune (Ren Tongxiang trans., Chen Jiaqi arr.): Entanglement of the Fengyang Tune and BabanLiang Xin: Nostalgia for the Central Plains

Amanda Ng (s)Melodie Wong (p)Liszt: S’il est un charmant gazon, S. 284 Oh! Quand je dors, S. 282Heggie: ‘Euclid’ from ‘Songs to the Moon’Weill: Lost in the Stars

Wong Yu-yan Jessie (yangqin)Huang Naiwei (p)Wang Danhong: Rhapsody

Ip Cheng-xin (mar)Tsui Kit-ying Janice (p)Pius Cheung: Etude in DTaro Hakase (Kana Omori arr.): Jounetsu Tairiku

Kung Ka-ho (zhongruan)Liu Xin: Moonlight Follow my heart

Bethanie Liu (r)Melody Chan (p)Vivaldi: Concerto in C minor, RV441, 1st mov'tRubbra: Meditazioni sopra Coeurs désolés, Op. 67

Tse Miu-shun (guzheng)Chan Lut-ting (per)Huang Zhenyu & Zhou Wang: Western China Fantasy

Chan Sze-yuen Peter (sx)Tsui Hok-yin (p)Karg-Elert: Cubana from 25 CapricesBoutry: Divertimento for Alto Saxophone

Recorded at RTHK Studio One on 31/8/2019.

蔡暐彥（嗩吶）蘇陶（笙）潘筠蕎（鋼琴）民間樂曲（任同祥演奏譜、陳家齊記譜）： 鳳陽歌絞八板梁欣：關中情

吳詩琪（女高音）王晞樂（鋼琴）李斯特：如果它是一片迷人的草坪，S. 284 當我熟睡時，S. 282赫吉：「歐幾里德」，選自《月亮之歌》威爾：迷失在星空中

黃雨昕（揚琴）黃乃威（鋼琴）王丹紅：狂想曲

葉承欣（馬林巴琴）徐潔瑩（鋼琴）張鈞量：D 大調練習曲葉加瀨太郎（大森香奈改編）：情熱大陸

宮嘉豪（中阮）劉星：月光 隨心所欲

Cécile Ousset奧西

廖雅賢（牧童笛）陳允祈（鋼琴）韋華第：C 小調協奏曲，RV441，第一樂章魯貝拉：對魔鬼之心的沉思冥想，作品 67

謝妙純（古箏）陳律廷（敲擊）黃枕宇、周望：西部主題暢想曲

陳思遠（薩克管）徐學賢（鋼琴）卡格—伊拉特：古巴，選自二十五首隨想曲布特利：為中音薩克管而寫的嬉遊曲

2019 年 8 月 31 日香港電台一號錄播室錄音。

8/9/2019 (Sun 星期日 )

2:00pm SUNDAY OPERA 歌劇世界Verdi: Ernani 127’Ernani: Plácido Domingo (t)Elvira: Mirella Freni (s)King Carlos of Spain: Renato Bruson (br)Duke da Silva: Nicolai Ghiaurov (b)Cho. & Orch. of La Scala Theatre, Milan / Riccardo Muti

威爾第 : 埃爾納尼埃爾納尼：杜鳴高（男高音）艾維拉：費蘭妮（女高音）西班牙卡羅斯國王：布魯遜（男中音）蕭華公爵：基亞洛夫（男低音）米蘭史卡拉歌劇院樂團及合唱團 / 慕迪

8:00pm MUSIC OF FRIENDS 室樂雅敘Wong Chi-yan (p) Bach: Aria from ‘Goldberg Variations’ 4’Liszt (Busoni arr.): Fantasy and Fugue on the Chorale ‘Ad nos, ad salutarem undam’, S. 259 29’

Recorded at RTHK Studio Two on 6/8/2019.

王致仁（鋼琴）巴赫：歌詠，選自「戈爾德堡變奏曲」李斯特（布梭尼改編）：根據聖詠曲「來我們這兒， 救贖的波浪」而寫的幻 想曲與賦格曲，S. 259

2019 年 8 月 6 日香港電台二號錄播室錄音。

Wong Chi-yan王致仁

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SEPTEMBER 2019 | FINE MUSIC | PROGRAMME HIGHLIGHTS 節目精華

鶴思龍（男中音）史雲信（鋼琴）思莉亞高絲（小提琴）斯他海姆（大提琴）大衞．黃（鋼琴）克拉拉．舒曼：圓舞曲 晚星 告別之時 G 小調鋼琴三重奏，作品 17 B 小調浪漫曲

2018 年 11 月 23 日斯德哥爾摩貝華德音樂廳錄音。

41

10/9/2019 (Tue 星期二 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 5/9/2019, 8:00pm節目與 2019 年 9 月 5 日晚上 8 時相同

8:00pm LIVE ON 4 第四台音樂會 Ann Hallenberg (ms)Mats Widlund (p)Brahms: Zigeunerlieder, Op. 103 (excerpts) 12’Clara Schumann: Ich stand in dunkeln Träumen, Op. 13, No. 1 3’ Lorelei 2’ Warum willst du and’re fragen, Op. 12, No. 3 3’ Am Strande 2’ Er ist gekommen, Op. 12, No.2 3’Medtner: Suite vocalise, Op. 41, No. 2 17’Frumerie: Seven Songs of the Heart 12’Mahler: Rückert-Lieder, Op. 44 20’

Recorded at Teatro de la Zarzuela, Madrid, on 10/10/2017.

9/9/2019 (Mon 星期一 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 4/9/2019, 8:00pm節目與 2019 年 9 月 4 日晚上 8 時相同

8:00pm Moment Musical 音樂瞬間Chopin: 24 Preludes, Op. 28 39’Rafal Blechacz (p)

Mozart: Clarinet Quintet, K. 581 34’Richard Stoltzman (cl)Tokyo String Quartet

Vivaldi: Gloria, RV589 29’Carolyn Sampson (s)Joanne Lunn (s)Joyce DiDonato (ms)Cho. of The King’s ConsortThe King’s Consort / Robert King

蕭邦：二十四首前奏曲，作品 28布雷查茲（鋼琴）

莫扎特：單簧管五重奏，K. 581史圖哲文（單簧管）東京弦樂四重奏

韋華第：榮耀頌，RV589辛普森（女高音）隆恩（女高音） 迪當娜圖（女中音）金氏合唱團金氏合奏團 / 羅伯特 ˙ 金

12/9/2019 (Thu 星期四 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 7/9/2019, 8:00pm節目與 2019 年 9 月 7 日晚上 8 時相同

8:00pm LIVE ON 4 第四台音樂會SOLsberg FestivalSol Gabetta (vc)Bertrand Chamayou (p)Ravel: Pavane pour une infant défunte 6’ Miroirs 26’Debussy: Cello Sonata in D minor 11’Britten: Cello Sonata in C, Op. 65 21’

Recorded at Monastery Church, Olsberg, on 29/6/2019.

13/9/2019 (Fri 星期五 )

2:00pm MUSIC OF FRIENDS (REPEAT) 室樂雅敘（重播）Prog. as 8/9/2019, 8:00pm節目與 2019 年 9 月 8 日晚上 8 時相同

8:00pm LIVE ON 4 第四台音樂會 BBC Celebrity ShowcaseLondon Winds / Michael CollinsMozart: Serenade in B flat, K. 361 45’Dvořák: Serenade for Wind in D minor, Op. 44, 2nd mov’t 6’

Recorded at Wilton Church, Salisbury, on 4/6/1999.

英國廣播公司名人展播倫敦管樂團 / 米高 ˙ 哥連斯莫扎特：降 B 大調小夜曲，K. 361德伏扎克：D 小調管樂小夜曲，作品 44，第二樂章

1999 年 6 月 4 日梳士巴利維爾敦教堂錄音。

11/9/2019 (Wed 星期三 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 6/9/2019, 8:00pm節目與 2019 年 9 月 6 日晚上 8 時相同

8:00pm LIVE ON 4 第四台音樂會Kissinger SommerBamberg Sym. Orch. / Herbert BlomstedtBeethoven: Symphony No. 3 in E flat, Op. 55, ‘Eroica’ 48’R. Strauss: Death and Transfiguration, Op. 24 23’Wagner: Overture to ‘Tannhäuser’ 14’

Recorded at Max Littmann Hall, Bad Kissingen, on 20/6/2019.

基辛根夏季音樂節班貝格交響樂團 / 比奧斯達貝多芬：降 E 大調第三交響曲，作品 55，「英雄」李察．史特勞斯：死與變容，作品 24華格納：《湯豪舍》序曲

2019 年 6 月 20 日巴德基辛根麥斯列文音樂廳錄音。

Sol Gabetta嘉比塔

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賀倫堡（女中音）屈倫（鋼琴）布拉姆斯：吉卜賽之歌，作品 103（選段） 克拉拉．舒曼：我站在黑暗的夢中，作品 13，第一首 羅莉拉 你為何要問別人，作品 12，第三首 在沙灘上 他來了，作品 12，第二首麥哲納：練聲組曲，作品 41，第二首符麥理：七首心之歌馬勒：呂克特歌曲，作品 44

2017 年 10 月 10 日馬德里查瑞拉劇院錄音。

蘇奧斯貝格音樂節嘉比塔（大提琴）夏馬尤（鋼琴）拉威爾：悼念公主的帕凡舞曲 鏡子德布西：D 小調大提琴奏鳴曲布烈頓：C 大調大提琴奏鳴曲，作品 65

2019 年 6 月 29 日奧斯貝格修道院教堂錄音。

14/9/2019 (Sat 星期六 )

8:00pm YOUNG MUSIC MAKERS FINAL CONCERT (2) 樂壇新秀閉幕音樂會 (2)Ng Chin-pok Bevis (mar)Bach: Fugue from Sonata for Violin in G minor, BWV1001Séjourné: Prelude No. 1

Yeung Ka-wai (erhu)Kwok Pak-yu (p)Chu Yun-song: Memories under oil-paper umbrella

SEPTEMBER 2019 | FINE MUSIC | PROGRAMME HIGHLIGHTS 節目精華42

Leung Tsz-ching Steffi (chromatic hm)Tse Shuk-yi Zoie (p)Spivakovsky: Concerto for Harmonica, 2nd mov'tBenjamin: Concerto for Harmonica, 1st mov't

Kwong Po-ki (yangqin)Kau Yin-wai Wailly (p)Cantonese music (Yu Qiwei arr.): A Medley of Folk TunesVitali (Huang He & Li Kewei arr.): Chaconne

Zhang Jingdan (s)Lau Shing-ho Alexander (p)Debussy: Nuit d’étoilesSchubert: Vedi quanto adoro, D. 510Elgar: Is she not passing fair?

2S (oboe duo)Bozza: Shepherds of Provence

Yau Kwan-lam (dizi)Xiang Yongqi (sheng)Sylvia Tam (frame drum)Zhao Songting: Tea PickingMo Fan: Oasis

Recorded at RTHK Studio One on 31/8/2019.

伍展博（馬林巴琴）巴赫：賦格曲，選自 G 小調小提琴奏鳴曲，BWV1001斯莊尼：第一前奏曲

楊嘉惠（二胡）郭柏愉（鋼琴）朱雲嵩：油紙傘下的回憶

梁芷菁（半音階口琴）謝淑怡（鋼琴）史柏華歌夫斯基：口琴協奏曲，第二樂章班祖民：口琴協奏曲，第一樂章

鄺保琪（揚琴）裘妍慧（鋼琴）廣東音樂（余其偉串譜）：小調聯奏韋泰利（黃河、李可威改編）：夏康舞曲

張瀞丹（女高音）劉承皓（鋼琴）德布西：星夜舒伯特：看看我有多愛你，D. 510艾爾加：她是否變得漂亮？

2S（雙簧管二重奏）波沙：普羅旺斯的牧羊人

邱君琳（笛子）向咏琦（笙）譚詩蔚（手鼓）趙松庭：採茶忙莫凡：綠洲

2019 年 8 月 31 日香港電台一號錄播室錄音。

15/9/2019 (Sun 星期日 )

2:00pm SUNDAY OPERA 歌劇世界Granados: Goyescas 60’Fernando: Ramón Vargas (t)Rosario: María Bayo (s)Orfeón Donostiarra Cho., Madrid Sym. Orch. / Antoni Ros Marbà

Falla: La vida breve 64’Paco: Carlos Cossutta (t)Salud: Victoria de los Ángeles (s)Orfeón Donostiarra Cho., Spanish Nat. Orch. / Rafael Frühbeck de Burgos

葛拉納多斯 : 戈耶之畫費蘭度：華加斯（男高音）羅莎莉奧：拜奧（女高音）多諾士亞奧菲安合唱團、 馬德里交響樂團 / 馬巴

法雅：短暫的生命帕高：哥舒達（男高音）莎律：狄羅斯安卓利斯（女高音）多諾士亞奧菲安合唱團、西班牙國家樂團 / 保高士

8:00pm MUSIC OF FRIENDS 室樂雅敘Almog Segal (p)Chopin: Sonata No. 2 in B flat minor, Op. 35 25’Sharon: Four Bagatelles 7’

Recorded at RTHK Studio Two on 16/10/2018.

西加爾（鋼琴）蕭邦：降 B 小調第二奏鳴曲，作品 35莎倫：四首小品

2018 年 10 月 16 日香港電台二號錄播室錄音。

Almog Segal西加爾

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16/9/2019 (Mon 星期一 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 11/9/2019, 8:00pm節目與 2019 年 9 月 11 日晚上 8 時相同

8:00pm Moment Musical 音樂瞬間Bach: Partita No. 4 in D, BWV828 23’Fou Ts’ong (p)

Mozart: Clarinet Concerto in A, K. 622 30’Bernard Walton (cl)Philharmonia Orch. / Herbert von Karajan

Rachmaninov: Piano Trio in D minor, Op. 9, ‘Trio élégiaque’ 51’Dmitri Makhtin (v)Alexander Kniazev (vc)Boris Berezovsky (p)

巴赫：D 大調第四組曲，BWV828傅聰（鋼琴）

莫扎特：A 大調單簧管協奏曲，K. 622華爾頓（單簧管）愛樂樂團 / 卡拉揚

拉赫曼尼諾夫：D 小調鋼琴三重奏，作品 9， 「悲歌三重奏」馬克田（小提琴）祈尼亞澤夫（大提琴）比拉索夫斯基（鋼琴）

17/9/2019 (Tue 星期二 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 12/9/2019, 8:00pm節目與 2019 年 9 月 12 日晚上 8 時相同

8:00pm LIVE ON 4 第四台音樂會 Mariam Batsashvili (p)BBC Nat. Orch. of Wales / Valentina PeleggiHolmès: Roland Furieux 27’Clara Schumann: Piano Concerto in A minor, Op. 7 23’Tower: Fanfare No. 2 for the Uncommon Woman 3’Price: Symphony No. 3 in C minor 32’

Recorded at BBC Hoddinott Hall, Cardiff, on 8/3/2019.

巴沙殊費莉（鋼琴）英國廣播公司威爾斯國家樂團 / 佩勒基賀姆士：路蘭狂怒克拉拉 ˙ 舒曼：A 小調鋼琴協奏曲，作品 7桃華：獻給不凡女子的第二鼓號曲 派爾斯：C 小調第三交響曲

2019 年 3 月 8 日卡迪夫英國廣播公司賀殿諾音樂廳

錄音。

Mariam Batsashvili巴沙殊費莉

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SEPTEMBER 2019 | FINE MUSIC | PROGRAMME HIGHLIGHTS 節目精華 43

SEPTEMBER 2019 | FINE MUSIC | PROGRAMME HIGHLIGHTS 節目精華

18/9/2019 (Wed 星期三 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 13/9/2019, 8:00pm節目與 2019 年 9 月 13 日晚上 8 時相同

8:00pm LIVE ON 4 第四台音樂會Mozartfest, WürzburgJulian Prégardien (t)Freiburg Baroque Orch. / Lorenza Borrani (v & cond)Mozart: Misero! o sogno, K. 431 10’ Symphony No. 25 in G minor, K. 183 15’ ‘Dies Bildnis ist bezaubernd schön’, from ‘The Magic Flute’, K. 620 4’Haydn: ‘Perduto un'altra volta – Mi sento languire’, from ‘L'anima del filosofo’, Hob. XXVIII:13 6’Schubert: ‘Was belebt die schöne Welt’, from ‘Die Zauberharfe’, D. 644 4’ Menuets and Trios, Op. 89 14’Méhul: Symphony No. 1 in G minor 26’

Recorded at Imperial Hall, Residenz, Würzburg, on 25/5/2019.

維爾茨堡莫扎特音樂節比加定（男高音）夫來堡巴羅克樂團 / 波蘭妮 ( 小提琴、指揮 )莫扎特：悲慘！或是夢，K. 431 G 小調第二十五交響曲，K.183 「這幅畫像迷人美艷」，選自《魔笛》，K. 620海頓：「再次迷失 – 我感到憔悴」，選自《哲學 家的靈魂》，Hob. XXVIII:13舒伯特：「是甚麼賦予這個世界生命」，選自 《魔豎琴》，D. 644 小步舞曲與三重奏，作品 89梅裕爾：G 小調第一交響曲

2019 年 5 月 25 日維爾茨堡皇宮皇家大廳錄音。

19/9/2019 (Thu 星期四 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 14/9/2019, 8:00pm節目與 2019 年 9 月 14 日晚上 8 時相同

8:00pm LIVE ON 4 第四台音樂會SOLsberg FestivalLatvian Radio-Television Cho., Riga / Sigvards Kļava Ešenvalds: A Drop in the Ocean 8’Pärt: Seven Magnificat-Antiphons 13’Mahler (Gérard Pesson arr.): Adagietto, from Symphony No. 5 in C sharp minor 10’Tchaikovsky: Liturgy of St. John Chrysostom, Op. 41 33’

Recorded at City Church, Rheinfelden, on 15/6/2019.

蘇奧斯貝格音樂節里加拉脫維亞電台電視台合唱團 / 克拉華埃森瓦爾德茲：海洋裡的一滴帕特：七首尊主頌對唱

21/9/2019 (Sat 星期六 )

8:00pm LIVE ON 4 第四台音樂會 Live at the WigmoreJean-Yves Thibaudet (p)Debussy: Preludes, Book 2 37’Ravel: Miroirs, Nos. 2 &4 11’Ellington (Hyman arr.): Jubilee Stomp 3’ Recorded at the Wigmore Hall, London on 26/2/2001.

威格摩音樂廳的迴響蒂博代（鋼琴）德布西：前奏曲，第二冊拉威爾：鏡子，第二及第四首艾靈頓（希文改編）：歡騰頓足爵士舞歌

2001 年 2 月 26 日倫敦威格摩音樂廳錄音。

22/9/2019 (Sun 星期日 )

2:00pm SUNDAY OPERA 歌劇世界Busoni: Arlecchino 62’Arlecchino: Ernst Theo RichterPriest: Wolfgang Holzmair (br)Colombina: Suzanne Mentzer (s)Cho. & Orch. of the Opera of Lyon / Kent Nagano

Busoni: Turandot 75’Turandot: Mechthild Gessendorf (s)Kalaf: Stefan Dahlberg (t)Cho. & Orch. of the Opera of Lyon / Kent Nagano

布梭尼：丑角丑角：力克特神父：何茲邁爾（男中音）哥倫比娜：文茲沙（女高音）里昂歌劇院樂團及合唱團 / 長野健

布梭尼：杜蘭朵杜蘭朵：潔辛托芙（女高音）卡拉夫：杜伯格（男高音）里昂歌劇院樂團及合唱團 / 長野健

8:00pm LIVE ON 4 第四台音樂會Colleen Lee (p)London Sym. Orch. / Simon RattleHaydn: Symphony No. 86 in D, Hob. I:86Prokofiev: Piano Concerto No. 3 in C, Op. 26Rachmaninov: Symphony No. 2 in E minor, Op. 27

Presented by LCSD Cultural Presentations Section. Live from Hong Kong Cultural Centre Concert Hall.

李嘉齡（鋼琴）倫敦交響樂團 / 力圖海頓：D 大調第八十六交響曲，Hob. I: 86浦羅歌菲夫：C 大調第三鋼琴協奏曲，作品 26拉赫曼尼諾夫：E 小調第二交響曲，作品 27

康樂及文化事務署文化節目組主辦。香港文化中心音樂廳現場直播。

Sigvards Kļava克拉華

馬勒（彼崇改編）：稍慢板，選自升 C 小調第五 交響曲柴可夫斯基：金口聖若望禮儀，作品 41

2019 年 6 月 15 日萊茵費爾登城市教堂錄音。

23/9/2019 (Mon 星期一 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 18/9/2019, 8:00pm節目與 2019 年 9 月 18 日晚上 8 時相同

8:00pm Moment Musical 音樂瞬間Prokofiev: Symphony No. 5 in B flat, Op. 100 43’Scottish Nat. Orch. / Neeme Järvi

Saint-Saëns: Piano Concerto No. 2 in G minor, Op. 22 26’Idil Biret (p)Philharmonia Orch. / James Loughran

Mozart: Divertimento in E flat, K. 563 35’Trio à cordes de Paris

20/9/2019 (Fri 星期五 )

2:00pm MUSIC OF FRIENDS (REPEAT) 室樂雅敘（重播）Prog. as 15/9/2019, 8:00pm節目與 2019 年 9 月 15 日晚上 8 時相同

8:00pm LIVE ON 4 第四台音樂會 BBC Live ConcertPaul Lewis (p)Brahms: Seven Fantasies, Op. 116 23’Haydn: Sonata in C minor, Hob.XVI:20 19’ Sonata in E flat, Hob.XVI:52 21’Beethoven: Seven Bagatelles, Op. 33 20’

Recorded at Royal Festival Hall, London, on 13/11/2018.

英國廣播公司現場音樂會李維斯（鋼琴）布拉姆斯：七首幻想曲，作品 116海頓：C 小調奏鳴曲，Hob.XVI:20 降 E 大調奏鳴曲，Hob.XVI:52貝多芬：七首小品，作品 33

2018 年 11 月 13 日倫敦皇家節日音樂廳錄音。

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SEPTEMBER 2019 | FINE MUSIC | PROGRAMME HIGHLIGHTS 節目精華

24/9/2019 (Tue 星期二 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 19/9/2019, 8:00pm節目與 2019 年 9 月 19 日晚上 8 時相同

8:00pm LIVE ON 4 第四台音樂會Aristo Sham (p)London Sym. Orch. / Simon RattleBritten: The Young Person’s Guide to the Orchestra, Op. 34Rachmaninov: Piano Concerto No. 3 in D minor, Op. 30Brahms: Symphony No. 2 in D, Op. 73

Presented by LCSD Cultural Presentations Section. Live from Hong Kong Cultural Centre Concert Hall.

沈靖韜（鋼琴）倫敦交響樂團 / 力圖布烈頓：青少年管弦樂指南，作品 34拉赫曼尼諾夫：D 小調第三鋼琴協奏曲，作品 30布拉姆斯：D 大調第二交響曲，作品 73

康樂及文化事務署文化節目組主辦。香港文化

中心音樂廳現場直播。

浦羅歌菲夫：降 B 大調第五交響曲，作品 100蘇格蘭國家樂團 / 約菲

聖桑：G 小調第二鋼琴協奏曲，作品 22比利（鋼琴）愛樂樂團 / 路格雲

莫扎特：降 E 大調嬉遊曲，K. 563巴黎弦樂三重奏

25/9/2019 (Wed 星期三 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 20/9/2019, 8:00pm節目與 2019 年 9 月 20 日晚上 8 時相同

8:00pm LIVE ON 4 第四台音樂會Emanuel Ax (p)London Sym. Orch. / Simon RattleBrahms: Piano Concerto No. 2 in B flat, Op. 83 Adams: Harmonielehre

Presented by LCSD Cultural Presentations Section. Live from Hong Kong Cultural Centre Concert Hall.

艾斯（鋼琴）倫敦交響樂團 / 力圖布拉姆斯：降 B 大調第二鋼琴協奏曲，作品 83亞當斯：和聲教案

康樂及文化事務署文化節目組主辦。香港文化中心

音樂廳現場直播。

26/9/2019 (Thu 星期四 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 21/9/2019, 8:00pm節目與 2019 年 9 月 21 日晚上 8 時相同

8:00pm LIVE ON 4 第四台音樂會Schubertiade SchwarzenbergAndrè Schuen (br)Daniel Heide (p)Schubert: Schwanengesang, D. 957 33’ Herbst, D. 945 4’ Bei dir allein, D. 886 2’ Der Wanderer an den Mond, D. 870 3’ Wiegenlied, D. 867 5’ Am Fenster, D. 878 4’ Schwanengesang, D. 744 24’

Recorded at Angelika Kauffmann Hall, Schwarzenberg, on 27/6/2019.

施瓦岑貝格舒伯特音樂節舒恩（男中音）海狄（鋼琴）舒伯特：天鵝之歌，D. 957 秋，D. 945 在你身旁，D. 886 流浪者對月亮之言，D. 870 搖籃曲，D. 867 窗前，D. 878 天鵝之歌，D. 744

2019 年 6 月 27 日施瓦岑貝格安潔莉卡靠夫曼大廳

錄音。

27/9/2019 (Fri 星期五 )

2:00pm MOMENT MUSICAL 音樂瞬間

Bizet: Petite Suite, Op. 22 11’RTÉ Nat. Sym Orch. / Jean-Luc Tingaud

Schumann: Papillons, Op. 2 14’Catherine Collard (p)

Berlioz: Harold en Italie, Op. 16, 1st mov’t 15’Orch. Nat. de Lyon / Leonard Slatkin

Hawes: O Lord our Governor 5’Roger Sayer (o)English Ch. Orch. / Patrick Hawes

比才：小組曲，作品 22

愛爾蘭廣播電視公司國家交響樂團 / 亭高

舒曼：蝴蝶，作品 2嘉芺蓮 ˙ 高勒（鋼琴）

白遼士：哈羅爾德在意大利，作品 16，第一樂章里昂國家樂團 / 史拉健

賀思：耶和華，我們的主啊西也（管風琴）英國室樂團 / 賀思

4:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 22/9/2019, 8:00pm節目與 2019 年 9 月 22 日晚上 8 時相同

8:00pm LIVE ON 4 第四台音樂會

Morning Star Lilies Forever – Opening Concert of the 43rd Orchestral SeasonShen Cheng (banhu)Su Wen (vocal) Gao Yongyuan (self-accompanied singing with sanxian)Wang Zhanzhan (suona)Shaanxi Broadcasting Chinese Orch.Mizhi Wind and Percussion EnsembleHong Kong Chinese Orch. / Yan HuichangWang Danhong: Morning Star Lilies Forever

Presented by Hong Kong Chinese Orchestra. Live from Hong Kong Cultural Centre Concert Hall.

永遠的山丹丹 — 第四十三樂季開幕音樂會沈誠（板胡）蘇文（演唱）高永原（三弦彈唱）王展展（嗩吶）陝西省廣播電視民族樂團米脂吹打樂團香港中樂團 / 閻惠昌王丹紅：永遠的山丹丹

香港中樂團主辦。香港文化中心音樂廳現場直播。

Andrè Schuen舒恩

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SEPTEMBER 2019 | FINE MUSIC | PROGRAMME HIGHLIGHTS 節目精華

28/9/2019 (Sat 星期六 )

8:00pm Opus Clara – A Celebration Recital of the other Schumann 女性的篇章 — 克拉拉．舒曼音樂會James Cuddeford (v)Richard Bamping (vc) Mary Wu (p)Schumann (Clara Schumann trans.): In der Fremde, Op. 39, No. 1 2’ Sehnsucht, Op. 51, No. 1 2’Clara Schumann: Romance in A minor, Op. 21, No. 1 6’Schumann (Clara Schumann trans.): Frühlingsnacht, Op. 39, No. 12 1’Clara Schumann: Three Romances, Op. 22 9’Clara Schumann (Mary Wu trans.): Four Fugitives Pieces, Op. 15 12’Clara Schumann: Piano Trio in G minor, Op. 17 30’Clara Schumann (Mary Wu trans.): Romance and Caprice à la Boléro from ‘Character Pieces’, Op. 5 8’

Recorded at RTHK Studio One on 25/9/2019.

格德霍特（小提琴）鮑力卓（大提琴）吳美樂（鋼琴）舒曼 （克拉拉．舒曼改編）：在異鄉，作品39，第一首 渴望，作品 51，第一首克拉拉．舒曼：A 小調浪漫曲，作品 21，第一首舒曼（克拉拉‧舒曼改編）：春夜，作品39，第十二首克拉拉．舒曼：三首浪漫曲，作品 22克拉拉．舒曼（吳美樂改編）：四首瞬間音樂， 作品 15克拉拉．舒曼：G 小調鋼琴三重奏，作品 17克拉拉．舒曼（吳美樂改編）：浪漫曲與波萊羅風 格的隨想曲，選 自《個性小品》， 作品 5

2019 年 9 月 25 日香港電台一號錄播室錄音。

29/9/2019 (Sun 星期日 )

2:00pm SUNDAY OPERA 歌劇世界

Zemlinsky: A Florentine Tragedy 52’Simone, a merchant: Guillermo Sarabia (b)Guido: Kenneth Riegel (t)Bianca: Doris Soffel (ms)Radio Sym. Orch. of Berlin / Gerd Albrecht

Zemlinsky: The Birthday of the Infanta 90’The Dwarf: Kenneth Riegel (t)Donna Clara, the Infanta: Inga Nielsen (s)Radio Sym. Orch. of Berlin / Gerd Albrecht

策姆林斯基：佛羅倫斯悲劇商人史蒙尼：撒拉比亞（男低音）桂度：利高（男高音）

30/9/2019 (Mon 星期一 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 24/9/2019, 8:00pm節目與 2019 年 9 月 24 日晚上 8 時相同

8:00pm Moment Musical 音樂瞬間

Bernstein: The Age of Anxiety 32’Lukas Foss (p)New York Phil. Orch. / Leonard Bernstein

Bach: Partita in D minor, BWV1004 26’Henryk Szeryng (v)

Schubert: Piano Sonata in B flat, D. 960 43’Stephen Hough (p)

伯恩斯坦：焦慮的年代霍斯（鋼琴）紐約愛樂樂團 / 伯恩斯坦

Helen Lam林海恩

1/10/2019 (Tue 星期二 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 26/9/2019, 8:00pm節目與 2019 年 9 月 26 日晚上 8 時相同

8:00pm FROM TEMPLE TO THEATRE – A PARADE OF CHINESE MUSIC 從宗廟到舞台 — 中國音樂巡禮

9:00pm MUSIC FOR THE NATIONAL DAY FIREWORKS DISPLAY 2019 國慶煙花匯演音樂 2019

2/10/2019 (Wed 星期三 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 27/9/2019, 8:00pm節目與 2019 年 9 月 27 日晚上 8 時相同

8:00pm LIVE ON 4 第四台音樂會New and Old, but Always TimelessAlexander Sitkovetsky, Adam Barnett-Hart (v)Pierre Lapointe (va)Brook Speltz (vc)Edgar Meyer (db)David Shifrin (cl)Bram van Sambeek (bn)Radovan Vlatkovic (fh)Wu Qian (p)Castillo: Incident for Violin and PianoBeethoven: Septet in E flat for Winds and Strings, Op. 20

不論新舊，皆是永恆薜高維斯基、班尼特—夏特（小提琴）拉普堤（中提琴）史比爾哲（大提琴）艾加．美亞（低音大提琴）雪芺連（單簧管）梵．森碧（巴松管）華拉高堿（圓號）吳倩（鋼琴）卡斯替羅：為小提琴與鋼琴而寫的事件貝多芬：為管樂與弦樂而寫的降 E 大調七重奏， 作品 20

比安嘉：蘇菲（女中音）柏林電台交響樂團 / 艾伯克

策姆林斯基：公主的誕辰矮人：利高（男高音）克拉拉公主：尼爾遜（女高音）柏林電台交響樂團 / 艾伯克

8:00pm MUSIC OF FRIENDS 室樂雅敘

Helen Lam-Winther (p)Bach: Italian Concerto, BWV 971 15’Liszt: Venezia e Napoli, S. 159 21’Recorded at RTHK Studio Two on 30/5/2018.

林海恩（鋼琴）巴赫：意大利協奏曲，BWV971李斯特：威尼斯和那不勒斯，S. 159

2018 年 5 月 30 日香港電台二號錄播室錄音。

巴赫：D 小調組曲，BWV1004舒爾寧（小提琴）

舒伯特：降 B 大調鋼琴奏鳴曲，D. 960侯夫（鋼琴）

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SEPTEMBER 2019 | FINE MUSIC | PROGRAMME HIGHLIGHTS 節目精華

3/10/2019 (Thu 星期四 )

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 28/9/2019, 8:00pm節目與 2019 年 9 月 28 日晚上 8 時相同

8:00pm LIVE ON 4 第四台音樂會Wiener Konzerthausgesellschaft International Music FestivalZita Nauratyill (o)Wagner (Lemare arr.): Overture to ‘The Flying Dutchman’ 12’Liszt (Busoni arr.): Fantasy and Fugue on the chorale ‘Ad nos, ad salutarem undam’, S. 259 31’Alain: Litanies 5’ Intermezzo 6’ Fantaisie No. 1 5’ Fantaisie No. 2 7’Duruflé: Suite, Op. 5 22’

Recorded at Konzerthaus, Vienna, on 11/6/2019.

維也納音樂廳協會國際音樂節挪拉替爾（管風琴）華格納（利馬改編）：《漂泊的荷蘭人》序曲

李斯特 ( 布梭尼改編 )：根據聖詠曲「來我們這兒， 救贖的波浪」而寫的幻想 曲與賦格曲，S. 259亞連：禱文 間奏曲 第一首幻想曲 第二首幻想曲杜魯夫：組曲，作品 5

2019 年 6 月 11 日維也納音樂廳錄音。

Zita Nauratyill挪拉替爾

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白天是電台節目編導，晚間是音樂會聽眾。

Tina Ma 馬盈盈A radio producer by day and concertgoer by night

Tina Ma 馬盈盈

In the past two years as a host of Presenters’ Choice, I indulged myself in historical recordings and found some really special ones. Both came from radio broadcasts.

The first is an early stereo recording recorded by Reichsender Berlin under the war cloud in 1944. Artur Rother and his orchestra’s members gathered at Haus des Rundfunks (Broadcasting House) to play Beethoven’s Emperor Concerto with pianist Walter Gieseking, whose formidable control and solid technique reached its height at that time. In the quiet solo passages, one can hear the anti-aircraft guns firing outside the building. During the war, it was important that music did not stop, as if it helped people overcome the fear of death. The playing was extremely delicate and its noble quality stood out amid the background sound of an air raid.

Also in wartime, another radio station captured the Czech people’s voice under Nazi control. In June 1939, less than three months after the German troop marched into Prague, Václav Talich presented a concert of Smetana’s Má Vlast, played by an enlarged orchestra mainly comprised of members of the Czech Philharmonic. It is no doubt that the natural landscape, the Czech legends, and the history of the Hussite Wars depicted in the six

symphonic poems echoed with the heart of listeners, who just lost their country. Thunderous applause and cheers filled the hall immediately after the music, but soon came an unexpected act – the audience spontaneously began singing the Czech national anthem. This moving sound was transmitted to the radio stations of several European cities. It is almost a miracle that the broadcast was recorded with top machines in Oslo and the tape survived German invasion the following year.

Radio broadcast continues to record the history of our time. You may have heard Gustavo Dudamel conducting Berlioz’s Requiem at the Cathedral of Notre Dame in Paris in Live on 4 broadcast in June. This 2014 concert recorded by the Radio France is an important record of Notre Dame’s unique acoust ics, af ter the historical building’s fire damage earlier this year.

Next month, Live on 4 will bring you a series of programmes from the United States from the 2019 Spring Concerts of the Chamber Music Society of Lincoln Center (CMS). Under the artistic leadership of David Finckel and Wu Han, CMS has won a reputation for creative programmes and engaging playing. This series recorded the top standard of music performance in the States. It is definitely not to be missed.

Invaluable Historical Broadcasts見證歷史的電台錄音

前陣子在「美樂同行」節目介紹歷史唱片，

遇上一些令我無比感動的電台錄音。

其中一個是最早期的雙聲道錄音，來自 1944

年二戰時的柏林電台。技巧狀態處於巔峰的

基斯京夥拍羅他指揮的樂團，在柏林電台廣

播大樓演奏貝多芬「皇帝」協奏曲。在寧靜

的獨奏段落裡，可以聽到大樓外一下接一下

的防空炮火聲！演奏並沒停止，彷彿音樂使

人戰勝死亡的恐懼，而樂曲在炮聲中更顯高

貴美麗。

戰場上另一端，捷克人民受納粹德國壓迫而

作出的回應，亦在一個電台錄音裡記錄下來。

1939 年 6 月，即捷克被佔領未滿三個月，

指揮塔力殊帶領以捷克愛樂為骨幹的大型樂

團，在布拉格國家劇院上演史密塔納的《我

的祖國》，音樂會亦傳送到歐洲多個電台。

《我的祖國》裡的六首交響詩描寫捷克的美

好風景，還有傳說和抗爭歷史。在亡國的昏

暗歲月裡，作品想必牽動捷克人心。樂曲一

完，台下爆出如雷掌聲加喝采，不久觀眾竟

自發唱起捷克國歌，真是何其震撼！這一切

都被挪威的奧斯陸電台以頂尖器材錄下來。

一年後挪威同告淪陷，這個珍貴的《我的祖

國》錄音竟然奇蹟般保留下來。

今日，各地的電台繼續以聲音為歷史作紀錄。

6 月時我們在「第四台音樂會」聽過法國電

台播送 2014 年杜達美在巴黎聖母院指揮的

《安魂曲》；沒想到聖母院今年 4 月遇上大

火受損，法國電台這個錄音就成為了聖母院

原聲響的重要文獻。

10 月起，「第四台音樂會」會有來自美國

的廣播節目 ─ 林肯中心室樂協會春季表演

2019。由芬克爾和吳菡領導的室樂協會口碑

載道，這個系列是美國樂壇頂尖演奏的一份紀

錄，是不能錯過的珍貴錄音。

Haus des Rundfunks (Reichsender Berlin) in 19471947年的柏林電台廣播大樓

The damaged interior of Notre-Dame de Paris損毀的巴黎聖母院內部

O

Ang

T

hiba

ud C

halm

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