雙生．協奏 Simply Classic: Naughton X 2 = Mendelssohn

Parsons Ad 美樂自悠行：雙生．協奏 Simply Classic: Naughton X 2 = Mendelssohn

卡塔尼指揮尼古拉《溫莎的風流娘兒們》：序曲姬絲汀娜．樂婷鋼琴孟德爾遜 E大調雙鋼琴協奏曲米雪．樂婷鋼琴活潑的快板不太慢的慢板 Oleg Caetani conductor 快板 Christina Naughton piano Michelle Naughton piano 中場休息

蕭斯達高維契 D小調第五交響曲，Op. 47 音樂會開始前45分鐘，文化中心行政大樓4樓AC2設有由Dr Georg 中板 Predota (3/12英語) 及李少霖小快板 (4/12粵語) 主持的免費講座。廣板 Free pre-concert talks by Dr Georg 不太快的快板 Predota (3/12 English) and Homer Lee (4/12 Cantonese) in AC2, 4/F, Administration Building of the Cultural Centre 45 minutes before each concert. NICOLAI The Merry Wives of Windsor: Overture

節目約於10時結束 MENDELSSOHN Concerto in E for two pianos (上半場：8分鐘、28分鐘； Allegro vivace 下半場：44分鐘)。 Concert ends approx. 10:00pm Adagio non troppo (1st half: 8 mins, 28 mins; Allegro 2nd half: 44 mins).

Interval

12月3日的音樂會由香港電台第四台 (FM 97.6 - 98.9兆赫) 現場直播，並於12月8日 (星期三) 下午 2時重播。 SHOSTAKOVICH Symphony No. 5 in D minor, Op. 47 The 3 Dec concert is broadcast live by RTHK Radio 4 Moderato (FM Stereo 97.6 – 98.9 MHz) with a repeat on 8 Dec (Wed) at 2pm. Allegretto Largo Allegro non troppo

各位觀眾欣賞美樂前，請關掉手提電話及其他響鬧裝置。場內不准飲食、攝影、錄音或錄影。我們歡迎閣下保留場刊，若不欲保留，請於完場後將場刊交回場地入口，以作循環再用。祝大家有一個愉快的音樂體驗。 Dear patrons For a wonderful concert experience, please kindly switch off your mobile phone and other beeping devices before the concert begins. Photography, recording, filming, eating or drinking are not allowed. We hope you enjoy reading this house programme and wish to retain it. If you don’t wish to take your programme home with you, please return it to the admission point after the performance for recycling. We wish you a very enjoyable evening. HKPO Ad Aug 2009 170x247 aw.indd 2 21/08/2009 3:11 PM Salute 感謝伙伴 to Our Partners 香港管弦樂團衷心感謝以下機構的慷慨贊助和支持！ The Hong Kong Philharmonic Orchestra would like to express our heartfelt thanks to the Partners below for their generous sponsorship and support!

主要贊助首席贊助 M A J O R F U N D I N G B O D Y PRINCIPAL PATRON

節目贊助 MAJOR SPONSORS

CIC Investor Services Limited a subsidiary of Crédit Industriel et Commercial, France

如欲查詢有關贊助或捐款事宜，歡迎致電 (852) 2721 2030 或電郵至 [email protected] 與我們聯絡。 For sponsorship and donation enquiries, please call (852) 2721 2030 or email to [email protected]

以公司英文名稱序 In alphabetical order of company name PHOTO Keith Hiro 香港管弦樂團 (港樂) 是亞洲區內最具領導地位的樂團之一，豐富香港文化生命逾一世紀，並已發展成一個集華人與海外音樂精英的傑出樂團，吸引世界級藝術家同台獻藝。港樂每年透過超過150場精彩演出，觸動逾200,000樂迷的心靈。在藝術總監兼總指揮艾度．迪華特領導下，港樂的藝術水平屢創高峰。港樂近年演出馬勒交響曲系列、歌劇音樂會、傳統古典樂曲以外的嶄新曲目，均為樂迷所熱切期待，更成為樂團藝術發展的里程碑。

2010/11樂季，港樂邀得多位樂壇巨星助陣：郎朗、曹秀美、宓多里、列賓、林昭亮、王健等。利茲、湯．庫普曼、丹尼夫擔任客席指揮的音樂會亦不容錯過。馬其頓鋼琴家狄里柏斯基將以第二鋼琴協奏曲繼續其拉赫曼尼諾夫巡禮，樂季壓軸演出，將是迪華特與港樂一連三周的柴可夫斯基節。

2006年4月起，太古集團慈善信託基金成為樂團的首席贊助，此為港樂史上最大的企業贊助，令樂團得以在藝術上有更大的發展，向世界舞台邁進的同時，將高水準的演出帶給廣大市民，讓更多人接觸到古典音樂。港樂和香港的城市脈搏深深緊扣，積極推廣管弦樂至社會各階層，將精彩的音樂會體驗帶到各家各戶，當中不少重要演出更透過電台及電視轉播給全港市民欣賞，包括於跑馬地馬場遊樂場舉行的全年最大型交響演奏 — 太古「港樂．星夜．交響曲」。為了提高全港中、小、特殊學生對古典音樂的興趣，港樂舉辦音樂教育計劃「豐保險創意音符」，提供免費音樂會及各項教育活動。香港藝術發展局於2008年2月頒發「藝術推廣獎」予香港管弦樂團，以表揚港樂近年來成功擴展觀眾層面和獲取公眾支持。

港樂的海外巡迴演出，讓樂團在港外建立聲譽及進一步提升藝術水平。樂團曾參與上海之春國際音樂節及北京國際音樂節，2009年1月，樂團在迪華特的領導下到廣州、北京及上海作中國巡演。2010年9月，迪華特與港樂參與上海世博，於上海東方藝術中心演出貝多芬第九交響曲及特別委約香港作曲家林丰創作的《融》，作為2010中國巡演的首站，隨後分別到西安音樂廳及北京國家大劇院演出馬勒第七交響曲。

The Hong Kong Philharmonic Orchestra (HKPO) is one of Asia’s leading orchestras. Enriching Hong Kong’s cultural life for over a century, the Orchestra has grown into a formidable ensemble of Chinese and international talents, attracting world-class artists to collaborate on its stage. HKPO annually touches the lives of over 200,000 music lovers through more than 150 performances. Under the leadership of Artistic Director and Chief Conductor Edo de Waart, HKPO continues to scale new heights in musical excellence. The continuing cycle of Mahler symphonies and challenging programming outside the traditional repertoire have become highly anticipated events as well as musical milestones for the Orchestra.

Celebrated artists continue to grace our halls in the 2010/11 season: Lang Lang, Sumi Jo, Midori, Vadim Repin, Cho-Liang Lin, Wang Jian, just to name a few. Our roster of guest conductors includes Maestro Carlo Rizzi, Ton Koopman and Stéphane Denève. Simon Trpčeski, who headlines the Rachmaninov cycle, will return with another brilliant interpretation of the composer’s famous Second Piano Concerto; while Maestro de Waart and the HKPO will bring to you a 3-week Tchaikovsky Festival as the season finale.

From April 2006, The Swire Group Charitable Trust became the Hong Kong Philharmonic’s Principal Patron. Swire’s sponsorship of the Hong Kong Philharmonic, the largest in the Orchestra’s history, supports artistic growth and development as the Orchestra takes its place on the world stage, and brings performances of musical excellence to the widest possible public. HKPO stays in tune with our city by presenting the orchestra in unexpected venues and bringing the excitement of the concert experience to every home through radio and television broadcasts including the largest symphonic event of the year, Swire Symphony under the Stars, at Happy Valley. The Orchestra runs a comprehensive schools education programme, HSBC Insurance Creative Notes, bringing the joy of classical music to primary, secondary and special school kids. In February 2008, the Hong Kong Arts Development Council honoured the HKPO with the Arts Promotion Award, in recognition of its success in expanding its audience base and gaining public support in recent years.

The Orchestra also builds its reputation and raises its artistic standards by touring. Apart from participating in the Shanghai Spring International Music Festival and the Beijing Music Festival, the Orchestra undertook a China tour of Guangzhou, Beijing and Shanghai under the leadership of Maestro de Waart in January 2009. In September 2010, de Waart and the HKPO appeared at the Expo 2010 Shanghai, performing Beethoven’s Ninth Symphony and the newly commissioned work Rong written by Hong Kong composer Fung Lam in the Shanghai Oriental Art Center, as the first stop of the 2010 China tour. It was followed by performances of Mahler’s Seventh Symphony in the Xi’an Concert Hall and Beijing’s National Centre for the Performing Arts.

香港管弦樂團由香港特別行政區政府資助 The Hong Kong Philharmonic Orchestra is financially supported by the Government of the Hong Kong Special Administrative Region 香港管弦樂團首席贊助：太古集團 SWIRE is the Principal Patron of the Hong Kong Philharmonic Orchestra 香港管弦樂團為香港文化中心場地伙伴 The Hong Kong Philharmonic Orchestra is the Venue Partner of the Hong Kong Cultural Centre Shinewing Ad 卡塔尼指揮 Oleg Caetani conductor

生於瑞士，擁有俄羅斯及意大利血統的卡塔尼，在入讀羅馬聖西西尼亞音樂學院之前，師隨布蘭潔學藝，在校期間則隨費拉拉上指揮課及拉維納勒學習作曲。在莫斯科音樂學院隨康德拉辛學習全套蕭斯達高維契交響曲後，他隨穆辛在聖彼得堡音樂學院學習，憑指揮蕭氏第五交響曲獲最高票數畢業。

卡塔尼曾在RAI都靈指揮大賽及柏林卡拉揚指揮大賽贏得獎項，1981年在聖彼得堡音樂學院畢業時，年僅24歲時的他首次指揮歌劇《尤金．奧涅金》，柴可夫斯基的作品自此在他的演奏曲目中扮演重要角色。2008年，他與墨爾本交響樂團合作錄製全套柴可夫斯基交響曲。過往逾三十年的指揮生涯將卡塔尼帶到世界各地享負盛名的音樂廳、劇院及音樂節。近期的演出包括英國國家歌劇院的佛漢威廉士《約翰爵士談戀愛》和香榭麗舍劇院的華格納《漂泊的荷蘭人》。

蕭斯達高維契的音樂亦是卡塔尼演奏曲目當中的重心，他曾把歌劇《鼻》翻譯成德文，並於1991年在法蘭克褔上演，又於 2007年在意大利首演喜歌劇《莫斯科櫻桃組曲》，並於全球多處首演蕭斯達高維契的交響曲。他曾與米蘭威爾第樂團合作錄製意大利首套蕭斯達高維契交響曲全集，自1999年起彼此關係更加緊密，並先後到南美 (2003) 及西班牙 (2009) 巡迴演出。2008年4月，他指揮威爾第樂團上演一套由意大利總統為教宗本篤十六世而設、在凡蒂岡舉行的音樂會，該次演出更由Eurovision TV現場錄影。

卡塔尼熱衷指揮二十世紀為人忽略的作曲家，如莫索洛夫、皮澤堤、蓋赫特的作品，並製成錄音。他的泰斯曼交響曲專輯由Chandos發行，分別曾於2006年及2008年為他贏得三項金音叉大獎。

Born in Switzerland of Russian and Italian descent, Oleg Caetani studied with Nadia Boulanger before his study at the Conservatory of Santa Cecilia of Rome, where he attended conducting class by Franco Ferrara and studied composition with Irma Ravinale. After studying all the Shostakovich Symphonies with Kondrashin at the Moscow Conservatory, he graduated with Musin at the St Petersburg Conservatory with maximum votes, conducting Shostakovich’s Fifth symphony.

Winner of the RAI Turin Competition and Karajan Competition in Berlin, Caetani conducted Eugene Onegin at the age of 24 in 1981 as his opera début when graduating from the St Petersburg Conservatory. Since then, Tchaikovsky has played an important part of his repertoire. In 2008, he recorded the complete symphonies of Tchaikovsky with the Melbourne Symphony Orchestra. Over the thirty years of his conducting career, he has appeared at many of the world’s prestigious concert halls, theatres and music festivals. Recent engagements include Vaughan Williams’s Sir John in Love at the English National Opera and Wagner’s Der fliegende Holländer at the Théâtre des Champs-Élysées.

Shostakovich’s music has a central role in his repertoire. Caetani translated the libretto of The Nose in German for his production in Frankfurt in 1991, conducted the Italian première of the operetta Moscow Cheryomushki in 2007 and has conducted many first performances of Shostakovich’s symphonies all over the world as well as recording Italy’s first complete cycle of Shostakovich symphonies with the Verdi Orchestra in Milan. Since 1999 Caetani has a particularly close relationship with the Verdi Orchestra and has also toured with them in South America (2003) and Spain (2009). In April 2008, he conducted the Verdi Orchestra in a concert presented by the Italian President to Pope Benedetto XVI in the Vatican which was recorded live for Eurovision TV.

Caetani has also devoted himself to record and conduct other less-known composers of the twentieth century such as Mossolov, Pizzetti and Gerhard. His recordings of Tansman’s Symphonies, released by Chandos, have won three Diapason d’Or in 2006 and 2008. 被《三藩巿觀察家報》譽為「星級音樂修養、技巧出眾、琴藝令人折服」的樂婷姐妹，為中、歐混血雙生兒，於美國新澤西普林斯頓出生，四歲便開始學琴。她們現以獎學金於蔻蒂斯音樂學院進修，同時師從格拉夫曼，並跟隨鋼琴家弗蘭克及利普金等學習室樂。

2008/09樂季，她們聯同新澤西交響樂團，首次於甘迺迪中心演出；又於曼氏演藝中心，聯同費城樂團演出，獲《費城詢問報》讚賞為「天衣無縫」。 2009/10樂季，即再獲費城樂團邀請演出。2010年，她們會在德國舉行歐洲首演。2010/11樂季的其他重要演出包括與密爾沃基交響樂團及威斯康辛室樂團的合作。

米雪．樂婷 Michelle Naughton 樂婷姐妹曾與費城樂團、克利夫蘭的「紅」樂團、芝加哥的派克里奇樂團及賓夕凡尼亞州伊瑞爾愛樂等樂團合作，以及曾於多個音樂節演出，包括施坦威協會海灣區音樂節、薩拉素塔藝術家巡禮、阿拉巴馬大學鋼琴巡禮、三藩市室樂巡禮、京士頓室樂節、西棕櫚海灘克拉維斯中心、芝加哥閣樓音樂等等。她們的演出曾透過芝加哥WFMT電台及費城 WHYY電台廣播。

姬絲汀娜．樂婷九歲時首次與樂團合作演出，彈奏的是海頓D大調第11 協奏曲。她是四年一度的珍娜芭候雅國際鋼琴大賽銅獎得主，她的三重奏 Vesta曾獲全美費舍夫室樂大賽金獎。作為獨奏家，她曾與芝加哥派克里奇樂團、麥迪遜樂團、科林斯堡樂團、猶他交響樂團、威斯康辛室樂團等合作，又於拉維尼亞馬田演奏廳演出。

米雪．樂婷十歲時首次與樂團合作演出，彈奏的是莫扎特A大調協奏曲 K488。她是兩年一度的鋼琴藝術全美大賽首名得主、以及四年一度的維珍尼亞華力國際鋼琴大賽金獎得主。作為獨奏家，她曾與麥迪遜樂團、密爾沃基樂團、芝加哥派克里奇樂團等合作，又於丹佛市聖約翰教堂音樂會系列及綠湖音樂節演出。 Christina and Michelle Naughton have been hailed by the San Francisco Examiner for their “stellar musicianship, technical mastery, and awe-inspiring artistry.” Born in Princeton, New Jersey to parents of Chinese and European descent, they began their piano studies at the age of four. They are students at the Curtis Institute of Music, each holding a Fellowship. They also study with Gary Graffman, and study chamber music with Claude Frank and Seymour Lipkin.

In 2008/09 they made débuts at the Kennedy Center in Washington, D.C., with the New Jersey Symphony, and with the Philadelphia Orchestra at the Mann Center for the Performing Arts where the Philadelphia Inquirer praised them as “paired to perfection.” The next season, they performed again with the Philadelphia Orchestra. In 2010, the Naughtons will be making their European début in Germany. Other highlights of the 2010/11 season include performances with the Milwaukee Symphony and the Wisconsin Chamber Orchestra.

The Naughtons have performed with the Philadelphia Orchestra, Cleveland’s ‘Red’ Orchestra, Chicago’s Park Ridge Orchestra, and the Erie Philharmonic. They have also performed on the Steinway Society-The Bay Area, Artist Series of Sarasota, UAB Piano Series, Chamber Music San Francisco Series, Kingston Chamber Music Festival, at the Kravis Center in West Palm Beach, and on Chicago’s Music in the Loft. Their performances have been broadcast by Chicago’s WFMT and Philadelphia’s WHYY.

Christina Naughton made her orchestra début at the age of nine performing Haydn’s Piano Concerto No. 11 in D. She was the bronze medalist at the quadrennial Gina

Bachauer International Piano Competition, and her ensemble, the Vesta Trio, 姬絲汀娜．樂婷 received the gold medal in the Fischoff National Chamber Music Competition. She Christina Naughton has performed as a soloist with Chicago’s Park Ridge orchestra; the Madison, Fort Collins, and Utah symphonies; the Wisconsin Chamber Orchestra; and at Ravinia’s Martin Theatre.

Michelle Naughton made her orchestra début at age ten performing Mozart’s Piano Concerto in A, K488. She won first prize at the PianoArts National Biennial Piano Competition and was the gold medal winner in the quadrennial Virginia Waring International Piano Competition. She has performed as a soloist with the Madison, Milwaukee, and with Chicago’s Park Ridge orchestras. She has also performed on Denver’s Saint John’s Cathedral concert series and at the Green Lake Festival of Music. NYG Ad 尼古拉 Otto Nicolai 1 8 1 0 - 1 8 4 9

《溫莎的風流娘兒們》：序曲今晚音樂會上半場的兩首樂曲，作曲家都是沒到不惑之年便撤手塵寰。 The Merry Wives of 事實上，享年只有三十來歲的傑出作曲家多得很 ─ 貝里尼 (34歲)、比才 Windsor: Overture (36歲)、蕭邦 (39歲)、歌舒詠 (38歲)、莫扎特 (35歲)，還有舒伯特 (31歲)。雖說作曲並非甚麼高危職業，但不少人懷疑這是否純粹巧合。無疑，上述大部份作曲家都可謂勤勞至極，產量驚人 (舒伯特就寫下了千多首獨立作品)，可能因此身心俱疲。雖然沒有醫學根據，但很難說一個作曲家長期攪盡腦汁、費盡心血寫作毋須付出代價。羅西尼就在37歲時江郎才盡，自此封筆退休；時至今日，英國作曲家奧利弗．克努森30歲後也鮮有新作，集中發展指揮事業。

In the first half of today’s concert we hear works by two composers who died in their 30s. In fact a surprisingly large number of major composers did die in their 30s - Bellini (34), Bizet (36), Chopin (39), Gershwin (38), Mozart (35) and Schubert (31) – and while writing music is hardly a high-risk occupation, many question whether such a phenomenon is more than mere coincidence. Certainly in the case of most of these composers we might suggest that their incredibly hard-working and productive lives (in the case of Schubert, churning out somewhere in excess of 1000 individual works) may well have resulted in a simple burn out, and while there is no medical evidence to support this, it’s difficult to escape from the fact that when a composer exerts so much mental effort over a sustained period of time, something has to give. Rossini, for example, burnt himself out at 37 and more-or-less retired from composing at that age, while in our own time, the British composer Oliver Knussen has written very little since his 30th birthday, concentrating more on his career as a conductor.

編制：兩支長笛 (其一兼短笛)、兩支雙簧管、兩支單簧管、兩支巴松管、四支圓號、兩支小號、三支長號、定音鼓、大鼓、鈸及弦樂組。港樂於1989年首次演出此序曲，由施明漢指揮。

Instrumentation: two flutes (one doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, bass drum, cymbals, and strings. The Hong Kong Philharmonic’s first performance of this symphony was in 1989, conducted by Kenneth Schermerhorn. 尼古拉：《溫莎的風流娘兒們》：序曲 Nicolai: The Merry Wives of Windsor: Overture

作曲家尼古拉離世時還差一個月才39歲。若論名氣和作品數量，很難想像他英年早逝與大量創作有關；但無疑他一生勞碌，經歷甚多。其父也是作曲家，但野心很大，不斷誇耀兒子是神童，把他吹捧成莫扎特第二，直至兒子16歲時終於離家出走 (他之前多次離家出走都失敗)。尼古拉輾轉到達柏林，隨澤爾特 (1758-1832，也是孟德爾遜的老師 ─ 有關孟德爾遜的事，容後再提) 學習，後來當上音樂老師，又是薄有名氣的歌手，23歲時獲聘為羅馬普魯士使館教堂風琴師。往後十年，除了在維也納逗留了一年外，一直留在意大利。意大利無疑是世界歌劇的核心，因此尼古拉也就順理成章指揮和寫作歌劇。1838年，他為都靈歌劇院寫作他首齣歌劇；三年後，他卻婉拒了寫作歌劇《那布哥》的邀請，讓一位名叫威爾第的意大利作曲家來寫作。威爾第憑著《那布哥》在國際樂壇聲名大噪，而尼古拉終其一生也沒享受過這種盛譽。然而，他往後三齣歌劇都是為意大利觀眾而寫，之後才動身前往維也納。他在維也納創辦的維也納愛樂樂團，至今仍是世界頂尖樂團之一。 1847年，他回到柏林出任皇家歌劇院總監；1849年3月9日 ─ 也就是他逝世前兩個月 ─ 在皇家歌劇院首演自己的歌劇《溫莎的風流娘兒們》，並親自執導。《溫莎的風流娘兒們》令他蜚聲國際 ─ 儘管那時他已與世長辭。故事以莎士比亞劇為藍本，劇情圍繞傳奇人物法爾斯塔夫。

序曲令人悠然神往；初段渲染溫莎森林夜晚的氣氛。森林裡聚集了一群人，他們扮成仙子和精靈，一心要折磨法爾斯塔夫。柔和的氣氛沒持續多久，音樂就變得蹦蹦跳跳，既機敏又幽默，引入輝煌的圓舞曲主題 ─ 這個主題在歌劇正戲裡未有重現；但自從尼古拉1847年指揮維也納愛樂樂團演出過這首序曲後，此曲便經常在音樂廳響起 ─ 此曲之所以大受歡迎，似乎與上述的圓舞曲主題有關。 From reputation and output alone, one could hardly suggest that Otto Nicolai’s premature demise just one month short of his 39th birthday was brought on by an excess of productivity, but he certainly led a busy and eventful life, and was touted in his youth as a second Mozart, his aggressively ambitious composer father parading him as a child prodigy until, at 16, Otto finally (after several abortive attempts) managed to run away from home. He ended up in Berlin where he had lessons from Carl Friedrich Zelter (1758-1832) – who also taught Mendelssohn (and more of him later) – and found a job himself as a music teacher, achieving some success as a singer, and at the age of 23 being appointed Organist at the Prussian Embassy Chapel in Rome. With the exception of a year spent in Vienna he remained in Italy for the next 10 years and, since Italy was the undisputed opera centre of the world, it was only natural that Nicolai became involved both in conducting operas and, later, in composing them. His first opera was written in 1838 for the Turin opera house, but three years later he spurned an invitation to turn the libretto of Nabucco into an opera, passing it on to a native Italian called Verdi who achieved a degree of international acclaim with it that Nicolai was never to enjoy. Nevertheless he went on to compose three more operas for the Italian stage before moving to Vienna where he founded the Vienna Philharmonic Orchestra, now regarded as one of the finest orchestras in the world. In 1847 he moved back to Berlin to take up the post of Director of the Royal Opera and it was there, on 9th March 1849, just two months before his death, that he directed the première of the opera which was to earn him international, if posthumous, fame, The Merry Wives of Windsor, based on the play by Shakespeare centred around the larger-than-life character of Falstaff.

The captivating Overture opens with an atmospheric evocation of night time in Windsor Forest where Falstaff’s tormentors, disguised as fairies and elves, have gathered. The mood does not stay subdued for long, and soon the music is scampering along with great wit and humour, crowned by a glorious waltz theme. This theme does not itself appear subsequently in the opera, but probably accounts for the huge success the Overture has enjoyed in concert halls ever since Nicolai first conducted it with the Vienna Philharmonic in 1847. Ran Jia Ad 孟德爾遜 Felix Mendelssohn 1 8 0 9 - 1 8 4 7

E大調雙鋼琴協奏曲尼古拉的父親野心太大，把兒子迫得太緊太急，也許無意間種下兒子早逝活潑的快板的禍根；孟德爾遜享年雖然只有38歲，但情況卻絕不相同。事實上，大家不太慢的慢板可以有把握地說，音樂史上沒有其他作曲家能在如此舒適富裕的環境出生和快板成長，也沒有其他作曲家如此多才多藝 ─ 而且全憑明智的父母大力支持和 Concerto in E for 悉心栽培。 two pianos Allegro vivace 孟德爾遜的天賦的確罕有其匹：他是個擅泳的運動健將、才華橫溢的詩人 Adagio non troppo Allegro 和畫家，而且精通多國語言。據說無論在任何範疇，他只要花上一段時間鑽研，定必精通。此外，他大概遺傳了祖父梅瑟．孟德爾遜的哲學細胞 (梅瑟．孟德爾遜在哲學界的地位與孟德爾遜的樂壇地位也不相伯仲)，因此也很有點哲學家風範。孟德爾遜的爸爸雖是身家豐厚的財金界奇才，卻曾抱怨道：「從前人們只知我是我爸的兒子；現在人們只知我是我兒子的爸。」

While the seeds of Nicolai’s early death may have been sown (unwittingly) by his over-ambitious father pushing him too far too fast, that certainly wasn’t the case with Felix Mendelssohn who died at the age of 38. In fact, we can safely say that no composer in the history of music was born and brought up in such comfortable and financially sound circumstances, nor showed such a plethora of talents, all of which were carefully nurtured by level-headed and supportive parents.

Mendelssohn’s talents were truly phenomenal. He was an exceptional athlete, a strong swimmer, a talented poet and painter and was fluent in several languages; it was said that he excelled in virtually anything which held his attention for long enough. He was also something of a philosopher; a trait inherited from his grandfather, Moses Mendelssohn, who had been as renowned in this field as Felix was to become in music. Felix’s father – who excelled in finance and banking, making a fortune for him and his family along the way – 長笛、兩支雙簧管、兩支樂隊編制： used to complain that; “I was once known as my father’s son. Now I’m known as my son’s father.” 單簧管、兩支巴松管、兩支圓號、兩支小號、定音鼓及弦樂組。今次是港樂首次演出E大調雙鋼琴協奏曲。

The orchestra for this concerto calls for: flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. This is the Hong Kong Philharmonic’s first performance of Concerto for two pianos in E. 孟德爾遜： E大調雙鋼琴協奏曲 Mendelssohn: Concerto in E for two pianos

音樂方面，孟德爾遜是小提琴和鋼琴神童，年紀小小已展現出令人嘆為觀止

的作曲造詣：剛滿11歲便完成了鋼琴協奏曲和小提琴協奏曲各一；1823年

創作兩首雙協奏曲 (一首鋼琴與小提琴雙協奏曲，一首雙鋼琴協奏曲)，翌年

寫成另一首雙鋼琴協奏曲。今晚演出的是他兩首雙鋼琴協奏曲的第一首 ─

寫於1823年10月17日他14歲時。首演1824年11月14日在柏林孟德爾遜家族

府第舉行，由孟德爾遜和姊姊芬妮 (芬妮本人也是優秀的作曲家) 擔任獨奏。

在柏林指導過尼古拉的卡爾．澤爾特，也受託指導年輕的孟德爾遜。澤爾特

看過E大調雙鋼琴協奏曲的樂譜後評道：「個人風格越來越明顯，與時代

精神融合得天衣無縫，像蛋孵化出小鳥一樣自然。」「時代精神」無疑見於

第一樂章充實的樂團引子 ─ 這90小節明顯受貝多芬風格影響。但第一鋼琴

才加入，音樂卻突然停止了；鋼琴獨奏響起發人深省的華麗樂段，第二鋼琴

隨後加入。在樂團伴奏下，兩台鋼琴興高采烈地穿來插去，結尾儘管略嫌

冗長，卻也洋洋得意。

第二樂章讚美詩似的開端和抒情如歌的線條，散發著孟德爾遜日後成熟作品

的韻味。孟德爾遜匠心獨運，刻意讓兩台鋼琴各自為政，到接近樂章末段才

讓兩台鋼琴攜手合奏。第三樂章把快速的華麗樂段與寫著「富感情地」的樂段

並列。華麗樂段後來成為孟德爾遜諧謔曲樂章的特色，抒情樂段則與第一、

二樂章頗有淵源。 In the field of music, Felix was prodigiously gifted as both a violinist and a pianist, and showed astonishingly early genius as a composer. When he was just 11 he wrote a concerto each for piano and violin, in 1823 two double concertos, one for violin and piano the other for two pianos, and the following year he wrote a second concerto for two pianos. It is the first of those two concertos for two pianos - the one which Mendelssohn completed on 17th October 1823 when he was 14 - that we hear in today’s concert. It was given its first performance in the Mendelssohn family home in Berlin on 14th November 1824 by Felix and his sister, Fanny, also a gifted composer.

The same Carl Zelter who taught Nicolai in Berlin, was also entrusted with the instruction of the young Mendelssohn, and on reading through the score of the Concerto for two pianos in E commented; “Individuality becomes more and more apparent and blends itself so well with the spirit of the age that it seems to come out of it like a bird from the egg.” Certainly that “spirit of the age” is much in evidence in the solid orchestral introduction to the first movement; these 90 bars are firmly rooted in the style of Beethoven. But with the entry of the first piano, the music suddenly stops. There is a somewhat reflective flourish from the soloist before the second piano enters and, accompanied by the orchestra, the two flutter around cheerfully eventually reaching a triumphant, if somewhat long-drawn-out conclusion.

Glimpses of mature Mendelssohn appear with the hymn-like opening and the richly lyrical, song-like lines of the second movement, but interestingly Mendelssohn arranges the music for the soloists in such a way that only towards the end of the movement do the two combine. The final movement juxtaposes the rapid filigree work which was to become such a feature of Mendelssohn’s scherzo movements, with passages marked “con espressione” which can be traced back to the previous movements. 蕭斯達高維契 Dmitri Shostakovich 1 9 0 6 - 1 9 7 5

D小調第五交響曲，Op. 47 雖然蕭斯達高維契逝世時已年近古稀，但他三十出頭時卻一度前景堪虞 ─ 中板不但作曲事業命懸一線，連性命也危在旦夕。少年得志的他，九歲已考進小快板彼得格勒音樂學院，後來成為著名鋼琴家，20歲時作曲系畢業 (畢業作品廣板是首鋼琴協奏曲)，作品旋即在國內外贏得盛譽，二十來歲便寫出多首成功不太快的快板作品，顛峰之作就是歌劇《莫桑斯克的馬克白夫人》。《莫桑斯克的馬克白 Symphony No. 5 in 夫人》1934年首演時大獲好評，兩年間演出達180多場。但大家可別忘了 D minor, Op. 47 那是蘇聯時代 ─ 人的命運隨時可在瞬間逆轉；而這正是蕭斯達高維契的 Moderato 寫照。 Allegretto Largo Allegro non troppo 1936年，史大林到場觀賞《莫桑斯克的馬克白夫人》，怎料卻怒氣沖沖地離去，說此劇「音樂和道德都很墮落」；此劇繼而被影響力巨大的《真理報》猛烈抨擊：「蕭斯達高維契的歌劇完全缺乏政治內涵，音樂煩躁、使人不快又神經質，只顧迎合小資產階級的墮落品味。」不僅如此，他第二交響曲和第三交響曲分別在1927年和1930年首演，但兩次都反應欠佳；到了第四交響曲，眾樂手也與他對著幹，斷然拒演，結果待到1962年才能首演。史大林餘怒未消，遂頒令嚴格限制蘇聯藝術創作：題材必須是蘇聯認可，音樂語言必須「現實」(換言之，即是悅耳的旋律和尋常的和聲，門外漢也能輕易聽懂)，作品以俄羅斯民歌為基礎。為了確保藝術家守規矩，不但最高蘇維埃委員會文化組幾位委員出席蕭斯達高維契第五交響曲首演，連史大林本人也公開宣佈出席。在史大林時代，要是蕭斯達高維契的音樂不能滿足要求，他的車子房子隨時會被沒收，所有出版商隨時被禁止出版他的音樂，他隨時會被判監，甚至隨時被拘留在西伯利亞勞改營。 He did live to be almost 70, but there was a moment in his early 30s when Shostakovich’s whole future, not only as a composer but as a living, breathing human being, seemed to be hanging by a thread. A successful childhood and youth which saw him enter the Petrograd Conservatoire at the age of nine, become a highly-acclaimed pianist and graduate from the composition class at the age of 20 with a piano concerto, was followed by a meteoric rise to fame as a composer both at home and abroad. He produced a string of successful works in his 20s culminating with a major opera, Lady Macbeth of the Mtsensk District, which was so successful at its 1934 première that it was staged no less than 180 times over the following two years. But let’s not forget this was the Soviet Union, and individual fortunes could turn on a hair’s breadth. Shostakovich’s certainly did.

Attending a performance of Lady Macbeth of the Mtsensk District in 1936 Stalin stormed out declaring it to be “musically and morally degenerate”. This was followed by a blistering denunciation in the influential newspaperPravda ; “Shostakovich’s opera is utterly devoid of all political meaning. It titillates the perverted tastes of the bourgeoisie with its fidgeting, screaming, neurasthenic music”. On top of this his second and third symphonies had been badly received at their premières in 1927 and 1930 respectively, while the musicians themselves had revolted against his fourth symphony and refused point-blank to perform it; that work had to wait until 1962 for its première. Stalin, still raging over Lady Macbeth 編制：兩支長笛、短笛、兩支雙簧管、 of the Mtsensk District, had laid down strict rules for all Soviet art. It must have an accepted 三支單簧管、兩支巴松管、低音巴松管、四支圓號、三支小號、三支長號、大號、 Soviet subject, musical language had to be “realistic” (in other words tuneful, conventionally 定音鼓、木琴、鐘琴、三角鐵、小鼓、 harmonic and easily accessible to the untrained ear) and should be based on Russian 鈸、鑼、大鼓、兩座豎琴、鋼琴/鋼片琴 folksong. To ensure these rules were observed not only were several members of the cultural 及弦樂組。港樂於1977年首次演出此 wing of the Supreme Soviet Committee going to attend the première of Shostakovich’s Fifth 序曲，由郭美貞指揮。 Symphony, but Stalin himself had declared his intention of attending. Under the Stalinist regime Shostakovich was liable to lose his car, be thrown out of his house, find all publishers Instrumentation: two flutes, piccolo, two oboes, three clarinets, two bassoons, forbidden from accepting his music and face a jail sentence or, worse, a period of internment contra bassoon, four horns, three trumpets, in a Siberian labour camp if his music failed to satisfy. three trombones, tuba, timpani, xylophone, glockenspiel, triangle, snare drum, cymbals, tam-tam, bass drum, two harps, piano/celesta, and strings. The Hong Kong Philharmonic’s first performance of this symphony was in 1977, conducted by Helen Quach. 蕭斯達高維契：第五交響曲 SHOSTAKOVICH: Symphony No. 5

第五交響曲1937年11月21日在列寧格勒 (今聖彼得堡) 由列寧格勒愛樂樂團首演，莫拿雲斯基指揮。首演好評如潮，史大林十分喜歡，觀眾也欣喜若狂，熱烈鼓掌達30分鐘。樂曲被樂評讚許為「蘇聯的真正傑作」。《消息報》宣稱：「國民中有這樣的天才，榮耀歸於國民！」有記者把樂曲稱為「一個蘇聯藝術家以藝術創作回應合理的批評」。這句話有好一陣子被強行用作第五交響曲的標題，但蕭斯達高維契卻不認同，說「第五交響曲的主題是『人的塑造』。」可是有人說第五交響曲由第一樂章的衝突與混亂，演變到全曲最後幾小節迷人宏偉的效果，正好反映了蘇聯政權始於暴力而終成大器，他也沒有異議 (當時可沒人想到五十多年後蘇聯會發生甚麼變故)。

第一樂章始於一陣騷動，氣氛咄咄迫人，大提琴和低音大提琴奏出生硬疏落的節奏，小提琴馬上呼應。這種氣氛很快消散，變成低迴悲婉的進行曲，木管在樂章第三分鐘加入後更添幾分愁緒。主題在小提琴最高音區響起，音程很闊。主題裡一個短小節奏型令樂團變得好勇鬥狠，高潮處令人戰慄。主題重現時化身長笛與圓號二重奏，氣氛一轉，讓樂章安寧地結束。第二樂章模仿柴可夫斯基的圓舞曲。1937年的蘇聯觀眾認為這個樂章代表工業和勞動，以及「萬眾一心建設新社會時的喜悅」。第三樂章只花了三天寫作，氣氛悲傷至極，情緒激越，表達對蘇聯英雄的悼念。第四樂章則為樂曲劃上壯麗樂觀的句號。

節目介紹中文翻譯：鄭曉彤 In the event the première of the Fifth Symphony, in Leningrad (now St Petersburg) on 21st November 1937, by the city’s Philharmonic Orchestra conducted by Evgeny Mravinsky, was an unqualified success. Stalin adored it, the audience received it rapturously, giving it a 30-minute ovation, and the critics hailed it as a “true Soviet masterpiece”, Izvestia proclaiming; “Glory be to our people which produce such talents!” A journalist called the work, “A Soviet Artist’s Creative Reply to Just Criticism” and, for a while the title stuck, although Shostakovich disapproved, declaring that, “The theme of my Symphony is the making of man”. He did not, however, dissociate himself from the comment that the Symphony’s progress from the conflict and turmoil of the first movement to the dazzling majesty of the final bars reflected the course of the Soviet regime from its violent beginnings to its glorious fulfilment. (Nobody then knew what lay in store for the Soviet Union over half-a-century later.)

Sparse, angular rhythms from the cellos and basses echoed immediately by the violins open the 1st movement in a mood of turmoil and aggression, and while this quickly subsides into a deeply sorrowful and subdued march, the appearance of the wind instruments (some three minutes into the movement) only serves to heighten the anguish. A widely spaced theme played in the violins’ highest range incorporates a small rhythmic pattern which sets the orchestra off on a decidedly war-like path which culminates in a terrifying climax. The reappearance of the widely spaced theme, now as a duet between flute and horn, transforms the mood and allows the movement to end peacefully. The 2nd movement, a parody of a Tchaikovsky Waltz, was seen by the Soviet audience in 1937 as representing industry and labour and “the joy the people feel as they work together to create their new society”. It took just three days for Shostakovich to write the Symphony’s 3rd movement, a harrowing and emotionally charged memorial for the heroes of the Soviet Union, while the 4th movement brings it all to a close with a magnificently optimistic ending.

Programme notes by Marc Rochester HKPO | DEC | SWIRE SYMPHONY UNDER THE STARS

上周五，香港管弦樂團再次移師跑馬地馬場遊樂場，第四次舉行太古「港樂．星夜．交響曲」。當晚天氣很好，很多觀眾未到五時半開閘時間，便開始排隊準備入場，務求為親朋好友預留最佳位置欣賞音樂會。六時半左右，天開始黑，進場的觀眾亦越來越多，我們為觀眾預備的綠色地蓆舖滿一地，在場的小孩有的在草地上你追我逐，有的索性脫下鞋子從一張蓆跳到另一張，玩到累就躺在地上休息，好不寫意。很多家庭為特別為今次音樂會泡製了豐富大餐，一早到場盤據好地方，把大盒小盒的食物和飲品井井有條放在地上，來一個鬧巿中的野餐！

這趟逍遙的鬧巿郊遊，主菜是醉人的星夜和悅耳的音樂。演奏音樂前，港樂第一副團長梁建楓特意跑到人群中與觀眾直接對話，訪問他們對這個戶外音樂會的感受，被訪 02 觀眾均讚不絕口，表示機會難得。

七時半，音樂會正式開始，港樂副指揮蘇柏軒首先以德伏扎克熱鬧的《狂歡節》序曲為音樂會揭開序幕，隨後，同時充當大會司儀的蘇柏軒介紹鋼琴家基特寶出場，為在場逾一萬五千名觀眾帶來蕭邦第二鋼琴協奏曲。中場休息時，圓號手李妲妮接梁建楓的棒，到台下訪問其他觀眾。

下半場是一系列精彩的俄羅斯作品，有穆索斯基《霍凡斯基之亂》當中的前奏曲 ─ 莫斯科河上的黎明、浦羅哥菲夫的《羅密歐與茱麗葉》組曲選段，還有配合煙火效果的柴可夫斯基《1812節日序曲》。《1812節日序曲》讓觀眾的熱情升至沸點，樂曲甫奏畢，觀眾紛紛起立鼓掌，以行動表示對樂團的支持。蘇柏軒亦以一曲選自柴可夫斯基《胡桃夾子》的特列帕克舞曲作為安歌，以饗樂迷。 03 Last Friday, the Hong Kong Philharmonic Orchestra made their fourth appearance in the “Swire Symphony under the Stars” at the Happy Valley Racecourse Recreation Ground. Fortunately, the weather was very good and many queued since before the gates opened at 5.30pm in order to grab the best vantage points on the green lawns for themselves, their friends and their relatives. By 6.30pm the sky was getting dark, yet still the audience flocked in, and the grounds were covered with the green blankets we provided for them. Children played happily, some chasing around, while others kicked off their shoes and jumped from one blanket to another until they were so tired all they wanted to do was lie down on the ground to rest. Families had prepared big meals especially 04 for the concert, and set themselves up early in the evening laying out the food and drink for all to enjoy.

The main dish for this urban picnic, however, was the wonderful music under the starry night. Before the concert started, Kin-fung Leung, First Associate Concertmaster, made his way into the crowd to interview members of our audience, many of whom declared that the concert was great and made all the more exciting by the rare chance of participating in an outdoor concert.

The concert started at 7:30pm with Dvořák’s Carnival Overture. Our Associate Conductor Perry So was also Master of Ceremonies for the night and after the Overture he welcomed on to the stage 05 pianist Boris Giltburg, who performed Chopin’s Piano Concerto No.2 before an audience numbering over 15,000. During the interval, 01 配合煙火效果演出的柴可夫斯基《1812節日序曲》。 Tchaikovsky’s rousing 1812 Festival Overture in a blaze of colourful fireworks. horn player Natalie Lewis went into the audience to interview some 02 港樂第一副團長梁建楓和圓號手李妲妮到台下訪問觀眾。 First Associate & Concertmaster Kin-fung Leung and horn player Natalie Lewis went into more of them. 03 the audience to interview some of them. 04 觀眾特別為今次音樂會泡製了豐富大餐。 Audience had prepared big meals especially for the concert. The second half included several exciting Russian works including 05 小朋友索性脫下鞋子玩耍。 Children kicked off their shoes to play. Mussorgsky’s Dawn over the Moscow River (Prelude from PHOTO Cheung Chi Wai & Andy Lam Khovanshchina), selections from Prokofiev’sRomeo and Juliet, and the evening ended with Tchaikovsky’s rousing 1812 Festival 聆聽您的意見 We’re listening! Overture in a blaze of colourful fireworks. This finale proved very 您們親臨音樂廳，以行動支持樂團，我們衷心感謝。您們的寶貴意見，我們同樣重視。 exciting for the audience who showed their appreciation with 請以電郵 [email protected] 與我們聯絡。 standing ovations as soon as the final note had sounded. In return Thank you for coming to our concerts. For any comments, please email us at [email protected] for such generous support from the audience, Perry So conducted so that we could continue to bring more exciting concerts to you! Tchaikovsky’s Trepak from The Nutcracker as an encore.

香港管弦樂團 Hong Kong Philharmonic Orchestra

第一小提琴 First Violins

夏定忠梁建楓王思恆朱蓓 John Harding Leung Kin-fung Wong Sze-hang Zhu Bei 團長 Concertmaster 第一副團長第二副團長第三副團長 First Associate Second Associate Third Associate Concertmaster Concertmaster Concertmaster PHOTO Bobby Lee Bobby PHOTO 艾度．迪華特 Edo de Waart 藝術總監兼總指揮 Artistic Director & Chief Conductor 毛華程立把文晶桂麗 Mao Hua Cheng Li Ba Wenjing Gui Li 總指揮席位由以下機構贊助 Maestro’s Chair – endowed by The Octavian Society & Y. S. Liu Foundation

李智勝龍希冒異國梅麗芷 Lee Zhisheng Long Xi Mao Yiguo Rachael Mellado

倪瀾王亮黃嘉怡 # 徐姮 Ni Lan Wang Liang Christine Wong Kar-yee Xu Heng PHOTO Lawrence Chan Lawrence PHOTO 蘇柏軒張希周騰飛 Perry So Zhang Xi Zhou Tengfei 副指揮 Associate Conductor 第二小提琴 Second Violins

●范丁 ▲梁文瑄華嘉蓮鈴木美矢香 Fan Ting Leslie Ryang Katrina Rafferty Miyaka Suzuki Moon-sun

冒田中知子李嘉道方潔何嘉俊 Tomoko Tanaka Mao Ricardo de Mello Fang Jie Gallant Ho Ka-chun

# 樂師席位由以下機構贊助法國興業私人銀行 # Musician’s Chair – endowed by Societe Generale Private Banking

PHOTOS BY 許致雨簡宏道巫國暉潘廷亮 Cheung Chi Wai & Keith Hiro Anders Hui Russell Kan Wang-to Mo Kwok-fai Martin Poon Ting-leung 第二小提琴 Second Violins

趙瀅娜 * 陳怡廷 * 柯雪 * 劉博軒 * 劉芳希 Zhao Yingna Chen Yi-ting Ke Xue Liu Boxuan Liu Fang-xi

中提琴 Violas PHOTO Natasha Komoda Natasha PHOTO ●凌顯祐 ▲熊谷佳織黎明羅舜詩崔宏偉 Andrew Ling Kaori Wilson Li Ming Alice Rosen Cui Hong-wei

范星范欣洪依凡孫斌王駿 Fan Xing Fan Yan Ethan Heath Sun Bin Wang Jun

* 付水淼 * 楊帆 * 張姝影 Fu Shuimiao Yang Fan Zhang Shu-ying

大提琴 Cellos

●鮑力卓 ■方曉牧 ▲林穎陳怡君 + 關統安 Richard Bamping Fang Xiaomu Dora Lam Chen Yi-chun Anna Kwan Ton-an

陳屹洲張明遠霍添李銘蘆宋亞林 * 潘 Chan Ngat Chau Cheung Ming-yuen Timothy Frank Li Ming-lu Yalin Song Pan Yan

低音大提琴 Double Basses ● 首席 Principal ■ 聯合首席 Co-Principal ▲姜馨來林達僑馮榕費利亞 ▲ 助理首席 Assistant Principal Jiang Xinlai George Lomdaridze Feng Rong Samuel Ferrer

+ 樂師席位由以下機構贊助邱啟楨紀念基金 + Musician’s Chair – endowed by C. C. Chiu Memorial Fund * 「何鴻毅家族基金 ─ 香港管弦樂團駐團學員培訓」計劃樂手 * Fellows of The Robert H. N. Ho Family Foundation 林傑飛鮑爾菲范戴克 * 張沛姮 Orchestral Fellowship Scheme Jeffrey Lehmberg Philip Powell Jonathan Van Dyke Chang Pei-heng 香港管弦樂團 Hong Kong Philharmonic Orchestra

長笛短笛 Flutes Piccolo

●史德琳 ▲盧韋歐施家蓮 Megan Sterling Olivier Nowak Linda Stuckey

雙簧管英國管 Oboes Cor Anglais

●韋爾遜 ■布若芙杜爾娜 Michael Wilson Ruth Bull Sarah Turner

低音單簧管單簧管 Bass Clarinets Clarinet

●史安祖 ▲史家翰簡博文 Andrew Simon John Schertle Michael Campbell

低音巴松管巴松管 Contra Bassoons Bassoon

●莫班文 ▲李浩山崔祖斯 Benjamin Moermond Vance Lee Adam Treverton Jones

圓號 Horns

●韋麥克 ■柏如瑟 ▲周智仲高志賢李少霖李妲妮 Mark Vines Russell Bonifede Chow Chi-chung Marc Gelfo Homer Lee Siu-lam Natalie Lewis

小號長號 Trumpets Trombones

●傲高年 ▲莫思卓華達德 ●韋雅樂韋力奇 Colin Oldberg Christopher Moyse Douglas Waterston Jarod Vermette Maciek Walicki

低音長號大號定音鼓 Bass Tuba Timpani Trombone

貝爾迪 ●陸森柏 ●龐樂思 Michael Priddy Paul Luxenberg James Boznos

敲擊樂器豎琴鍵盤 Percussion Harp Keyboard

●泰貝桑梁偉華胡淑徽 ●史基道 ●葉幸沾 Shaun Tilburg Raymond Leung Sophia Woo Christopher Sidenius Shirley Ip Wai-wa Shuk-fai

特約樂手敲擊樂豎琴 Extra players Percussion Harp 周展彤# 黃士倫# # 承蒙香港小交響樂團允許參與演出 Chau Chin-tung# Ann Huang# # With kind permission of the HK Sinfonietta

香港管弦協會 Hong Kong Philharmonic Society

名譽贊助人 HONORARY PATRON 名譽顧問 HONORARY ADVISERS 行政長官 The Chief Executive 陳永華教授 Prof. Chan Wing-wah, JP 曾蔭權先生 The Hon Donald Tsang Yam-kuen, GBM 張建東博士 Dr the Hon Marvin Cheung, OBE, SBS, JP 周永成先生 Mr Vincent Chow Wing-shing, MBE, JP 董事局 BOARD OF GOVERNORS 何超瓊女士 Ms Pansy Ho Chiu-king 劉元生先生 Mr Y. S. Liu 胡法光先生 Mr Hu Fa-kuang, GBS, CBE, JP 主席 Chairman 嘉道理勳爵夫人 Lady Kadoorie 梁定邦醫生 Dr Ronald Leung, OBE, JP 蘇澤光先生 Mr Jack C. K. So, JP 岑才生先生 Mr Shum Choi-sang, SBS, OBE, MA, JP 副主席 Vice-Chairman 黃英琦女士 Ms Ada Wong Ying-kay, JP 楊鐵樑爵士 The Hon Sir T. L. Yang, GBM, JP 陳祖泳女士 Ms Joanne Chan 邱詠筠女士 Ms Winnie Chiu 執行委員會 EXECUTIVE COMMITTEE 蔡關穎琴律師 Mrs Janice Choi 劉元生先生 Mr Y. S. Liu 蔡寬量教授 Prof. Daniel Chua 主席 Chair 霍經麟先生 Mr Glenn Fok 湯德信先生 Mr David Fried 蔡關穎琴律師 Mrs Janice Choi 喬浩華先生 Mr Peter Kilgour 伍日照先生 Mr Daniel Ng Yat-chiu 林煥光先生 Mr Lam Woon-kwong, GBS, JP 冼雅恩先生 Mr Benedict Sin Nga-yan 梁馮令儀醫生 Dr Lilian Leong, BBS, JP 蘇澤光先生 Mr Jack C. K. So, JP 劉靖之教授 Prof. Liu Ching-chih 詩柏先生 Mr Stephan Spurr 羅志力先生 Mr Peter Lo 伍日照先生 Mr Daniel Ng Yat-chiu 財務委員會 FINANCE COMMITTEE 蘇兆明先生 Mr Nicholas Sallnow-Smith 冼雅恩先生 Mr Benedict Sin Nga-yan 冼雅恩先生 Mr Benedict Sin Nga-yan 主席 Chair 詩柏先生 Mr Stephan Spurr 鄧永鏘爵士 Sir David Tang, KBE 霍經麟先生 Mr Glenn Fok 黃錦山先生 Mr Kenny Wong Kam-shan 劉元生先生 Mr Y. S. Liu 衛嘉仁先生 Mr David Zacharias 伍日照先生 Mr Daniel Ng Yat-chiu 黃錦山先生 Mr Kenny Wong Kam-shan 黃文耀先生 Mr Robert T. Wong

籌款委員會 FUNDRAISING COMMITTEE 蔡關穎琴律師 Mrs Janice Choi 主席 Chair

發展委員會 DEVELOPMENT COMMITTEE 詩柏先生 Mr Stephan Spurr 主席 Chair 行政人員 MANAGEMENT 市場推廣部 MARKETING 藝術行政部 ARTISTIC ADMINISTRATION 譚兆民先生 Mr Paul Tam 周淼女士 Ms Mio Margarit Chow 市場推廣總監 Director of Marketing 藝術策劃總監 Director of Artistic Planning 陳剛濤先生 Mr Nick Chan 王嘉瑩小姐 Miss Michelle Wong 市場推廣副經理 Deputy Marketing Manager 助理經理 Assistant Manager (藝術家事務) (Artist Liaison) 梁國順先生 Mr Gordon Leung 高級巿場及傳訊主任 Senior Marketing Communications Officer 羅芷欣小姐 Miss Christy Law 藝術行政部助理 Artistic Administration Assistant 黃穎詩小姐 Miss Natalie Wong 巿場及傳訊主任 Marketing Communications Officer 發展部 DEVELOPMENT 吳凱明女士 Ms Edith Ng 陳嘉惠女士 Ms Tiphanie Chan 發展經理 Development Manager 編輯 Publications Editor

韓嘉怡小姐 Miss Kary Hon 梁琪琪小姐 Miss Kiki Leung 助理發展經理 Assistant Development Manager 教育及外展主任 Education and Outreach Officer

財務及行政部 FINANCE AND ADMINISTRATION 陸可兒小姐 Miss Alice Luk 何黎敏怡女士 Mrs Vennie Ho 企業傳訊主任 Corporate Communications Officer 財務及行政主管 Head of Finance and Administration 林美玲小姐 Miss Alice Lam 李康銘先生 Mr Homer Lee 客務主任 Customer Service Officer 財務經理 Finance Manager 樂團事務部 ORCHESTRA AND OPERATIONS 張嘉雯小姐 Miss Cherish Cheung 邵樂迦先生 Mr Luke Shaw 人力資源經理 Human Resources Manager 樂團事務主管 Head of Orchestra and Operations

李家榮先生 Mr Andrew Li 楊劍騰先生 Mr Ambrose Yeung 資訊科技及項目經理 Manager, IT & Projects 樂團人事經理 Orchestra Personnel Manager

郭文健先生 Mr Alex Kwok 陳國義先生 Mr Steven Chan 財務及行政 Assistant Manager, 舞台經理 Stage Manager 助理經理 Finance and Administration 何思敏小姐 Miss Betty Ho 陳碧瑜女士 Ms Rida Chan 樂譜管理 Librarian 行政秘書 Executive Secretary 陳韻妍小姐 Miss Vanessa Chan 蘇碧華小姐 Miss Vonee So 助理經理 Assistant Manager 財務及行政高級主任 Senior Officer, Finance & Administration (樂團事務) (Orchestra and Operations)

陳麗嫻小姐 Miss Pamela Chan 蘇近邦先生 Mr So Kan Pong 接待員 Receptionist 運輸主任 Transportation Officer (Musical Instruments)

梁錦龍先生 Mr Sammy Leung 辦公室助理 Office Assistant

聯絡我們香港九龍尖沙咀文化中心行政大樓八樓電話：2721 2030 傳真：2311 6229 Contact us Level 8, Administration Building, Hong Kong Cultural Centre, Kowloon, Hong Kong Tel: 2721 2030 Fax: 2311 6229 www.hkpo.com Maestro Circle 大師會

大師會特別為熱愛管弦樂的企業及人士而設，旨在推動香港管弦樂團的長遠發展及豐富市民的文化生活。港樂謹此向下列各大師會會員致謝。 Maestro Circle is established for the business community and individuals who are fond of symphonic music. It aims at supporting the long-term development of the Hong Kong Philharmonic Orchestra and enriching cultural life. We heartily thank the following Maestro Circle members.

白金會員 PLATINUM MEMBERS

David M. Webb webb-site.com

鑽石會員 DIAMOND MEMBERS

綠寶石會員 EMERALD MEMBERS

Peter Siembab

珍珠會員 PEARL MEMBERS

Mrs Joy Chung

以公司英文名稱序 In alphabetical order of company name 多謝支持 Thank You for Your Support

香港管弦樂團在此向以下商業機構及熱心人士表達由衷謝意！ The Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support.

樂團席位贊助基金 CHAIR ENDOWMENT FUND 總指揮贊助基金 The Maestro’s Chair endowed by The Octavian Society Limited 劉元生慈善基金 Y. S. Liu Foundation 樂師贊助基金 The Musician’s Chair endowed by 邱啟楨紀念基金 C. C. Chiu Memorial Fund 法國興業私人銀行 Societe Generale Private Banking

常年經費 ANNUAL FUND

金管贊助人 Gold Patron 銀管贊助人 Silver Patron 銅管贊助人 Bronze Patron >HK$100,000 HK$50,000 – HK$99,999 HK$30,000 – HK$49,999 新昌國際集團有限公司陳建球伉儷 Mr & Mrs E Chan Mr & Mrs David Fried Hsin Chong International Holdings Ltd 張爾惠伉儷 Mr & Mrs Lowell & Phyllis Chang 陳智文先生 Mr Stephen Tan 嘉里控股有限公司梁烈安伉儷 Mr & Mrs Leung Lit On 謝超明女士 Ms Tse Chiu Ming Kerry Holdings Limited 董建成先生夫人紀念鮑復慧女士黃少軒江文璣基金有限公司 Mr C.C. & Mrs Harriet Tung Mr & Mrs S H Wong Foundation Ltd in memory of Ms Ida Pau Fook Wai

紅寶贊助人 Ruby Patron 翡翠贊助人 Jade Patron 明珠贊助人 Pearl Patron HK$10,000 – HK$29,999 HK$5,000 – HK$9,999 HK$3,000 – HK$4,999 Mr Barry John Buttifant 無名氏 Anonymous 無名氏 Anonymous (2) 陳靜娟女士 Ms Vivien C C Chan 陳振漢醫生 Dr Edmond Chan 陳鴻遠先生 Mr Chan Hung Yuen Robert Mrs Anna Chen 陳健華先生 Mr Chen Chien Hua 陳葆酉先生及馮永仁先生鄭李錦芬女士 Ms Eva Cheng Mr Cheng Kwan Ming Mr Po Chan & Mr Nicholas Fung 蔡維邦先生 Mr Edwin Choy 梁贊先生及周嘉平女士 Mr & Mrs Jonathan Cheng Dr & Mrs Carl Fung Mr Jan Leung & Ms Emily Chow 張德龍先生 Mr Cheung Tak Lung 馮兆林先生夫人 Mr & Mrs Michael & Angela Grimsdick Mr Chow Ping Wah Mr & Mrs Fung Shiu Lam 何兆煒醫生 Dr William Ho Dr Affandy Hariman 高膺伉儷 Mr & Mrs Ko Ying 胡立生先生 Mr Maurice Hoo Mr Toru Inaoka 關智健先生及家人龔鳴夫先生 Mr Jackson Kung Ming Foo 關日華醫生 Dr Mike Kwan Yat Wah Dr Justin L. Kwan & Family 梁卓恩先生夫人 Mr Lee Chi Wa 李健鴻醫生 Dr Lee Kin Hung Mr & Mrs Cheuk-yan & Rotina Leung Dr Joseph Pang 梁馮令儀醫生 Dr Lilian Leong 李景行先生 Mr Richard Li Mr Tsunehiko Taketazu 麥耀明先生 Mr Lawrence Mak Ms Li Shuen Pui Agnes 曾文生先生 Mr Eric M S Tsang 麥禮和醫生 Dr Mak Lai Wo Mr & Mrs John & Coralie Otoshi 胡志剛先生 Mr Wu Chi Kong Dr John Malpas 彭永福醫生及夫人 Mrs Anna Marie Peyer Dr & Mrs Pang Wing Fuk 田家炳基金會 Tin Ka Ping Foundation 潘昭劍先生 Mr Poon Chiu Kim Raymond 曹延洲醫生 Dr Tsao Yen Chow Ms Carley Shum & Mr Jeff Szeto 汪徵祥慈善基金丁天立伉儷 Mr & Mrs Ivan Ting The Wang Family Foundation 黃保欣先生 Mr Wong Po Yan 任懿君先生 Mr David Yam Yee Kwan 多謝支持 Thank You for Your Support

學生票資助基金 STUDENT TICKET FUND

金管贊助人 Gold Patron 銀管贊助人 Silver Patron 銅管贊助人 Bronze Patron >HK$100,000 HK$50,000 – HK$99,999 HK$30,000 – HK$49,999

生銀行 Hang Seng Bank 嘉里控股有限公司李國賢博士 Dr Simon K.Y. Lee 芝蘭基金會 Zhilan Foundation Kerry Holdings Limited 梁家傑伉儷 Mr & Mrs Alan Leong 信興教育及慈善基金 Dr John Shum Ding Ping & Shun Hing Education and Charity Fund Ms Chan Kit Wah Eva 王培麗博士紀念鮑復慧女士 Dr Eleanor Wong in memory of Ms Ida Pau Fook Wai

紅寶贊助人 Ruby Patron 翡翠贊助人 Jade Patron 明珠贊助人 Pearl Patron HK$10,000 – HK$29,999 HK$5,000 – HK$9,999 HK$3,000 – HK$4,999

無名氏 Anonymous Mr Ian D Boyce 陳鴻遠先生 Mr Chan Hung Yuen Robert 陳求德醫生及夫人 Mr Iain Bruce Mrs K L Chan Dr & Mrs Chan Kow Tak Mrs Anna Chen Dr Chan Man Wai Mr David Chiu 陳健華先生 Mr Chen Chien Hua 周慕華女士 Ms Catherine Mo Wah Chau 高膺伉儷 Mr & Mrs Ko Ying Mr Chu Ming Leong Ms Katherine Cheung 關智健先生及家人鍾思源醫生 Dr Chung See Yuen 祈大衛教授 Professor David Clarke Dr Justin L. Kwan & Family 馮兆林先生夫人馮為佳先生及馮霍幸楹女士李玉芳女士 Ms Doreen Lee Mr & Mrs Fung Shiu Lam Mr Alex Fung & Mrs Hanne Froseth-Fung 梁惠棠醫生 Dr Thomas W T Leung 熊芝華老師 Ms Teresa Hung 何炳佑先生夫人伉儷羅家驩慈善基金關家雄醫生及夫人 Mr & Mrs Phyllis & Adolf Ho Lo Kar Foon Foundation Dr & Mrs Kwan Ka Hung 李樹榮博士 Dr Lee Shu Wing Ernest 朗軒創意國際有限公司梁卓恩先生夫人林燕女士 Ms Lemon Lim Yin Long Hin Creative International Ltd. Mr Cheuk-Yan & Mrs Rotina Leung 呂永照先生 Mr Lui Wing Chiu 文本立先生夫人 Ms Liu Ying Mr & Mrs Bernard Man 羅紫媚 & Joe Joe Dr Lo Xina 黃建安先生 Mr Thomas Wong Kin On Mr Lo Cheung On, Andrew 駱余劍清紀念基金 Dr Ingrid Lok Hung 任懿君先生 Mr David Yam Yee Kwan Lok Yu Kim Ching Memorial Fund 麥輝成先生 Mr Mak Fai Shing 葉謀遵博士 Dr M T Geoffrey Yeh Nathaniel Foundation Limited 芥籽園基金 Mustard Seed Foundation 曹延洲醫生 Dr Tsao Yen Chow Oxford Success (Overseas) Ltd Mr Wong Kong Chiu 岑才生先生 Mr Shum Choi Sang 盛平公證行有限公司 Zennon & Pierre Company Limited Miss Ophelia Tam Ms Tsang Kwai Fong 蔡東豪先生 Mr Tony Tsoi 黃星華博士 Dr Dominic S W Wong, GBS,OBE,JP Mr Wu Ken 贊助基金 ENDOWMENT TRUST FUND

贊助基金於一九八三年由以下機構贊助得以成立。 The Endowment Trust Fund was set up in 1983 with these initial sponsors.

香港賽馬會慈善信託基金豐銀行慈善基金置地有限公司 The Hong Kong Jockey Club Charities Trust The Hongkong Bank Foundation The Hongkong Land Group

花旗銀行怡和有限公司香港董氏慈善基金會 Citibank, NA Jardine, Matheson & Company Ltd The Tung Foundation

商藝匯萃 PAGANINI PROJECT

此計劃由「商藝匯萃」發起及組織。 This project is initiated and organised by Business for Art Foundation.

汪穗中先生捐贈 Donated by Mr Patrick Wang • 艾曼．謝曼明(1907)小提琴．由冒田中知子小姐使用 • Emile Germain (1907) Violin, played by Ms Tomoko Tanaka Mao

張爾惠先生捐贈 Donated by Mr Lowell Chang • 洛治．希爾(c.1800)小提琴．由王亮先生使用 • Lockey Hill (c.1800) Violin, played by Mr Wang Liang

鍾普洋先生捐贈 Donated by Mr Po Chung • 多尼．哈達(1991)大提琴．由張明遠先生使用 • Dawne Haddad (1991) Violoncello, played by Mr Cheung Ming-yuen

史葛．羅蘭士先生捐贈 Donated by Mr Laurence Scofield • 安素度．普基(1910)小提琴．由張希小姐使用 • Ansaldo Poggi (1910) Violin, played by Ms Zhang Xi

樂器捐贈 INSTRUMENTAL DONATION

香港管弦協會婦女會捐贈 Donated by The Ladies Committee of the Hong Kong Philharmonic Society 所捐贈之罕有樂器 – Rare instruments donated – • 安域高．洛卡(1902)小提琴．由程立先生使用 • Enrico Rocca (1902) Violin, played by Mr Cheng Li • 桑．巴蒂斯．維爾翁(1866)小提琴由第三副團長 • Jean-Baptiste Vuillaume (1866) Violin, played by Ms Bei Zhu, 朱蓓小姐使用 Third Associate Concertmaster • 約瑟．加里亞奴(1788)小提琴由第二副團長 • Joseph Gagliano (1788) Violin, played by 王思恆先生使用 Mr Wong Sze-hang, Second Associate Concertmaster • 卡洛．安東尼奧．狄斯多尼(1736)小提琴， • Carlo Antonio Testore (1736) Violin, played by Mr Ni Lan 由倪瀾先生使用

為支持「提升樂團樂器素質計劃」而捐贈之其他樂器 – Other instruments donated in support of the “Instrument Upgrade and Enhancement Project” – • 德國轉閥式小號兩支 • Two German Rotary Trumpets • 德國華格納大號乙套 • A set of Wagner Tubas • 翼號乙支 • A Flugelhorn Concert Calendar CSS Ad Tom Lee Ad