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永遠懷念林克昌大師 in Memory of Maestro Lim Kek-Tjiang (1928-2017)

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j5w42-mozart-cover-v1.pdf 1 15/6/2017 4:13 PM C M Y CM MY CY CMY K fazi20151101-16 170x247mm op (2).pdf 1 19/6/2017 11:26 AM C M Y CM MY CY CMY K 永遠懷念林克昌大師 In MeMory of Maestro LIM KeK-tjIang (1928-2017) 香港管弦樂團的首任音樂總監林克昌大 The Hong Kong Philharmonic Society wishes to express its 師於2017年6月15日在墨爾本與世長 deepest condolences to the family of Maestro Lim Kek-tjiang, 辭，香港管弦協會致以深切哀悼。 who passed away peacefully on 15 June 2017 in Melbourne. 林大師1928年生於印尼的一個華裔家 Born into an Indonesian-Chinese family in 1928, Maestro Lim 庭，於 阿 姆 斯 特 丹 和 巴 黎 學 習 小 提 had trained as a violinist in Amsterdam and Paris. He was the 琴；1969年起出任香港管弦樂團的首席 HK Phil’s Principal Conductor from 1969 until early 1974, and 指揮，直至港樂1974年職業化後擔任港 was the HK Phil’s first Music Director after its establishment 樂 首位音 樂 總 監。 as a professional orchestra in 1974. 香港管弦協會董事局主席劉元生先生感 Y.S. Liu, the Chairman of the Board of Governors of the 謝林克昌大師的遠見和努力，為樂團發 Hong Kong Philharmonic Society, acknowledges his gratitude 展 下重要基石。首席第二小提琴范丁 to Maestro Lim’s vision and hardwork which helped turn the 奠 是1974年樂師團隊中唯一仍留任的成 HK Phil into what it is today. Fan Ting, our Principal Second 員，他憶述恩師對他的啟蒙：「記得港樂 Violin and the only remaining member from the 1974 roster, 於1974年職業化後第一個音樂會中演奏 recalls how “at the first concert in 1974 after the orchestra 柴可夫斯基第五交響曲，林大師曾要求所 launched into its professional era, Maestro Lim asked all string 有弦樂樂師背譜，對樂師的要求非常嚴 players to memorise the score to Tchaikovsky’s Symphony 格。因 為 有 林 克 昌 大 師 的 不 懈 堅 持，帶 no. 5. Maestro set a high bar for the orchestra, and thanks 領一群滿腔熱誠的樂師們渡過各種困難 to his persistence, the orchestra overcame difficulties and 及經濟困境，港樂才能一直走到今天。」 financial crises, and laid a solid foundation for the HK Phil to 對於林大師的非凡貢獻，香港管弦協會 achieve what it has today”. 致以崇高的敬意，以及最誠摯的感謝。 Our sincere gratitude and profound respect to the Maestro for 我們將永遠懷念林克昌大師。 everything he brought to the HK Phil. He will be sorely missed. 1970年代中，第一任音樂總監林克昌大師與當時港樂樂師。 In the mid-1970s, Maestro Lim Kek-tjiang, the first Music Director of the HK Phil. 1 你的香港管弦樂團 多於 more than 個音樂會系列 套音樂會節目 場主要音樂會 套外展及教育 位港樂樂師 位香港音樂家 concert series concert mainstage 活動接觸多於 orchestra Hong Kong programmes concerts 40,000 名師生 members artists education and outreach activities for 40,000 students and teachers “van Zweden has taken the “(van Zweden) takes HK Phil to a new level, the HK Phil to the next “HK Phil, one that neither level. It is not only a a Hong Kong “Today’s the musicians blessing to the HK Phil Orchestra that HK Phil nor their fans knew but also to all fans in we are is absolutely existed.” Hong Kong.” proud of” world-class!” hkphil.org Time Out Hong Kong Ming Pao Daily News Audiotechnique De Telegraaf 樂季 你的香港管弦樂團2016/17 SEASON 第 每年 位港樂樂師 位香港音樂家 位新晉香港作曲家 場由梵志登指揮 個樂季 個心靈被我們的 orchestra Hong Kong emerging Hong 的音樂會 season 音樂觸動 members artists Kong composers HK Phil concerts people reached conducted by annually Jaap van Zweden 「登峰造極⋯⋯ （梵志登）領導港樂 「香港人 更上一層樓，不僅 「整個演出散發著 引以為傲的 是港樂也是香港所有 「今天的港樂團 唯美般的光彩」 樂團」 樂迷之福。」 絕對是世界水準！」 hkphil.org 周凡夫 張灼祥 李歐梵 黃牧 《大公報》 《星島日報》 《明報》 IT TAKES YOU TO MAKE THE ORCHESTRA GREAT 你 成就傑出非凡的港樂 現時樂團近四分一營運成本是 As a registered charity and a not-for-profit organisation, 依靠各位熱愛港樂的朋友和贊 we are truly thankful for the support of our wonderful 助 機 構的 捐 助。款項不 僅 支 持 donors and sponsors. This support covers one quarter of 我們為你送上精彩的音樂會， the costs of putting on the concerts you love. It enables 更讓我們實踐使命，提供創作 us to maintain the highest standard within the orchestra 及演出平台予本地音樂家，推 and present the most vibrant programmes. It also helps 行各項教育及外展計劃，並為 us realise our commitment to the community including a 觀眾及青少年聽眾舉辦音樂會 commission platform for local composers, projects reaching 前 講 座 與 公 開 綵 排，令 更 多人 out to schools and communities, open rehearsals for young 喜愛和 欣 賞音樂。 audiences and pre-concert talks to deepen engagement. 不 論 捐 款 多 寡，我 們 都 需 要 你 Every donation of every size helps—your gift is essential. 的慷慨支持，繼續精益求精。 捐款查詢 do NATION ENQUIRIES www.hkphil.org/give 2721 2030 | [email protected] dev-form-hp.pdf 1 31/5/2017 8:38 PM C M Y CM MY CY CMY K swire-1213-ear-hpad-spread-op.pdf 1 25/12/12 10:10 PM C M Y CM MY CY CMY K swire-1213-ear-hpad-spread-op.pdf 1 25/12/12 10:10 PM C M Y CM MY CY CMY K 太古音樂大師系列 SWIRE MAESTRO SERIES 冠名贊助 Title Sponsor 精選莫扎特 MOZART DELIGHT MOZART 莫扎特：《魔笛》 序曲 P. 10 ~7’ The Magic Flute Overture MOZART 莫扎特：第二十三鋼琴協奏曲 P. 12 ~26’ 快板 慢板 極快板 Piano Concerto no. 23 Allegro Adagio Allegro assai 中場休息 interval MOZART 莫扎特：第三十九交響曲 P. 15 ~29’ 慢板；快板 流暢的行板 小步舞曲與中段 快板 Symphony no. 39 Adagio; Allegro Andante con moto Menuetto e Trio Allegro 大 ．史頓，指揮 P. 18 David衞 Stern, conductor 巴納坦，鋼琴 P. 19 Inon Barnatan, piano 請勿拍照、錄音或錄影 請關掉手提電話及其他電子裝置 請勿飲食 No photography, recording Please turn off your mobile phone No eating or drinking or filming and other electronic devices 如不欲保留場刊，請於完場後放回 演奏期間請保持安靜 請留待整首樂曲完結後 場地入口以便回收 Please keep noise to 才報以掌聲鼓勵 If you don’t wish to take this printed a minimum during Please reserve your applause programme home, please return it to the performance until the end of the entire work the admission point for recycling 關注港樂 JOIN OUR COMMUNITY 9 莫扎特 《 魔 笛 》序 曲 WOLFGANG AMADEUS MOZART (1756-1791) The Magic Flute Overture 1780年，莫扎特在薩爾斯堡 The actor, writer, impresario and singer Emanuel 認識了斯勤尼達；斯勤尼達除 Schikaneder first met Mozart in Salzburg in 1780. 了是 演 員、作 家 和 劇 團 經 理 The two men renewed their acquaintanceship six 人 之 外，還 是 位 歌 唱 家。六 年 years later when Schikaneder’s acting troupe staged 後，斯 勤 尼 達 的 劇 團 在 維 也 納 a performance of Beaumarchais’ The Marriage of 搬 演 博 馬 舍 話 劇《 費 加 洛 的 Figaro in Vienna. That performance had inspired 婚禮》，兩人再次碰面，更令 Mozart to set the work as an opera. But the most 莫扎特興起將《費加洛的婚 important connection between the two—so far as 禮 》改 編 成 歌 劇 的 念 頭。可 是 musical history is concerned—is the fact that both 就音樂史來說，兩人最重要的 共 通 點，則 是 同 為 熱 心 的 共 men were dedicated Freemasons. According to the 濟 會 會 員。莫 扎 特 學 者 威 廉． Mozart scholar William Ober, “Mozart’s association 奧博寫道：「共濟會令莫扎特 with Freemasonry brought out many of the best 發 揮 出 自 身 許 多 美 好 特 質，也 qualities in his character and inspired some of his 啟發他創作了好些感人肺腑 most touching music, music of high purpose and 的作品──這些樂曲目標崇 moral enrichment, to be enjoyed not only for its 高，又能充實心靈，不但精緻 beauty—as all Mozart’s music is—but for its noble 優美（事實上他所有作品都很 values as well”. 美 ）， 更 流 露 出 高 尚 情 操 。 」 共濟會會員聚首 A Meeting of Freemasons 莫扎特1784年12月14日加入 Mozart had become a Freemason on 14 December 「善行會堂」時，「善行會 1784, joining the “Benevolence” Lodge which 堂」才成立一年左右──之 itself had been founded just the previous year— 前奧地利共濟會被德蕾莎女 Freemasonry having been banned from the Austrian 皇禁制了許久，原因是她皇 Empire up until the death of Empress Maria Theresa 夫曾以到國外參加共濟會聚 in 1780 (she had objected to the fact that her 會 為 名，外 出 勾 三 搭 四 為 實， husband had used lodge meetings overseas as an 搞出一連串婚外情，於是共 excuse to carry on a string of extra-marital affairs). 濟 會 被 女 皇 下 令 取 締，直 到 Mozart composed some 10 distinct works for lodge 女皇1780年駕崩後禁令才撤 meetings, but the best-known of all his works 銷。莫 扎 特 前 後 共 有十首 特 別 associated with Freemasonry was the penultimate 為共濟會聚會而作的樂曲， 但 與 共 濟 會 有 關 的 作 品 中， of his 21 operas, Die Zauberflöte (“The Magic Flute”), 卻以他二十一齣歌劇中倒數 first staged in September 1791. Schikaneder not only 第二齣最為著名──也就是 wrote the libretto for Die Zauberflöte—with Mozart’s 1791年9月 首 演 的《 魔 笛 》。 connivance incorporating copious references to 至於斯勤尼達，他自己在維 Masonic symbols and rites—but also took the part 也納北部郊區有一幢劇院， of Papageno in the first performance and paid for the 名 叫 「 維 登 劇 院 」，《 魔 笛 》 production, which took place in his own theatre, the 10 莫扎特 《 魔 笛 》序 曲 斯勤尼達是首位在莫扎特歌劇《魔笛》飾演帕帕基諾的演員。 WOLFGANG AMADEUS MOZART (1756-1791) 圖 為 初 版《 魔 笛 》劇 本 首 頁。 Emanuel Schikaneder as the first Papageno in Mozart’s The Magic Flute. The Magic Flute Overture Front page of the original edition of the libretto. ( Wikimedia Commons) 首 演 就在 那 裡 舉 行。斯 勤 尼 Theater auf der Wieden, 達 不 但 親 自 撰 寫《 魔 笛 》劇 on the northern outskirts 本（ 莫 扎 特 也 默 許 他 把 許 多 of Vienna. It was without 共濟會的象徵和儀式加插 doubt the greatest 在 內 ）和 支 付 製 作 費，首 演 success of both Mozart’s 時更粉墨登場飾演捕鳥人帕 and Schikaneder’s career 帕 基 諾 。《 魔 笛 》大 概 是 莫 and within a month 扎特和斯勤尼達兩人生平最 had been staged to full 成 功 的 作 品，才 一 個 月 已 經 演 出 了二 十 多 場，且 場 場 滿 houses no less than 20 座。1811年 ，《 魔 笛 》 首 次 在 倫 times. In 1811 it was first 敦 演 出；1833年中更橫越大 staged in London and by 西 洋 到 紐 約 搬 演，同 樣 大 為 the middle of 1833 had 成 功。 crossed the Atlantic and achieved huge success in 「三」的 象 徵 意 義 New York.
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    Poetry Series Jordan Legaspi - poems - Publication Date: 2008 Publisher: Poemhunter.com - The World's Poetry Archive Jordan Legaspi(24 July 1978) Most of the time I am with my self, reading, writing, and most of all watching people in their movement(s) . Lighting candle is my expression of my in-tense feelings; as it was penned in my poetry. The different phase of the moon is important to me as my every day journey is; before I will enter the door of death- the shadow of life cast from the cosmic reality of the unknown. Originally I was from the countryside of the Eastern part of Mindanao, Philippines- the birth place of no very important people of the country's history and that of the whole mankind. However, there are some truth behind the tribe's name 'Mandaya' or in the English translation 'the first origin'(according to the first catholic priest missionary who studied the origin of the first people settled in the region) : significant as it was/use to be, in their ancient belief- the belief system embedded in their culture and tradition. Together with the different rituals of different incantations portrays wisdom beyond age, but slowly confronted by the demand of 'civilization' and its 'modernity' become less important to my people. The countryside's experience shaped and molded me into a potent character in the spiritual world. Indeed, this made me to travel just to seek and meet other forces that I know searching their place where to belong. Jordan Legaspi, is not my real name, in fact this is just one of the names associated to me: M_2859; Redluck-the jester's poet or the jester's poet are among those names I claim.
  • National Association of Composers/USA

    National Association of Composers/USA

    National Association of Composers/USA 2018 Conference March 16-18, 2018 Greetings from Dr. Brad Cutcliffe, president of the Great Plains chapter of NACUSA, and from each of its members. We welcome you to this momentous occasion as we celebrate the 85th anniversary of the organization. The Great Plains chapter was expanded in 2015 to include nine states within that region: Missouri, Kansas, Arkansas, Oklahoma, Nebraska, Iowa, South Dakota, North Dakota, and Minnesota. Our goal is to increase composer cooperation and performance opportunities in a vast area that is musically rich and diverse but underrepresented nationally. We would like to thank the staff and faculty of William Jewell College and the National World War I Museum and Memorial. Fellow NACUSA and KcEMA members John Chittum, Dr. Ian Coleman, Daniel Morel, and Greg Steinke deserve special appreciation. Without your combined efforts this conference would not have been possible. We hope that the next three days will give you much to reflect upon and celebrate. Your enthusiasm, participation, and creativity is vital not only to the organization but to new American art music. We look forward to thought-provoking discussions and amazing new music. Thank you for attending. National Conference Schedule Friday, March 16th 7:00pm Concert #1, J.C. Nichols Auditorium Saturday, March 17th Papers/Presentations, William Jewell College, Gano Chapel 9:00am Greg A Steinke: Music and the Poetry of Lawson Fusao Inada 9:45am NACUSA Business Meeting 10:30am Tetsuya Takeno: cheating, lying, stealing
  • February 2007 Wind Ensemble Program

    February 2007 Wind Ensemble Program

    Program Program Notes (2) Third Suite (1966) Robert Jager (b. 1939) Lee Davis High School The “Third Suite” was written for Mr. Leo Imperial, director of the Granby High School Band of Norfolk, Virginia, and is dedicated to him and his very fine organization. The Suite received its first The Thunderer (1889) John Philip Sousa, arr. Sparke performance by them in December 1965 from manuscript. The Suite is a tuneful work for band, yet it has built into it certain elements which provide a Variations on a Korean Folk Song (1965) John Barnes Chance challenge for the players and conductor. In the first movement, for example, the steady feel and rhythm of a march are somewhat distorted by measures of unequal time values. In the “Waltz”, the same kind of distortion of time occurs as in the previous movement, but now it is the familiar ¾ which receives the Afta-Stuba! (2000) Mark Ford treatment. The form of the “Rondo” is ABACABA. The movement opens with a five chord Peter Soroka, Becky Farley, and Josh Pidco, Marimba Soloists introduction in the full band. A solo cornet states the “A” theme, followed by a mood shift to minor for the “B” theme. The “C” theme introduced by the piccolos. After a loud timpani crash, the final “A” is heard “Presto.” This builds to a climatic finale based on the five notes of the introduction. Third Suite (1966) Robert Jager I. March Fantasy Variations on a Theme by Niccolo Paganini (1989) II. Waltz James Barnes (b. 1949) III. Rondo Niccolo Paganini (1782 - 1840) was one of the greatest virtuoso violinists of all time; he also was University of Virginia a noted composer.