© Yvonne Chan © Julien Mignot

音樂總監／指揮 Music Director/Conductor 葉詠詩 Yip Wing-sie

駐團藝術家／導演／美術指導／舞者 小提琴 Violin Artist Associate/Stage Direction/ 25.2.2012 Visual Design/Dance Artist 庄司紗矢香 （星期六 Sat）8:00pm 伍宇烈 Yuri Ng Sayaka Shoji 舞者 Dance Artist 26.2.2012 （星期日 Sun）4:00pm 華琪鈺 Tina Hua 第四十屆 (2012年) 香港藝術節節目 獲香港舞蹈團批准參與演出 香港大會堂音樂廳 A programme of the 40th Hong Kong Arts Festival (2012) Appearing through the courtesy of Hong Kong Dance Company 香港小交響樂團為香港大會堂場地伙伴 HK City Hall Concert Hall Hong Kong Sinfonietta is the 及香港演藝學院舞者 Venue Partner of the Hong Kong City Hall and dancers from The Hong Kong 香港小交響樂團由香港特別行政區政府資助 Hong Kong Sinfonietta is financially supported by the Academy for Performing Arts Government of the Hong Kong Special Administrative Region

謝謝 二月廿五日演出贊助 With thanks to 25 Feb performance sponsored by 音樂總監／指揮 25.2.2012 Music Director/Conductor （星期六 Sat）8:00pm 葉詠詩 Yip Wing-sie

駐團藝術家／導演／美術指導／舞者 26.2.2012 Artist Associate/Stage Direction/Visual Design/Dance Artist （星期日 Sun）4:00pm 伍宇烈 Yuri Ng 香港大會堂音樂廳 小提琴 Violin HK City Hall Concert Hall 庄司紗矢香 Sayaka Shoji 節目 Programme 舞者 Dance Artist 拉威爾 圓舞曲 華琪鈺 Tina Hua 西貝遼士 D小調小提琴協奏曲，作品47 獲香港舞蹈團批准參與演出 Appearing through the courtesy of Hong Kong Dance Company 中場休息 及香港演藝學院舞者 西貝遼士 《圖奧奈拉的天鵝》 and dancers from 拉威爾 圓舞曲（編舞：伍宇烈） The Hong Kong Academy for Performing Arts Ravel La Valse (Poème Chorégraphique) Sibelius Violin Concerto in D minor, Op 47 Intermission Sibelius The Swan of Tuonela Ravel La Valse (Choreographer: Yuri Ng)

場地規則 House Rules 香港大會堂 Hong Kong City Hall 各位觀眾 Dear Patrons, 中環愛丁堡廣場5號 為求令表演者及觀眾不致受到騷擾，請關掉手提電話、其他響鬧及發光的裝置。同時請勿在場內飲食 5 Edinburgh Place, Central, Hong Kong 或擅自攝影、錄音或錄影。多謝合作。 方雅雯 高級經理 To avoid undue disturbance to the performers and other members of the audience, please switch off your mobile phones and any other sound and light emitting devices before the performance. Gladys Fong Senior Manager We also forbid eating and drinking, as well as unauthorized photography, audio and video 電話 Tel: 2921 2840 recordings in the auditorium. Thank you for your co-operation. 圖文傳真 Fax: 2877 0353 獻辭Message

香港藝術節匯聚全城文化精髓，是享譽亞洲的文化盛事。藝術節絢 麗多姿的節目，每年吸引無數海內外藝術愛好者熱烈捧場。觀眾無 論以香港為家，還是慕名而來，都不難感受箇中都會魅力。 香港藝術節雲集本地以至全球名家傾力演出，盡展藝術才華。精選 節目包羅萬象，古今俱備，觀眾既可欣賞當代新銳創作，更可回味 大師經典作品。 欣逢香港藝術節四十周年，可喜可賀。謹祝各位有一個愉快難忘的 晚上。

香港特別行政區行政長官

The Hong Kong Arts Festival is a highlight of our city’s cultural calendar and a widely celebrated arts event in Asia. Each year it presents a feast of exciting programmes that draw arts lovers from near and far, adding to Hong Kong’s attractiveness both as a home and a tourist destination. The Festival is an important platform for showcasing local talent alongside the best artists from around the world. With a judicious mix of programmes, it champions new and contemporary works while celebrating great masterpieces, giving audiences much to savour. I congratulate the Hong Kong Arts Festival on its 40th Anniversary and wish you all a truly memorable evening.

Donald Tsang Chief Executive Hong Kong Special Administrative Region

2 如夢逝水年華 La Valse Remembered 歡迎蒞臨第40屆香港藝術節。 歡迎閣下蒞臨第40屆香港藝術節。 作為重要的國際文化盛會，香港藝術節 今年香港藝術節呈獻的藝術名家及精采 每年呈獻世界頂尖及多元化的表演節 節目，就如香港大都會一樣多元化又璀 目。今年榮幸再邀請到世界各地及本港 璨奪 目。延續四十年的優良傳統，我們 藝術精英，帶來舞蹈、音樂、歌劇及戲 繼續邀請本地及國際知名的星級藝術家 劇等精采表演，讓觀眾可欣賞振奮心靈 點亮香港大小舞台，呈現世界豐碩的文 的繽紛藝饌。 化傳統，豐富未來的文化面貌。 我藉此感謝香港特區政府、香港賽馬 衷心感謝多年來熱心支持香港藝術節的 會、各贊助企業及個人的慷慨資助。踏 各界人士及團體。我們過去的成功源自 入第40周年，香港藝術節除了雲集世界各地的藝術界翹楚，帶 他們對藝術的熱忱，他們亦深信豐盛多元的文化藝術生活，是香 來精采演出，亦透過學生票贊助計劃及「青少年之友」計劃，培 港作為名副其 實的國 際大都會之重要支柱。 養年青人的藝術體驗；此舉有賴一群熱愛藝術的有心人慷慨資 感謝您與我們一起慶祝香港藝術節的四十年。藝術節團隊向每一 助，鼓勵年青人參與藝術節的精采演出，提升日後觀賞藝術的 位支持香港藝術節的觀眾衷心致謝，期望您盡享連串多姿多采的 興趣。 節目。 各位觀眾的支持和參與，乃驅動藝術節向前邁進的力量。感謝您 前來欣賞本節目，希望本屆藝術節為您帶來美好的觀賞時光。 香港藝術節行政總監

香港藝術節主席 It is a pleasure and privilege to welcome you to the 40th Hong Kong Arts Festival. The array of artistic talent and programmatic content presented at I warmly welcome you to the 40th Hong Kong Arts Festival. this year’s Festival is as diverse and multi-faceted as the city which Recognised for the quality and variety of its programming, the annual has hosted this annual event in the course of four decades. As we Hong Kong Arts Festival is keenly anticipated as the premier event in add to the roll call of local and international luminaries who grace Hong Kong’s cultural calendar. This year we again welcome top our stages, we continue to draw upon the impressive traditions international and local talent in dance, music, opera and theatre, available to us, and work to augment a heritage for the future. whose artistry will delight and inspire us. I am deeply grateful to many individuals and institutions for their I wish to acknowledge strong support of the Government of Hong contributions to the Festival’s success over the years, informed by Kong SAR, the Hong Kong Jockey Club, and sponsors and donors who a love for the arts and an appreciation of how important it is for a make this Festival possible. At this 40 year mark, I am particularly major city worthy of that description to have a rich cultural life. delighted that in addition to presenting wonderful artists to a Thank you for being here to celebrate forty years of the Hong Kong discerning public, we can also nurture young audiences through our Arts Festival. The Festival would not happen without its audience. Student Ticket Scheme and Young Friends Scheme, thanks to the The entire Festival team appreciates your contribution to the 40th contributions of donors and supporters who generously share their Hong Kong Arts Festival and hopes that you enjoy many wonderful own love for the arts with audiences of the future. performances. Thank you very much for coming to this performance. Your presence is paramount to the success of the Festival, and I wish you a very enjoyable experience.

Tisa Ho Executive Director, Hong Kong Arts Festival Charles Lee Chairman, Hong Kong Arts Festival

25-26.2.2012 香港大會堂音樂廳 HK City Hall Concert Hall 3 香港小交響樂團 Hong Kong Sinfonietta 音樂總監 Music Director: 葉詠詩 Yip Wing-sie © HK SINFONIETTA LTD

香港小交響樂團於1990年成立，是香港的旗艦樂團之一。樂團與音樂總監葉詠詩一直致力拉近古典 音樂與普羅大眾間的距離，銳意「培育文化新一代」，並以富創意的節目及充滿熱忱的演奏見稱。

自1999年起，香港小交響樂團經常與國際知名音樂家及藝團合作，包括亞殊堅納西、杜明高、杜 美、傅聰、譚盾、霍活特、巴伐洛堤、蘇嘉文、英國皇家芭蕾舞團、基洛夫芭蕾舞團、莫斯科大劇院 芭蕾舞團、英國國家芭蕾舞團、紐約市芭蕾舞團及斯圖加特芭蕾舞團等。樂團亦經常應邀參與本地不 同藝術節之演出，如香港藝術節、法國五月、香港國際電影節及多個由康樂及文化事務署舉辦的藝術 節，更多次成為「音樂新文化－國際現代音樂節」的指定樂團。

樂團終年無休，每年演出超過90場次，是香港大會堂的場地伙伴。樂團演奏的曲目豐富而廣泛，除了 傳統的管弦樂章外，每年均委約作曲家為樂團譜新曲，亦著意與不同界別的藝術家製作嶄新的跨界節 目，並經常與香港芭蕾舞團及香港歌劇院等本地藝團合作。樂團灌錄過多套鐳射唱片，收錄了不少華 人作曲家的優秀作品，並先後於2008及2010年由DECCA發行唱片《就是古典音樂》第一和第二集， 結集多首經典名曲，進一步推廣古典音樂。 樂團深明培育下一代的重要性，針對不同年齡的觀眾，舉辦別樹一格的「教育」音樂會。《我的音樂 日記》及由葉詠詩主持的《古典音樂速成》、《古典音樂知多少》和《我個名叫麥兜兜．古典音樂小 計劃》等節目，創辦至今深受歡迎，大大拓展古典音樂觀眾的層面。另外，樂團在2010年推出全新 《樂聚一小時》系列，為觀眾提供傳統音樂會以外的新選擇。 除本地演出外，樂團常作客海外，包括在法國的聖里奇音樂節及漢斯夏季音樂會、意大利的米凱朗傑 利國際音樂節和維琴察音樂節、立陶宛的兩個音樂節、上海之春國際音樂節及著名的波蘭華沙愛樂音 樂廳演出。樂團自2006年起成為東京《》音樂祭的常客，於2007、2009及2010年載譽重 訪音樂祭。除日本外，樂團於2010年亦獲邀赴巴西、阿根廷、烏拉圭、北京及上海的多個藝術節演 出，當中包括第二屆中國交響樂之春（北京國家大劇院）及中國上海國際藝術節（世博會「香港活動 周」閉幕節目）的演出。

6 如夢逝水年華 La Valse Remembered Founded in 1990 by a group of local musicians, Hong Kong Sinfonietta is one of Hong Kong’s flagship orchestras. Together with renowned conductor Yip Wing-sie as Music Director, the orchestra has brought quality orchestral music closer to the community through innovative programming, as well as achieved significant recognition on local and international stages for its passionate and energetic performances. Since 1999, Hong Kong Sinfonietta has collaborated with an illustrious array of international musicians and groups, including Vladimir Ashkenazy, Plácido Domingo, Augustin Dumay, Fou Ts’ong, Christopher Hogwood, Luciano Pavarotti, Pinchas Zukerman, The Royal Ballet, Kirov Ballet, Bolshoi Ballet, English National Ballet, New York City Ballet and Stuttgart Ballet. The orchestra has also been a regular participant at all the major festivals in Hong Kong including the Hong Kong Arts Festival, Le French May, Hong Kong International Film Festival and festivals presented by the Hong Kong Government. The orchestra performs year-round with over 90 performances a year and is the Venue Partner of the Hong Kong City Hall. Its discography includes CDs of works by Chinese composers on HUGO and two double-CD albums This is Classical Music on DECCA, released in 2008 and 2010. Apart from standard orchestral repertoire, Hong Kong Sinfonietta commissions new works every year and ventures into crossover concerts with other art forms. As an avid believer of keeping music alive and contemporary, Hong Kong Sinfonietta was also the official orchestra for many years for the local contemporary music festival Musicarama. It also partners regularly with Hong Kong Ballet and Opera Hong Kong in their staged productions. On the educational front, Hong Kong Sinfonietta has pioneered specially-designed concerts for different age groups. New concepts on the Hong Kong concert stage, HKS for Kids, Classical Music for Babies, Short-cut to Classical Music, Know Your Classical Music and HKS McDull Music Project have provided a new realm in audience development. In 2010, the orchestra launched One-hour Classics – a series of special concerts held at unconventional places or times, offering a brand new type of concert experience. On tour, the Hong Kong Sinfonietta has performed at the Saint-Riquier Festival and Les Flâneries Musicales d’Été de Reims in France, Festival Pianistico Internazionale Arturo Benedetti Michelangeli and Settimane Musicali al Teatro Olimpico in Italy, festivals in Lithuania, Shanghai Spring International Music Festival and at the National Philharmonic Hall in Warsaw. Since 2006, the orchestra has become a regular guest at La Folle Journée in Tokyo with returned visits in 2007, 2009 and 2010. In 2010, the orchestra made its début in Beijing at the National Centre for the Performing Arts, as well as in South 香港小交響樂團有限公司是註冊之慈善團體。 America in Brazil, Argentina and Uruguay. It also The Hong Kong Sinfonietta Limited is a registered charity. returned to Shanghai to perform at the China 香港灣仔譚臣道 98 號運盛大廈 3樓 Shanghai International Arts Festival (Hong Kong 3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong SAR Programme for Expo 2010 Shanghai – Hong 電話 Tel : (852) 2836 3336 傳真 Fax : (852) 2783 9819 Kong Week Closing Performance). 電郵 Email: [email protected] 網址 Website: www.HKSL.org

25-26.2.2012 香港大會堂音樂廳 HK City Hall Concert Hall 7 葉詠詩 Yip Wing-sie 音樂總監／指揮 Music Director / Conductor

亞洲樂壇備受尊崇的指揮家葉詠詩，於2002年起出任香港小交響樂團音樂總監，現同時為廣州交響樂團 首席客席指揮及香港大學的學院藝術家。 葉詠詩在1985年贏得法國貝桑松第35屆國際青年指揮大賽冠軍及「金豎琴」獎，並在1988年獲第八屆東 京國際指揮比賽獎項，在亞洲樂壇炙手可熱。她曾先後出任新加坡國立大學楊秀桃音樂學院王鼎昌傑出客 座教授（2005-2006）、廣州交響樂團的首席指揮和音樂總監（1997-2003）及香港管弦樂團的駐團指揮 （1986-2000）。 葉詠詩經常獲邀擔任世界各地樂團的客席指揮，曾合作的包括中國中央樂團、中國國家交響樂團、上海交響 樂團、首爾愛樂樂團、仁川城市交響樂團、大阪管弦樂團、新日本愛樂交響樂團、札幌、廣島、新星日本、 讀賣、群馬、九州、台灣、布里斯本、墨爾本、昆士蘭等交響樂團及新西蘭的奧克蘭愛樂樂團等。在歐洲， 她曾與法國圖盧茲國家交響樂團、貝桑松室樂團、波蘭華沙愛樂樂團、西班牙特納里夫島交響樂團、捷克科 希策省樂團合作演出。此外，她亦曾率領廣州交響樂團於國際知名的維也納音樂協會會堂（黃金大廳）演出 及參與北京國際音樂節。葉詠詩曾與多位國際知名的獨奏家合作，包括杜美、傅聰、明茨、普爾曼、穆特及 蘇嘉文等；最近曾指揮的歌劇包括香港小交響樂團伴奏的《詩人李白》及台灣愛樂的《畫魂》。 繼2004年葉詠詩帶領香港小交響樂團代表中國參加「中國在法國」文化年的成功演出後，2005年再度獲 邀出訪歐洲，在法國和立陶宛的音樂節及波蘭華沙愛樂音樂廳演出。2006、2007、2009及2010年，她 帶領樂團出訪日本，在《 》音樂祭中演出，並應邀參與2007上海之春國際音樂節，及於2009年 6月出訪意大利，在第46屆米凱朗傑利國際音樂節及維琴察音樂節演出。2010年帶領樂團出訪的地方還 包括巴西、阿根廷、烏拉圭、北京及上海，當中包括參與第二屆中國交響樂之春（北京國家大劇院）及中 國上海國際藝術節（世博會「香港活動周」閉幕節目）。 生於廣州，香港長大的葉詠詩，憑香港皇家賽馬會音樂基金獎學金遠赴倫敦皇家音樂學院攻讀；後於美國 印第安納大學取得小提琴及指揮碩士學位。1986和1992年夏季，她分別獲得哥士域斯基獎學金及小澤征 爾獎學金前往鄧肯活音樂中心研習指揮。指導過她的指揮大師包括狄瑪爾、伯恩斯坦、小澤征爾、米亞及 艾德敦。葉詠詩於1990年獲選為香港十大傑出青年之一，2006年獲香港公開大學頒授榮譽文學博士學 位，2007年她獲法國文化部頒發「藝術及文學騎士勳章」以表彰她對推廣法國音樂的貢獻，2010年獲英 國皇家音樂學院頒授院士榮銜（FRCM），表揚她在音樂界的傑出成就。

A highly respected and influential figure in Asia’s orchestral music scene, Yip Wing-sie has been the Music Director of Hong Kong Sinfonietta since 2002 and is also the Principal Guest Conductor of the Guangzhou Symphony Orchestra and one of the University Artists at The University of Hong Kong. Positions she has previously held include the Ong Teng Cheong Distinguished Visiting Professor at the Yong Siew Toh Conservatory of Music, National University of Singapore (2005–2006), Principal Conductor and later Music Director of the Guangzhou Symphony Orchestra (1997–2003) and Resident Conductor of the Hong Kong Philharmonic Orchestra (1986–2000). Winner of the First Prize as well as “LYRE d’OR” in the 35th Concours International de Jeunes Chefs d’Orchestre de Besançon, France in 1985 and a prizewinner in the 8th Tokyo International Conducting Competition in 1988, Yip is in great demand as a guest conductor in Asia. Orchestras she has conducted

8 如夢逝水年華 La Valse Remembered include the Central Philharmonic Orchestra of China, China National Symphony Orchestra, Shanghai Symphony Orchestra, Seoul Philharmonic, Inchon City Symphony, Osaka Philharmonic, New Japan Philharmonic, Tokyo Mozart Players, the symphony orchestras of Sapporo, Hiroshima, Shinsei Nihon, Yomiuri, Gunma, Kyushu, Taiwan, Tasmania, Melbourne and Queensland as well as the Auckland Philharmonia of New Zealand. In Europe, Yip’s engagements have included concerts with the Orchestre National du Capitol de Toulouse and the Chambre Orchestre de Besançon in France, Warsaw Philharmonic in Poland, Spain’s Tenerife Symphony Orchestra and the Czech State Orchestra of Kosˇice. She has also conducted at prestigious venues and festivals such as the Vienna Musikverein (Grossersaal), Beijing Music Festival, Fukuoka’s Asian Month Festival in Japan, Hong Kong Arts Festival and Macao International Music Festival. Yip has also collaborated with such renowned artists as Augustin Dumay, Fou Ts’ong, Shlomo Mintz, Anne-Sophie Mutter, Itzhak Perlman and Pinchas Zukerman. Operas she has conducted include Guo Wenjing’s Poet Li Bai and the world première of La Peintre with Philharmonia Taiwan. As Music Director of Hong Kong Sinfonietta, Yip has taken the orchestra on tour in recent years to Japan (La Folle Journée in Tokyo), Italy (Festival Pianistico Internazionale Arturo Benedetti Michelangeli in Brescia and Bergamo and Settimane Musicali al Teatro Olimpico in Vicenza), France (Les Flâneries Musicales d’Été in Reims and Saint-Riquier Festival), Poland (National Philharmonic Hall in Warsaw), festivals in Lithuania and Shanghai Spring International Music Festival. Tours with Hong Kong Sinfonietta in 2010 include performances in Beijing at the National Centre for the Performing Arts, in Shanghai at the China Shanghai International Arts Festival (Expo 2010 Shanghai), in Tokyo again at La Folle Journée and in South America in Buenos Aires, Rio de Janeiro, São Paulo and Montevideo. Born in Guangzhou and brought up in Hong Kong, Yip studied at the Royal College of Music in London before going on to the Indiana University at Bloomington, USA, where she obtained her Master’s Degree in violin performance and conducting. As the winner of the Koussevitsky Scholarship and the Seiji Ozawa Fellowship Award, Yip spent the summers of 1986 and 1992 attending the conducting seminar and fellowship programmes at the Tanglewood Music Center. Her mentors included great maestros such as Norman Del Mar, Leonard Bernstein, Seiji Ozawa, Gustav Meier and David Atherton. In 1990, Yip was named one of Hong Kong’s Ten Outstanding Young Persons. In 2006, she was awarded an honorary doctorate by the Open University of Hong Kong and was bestowed “Chevalier dans l’Ordre des Arts et des Lettres” by the Ministry of Culture and © HK SINFONIETTA LTD Communication of France in 2007. In 2010, she was conferred as a Fellow of the Royal College of Music (FRCM).

25-26.2.2012 香港大會堂音樂廳 HK City Hall Concert Hall 9 庄司紗矢香 Sayaka Shoji

小提琴 Violin

自從於1999年的帕格尼尼國際小提琴大賽贏得冠軍寶座， 並成為這重要比賽的首位日籍及最年輕之得獎者後，庄司紗 矢香在國際間聲名大噪，與多位世界知名的指揮及樂團合 作，包括亞殊堅納西、哥連．戴維斯、杜托爾、楊遜斯、馬 捷爾、梅達、帕帕諾、巴伐利亞國家樂團、柏林、以色列及 紐約愛樂等。

庄司紗矢香近期的演出包括與萊比錫布業大廳樂團、聖彼得 © Julien Mignot 堡愛樂、NHK交響樂團、聖塞西利亞學院樂團、東京交響樂 團、愛樂管弦樂團、辛辛那堤交響樂團及法國電台愛樂樂 團等合作。

除獨奏演出外，庄司紗矢香亦經常與多位知名音樂家 作室樂演出，如列賓、柏尼夫、伊瑟斯、葛藍、布 朗夫曼及郎朗等。她也是多個音樂節的常客，包 括費比爾音樂節、石勒蘇益格－荷爾斯泰因音樂 節、依雲音樂節、阿納西音樂節、加爾達音樂 節、圖賴訥音樂節及法國和東京的《 》 音樂祭等。

庄司紗矢香的首張唱片於2000年由DG出版， 與梅達指揮的以色列愛樂樂團演奏帕格尼尼、 蕭頌及華克斯曼的作品。此外她先後與鋼琴家 葛藍推出兩張唱片，包括於羅浮宮音樂廳首演 的獨奏會錄音，以及浦羅哥菲夫及蕭斯達高維 契的奏鳴曲和前奏曲。最近期的錄音是她與鄭明 勳及法國電台愛樂樂團灌錄的孟德爾遜及柴可夫 斯基小提琴協奏曲，和與卡西奧利灌錄貝多芬小 提琴奏鳴曲。

庄司紗矢香曾跟隨多位名師學習，包括布朗、加里 羅夫、明茨、烏季及布蘭高拿（室樂）。她於2004年 畢業於科隆音樂學院，現以歐洲作其演出基地。

庄司紗矢香使用一把1729年「雷卡米耶」斯特拉瓦爾名 琴，由日本上野化工榮譽主席上野隆三借出。

10 如夢逝水年華 La Valse Remembered Since taking First Prize at the 1999 Paganini Competition – the first Japanese and youngest artist ever to do so – Sayaka Shoji has performed with the world's leading conductors including Vladimir Ashkenazy, Sir Colin Davis, Charles Dutoit, Mariss Jansons, Lorin Maazel, Zubin Mehta and Antonio Pappano; alongside orchestras such as the Berliner Philharmoniker, Bayerischer Staatsorchester, Israel Philharmonic Orchestra and the New York Philharmonic.

Recent highlights included concerts with the Gewandhausorchester Leipzig, St Petersburg Philharmonic, NHK Symphony Orchestra, Accademia Nazionale di Santa Cecilia, Tokyo Symphony, Philharmonia and Cincinnati Symphony orchestras, as well as the Orchestre Philharmonique de Radio France.

In addition to a busy schedule of concerto performances, Shoji appears regularly as a recitalist and chamber musician alongside colleagues such as Vadim Repin, Lang Lang, Itamar Golan, Yefim Bronfman, Gianluca Cascioli and Steven Isserlis. Festival appearances have included Verbier, Schleswig-Holstein, Evian, Annecy, the Estate Musicale del Garda, Fêtes Musicales en Touraine, and Folles Journées in Nantes and Tokyo.

Sayaka Shoji records for Deutsche Grammophon. Her début CD with Zubin Mehta and the Israel Philharmonic Orchestra featuring works by Paganini, Chausson and Waxman, was quickly followed by a live recording of her début recital at the Auditorium de Louvre and a further album dedicated to works by Prokofiev and Shostakovich (accompanied on both occasions by Itamar Golan). Sayaka’s most recent concerto recording featured the Mendelssohn and Tchaikovsky Violin Concertos with the Orchestre Philharmonique de Radio France and Myung-Whun Chung while her most recent recital release included a selection of Beethoven Sonatas for Violin and Piano alongside Gianluca Cascioli.

Shoji's teachers have included Zakhar Bron, Saschko Gawriloff, Shlomo Mintz, Uto Ughi and Riccardo Brengola (for chamber music). She graduated from the Hochschule für Musik Köln in 2004 and has since made Europe her permanent base.

Sayaka Shoji performs on the 1729 “Recamier” Stradivarius – kindly loaned by Dr Ryuzo Ueno, Honorary Chairman, Ueno Fine Chemicals Industry Ltd.

25-26.2.2012 香港大會堂音樂廳 HK City Hall Concert Hall 11 伍宇烈 Yuri Ng 駐團藝術家/導演/美術指導/舞者 Artist Associate/Stage Direction/Visual Design/Dance Artist 伍宇烈六歲起隨王仁曼女士學習古典芭蕾舞，其後獲 獎學金前往加拿大及英國深造。1983年贏取英國 Adeline Genée芭蕾舞比賽金獎，同年加入加拿大國 家芭蕾舞團為職業舞蹈員。1993年回港後，伍宇烈專 注編舞，曾先後跟多個藝術團體及組織合作，包括香 港芭蕾舞團、香港舞蹈團、城市當代舞蹈團、香港小 交響樂團、香港話劇團、演戲家族、香港藝術節、新 視野藝術節、任白慈善基金、進念．二十面體、非常 林奕華、台灣雲門舞集二團、台灣果陀劇場、台灣表 演工作坊、星加坡舞蹈劇場、星加坡藝術節、日本 Archi-Tanz及日本愛知縣藝術中心等。

伍宇烈1997年獲香港藝術家聯盟頒發「藝術家年獎— 編舞」；1998年憑舞蹈作品《男生》獲法國 Bagnolet編舞獎；與香港小交響樂團合作《士兵的故 事》獲2008年香港舞蹈年獎。

伍宇烈近年的主要舞蹈及劇場作品包括：香港新視野 藝術節合唱劇場《石堅》（2009 CASH金帆音樂獎之 最佳正統音樂作品）、香港小交響樂團《士兵的故事》 （2010上海世博會香港周閉幕演出）、香港芭蕾舞團 《糊塗爆竹賀新年》、廣東現代舞團《中國陸拾肆大發 明》及與不加鎖舞踊館合作的《水舞問》。 © Yvonne Chan 編舞以外伍宇烈其他創作包括：《Still Dancing》攝 影集（2007年香港藝術節）、與黎宇文聯合製作的舞 蹈錄像《一杯茶》、在城市當代舞蹈團的《舞！舞？舞 ⋯⋯》任舞台及服裝設計、為香港話劇團的《全城熱 爆搞大佢》任美術指導、於香港舞蹈團製作《如夢令》 任視覺美術指導、香港芭蕾舞團《舞若色》中的《丁 香園》任服裝設計、執導王梓軒的MV《摸黑》和出 任《香港舞蹈年獎2007》藝術監製。

12 如夢逝水年華 La Valse Remembered Born in Hong Kong, Yuri Ng began classical ballet training with Ms Jean Wong and later, at National Ballet School in Canada and (through the Heinz Bosl Scholarship awarded by the Hong Kong Ballet Group) Royal Ballet School in England. He was awarded the Adeline Genée Gold Medal from the Royal Academy of Dancing in 1983 before joining The National Ballet of Canada as a dancer.

Since his return to Asia in 1993, Ng has choreographed for various performing companies and organizations including, Hong Kong Ballet, City Contemporary Dance Company, Hong Kong Dance Company, Hong Kong Repertory Theatre, Actors’ Family, Hong Kong Sinfonietta, Yam Pak Charitable Foundation, Zuni Icosahedron, Edward Lam Dance Theatre, Cloudgate Dance Theatre 2 (Taiwan), Performance Workshop (Taiwan), Godot Theatre (Taiwan), Singapore Dance Theatre, Singapore Arts Festival, Hong Kong Arts Festival, Archi-Tanz (Japan), Aiichi Arts Centre (Japan) and Macao Cultural Centre.

Ng received the “Artist of the Year Award – Choreographer”, from the Hong Kong Artists’ Guild in 1997 and in 1998, he was awarded Prix d’Auteur at the 6th Rencontres Choreographiques Internationale de Seine-St- Denis (Bagnolet) with his choreography of Boy Story. His choreography of A Soldier's Story, in collaboration with Hong Kong Sinfonietta, received the Hong Kong Dance Alliance Dance Award 2008.

Recent creations include theatrical choral concert Rock Hard (in collaboration with Ng Cheuk-yin & Patrick Chiu) for New Vision Arts Festival, which won the 2009 CASH Golden Sail Music Award for the Best Serious Music Composition; A Soldier’s Story for Hong Kong Sinfonietta (Expo Shanghai 2010 Hong Kong Week Closing Performance); Firecracker (a Chinese New Year version of The Nutcracker) for Hong Kong Ballet; Sixty Four Great Inventions of China (experimental dance theatre workshop) for Guangdong Modern Dance Company and Hose of Dancing Water (in collaboration with artistic members of Unlock Dancing Plaza).

Other creative projects include, Still Dancing (photography, for Hong Kong Arts Festival); A Cup of Tea (dance video, in collaboration with Maurice Lai); Dream Dances (visual direction, for Hong Kong Dance Company); Anthony Tudor’s Lilac Garden (costume design, for Hong Kong Ballet); Helen Lai’s Very Dance (set & costume design, for City Contemporary Dance Company); Poon Pik-wan’s Dr Tim Ding’s Factory (set & costume design, for Hong Kong Repertory Theatre); Jonathan Wong’s Desert (music video, co-direction with Adam Cheng); and Hong Kong Dance Awards 2007 (Artistic Producer).

25-26.2.2012 香港大會堂音樂廳 HK City Hall Concert Hall 13 華琪鈺 Tina Hua

舞者 Dance Artist

華琪鈺 2000年畢業於香港演藝學院， 2001年加入香港舞 蹈團。主要參演的劇目有《如夢令》、《再世．尋梅》、 《帝女花》及《天上．人間》等。於2007年武漢藝術節《塵 埃落定》中飾演塔娜及2008年香港新視野藝術節《石堅》 中任主要角色。近期主要演出包括《神鵰俠侶》(飾演郭芙) 及《畫皮》飾小雪。華琪鈺現為香港舞蹈團高級舞蹈員。 © Yvonne Chan Graduated from the Hong Kong Academy for Performing Arts in 2000, Tina Hua is currently Senior Dancer of the Hong Kong Dance Company. Since joining Hong Kong Dance Company in 2001, she has performed in numerous productions including Dream Dances, Desperately Seeking Miss Blossom, Princess Changping and Everlasting Love. Apart from playing the lead role in Red Poppies at the 8th China Arts Festival in Wuhan and Rock Hard at the Hong Kong New Vision Arts Festival in 2008, she has recently starred as Guo Fu in Eagle Companions and Xiao Xue in Painted Face.

獲香港舞蹈團批准參與演出 Appearing through the courtesy of Hong Kong Dance Company

14 如夢逝水年華 La Valse Remembered 舞者 Dance Artists 許嘉俊 Hui Ka-chun Kenneth 李朗軒 Li Long-hin Roy 楊尚霖 Yeung Sheung-lam Bailey 殷志凱 Yin Zhi-kai 張德濤 Zhang De-tao 張國棟 Zhang Guo-dong 獲香港演藝學院批准參與演出 Appearing through the courtesy of The Hong Kong Academy for Performing Arts, School of Dance

Acknowledgements: 香港演藝學院 The Hong Kong Academy for Performing Arts 香港舞蹈團 © Yvonne Chan Hong Kong Dance Company

白家樂 Carlo Pacis 排練指導 Rehearsal Director 白家樂於1998年以一等榮譽畢業於香港演藝學院，後加入香港芭蕾舞團。作為香港芭 蕾舞團的高級舞蹈員，他曾在多個芭蕾舞劇中擔任主角，包括《風流寡婦》、《蝴蝶夫 人》、《天鵝湖》、《糊塗爆竹賀新年》，以及巴蘭欽的抽象作品《紅寶石》和韋爾奇的 © Yvonne Chan 《空．色》。他在2002年獲得香港舞蹈年獎。2006年，他的作品There’s A Fly In This Soup被邀請參加於韓國首爾舉行的第一屆亞太區芭蕾舞蹈節。2007年，他為香港芭蕾 舞團的製作《天鵝湖》的第一幕作額外編舞，並獲海外邀請演出。同年，他與香港歌 劇院合作，為《阿伊達》編舞，並於首爾上演。白家樂於2009年取得香港演藝學院的 美術碩士學位。近期的工作包括為菲律賓芭蕾舞團編舞的《轉移》，獲得 PhilStage 的傑出編舞獎。 Carlo Pacis joined the Hong Kong Ballet after graduating with First-class Honours from The Hong Kong Academy for Performing Arts (HKAPA) in 1998. As a senior soloist in the company he essayed lead roles in ballets such as The Merry Widow, Madame Butterfly, Swan Lake and Firecracker, and was a principal in abstract works such as Balanchine’s Rubies and Stanton Welch’s Clear. He received the Hong Kong Dance Alliance Award in 2002 for his technical artistry and the depth of his dramatic reading of roles. In 2006, Hong Kong Ballet was invited to perform his work, There's a Fly in This Soup, in the 1st Asia Pacific Ballet Festival held in Seoul, Korea. He did the additional choreography in Act I for the Swan Lake in August 2007 and in October that same year he choreographed for Opera Hong Kong's production of Aida, which also toured to Seoul. In June 2009, Pacis obtained his Master of Fine Arts in Dance degree from the HKAPA and most recently his work for Ballet Philippines, Shifting Wait, won a citation for Best Choreography from Philstage.

25-26.2.2012 香港大會堂音樂廳 HK City Hall Concert Hall 15 王志勇 Wong Chi-yung 燈光設計 Lighting Designer 王志勇以一級榮譽畢業於香港演藝學院，主修舞台燈光設計，亦為香港首位到芬蘭戲劇學 院留學的交換生。他於2005年獲得法國領事館獎學金到巴黎第八大學修讀視覺藝術。自 1998年起，他在本地及海外九個國家參與超過100個燈光藝術設計項目，涉獵的範疇包 括舞台燈光、建築及展覽，曾擔任進念．二十面體作品《荒山淚》(2010年海外版)之燈光 設計。他曾與藝術家包括威廉、崔婉芬、榮念曾及羅布合作，亦曾效力法國建築師事務所 努維爾，又為藝術家米瑟維及城市燈光設計師費卡爾尼工作。 王志勇曾為多個國際品牌擔任燈光設計工作，其中包括路易．威登、香奈兒亞太區分店以 及香港環球貿易廣場觀景層等項目。2010年成為赫希．貝德納室內設計顧問（香港）首位內部項目燈光設計顧問。 2005年於巴黎首展藝術裝置Storytelling - une exposition invisible。2010年於香港展出燈光裝置藝術展A View of Light。 Wong holds a Bachelor of Fine Arts in Theatre Lighting Design Degree with First-class Honours from the HKAPA. In 2005 he was awarded Alexandre Yersin scholarship from the Consulate General of France in Hong Kong and Macao for postgraduate study in France. He was also an exchange student at the Theatre Academy of Finland. Trained as a professional lighting designer in performing arts, Wong has participated in over 100 local and international projects in nine countries since 1998. His versatile stage background has enabled him to engage in projects including drama, dance, concerts, multimedia performances, architecture and exhibitions. Designers and artists he has worked for including John A William, Psyche Chui, Danny Yung and Hervé Robbe. He was the lighting designer of Tears of Barren Hill by Zuni Icosahedron’s 2010 overseas tour. Wong was also a lighting consultant for Louis Vuitton and Chanel. In 2010, he was the first in-house project lighting consultant for Hirsch Bedner Associates (Hong Kong). His first exhibition as a designer and curator was Storytelling, une exposition invisible (Paris, 2005). In Paris, he also worked for artist Matteo Messervy, urban lighting designer Charles Vicarini and architect agency Atelier Jean Nouvel. In 2010, he showed his lighting installation A View of Light in Hong Kong

王梓駿 Isaac Wong 舞台設計 Set Designer 王梓駿以一級榮譽畢業於香港演藝科藝學院，主修舞台設計，現為自由身舞台設計師。畢 業作品包括《櫻桃園》、《震天弓》和《新宅風雲》的舞台設計。畢業後在多個製作中擔 任舞台設計師，包括2007年香港劇場協會《小城風光》、錢秀蓮舞蹈團武極七《黃帝內 經》、2008年香港藝穗會《胡志明在香港》、海洋公園萬聖節《厲鬼村》和《秦俑異域》、 鄧肇堅維多利亞官立中學《花木蘭》、香港兒童合唱團舞劇《女神．星座．生肖》、2009 年誇啦啦藝術集匯《靈慾劫》、《吸血鬼》、思定劇社《奧古斯丁》、香港真光中學 Lumington、騎士劇團《江戶無雙》、2010年嘉諾撒聖心學校《心之呼喚》、劇場空間 《喜靈洲．分享夜》、2011年《日落晴天》和香港話劇團《最後晚餐》。此外，王梓駿亦曾 為苗圃行動及國際小母牛協會設計舞台及展覽。 Isaac Wong graduated from the School of Theatre and Entertainment Arts of the HKAPA, majoring in Theatre Design (First-class Honours) and currently works as a freelancer. His graduation projects were theatre design for the drama Cherry Orchard, New Apartment and Cantonese opera Shaking Heavenly Bow. After graduation, he worked as a set designer for projects including HoChiMinh In Hong Kong (Hong Kong Fringe Club, 2008), Halloween booth in Ocean Park— Horror Estate & Tomb of Horror; St Augustine (2009), Edo Legendaries (Chivalry Creative Theatre), Lumington (True Light Middle School), Nunsense (Theatre Space, 2010), Callings of the Heart (Sacred Heart Canossian School), Sound Of The Music (Hong Kong Choir of Outstanding Children) and Last Supper (Hong Kong Repertory, 2011)..

16 如夢逝水年華 La Valse Remembered 李浩賢 Lawrence Lee 製作經理 Production Manager 李浩賢畢業於香港演藝學院科藝學院，獲舞台管理榮譽學士學位。他1997年獲成龍慈善 基金獎學金(海外訓練)赴紐約的美國歌劇計劃作實習舞台監督。 2001年榮獲第十屆香港 舞台劇之「優秀青年舞台管理獎」。 他曾任本港多個表演團體及製作之製作經理、舞台監督及執行舞台監督，如任白慈善基 金之《帝女花》，香港藝術節之《蘇絲黃的美麗新世界》及進念．二十面體之《半生緣》 等。海外製作包括擔任德國之《香港柏林當代文化節》之執行舞台監督、為非常林奕華 《快樂王子》的台北演出、《潘迪華．半世紀．音樂情緣》之澳門演出及香港戲劇協會 《金池塘》之澳門、昆明、神戶巡迥演出擔任製作經理。他亦為香港電影資料館《邵氏星 河圖》擔任展覽設計，陳奕迅The Easy Ride演唱會意念編排，及伍宇烈舞蹈作品《春之祭》與香港芭蕾舞團 (外展 部)《仙履奇緣》任服裝設計。李浩賢現為自由工作者。 Lawrence Lee graduated from the HKAPA with a Bachelor of Fine Arts (Hons) degree in Stage Management. In 1997, Lee was awarded a Jackie Chan Charitable Foundation Scholarship (Overseas Training) to go to New York for an internship as a Stage Manager for the America Opera Projects. In 2001, he won the Best Youth Stage Management Award at the 10th Hong Kong Theatre Awards. Lee has served as production manager, stage manager and deputy stage manager for numerous local performing groups and his most notable works include as production manager for Yam Pak Charitable Foundation’s Princess Chang Ping, as production manager for the musical Annie (Hong Kong Chorus Society), as stage manager for the dance A Brave New World of Suzie Wong (Hong Kong Arts Festival), and as deputy stage manager for a multi-media performance 18 Spring (Zuni Icosahedron). Lee’s overseas projects include: as deputy stage manager for Festival of Vision – HK in Berlin (Zuni Icosahedron), as production manager for Happy Prince (Edward Lam Dance Theatre’s Taipei tour), The One and Only Rebecca Pan & Big Band Concert (a Macao production), and On Golden Pond (HK Federation of Drama Societies touring to Macau, Kun- ming, and Kobe). His other credits include as designer for the exhibition Shaw’s Galaxy of Stars (Hong Kong Film Archive), concept arrangement for Eason Chan’s The Easy Ride Concert, and as costume designer for Yuri Ng’s Rite of Spring (HK Arts Festival) and HK Ballet Company’s (Outreach Division) Cinderella. Lee currently works as a freelancer.

何世亨 Jose Ho 燈光控制員 Light Board Operator 林曉燕 Gauze Lam 服裝統籌 Costume Coordinator 陳建德 Ted Chan, 單塵 服裝製作 Costume Construction 傅英傑 Jason Fu 化妝及髮型設計 Make-up and Hair Styling Artist 廖令基 Liu Ling-kei 工作人員 Crew

25-26.2.2012 香港大會堂音樂廳 HK City Hall Concert Hall 17 香港小交響樂團《如夢逝水年華》

賀大會堂五十周年 文：駱雅

香港小交響樂團致力為古典音樂注入新氣象，這香港藝術節節目《如夢逝水年華》便是非一般的音樂會。 非一般在於它於編排極有心思：拉威爾的管弦樂巨作《圓舞曲》將為音樂會的第一首曲目，也是節目的壓軸演 出。同場演奏一首作品兩次固然極少發生，更為突破的是第二次演奏將不會是一次純音樂演繹，香港小交響樂 團駐團藝術家伍宇烈將編排一段舞蹈，讓《圓舞曲》真的既有曲也有舞。 為什麼是拉威爾《圓舞曲》？ 葉（詠詩） 我跟伍宇烈都很喜歡拉威爾這首作品，經常談到要演奏這首曲目。碰上 2012年是香港大會堂五十周 年，我們覺得很適合於誌慶音樂會內演奏這首作品。 《圓舞曲》是拉威爾的管弦樂巨作，音樂的層次很豐富，配器細緻，信息很強，並非一般的舞曲。 音樂上隱隱約約地，好像有些回憶影像在裡面，朦朦朧朧的，跟我們對大會堂的記憶有些相似。 伍（宇烈）這首樂曲很有趣，我一直想用它來編舞。除了圓舞曲的節奏，它還有些其他的東西在裡面，情緒是 有點多愁善感，有點懷緬過去的感覺，跟大會堂給我們的感覺相像。 我總覺得大會堂有五十年歷史，音樂廳內牆的木板聽了這麼多年的音樂會，會不會有音符的記憶在 裡面？所以我希望用舞者來表現這些見證一切的木板。用它們來呈現大會堂這種影影綽綽，如幻似 真的記憶。 那為什麼要演奏兩次？ 葉 我很有興趣看伍宇烈如何以舞蹈演繹這首樂曲，但我覺得音樂上它很值得獨立欣賞，所以決定在音 樂會開始時先演奏一次，讓觀眾先感受作曲家音符中想表達的意境與層次，然後再演奏此曲為音樂 會作結，觀眾在有了自己的想像和詮釋後，再看伍宇烈的舞蹈與樂團合作的版本，可能會有更深的 體會。 伍 我們想探索一下音樂會的表演形式，在加入舞蹈元素之後，效果又會如何？我將與香港舞蹈團的高 級舞蹈員華琪鈺，以及幾位香港演藝學院的舞者，在樂團前面的舞台部份及合唱團席間演出。 我們希望做到樂團演奏與舞蹈演出是一個整體。 音樂會其餘兩首樂曲又如何？ 葉 決定了拉威爾的《圓舞曲》之後，我開始構思挑選其餘的曲目，最後決定用西貝遼士的D小調小提 琴協奏曲及《圖奧奈拉的天鵝》。《圖奧奈拉的天鵝》可以說是西貝遼士根據芬蘭神話寫成的交響 詩，關於垂死天鵝與英雄的愛情故事，音樂帶點冷與幽深，而庄司紗矢香是很出色又喜歡思考的演 奏家，演奏感情澎湃的D小調小提琴協奏曲是非常適合，我自己也很期待聽她的演繹。 兩首音樂的感覺跟《圓舞曲》相近，讓音樂會可以有統一的氣氛。

18 如夢逝水年華 La Valse Remembered Hong Kong Sinfonietta: La Valse Remembered By Nick Breckenfield Celebrating the 50th Anniversary of Hong Kong City Hall

Continuing a long-established tradition of innovative remember City Hall.” With La Valse not only named programming for its classical concerts, the Hong Kong after one of the most popular of all ball-room dances, Sinfonietta has devised a very special concert as part of and inspired by “an Imperial court, in or around 1855”, the Hong Kong Arts Festival to celebrate the 50th the feeling of nostalgia is a perfect piece for Wing-sie anniversary of the Hong Kong City Hall. Once again, in and Yuri’s latest collaboration. It was originally La Valse Remembered, Music Director Yip Wing-sie is composed for the great impresario Diaghilev, although joined by choreographer Yuri Ng (the orchestra’s Artist he did not like it so it achieved fame first on the Associate), who aims to make the hall’s walls come concert platform, before Ida Rubinstein choreograph it. alive in memory of all the music that has been played there over half a century. Reflecting the piece’s dual existence on the concert Of course, music and dance – rather like Sammy Khan platform and on stage, this concert allows the and Jimmy Van Heusen’s Love and Marriage though audience to experience La Valse in purely musical and not quite as rhyming – go together like a “horse and also danced performances. Noting the music’s “vibrant carriage”. Yuri has illustrated this before with the texture, together with the delicate instrumentation, Hong Kong Sinfonietta, in special performances of which takes the piece past the normal accompanying Stravinsky’s Soldier’s Story and illustrating last year’s functionality of dance music,” Wing-sie conducts La Know Your Ballet Music programme, as well as getting Valse to open the concert just with the Hong Kong audience members to dance on stage at the ever- Sinfonietta, “to allow the audiences to grasp popular CLP Light Classics. themselves what Ravel was trying to express.” At the As he says: “I wondered if the wooden panels of Hong end of the concert the piece is heard again and seen, Kong City Hall’s concert hall have some sort of with Yuri’s choreography and interpretation, which memories of the music they have been listening to Wing-sie is very interested to see. throughout all these years?” Assuming they do, “the dancers will represent these wooden panels which In introducing the dance element Yuri has invited a have been witnessing every performance as well as distinguished dancer from the Hong Kong Dance portray less distinct memories of City Hall.” And the Company, Tina Hua, and several dancers from the choice of French master-orchestrator Maurice Ravel’s Hong Kong Academy for Performing Arts to join him on La Valse is perfect: “It is a very interesting piece and I stage. “In addition to the front stage, the choir stalls have always wanted to choreograph it. On top of the will also be used as performing area.” waltz rhythm, there are a lot of subtleties in the piece, principally in its emotionally sentimental, like a Between the two performances of the Ravel are two remembrance of the past, similar to our feelings masterpieces by Sibelius. Wing-sie describes his myth- towards City Hall.” inspired tone poem The Swan of Tuonela as being “about a dying swan, with music of a rather dark Yip Wing-sie agrees: “La Valse is one of our favourite pieces and we have often talked about performing it. mood,” while the distinguished soloist in Sibelius’ only With 2012 marking the 50th anniversary of the Hong Violin Concerto is Sayaka Shoji. “Both pieces share a Kong City Hall, it seemed a suitable piece for the similar atmosphere with La Valse, complementing each occasion.” She describes Ravel’s music as “sometimes other to create a coherent theme for this special blurry and sometimes clear; similar to the way we anniversary concert.”

25-26.2.2012 香港大會堂音樂廳 HK City Hall Concert Hall 19 圓舞曲（舞蹈詩） 拉威爾 (1875-1937)

拉威爾在1919年受俄羅斯芭蕾舞團的經理賈吉列夫（Sergei Diaghilev）的委約創作了《圓舞曲》， 縱使之前他 花了很長的時間才完成了同樣由賈吉列夫委約的舞劇《達夫尼斯與克洛埃》（Daphnis et Chloé）。拉威爾醞釀創 作一首仿效維也納圓舞曲的作品十年多，他喜歡這種曲式，但也知道要寫得好並不容易。1911年，舒伯特的作 品啟發了他的鋼琴獨奏曲《高貴而傷感的圓舞曲》（Valses Nobles et Sentimentales）。一年後他又把舒伯特的 圓舞曲改編成一套芭蕾舞音樂。他創作《圓舞曲》的時候，似乎也同時為此曲撰寫鋼琴獨奏、雙鋼琴和管弦樂 版本。可是賈吉列夫並不喜歡這首作品，浦朗克在其回憶錄《我的朋友與我》（Moi et Mes Amis，1963年於巴 黎出版）之中寫道：

「我在塞特（Misia Sert，波蘭裔女鋼琴家）的公寓內見證了這不尋常的歷史性一幕，塞特交遊廣闊，也是 賈吉列夫的守護天使。當拉威爾向賈吉列夫介紹他的《圓舞曲》時，並沒有很多人在場，只有賈吉列夫、 馬辛（Massine）、史達拉汶斯基和兩三位賈吉列夫的秘書，還有我和梅耶（Marcelle Meyer，女鋼琴 家）。拉威爾用鋼琴為賈吉列夫彈奏《圓舞曲》，後者原本打算把《圓舞曲》交由他的俄羅斯芭蕾舞團演 出，而米希亞的丈夫荷西-瑪利亞．塞特（José-Maria Sert），則擔任藝術指導。

「拉威爾來時衣著樸素，手臂夾著他的樂譜，賈吉列夫用鼻音很重的語調跟他說：『啊，我親愛的拉威爾， 多麼榮幸我們可以聽到你的《圓舞曲》。』於是拉威爾和梅耶一起彈奏《圓舞曲》，或許彈得不怎麼好，但 到底是拉威爾的《圓舞曲》。那時我對賈吉列夫已相當了解⋯⋯我看到他的假牙開始抖動，然後是單片眼 鏡。我看到他的表情很是尷尬。我看到他不喜歡並準備說『不』。當拉威爾彈奏完畢，賈吉列夫說了幾句我 認為很正確的話。他說：『拉威爾，這是一首大作⋯⋯但不是芭蕾舞曲⋯⋯這是一幅肖像，一幅描繪芭蕾 舞的畫作。』但令人詫異的是，史達拉汶斯基始終一言不發！

「我完全目瞪口呆，拉威爾接著給我上了謙遜的一課，我對此終生不忘：他安靜地拿起樂譜，全然不理會我們 怎麼想，心平氣和地離開了房間」（引自Roger Nichols，Ravel Remembered，Faber 1987，頁117-118）。

不用說，賈吉列夫和拉威爾的關係由此破裂，但《圓舞曲》卻以管弦樂的形式成功地在音樂廳佔上一席。作品 在1920年12月12日於巴黎由謝維亞（Camille Chevillard）指揮拉穆勒管弦樂團（Lamoureux Orchestra）舉行 首演。而拉威爾為賈吉列夫彈奏的雙鋼琴版本，也早在同年的10月20日於維也納公開演出。不久作品也被搬上 芭蕾舞台，由尼金斯卡（Bronislava Nijinska，尼金斯基的妹妹）編舞，布諾亞（Alexander Benois）擔任舞台 設計，領舞則是伊達．魯賓斯坦（Ida Rubinstein）。舞劇在1929年1月12日於蒙地卡羅首演。

拉威爾如此描述自己的靈感說：「維也納圓舞曲的典範在我心中與命運奇幻回旋的印象連結在一起。」他在出 版的樂譜中又形容舞蹈的動作說：「透過流雲的隙縫，可以瞥見一對男女在起舞。雲朵陸續散去，出現了一座 宏大的殿堂，面擠滿了人。場景逐漸變得明朗，燭台的光彩奪目，帶出極強音。那是一個帝國的宮廷，時間

20 如夢逝水年華 La Valse Remembered 大約是1855年。」音樂輾轉抵達一個斷裂點，可以解讀為對奧匈帝國解體的歷史評論，或許也表達了作曲家對 調性遭到顛覆的看法。由荀伯格領導的維也納第二學派，是這種音樂潮流最具影響力的代表。

此樂曲的樂隊編制

# 弦樂：第一小提琴、第二小提琴、中提琴、大提琴、低音大提琴 * 敲擊樂：小軍鼓、搖鼓、響板、鐘琴、三角鐵、古鈸、吊鈸、鈸、大鼓、平鑼

D小調小提琴協奏曲，作品47 西貝遼士 (1865–1957) 中庸的快板 很慢的慢板 從容的快板

芬蘭最偉大的作曲家西貝遼士，教名是約翰．尤利烏斯．克里斯蒂安（Johan Julius Christian），幼時又名揚奈 （Janne），後才仿效一位長輩改用法文名字尚（Jean）。 他和丹麥的著名作曲家尼爾遜（Carl Nielsen，1865- 1931）於同一年出生，卻比後者多活了超過四份一個世紀。他出生於芬蘭的瑞典語區，兩歲時任醫生的父親便 已去世，故由其母和祖母撫養成人。儘管他說的是瑞典語，他卻被送到國內第一所芬蘭語中學就讀。

他自少便學習鋼琴和小提琴，後來到赫爾辛基學習法律，但一年後（1886）就輟學，在年輕的音樂教師布索 尼（Busoni）的鼓勵下轉往首都新成立的赫爾辛基音樂學院進修小提琴和作曲。接著他又到柏林（1889至90） 和維也納（1890至91）隨戈德馬克（Goldmark）和富克斯（Fuchs）學藝， 之後回到赫爾辛基的音樂學院任 教。他的妻子楊妮菲德（Aino Järnefelt）啟發了他對芬蘭神話傳說的興趣，從而創作了早期的民族主義作品 如合唱交響曲《庫勒沃》(Kullervo，在他死後才發表）以及《萊明凱寧傳奇曲》（Lemminkäinen Legends）四 首，兩者都取材自芬蘭民族史詩《卡萊瓦拉》（Kalevala），另外還有鼓吹芬蘭脫離俄國統治的《芬蘭頌》 （Finlandia）。

25-26.2.2012 香港大會堂音樂廳 HK City Hall Concert Hall 21 1897年，西貝遼士獲芬蘭頒授藝術家年金，使他能從此專心創作。1903年，他的妻子為了幫他戒酒，在赫爾 辛基郊外的亞文帕鎮（Järvenpää）以自己的名字建立了一所莊園「愛諾拉」（Ainola）。到了1908年，大概是 由於患上喉癌，西貝遼士接受了一些療程，失落的情緒可以在他的第四交響曲（1911）中反映出來。他對交響 曲的見解非常獨特，當回憶在1907年與到訪赫爾辛基任指揮的馬勒交談時，他說：「經過幾次散步後，我們開 始相熟，並談到所有與音樂有關的問題，又說到生和死。當我們的話題觸及交響曲的性質時，我說我很讚賞它 風格的嚴謹。這是我從創作過程中得來的經驗之談。但馬勒的看法恰恰相反，『不！』他說：『交響曲要像整 個世界一樣，它必須要擁抱一切事物。』」而當馬勒忽然問：「你想我指揮你的哪首作品」時，機敏的西貝遼士 很簡單地回答道：「一首也不。」

第一次世界大戰爆發後，西貝遼士中止了出訪（1914年他曾訪問美國），與外界隔離的生活直到1921年訪問英 國才結束。他晚期的作品包括第六和只有一個樂章的第七交響曲，還有為紐約愛樂樂團撰寫的交響詩《塔皮奧 拉》（Tapiola），之後他便輟筆和停止外訪，在「愛諾拉」和妻子度過了餘生的31年（他妻子比他多活了十餘 年，終年97歲）。他在1957年死於中風，終年91歲。

除了他著名的交響曲（尤其是第二和第五）以外，西貝遼士最為人熟知的便是他唯一的一首協奏曲，那就是為 他最擅長的樂器 — 小提琴而寫的，雖然他老早就打消了成為演奏大師的念頭。該曲作於1903年，第一次被提 到的時候，是在一年前的9月，西貝遼士寫給他妻子愛諾（Aino）的信中。

1902年11月，西貝遼士前往柏林指揮他修訂過的《傳奇》（En Saga），當時很可能遇上了曾任赫爾辛基交響樂 團首席的著名小提琴家伯爾美斯達（Willy Burmester）。他對該首協奏曲十分感興趣，經常詢問作品的進度。西 貝遼士本身也打算將樂曲題獻給伯爾美斯達，並由他作首演（1904年西貝遼士曾用鉛筆在樂譜上暫時題上了該 小提琴家的名字）。但後來卻因為經濟問題，使西貝遼士改變初衷，而這已不是第一次發生了。他為了紓解財 困，被逼在首演前另行舉辦一場音樂會來籌錢，同時，為了吸引觀眾，他不得不推出新作，於是便用上了新鮮 出爐的小提琴協奏曲。

然而音樂會卻一再延期至1904年2月8日、10日和14日。如果西貝遼士肯多等一個月，伯爾美斯達就可以為他 舉行樂曲的首演。結果，這項殊榮落在赫爾辛基音樂學院的老師諾瓦切克（Viktor Novácˇek）身上，這些音樂 會都由西貝遼士自行擔綱指揮。不幸的是，諾瓦切克並不稱職，引來不少劣評。弗洛丁（Karl Flodin）的評語 尤其尖辣，首先他批評演奏者道：「[諾瓦切克]演奏的只是一團乏味的東西，他不時發出可怖的聲音，使我們根 本不能了解作曲家的意圖，音調真是極其不協和。」然後他又批評作品本身：「這首協奏曲，老實說，真是很 沉悶 － 這樣去形容西貝遼士的作品可謂前所未有。」

不過，伯爾美斯達仍然很熱心，敦促西貝遼士在10月再舉行另一場音樂會。事實上，西貝遼士一向都很介意弗 洛丁的批評，早就決定把作品改寫（他曾經因為弗洛丁的不滿，改寫過《萊明凱寧》組曲的兩個樂章）。經過對 開首和結尾的樂章大幅度的刪改後，這首協奏曲終於在1905年10月19日得以重見天日，由李察．史特勞斯指 揮柏林愛樂樂團作全新的演繹。可惜獨奏者卻是樂團的首席哈里爾（Karl Halir，1859-1909），而非伯爾美斯

22 如夢逝水年華 La Valse Remembered 達，皆因當演出日期訂好的時候，伯爾美斯達的日程表已經排滿。儘管一直 都表現出熱心和支持，且耐性過人，但到最後伯爾美斯達始終還是沒有公開 演奏過該首協奏曲。

西貝遼士對弗洛丁的批評的確甚為重視，尤其是他對原版炫耀的技巧所作的嚴厲評語。西貝遼士在修訂版中 減少了技巧部份的誇飾，甚至把整個主題去掉，或對其他部份進行改寫。例如，他完全刪除了第一樂章的第 二個華彩段，樂曲總體的長度合共減少了約五分鐘，這好像也不算什麼大幅度的修改吧。有趣的是，近來西貝 遼士作品的管理人開始允許原版本的演奏和錄音，讓人可以拿來和修訂版作比較，作為一種歷史檔案。這的確 是很有吸引力的。

第一樂章的開頭，弦樂一片閃爍的樂音，使獨奏清冷、高揚的主題得以浮現，然後變得越來越激動，接著在定 音鼓和陰沉的巴松管的襯托下，漸趨幽暗。一段高潮和簡短、急促的華彩段引出了降B大調強有力的第二主 題，由巴松管和大提琴分別奏出，並有撥弦作裝飾。繼而樂曲的密度漸漸稀釋，節奏放緩，僅剩下憂鬱的單簧 管，直到獨奏者再度登場，奏出第二主題，和中提琴對碰。昂揚的降B小調第三主題（Allegro molto）由小提 琴帶出，低音弦樂部則不時插入來將之打斷，但不久樂曲的能量又一次減退，讓開首的主題建立起發展部，再 由宏偉的華彩段結束該部，並與隨後的重現部互相重疊。在此，三個主題一如所料依次重臨，第一個先由巴松 管奏出，再交與獨奏者處理。之後一段全新、莊重的樂隊過門帶出了雙簧管，再由它牽引出獨奏者的第二主 題，這次以D大調奏出，而且音符的時值也加長了。接著輪到D小調的第三主題登場，獨奏者在廣闊的音域中 奔走，炫耀其裝飾技巧，琶音和雙音自然是少不了的。最後則是令人嘆為觀止的尾聲。

降B大調的第二樂章，曲式是ABA。這章緩慢的浪漫曲，開始是婉轉的木管樂，而在銅管樂甚有層次的和聲 中，帶出了獨奏者高雅、悠長的主題。低音弦樂和震耳的銅管樂，在半音小調的中段把張力漸次加強，在其上 面的獨奏，開始時彷彿把氣氛舒緩下來，但當回到第一主題的時候，卻又融入了艾爾加（Elgar）式的富麗堂 皇，再由幽暗的銅管及定音鼓的和聲結束了該個樂章。D大調的第三樂章曾被托維爵士（Sir Donald Tovey）恰 當地形容為「北極熊的波蘭舞曲」（Polonaise for the Polar Bears），我們欣賞這個樂章時，便會覺得這句著名 的評語至今仍不過時，其中獨奏的切分音由突出而彷彿步履艱難的伴奏襯托著。第二主題 — 明顯就是托維爵 士所指的波蘭舞曲 — 在6/8和3/4拍之間自我複製及變換其舞步，而獨奏者則飛舞自如。這個會令聽眾如痴如 醉的、迴旋曲式的樂章，能使獨奏者巧妙地使出一切真功夫，而所有主題都在這一一重現，獨奏者可以在高 音域的泛音、雙弦和三弦、以及交叉節奏中揮灑自如。最後充滿高潮的幾小節，樂隊強有力的和弦跟獨奏者爬 升的音階作出了強烈的對比。

此樂曲的樂隊編制

# 弦樂：第一小提琴、第二小提琴、中提琴、大提琴、低音大提琴

25-26.2.2012 香港大會堂音樂廳 HK City Hall Concert Hall 23 《萊明凱寧傳奇曲四首》：圖奧奈拉的天鵝 西貝遼士 (1865–1957)

甚為綿延的行板

繼早期的合唱交響曲《庫勒沃》（1862年4月28日首演成功）及第一首交響音詩《傳奇》之後，西貝遼士希望 他的下一部作品是同樣根據芬蘭神話改編的歌劇《造船》（Veneen Luominen）。但後來他改弦易轍，寫成的草 稿變成了另一部交響作品，即《萊明凱寧傳奇曲四首》。

萊明凱寧被喻為芬蘭的唐璜，他是「芬蘭民族史詩」《卡萊瓦拉》的眾多角色之一。這部有50個詩章的著 作，描述了北卡萊利亞的神話，由一位叫倫洛特（Elias Lönnrot）的醫生收集和整理。1833至1835年出版期 間，倫洛特正在東北部的卡雅尼（Kajaani）工作。1849年又有一個修訂本面世。

作為一部詩集，《卡萊瓦拉》的影響力不容小。西貝遼士出生於芬蘭少數的瑞典語家庭中（但他卻到第一所芬 蘭語學校上學），當時芬蘭還在俄國沙皇的直接統治之下。《卡萊瓦拉》因此被視為尋求芬蘭獨立的象徵。 1899年的「二月宣言」，讓俄國對芬蘭的控制更為收緊，言論自由也進一步受到限制，但也使芬蘭的民族主義 情緒變得更為高漲（這一年西貝遼士鼓舞人心的作品《芬蘭頌》也正好面世）。在芬蘭人努力建構他們的民族 身份的過程中，《卡萊瓦拉》無疑扮演了重要的角色。而西貝遼士對這部著作的熱愛，部份原因也源於這一民 族主義的思潮。

合唱交響曲《庫勒沃》的名字，取自《卡萊瓦拉》的其中一個角色。同樣地，《造船》中的智慧老人瓦伊納 莫寧（Väinämöinen，西貝遼士則將之描述為年輕人）以及萊明凱寧，都是《卡萊瓦拉》的角色。萊明凱寧 作為一位勇敢、英俊而性慾旺盛的英雄，在《卡萊互拉》的第11章出現。西貝遼士的作品則以第29章為故事 的起點，描述萊明凱寧離開皇宮，表面上是前往薩里島追求美麗的凱莉姬（Kyllikki）。一如組曲中的第一樂章 《萊明凱寧與薩里的女人》所述，他趁著島上的男人正在戰場上廝殺，引誘了島上的所有婦女（只有凱莉姬似 乎不受誘惑，於是萊明凱寧將她拐走，最終娶了她為妻子）。

後來島上的男人回來把萊明凱寧趕走。然而，性慾極強的他，在厭倦了凱莉姬之後，又轉而追求波希奧拉 （Pohjola）。女巫路希（Louhi，波希奧拉的母親）向他開出一些條件，其中最苛刻的任務是要到芬蘭的冥府圖 奧奈拉，射殺那的灰天鵝。這曲就是描述這個故事。但當萊明凱寧正要下手的時候，在聖河邊遭到冥府之王 圖奧尼（Tuoni）的兒子伏擊，他的身體被肢解，被扔進河，幸好他法力高強的母親把他的身體還完，使他 得以重生。西貝遼士在原來的創作計劃中，依循故事的脈絡，並加上一段《圖奧奈拉的天鵝》，即直接從歌劇 《造船》借來的前奏。組曲的最後一個樂章《萊明凱寧的回歸》，描述萊明凱寧在經歷多場戰事之後回到故 鄉，重溫兒時的回憶。

24 如夢逝水年華 La Valse Remembered 西貝遼士在1896年 4 月 13日於赫爾辛基指揮愛樂協會樂團，首演了當時稱為《萊明凱寧傳奇交響畫》 （Sinfniska Dikter till Motiv ur Lemminkäinen Mythen）的樂曲。雖然表演時他有點緊張（因此樂團的樂手似乎 不大高興），但作品卻相當受歡迎。然而，按其往常的習慣，西貝遼士還是對作品進行了修改，在1897年11月 1日才推出全套組曲（近年西貝遼士作品的初稿也經常被拿來研究和錄音）。《圖奧奈拉的天鵝》原本是組曲 的第三首，但修訂本卻變為第一首。後來《圖奧奈拉的天鵝》和《萊明凱寧的回歸》被再次修改（後者被刪 去一大段），在1900年分別出版。而組曲的《萊明凱寧與薩里的女人》和《萊明凱寧在圖奧奈拉》卻保持原 狀達40年之久，這可能是因為西貝遼士的導師兼指揮家卡亞努斯（Robert Kajanus）對修改曾有異議。最終在 1939年，西貝遼士才對這兩首作了修改，那時他已很久沒有新作。但二次大戰的爆發卻使作品延至1954年才 獲出版，三年後西貝遼士就逝世了。

《圖奧奈拉的天鵝》中有一段代表天鵝的著名的英國管獨奏。樂曲的初版是A小調，面有文字描述道：「冥府 圖奧奈拉，芬蘭神話中的地獄，被一條黑色而湍急的大河環繞，圖奧奈拉的天鵝在河上優雅地游動和歌唱。」

此樂曲的樂隊編制

# 弦樂：第一小提琴、第二小提琴、中提琴、大提琴、低音大提琴

英文節目介紹：Nick Breckenfield 英國作家Nick Breckenfield專門撰寫節目介紹，也是www.whatsonwhen.com 的古典音樂及歌劇版編輯

中文翻譯：行之

25-26.2.2012 香港大會堂音樂廳 HK City Hall Concert Hall 25 La Valse (Poème Chorégraphique) Maurice Ravel (1875–1937)

Ravel’s La Valse was commissioned by Sergei Diaghilev in 1919, despite the length it had taken Ravel to write Diaghilev’s previous commission, Daphnis et Chloé. A work based on the Viennese waltz had been in Ravel’s mind for over a decade. He loved the waltz, although recognised it was hard to write a good one, and it was Schubert’s examples that inspired his solo piano work Valses Nobles et Sentimentales, dating from 1911. A year later Ravel orchestrated those waltzes for a ballet, but with La Valse it seems that he worked on single piano and two-piano versions at the same time as the orchestral score. Unfortunately, Diaghilev did not like it, as Francis Poulenc remembered in his memoirs Moi et Mes Amis (Paris 1963):

“I was present at an extraordinary and historic scene in the apartment of Misia Sert, who knew everybody and was Diaghilev’s guardian angel, when Ravel introduced La Valse to Diaghilev. There were not many people there – Diaghilev, Massine, Stravinsky, two or three of Diaghilev’s secretaries, myself and Marcelle Meyer. Ravel came in and played La Valse for Diaghilev on the piano. Diaghilev was to put La Valse on with the Ballets Russes and Misia’s husband, José-Maria Sert, was to be the designer.

“Ravel arrived very simply, with his music under his arm, and Diaghilev said to him, in that nasal voice of his: ‘Well now, my dear Ravel, how lucky we are to be hearing La Valse.’ And Ravel played La Valse with Marcelle Meyer, not very well maybe but, anyway, it was Ravel’s La Valse. Now at that time I knew Diaghilev very well... and I saw the false teeth begin to move, then the monocle. I saw he was embarrassed. I saw he didn’t like it and was going to say ‘No.’ When Ravel had got to the end, Diaghilev said something which I think is very true. He said, ‘Ravel, it’s a masterpiece... but it’s not a ballet... It’s the portrait – the painting – of a ballet.’ But the extraordinary thing was, Stravinsky said not a word!

“I was absolutely flabbergasted. Ravel proceeded to give me a lesson in modesty which has lasted all my life: he picked up his music quietly and, without worrying about what we all thought of it, calmly left the room” (quoted in Roger Nichols Ravel Remembered, Faber 1987, pp117-118).

Needless to say, relations broke down between Diaghilev and Ravel, but La Valse found success on the concert platform in its original orchestral form, premiered by the Lamoureux Orchestra, conducted by Camille Chevillard, in Paris on 12 December 1920. By then, the two-piano version – which obviously Ravel had used at the private performance for Diaghilev – had already been given in public, in Vienna on 20 October that year. It was not long before it was staged, as the score was taken up as a ballet, with choreography by Bronislava Nijinska (Nijinsky’s sister) and decor by Alexander Benois, led by Ida Rubinstein, premiered in Monte Carlo on 12 January 1929.

26 如夢逝水年華 La Valse Remembered Ravel described his inspiration thus: “a kind of apotheosis of the Viennese waltz linked, in my mind, with the impression of a fantastic whirl of destiny.” He described the action in the published score: “Whirling clouds give glimpses, through gaps, of couples dancing. The clouds scatter, little by little. One sees an immense hall, peopled with a spinning crowd. The scene is gradually illuminated. The light of the chandeliers bursts forth, fortissimo. An Imperial court, in or around 1855.” The music eventually reaches breaking point and can be seen as a historical comment on the collapse of the Austro-Hungarian Empire, as well as – perhaps – a musical comment on the collapse of tonality which found its most potent expression in the Second Viennese School, led by Arnold Schoenberg.

Instrumentation of this piece

# Strings: first violin, second violin, viola, cello, double bass * Percussion: snare drum, tambourine, castanets, glockenspiel, triangle, crotales, suspended cymbal, cymbals, bass drum, tam-tam

25-26.2.2012 香港大會堂音樂廳 HK City Hall Concert Hall 27 Violin Concerto in D minor Op 47 Jean Sibelius (1865–1957) Allegro moderato Adagio di molto Allegro, ma non tanto

Born in the same year as Denmark’s most famous composer, Carl Nielsen (1865–1931), but outliving him by over a quarter-of-a-century, Finland’s greatest composer was christened Johan Julius Christian Sibelius and called Janne in his childhood before following the example of an uncle in changing his first name into French style: Jean. Born into the Swedish-speaking section of Finnish society, his doctor father died when Sibelius was just two so he was brought up by his mother and grandmother. Despite his Swedish-speaking, he was sent to the country’s first Finnish-language secondary school.

Having learned both piano and violin, he went to Helsinki to study law, but dropped that a year later, in 1886, to continue with the violin and composition at the capital’s new Music Institute, encouraged by young teacher Busoni. He later studied in Berlin (1889/90) and Vienna, taught by Goldmark and Fuchs (1890/91), after which he returned home and taught at the Helsinki Music Institute. He married Aino Järnefelt who inspired his interest in Finnish mythology, leading to early nationalist works such as his choral symphony Kullervo (withdrawn and only re-discovered after his death) and the four Lemminkäinen Legends, both finding their basis in the Finnish national epic, the Kalevala and, as propaganda against Russia and the Finnish desire for self rule, Finlandia.

In 1897 Sibelius received a state pension for life, which allowed him to compose full time and in 1903 his wife sought to wean him off alcohol by building a home at Ainola, at Järvenpää, out of Helsinki. What might have been cancer of the throat, necessitating a number of operations in 1908, might explain the despair of his Fourth Symphony (1911). Sibelius’ distinctive symphonic ideal is best described by the composer himself, reporting his own conversations with Mahler, who was in Helsinki conducting in 1907. Sibelius remembered, “we grew close during a number of walks when we talked about all kinds of musical problems, of life and death. When our conversation touched on the nature of the symphony, I said that I admired its style and severity of form. This was my experience in the course of my creative work. Mahler’s opinion was just the opposite. ‘No!’ he said, ‘the symphony must be like the world. It must be all-embracing.’” Perhaps Sibelius was wise “when Mahler said in his abrupt way: ‘What would you like me to conduct of yours?’ I answered simply ‘Nothing.’”

Sibelius’ foreign visits (which included America in 1914) were curtailed during the First World War, where he found himself isolated, but he visited Britain again in 1921. However, following his Sixth and single- movement Seventh symphonies and his late tone poem Tapiola written for New York, he virtually stopped both composing and travelling, spending the last 31 years of his life at Ainola with Aino, who survived him by over a decade (aged 97), Sibelius having died of a stroke, at 91, in 1957.

28 如夢逝水年華 La Valse Remembered In addition to his well-known symphonies, particularly the Second and the Fifth, Sibelius is best known for his single concerto – for his own instrument (although he long ago gave up any thoughts of becoming a virtuoso himself), the violin. It was composed in 1903, having first been mentioned in Sibelius’ letters to his wife, Aino, in September the previous year.

In November 1902 Sibelius went to Berlin to conduct his revised En Saga where he perhaps met up with the renowned violinist (and one time leader of the Helsinki Philharmonic Orchestra), Willy Burmester, who was very keen to hear about the Concerto. Indeed, he followed its progress closely, and Sibelius wanted him to accept the dedication of the work as well as giving its première (tentatively pencilled for March 1904). But, characteristically in Sibelius’ life, economics intervened. Sibelius needed to take evasive action because of his finances and arrange a fund-raising concert before the scheduled première. To make the largest impact, he needed a new work, and so had to use the Violin Concerto.

Ironically the concerts were delayed until 8, 10 and 14 February 1904 – if only he could have waited a month, Burmester could have done the première. Instead, the honour fell to Viktor Novácˇek, teacher at the Helsinki Musical Academy and the concerts took place with Sibelius conducting. Unfortunately, Novácˇek was not up to the task and critical reaction was not good, especially that by Karl Flodin who wrote, first about the performance: “[Novácˇek’s] playing offered a mass of joyless things. From time to time there were terrible sounds and it was impossible to fathom the composer’s meaning, so great was the cacophony;” then about the work itself: “The concerto is, to be honest, boring – something which could not hitherto be said about a composition by Jean Sibelius.”

However, Burmester was still keen and urged Sibelius to reschedule performances that October but Sibelius, always mindful of what Flodin had to say (he had already revised two movements of the Lemminkäinen Suite because they had not satisfied this particular critic), had already decided to withdraw the work for revision. It eventually saw the light of day again – with substantial cuts and reworking in both the opening and closing movements – on 19 October 1905 with the Berlin Philharmonic, conducted by Richard Strauss. Unfortunately Burmester was not the soloist – this time it was the Orchestra’s leader, Karl Halir – simply because by the time the première was settled upon (only four months earlier, which meant that Sibelius had to quickly finish his revisions), Burmester’s diary was already full. Perhaps not surprisingly, despite his initial support and enthusiasm, Burmester’s patience was vastly over-extended and he never took up the Concerto.

Taking Flodin’s criticisms to heart, particularly the swinging statements about the virtuosity of the original version, Sibelius toned down much of this effect in the revision, taking out whole themes and altering others: a second cadenza in the first movement was dispensed with entirely, and in total some five minutes worth of music was cut. Not that there feels as if such wholesale revisions have been undertaken. Interestingly, much more recently the Sibelius estate has allowed the performance and recording of the original version, which makes for a fascinating comparative document.

25-26.2.2012 香港大會堂音樂廳 HK City Hall Concert Hall 29 A carpet of shimmering strings allow the icy, soaring theme for the soloist to float into view, becoming more agitated, then – over timpani and sombre bassoons – turning darker. A climax and a brief scurrying cadenza makes way for the more forceful second subject in B-flat, given first to bassoons and cellos, with pizzicato pointing. The textures pare and pace slows to leave only lugubrious clarinets, before the soloist returns with the second theme, with viola counterpoint. A third theme in B-flat minor, more swaggering (Allegro molto), is introduced by the violins, with interjecting bursts from the lower strings. But again the energy is dissipated, allowing the development to be constructed from the opening theme, which ends in a massive cadenza overlapping into the recapitulation, where the three main themes return as expected, the first given to the bassoon before handing over to the soloist. A new, stately, orchestral link leads to the oboes who usher the soloist back in for the second subject, this time with longer note values, and in D major. The Allegro molto returns (D minor) and the soloist runs the gamut of ornamental technique, with arpeggios and double-stopping, leading to the awe-inspiring coda.

The A-B-A form of the B-flat slow movement Romanza , introduced by meandering wind, eventually, on a stepped brass chord, allows the violin in with the noble, long-breathed theme. Low strings, then blaring brass, build the tension in the chromatic minor middle section, over which the soloist seems at first to offer a calming influence, but then is assimilated into the Elgarian grandeur of the music as it returns to the first theme, ending with sombre brass and timpani chords. The famous comment about the D major final movement still stands the test of time: Sir Donald Tovey remarked of its aptness as a “polonaise for polar bears” with the syncopated soloist constantly underpinned by the distinctive chugging accompaniment. The second theme – obviously what Tovey was referring to – alternates 6/8 and 3/ 4 in its dance parody, over which the soloist flies freely. Brilliantly taxing for the soloist as it is exhilarating for the audience, this rondo, with all the expected returns of the main themes, has the soloist revelling in high harmonics, double- and triple-stopping and cross rhythms. The final climactic bars contrast the upward scales of the soloist with the forceful chords of the orchestra.

Instrumentation of this piece

# Strings: first violin, second violin, viola, cello, double bass

30 如夢逝水年華 La Valse Remembered From Four Lemminkäinen Legends:

The Swan of Tuonela Jean Sibelius (1865–1957) Andante molto sostenuto

After his early choral symphony, Kullervo (which received its successful première on 28 April 1862) and his first orchestral tone poem En Saga, Sibelius hoped that his next project – also based on Finnish mythology – would be an opera entitled Veneen Luominen (The Building of the Boat), but his interest lagged and the sketches he had made for this became part of his next orchestral project, the four Lemminkäinen Legends.

Lemminkäinen – described as a Finnish Don Juan – is one of the many characters contained within the “Finnish National Epic” – the Kalevala. This book of fifty runos describes the mythology of North Karelia as collated and arranged by a doctor, Elias Lönnrot, while he was working north-east of Kajaani between 1833 and 1835, when it was published, with a revised version appearing in 1849.

It is hard to underestimate the power of such a collection as the Kalevala. Sibelius was born into the Swedish-speaking minority that lived in what we now call Finland (although he went to the first Finnish- language grammar school), when the area was actually a Grand Duchy in the direct rule of the Russian Tsar. The Kalevala acted as a talisman for those who sought an independent Finland, feelings that would be exacerbated in 1899 when the “February manifesto” imposed even heavier Russian control of the region and restricted freedom of speech (as we have seen, this was the year of Sibelius’ famous musical rallying cry, Finlandia). Thus the Kalevala was important in the creation of a national identity for the Finns and Sibelius’ early fascination with it is part-and-parcel wrapped up in this intellectual movement.

Kullervo – the subject of the early choral symphony that bears his name – was a character from the Kalevala, similarly so the wise old man (however young Sibelius wanted to make him) Väinämöinen, who was to have been the subject of The Building of the Boat, and – of course – so too was Lemminkäinen. First introduced in the Kalevala’s eleventh runo, as a brave, handsome and over-sexed hero, Sibelius took as the starting point for his Lemminkäinen runo 29 where Lemminkäinen leaves court to visit the island of Saari, ostensibly to win the hand of beautiful Kyllikki. Along the way (as described in the collective work’s first movement Lemminkäinen and the Maidens of Saari) he seduces all the women of the island while their menfolk are engaged in battle (only Kyllikki seems wary of his charm, so he abducts her and she eventually becomes his wife).

Eventually the men of Sari return and chase Lemminkäinen away. However, given his libido, he soon tires of Kyllikki and heads off to woo in Pohjola, where the sorceress Louhi (mother of the girl he has his eyes on) sets him a number of tasks, one of which is to travel to the Finnish Land of the Dead, Tuonela. In Lemminkäinen in Tuonela he travels to the land where he pursues the biggest of Louhi’s tasks, to kill The Swan of Tuonela. But, just as he is about to shoot the Swan, the son of Tuoni, the God of the Underworld,

25-26.2.2012 香港大會堂音樂廳 HK City Hall Concert Hall 31 ambushes him on the banks of the sacred river. Lemminkäinen’s body is cut into pieces and unceremoniously thrown into the river but, thankfully, his mother is also an exponent of magic and is able to piece him back together and bring him back to life. Sibelius, in his original scheme, followed this with a depiction of (the lucky to be alive!) Swan of Tuonela itself, a direct borrowing from what was to have been the prelude to the opera The Building of the Boat. The final part of Sibelius’ musical biography (Lemminkäinen’s Return) sees Lemminkäinen returning home after many wars, and finding memories still warm from his childhood.

Sibelius conducted the first performance of what was then called Sinfniska Dikter till Motiv ur Lemminkäinen Mythen (“Symphonic Pictures”) with the Philharmonic Society Orchestra in Helsinki on 13 April 1896. Sibelius was nervous (which probably explains why the orchestra members seemed unhappy), but the work was very well received. However, as was his wont (in recent years many early versions of Sibelius major works have been researched and recorded), Sibelius made revisions to the works before presenting the whole suite again on 1 November 1897. Originally The Swan of Tuonela was placed third, but Sibelius moved it to follow the opening movement. The Swan of Tuonela and Lemminkäinen’s Return were revised again (the latter cutting a substantial part of its musical argument) and published separately in 1900. However, perhaps mainly because of Robert Kajanus (conductor and Sibelius’ mentor) declaring some qualms about the other movements, Lemminkäinen and the Maidens of Saari and Lemminkäinen in Tuonela were left untouched for forty years. Sibelius did revise them, long after he had stopped composing new works, in 1939, but the onset of the Second World War delayed their publication even further. They were eventually published in 1954, just three years before the composer’s death.

The famous use of the English horn as the plaintive soloist depicting The Swan of Tuonela (here placed third). The first edition of this movement, in A minor, had the following description: “Tuonela, the land of Death, the hell of Finnish mythology, is surrounded by a large river with black waters and rapid current, on which the Swan of Tuonela floats majestically, singing.”

Instrumentation of this piece

# Strings: first violin, second violin, viola, cello, double bass

© Nick Breckenfield, 2011 British writer Nick Breckenfield is Classical Music & Opera Editor of www.whatsonwhen.com

32 如夢逝水年華 La Valse Remembered 香 榮譽監察委員 Honorary Governors 港 金董建平女士 Mrs Alice KING 小 楊雪姬女士 Ms Serena YANG 交 監察委員會 Board of Governors 響 施永青先生 (主席) Mr SHIH Wing-ching (Chairman) 陳鋈鋆先生 (司庫) Mr Y K CHAN (Treasurer) 樂 鍾思源醫生 Dr CHUNG See-yuen 團 康繼弘女士 Mrs Mary LAM 有 林煥樟博士 Dr Steven LAM 限 劉文文女士 Ms LAU Man-man Lisa 公 曾安邦先生 Mr Eric TSANG 司 萬美宜女士 Ms Christine VAN 王學良先生 Mr Paul WONG ogKn ifnet Limited Sinfonietta Kong Hong 葉志衡博士 Dr Eric YIP 義務核數師 Honorary Auditor 安永會計師事務所 Ernst & Young 義務公司秘書 Honorary Company Secretary 卓佳登捷時有限公司 Tricor Tengis Limited 義務法律顧問 Honorary Legal Consultant 霍金路偉律師行 Hogan Lovells 義務骨科專科醫生 Honorary Orthopaedic Surgeon 傅偉俊醫生 Dr Dan HOOLEY 音樂總監 Music Director 葉詠詩 YIP Wing-sie 駐團藝術家 Artist Associates 伍宇烈 (2011-2012) Yuri NG (2011-2012) 李嘉齡 (2010-2011) Colleen LEE (2010-2011) 黎志華 (2009-2011) Jason LAI (2009-2011) 楊嘉輝 (2008-2009) Samson YOUNG (2008-2009) 伍卓賢 (2006-2008) NG Cheuk-yin (2006-2008)

樂團行政 Administration 行政總裁 Chief Executive Officer: 楊惠 Margaret YANG 樂團事務及節目Orchestra & Programme 總經理 General Manager: 李浩儀 LEE Ho-yee 樂團經理 Orchestra Manager: 陳成美 Marylu CHAN 行政秘書 Executive Assistant to CEO: 何淑娟 Rose HO 節目經理 Project Manager: 李莉 Lily LEE 會計經理 Accounting Manager: 李靄玲 Judith LEE 助理節目經理 Assistant Project Manager: 李頌威 Brian LI 行政主任 Administration Officer: 廖少棻 Sylvia LIU 樂團事務主任 Orchestra Officers: 鄭穎欣 Carly CHENG 藝術行政主任 霍娉婷 FOK Ping-ting Arts Administration Officer: 周慧禪 Carol CHOW 譜務主任 Library Officer: 陳藹晴 Ivy CHAN 辦公室助理 Office Assistant: 楊瑞遠 YANG Jui-yuan 舞台經理 Stage Manager: 楊植生 Bobby YEUNG 市場推廣及發展Marketing & Development 公關宣傳經理 PR & Communications Manager: 莫皓明 Amanda MOK 市場推廣主任 Marketing Officers: 何珮鈴 Pauline HO 許天蕙 Dionne HUI 業務拓展主任 Development Officer: 陳曉茵 Cynthia CHAN 商業及贊助顧問 Business & Sponsorship Consultant: 鄧潔儀 Jeanny TANG 33 《最愛大提琴》：艾爾加大提琴協奏曲中電經典樂逍遙 CLP Light Classics ConcertGreat Cello Concertos: Wendy Law Plays Elgar 25-26.2.2012 香港大會堂音樂廳 HK City Hall Concert Hall 33 Hong Kong Sinfonietta 香港小交響樂團

音樂總監 Music Director : 葉詠詩 YIP Wing-sie

小提琴 Violin 長笛 Flute 定音鼓 Timpani 格德霍特 James CUDDEFORD ● 溫斯理 Harry WINSTANLEY ● 村本曉洋 樂團首席 Concertmaster 上杉晃代 Akiyo UESUGI Akihiro MURAMOTO 張文蕊 CHEUNG Man-yui Kitty 敲擊樂 Percussion 副樂團首席 Associate Concertmaster 雙簧管 Oboe ● 周展彤 李海南 LE Hoai-nam 第二小提琴首席 Second Violin Principal ● 金勞思 Marrie Rose KIM 小山理惠子 CHAU Chin-tung 蔡路 TSAI Loo 福原真美 Mami FUKUHARA Rieko KOYAMA 第二小提琴助理首席 Second Violin Assistant Principal 豎琴 Harp 蔡穎 CAI Ying-qiong 單簧管 Clarinet ● 黃士倫 周惜分 Sylvia CHOW ● 方曉佳 FONG Hiu-kai Johnny Ann HUANG 馮佳 FENG Jia 陳秋媛 CHEN Chiu-yuan 鍵琴 keyboard 保英子 Eiko HOSAKA ● 朱偉恆 呂灝然 Ambrose LUI 巴松管 Bassoon Alan CHU 羅蔚敏 LUO Wei-min ● 秦慶生 CHIN Hing-sang 潘力 PAN Li 田口美奈子 Minako TAGUCHI 彭曉筠 PANG Hiu-wan ●首席 高橋真珠 Matama TAKAHASHI 圓號 Horn Principal 丁鈺 TENG Yuk Sophia 賈莉蒂 Lucy GALLANTINE ▼ 助理首席 黃裕翔 WONG Yu-cheung 東出真澄 Masumi HIGASHIDE Assistant Principal 楊宇思 YANG Yu-si 岑慶璋 SHUM Hing-cheung 葉紹羲 ▽ 署理助理首席 YIP Siu-hay 關山明 Benny KWAN Acting Assistant Principal 袁以恆 Jonathan YUEN 小號 Trumpet 中提琴 Viola ● 馮嘉興 FUNG Ka-hing ● 陳子信 CHAN Tsz-shun Elvis ▼ 顏熾權 Joseph NGAN ▽ 劉琛彥 LAU Sum-yin 丹尼路 Danilo DELFIN 錢江 CHIN Kong 何永妍 Cecilia HO 長號 Trombone 顏星安 NGAN Sing-on ● 新妻裕子（休假） Yuko NIITSUMA (on leave) 胡斯樂 WU Shee-lok 陳學賢 CHAN Hok-yin

大提琴 Cello 低音長號 Bass Trombone ● 張培節 CHANG Pei-chieh 江子文 KONG Tze-man Jason ▼ 貝樂安 Laurent PERRIN 何國芝 HO Kwok-chee Karey 大號 Tuba 朴詩媛 PARK Si-won ● 林榮燦 LAM Wing-tsan 黃嘉輝 WONG Ka-fai David 葉俊禧 YIP Chun-hei Eric Notes 1. Guest Principal Trombone – Jonathan WATKINS (韋健思). 低音大提琴 Double Bass 2. Freelance Musicians: ● 永井雅美（休假） Masami NAGAI (on leave) Brian CHAN (陳子俊), CHAN Shiu-hang Olive (陳肇珩), CHEUNG On-ki Angel (張安琪), Jojo Ho (何銘恩), Otto KWAN (關統洋), LI Oi-kiu Kilby (李藹喬), LI Xiao-hui (李曉慧), Mandy LO (勞善雯), LOUIE Lai-lai (雷麗麗), Wilfred MA (馬偉懷), Letty POON (潘穎芝), Winty WAN (雲凱弦), WONG Cheuk-ho David (王卓豪), Wong Chung-hon (黃宗瀚), YAM King-lam (任景林), Gordon YAP (葉乃堅). 3. APA students (with kind permission of the Hong Kong Academy for Performing Arts): CHAN Chun Michael (陳駿), CHENG Mei-kwan Emily (鄭美君), Tse Sin-wai Cynthia (謝善慧), VONG Wai-man Raymond (王偉文).

34 如夢逝水年華 La Valse Remembered 請支持香港小交響樂團 Please support us in investing in a cultural tomorrow!

A World filled with Music is Wonderful! At Hong Kong Sinfonietta we believe music is good for everyone and a society full of music lovers will be an inspired and harmonious society. Please support our work by making a donation or becoming a sponsor. Help us build a Wonderful World by creating more special audience development projects and concerts and nurturing the next generation of audience. 香港小交響樂團的發展有賴您的贊助或捐款，以資助我們的學生票、教育音 樂會、委約新作、培育新一代音樂家，並將好音樂送到社會各階層，讓我們 能夠為香港帶來更豐富的藝術空間，創造更美好和諧的社會。

成為我們的星級贊助人 學生票資助計劃 Become a STAR supporter! Student Ticket Scheme

香港小交響樂團每年大約一半的經費有賴善長及機構的資 可記得您首次坐在音樂廳，被台上演奏的音樂觸動您心 助，當中您的捐款將主要用於樂團不同的觀眾拓展計劃及 的那一刻？ 音樂會。請支持我們培育文化新一代！ 香港小交響樂團致力培育文化新一代，打破古典音樂與普 Please support the Hong Kong Sinfonietta in developing new 羅大眾之間的隔膜。多年來，樂團為不同年齡的觀眾度身 audiences for the arts. Your donation will be used mainly for 訂造各類型的教育及學生音樂會系列，並提供不設限額的 special audience development projects and concerts which 學生票。 need extra funding. 請捐款支持我們的學生票資助計劃，讓更多年青人有機會 Donor (HK$1,000 – HK$9,999) STAR Donor (HK$10,000 – HK$29,999) 被音樂感動，愛上音樂。 STARplus Donor (HK$30,000 – HK$99,999) Hong Kong Sinfonietta gives thousands of young people each SuperSTAR Patron (HK$100,000 – HK$499,999) year the chance to take their first steps into an experience that MegaSTAR Patron (> HK$500,000) could change their lives forever. We design exclusive concerts for schools, present educational and family concert series tailor-made for different age groups 閣下的捐款數額無論多少，我們都為之感激！我們將在樂團一年 and offer half-price student tickets (without quota) to all our 內舉辦的音樂會的場刊中，鳴謝HK$1,000或以上的捐款（捐款 concerts. HK$100或以上可憑收據申請扣稅）。請填妥捐款回條連同支票或 信用咭資料寄回給我們。 Donate to our Student Ticket Scheme and help someone young As a small token of thanks, donations of over HK$1,000 will be fall in love with classical music. Just like you did. acknowledged in every Hong Kong Sinfonietta concert house Opal Donor (HK$1,000 – HK$9,999) programme for one year (donations of HK$100 or more are tax deductible). To make a donation, please complete the Donation Form Pearl Donor (HK$10,000 – HK$29,999) and post it to us with a crossed cheque or your credit card details. Ruby Donor (HK$30,000 – HK$49,999) 有關其他贊助及捐款查詢，請電郵至 Jade Donor (HK$50,000 – HK$99,999) For further donation and sponsorship enquiries, please contact us at Diamond Donor (> HK$100,000) [email protected] 捐款回條 Donation Form

請將回條寄回香港灣仔譚臣道 98 號運盛大廈3樓，或傳真至2783 9819，謝謝。 Please return this form to 3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong, or fax to 2783 9819. Thank you.

我樂意支持香港小交響樂團培育文化新一代，現捐助 □HK$ ______， 支持樂團的日常經費。 □HK$ ______， 支持樂團的學生票資助計劃。 I would like to support the Hong Kong Sinfonietta with a donation of □HK$ ______. □HK$ ______towards its Student Ticket Scheme.

中文姓名 Surname First name

電話 Tel 電郵 E-mail

地址 Address

刊登於場刊之鳴謝姓名 Name to be acknowledged in house programme (>HK$1,000)

（中文） (Eng) □無名氏 Anonymous 先生／小姐／太太／女士／博士／教授 Mr/Miss/Mrs/Ms/Dr/Prof

我以下列方式捐款 I would like to make my donation using the following method:

□劃線支票 Crossed cheque (抬頭請填「香港小交響樂團有限公司」Payable to “HK Sinfonietta Ltd”) □美國運通卡 American Express □匯財卡 Visa □萬事達卡 Mastercard

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簽名 Signature 日期 Date 2011/2012樂季贊助機構 Sponsors of the 2011/2012 Season 感謝以下熱心人士及機構對香港小交響樂團2011/2012年樂季的支持！ Thank you to the following individuals and corporations whose support has enabled us to bring a variety of programmes to you this season.

主要贊助機構 Major Sponsors

商業機構贊助計劃 Corporate Members 白金會員 Platinum Members

Premium Friends 藝倡畫廊 Alisan Fine Arts 張昌博士 Dr Thomas H C Cheung 馮元志 Fung Yuen Chi Louis 林煥樟博士 Dr Steven Woon-cheong Lam 李韶博士及李梅以菁博士 Dr Lee Shiu & Dr Jennie Mui Lee 羅榮生 Vincent W S Lo 冼為堅 David Sin Wai-kin 詹德隆 T L Tsim 萬美宜 Christine Van 黃奕鑑 Michael Y K Wong 任懿君 David Yam 多位無名氏 Anonymous

感謝以下各機構對香港小交響樂團一直的支持! Thank you to the following parties for their continued support! CASH音樂基金 CASH Music Fund 法國駐港澳總領事館 Consulat Général de France à Hong Kong et Macao The Fleming 民政事務局 Home Affairs Bureau 康樂及文化事務署 Leisure and Cultural Services Department 香港電台 Radio Television Hong Kong 太古港島東 Swire Island East 通利琴行 Tom Lee Music Co Ltd 38 《最愛大提琴》：艾爾加大提琴協奏曲中電經典樂逍遙 CLP Light Classics ConcertGreat Cello Concertos: Wendy Law Plays Elgar 贊助人及捐款者 Patrons & Donors 香港小交響樂團對以下熱心人士及機構在去年的捐款致以衷心謝意。 Thank you to the individuals, foundations and corporations who have supported us with a donation in the past year.

MegaSTAR Patron (>HK$500,000) 施永青基金有限公司 Shih Wing Ching Foundation Ltd

SuperSTAR Patron (HK$100,000 to HK$499,999) 林護紀念基金有限公司 Lam Woo Foundation Limited

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

Dr & Mrs Chan Ka Ho 鍾思源醫生 Dr Chung See Yuen The Dedicated Violinist Fund Cecilia Fok 梁烈安先生及夫人Mr & Mrs Leung Lit On 多位無名氏 Anonymous

(HK$1,000 to HK$9,999) Martin Matsui STAR Donors (HK$10,000 to HK$29,999) Donors 吳鳳洲先生紀念獎學金 亞洲金融集團 Asia Financial Group BELIEVING MUSIC CAN 加拿大琴行 Mr Ng Fung Chow Memorial Scholarship Fund 張昌博士 Dr Thomas H C Cheung Canada Piano Co 陳文敏教授伉儷 Prof & Mrs Johannes Chan Patricia Or 張黎慧文 Vivian W M Cheung Jonman, Monika & Joel Chan Family Sun Wai Ying 樊倩姬 Daphne Fan Sin Kei 張綺華 Helen Cheung Elsie Tam 郭立成律師 Maya Joy Cheung & Friends 譚詩慧 Dr & Mrs A Van Langenberg Stephen Eno Ethan Tsang & Anton Tsang Ruth & Sidney Foon Hei Cats Henry & Esther Tsang Sin Wai-kin David 馮新健 John Sun-kin Fung Paul Tsang Eric Tsang 賴雪芬 Betsy Lai 懷念鄭延益老師 Mr & Mrs Patrick Tsang 紀念劉葉珍女士 Tsui Lap Lee 范明威遠東有限公司 Hannah Tsatsonis 羅尹彤 Kaitlyn Law VMW Far East Limited Wig the Pig 多位無名氏 Anonymous Mr Allan Leung 柏嘉撒斯 WINGED LINICORN 紀念呂天申女士 Emily Wong Philippe de Marcillac 多位無名氏 Anonymous 大通會計事務所 Masterpoint Professional Ltd

學生票資助計劃 Student Ticket Scheme Donors

Diamond Donors (>HK$100,000) 施永青基金有限公司 Shih Wing Ching Foundation Ltd 芝蘭文化基金 Zhilan Foundation

Jade Donor (HK$50,000 to HK$99,999) 無名氏 Anonymous

Ruby Donors (HK$30,000 to HK$49,999) 郭立成律師 Chris Kok 孫永輝及施熙德 Edith and Stephen Sun

Pearl Donors (HK$10,000 to HK$29,999) 陳求德醫生及夫人 Dr & Mrs Chan Kow Tak 張德賢博士伉儷 Dr & Mrs Douglas Cheung 鍾思源醫生 Dr Chung See Yuen Stephanie & Amelie Jat 梁烈安 Leung Lit-on 陳智文 Stephen Tan Wai Wah Foundation 多位無名氏 Anonymous

Opal Donors (HK$1,000 to HK$9,999) Terry Au BELIEVING MUSIC CAN 陳文敏教授伉儷 Prof & Mrs Johannes Chan Jonman, Monika & Joel Chan Family Ann & Paul Chen Laura Chen Foon Hei Cats Professor David Clarke 孔令華 Hung Ling Wah 席信 Mr Paul Jackson Tasha Lalvani 羅尹彤 Kaitlyn Law Hailey Tang 黃乃禧 Wong Nai Hay 多位無名氏 Anonymous 18.11.2011 香港大會堂音樂廳 HK City Hall Concert Hall 39 “A new star on the classical music sky… She plays with radiance strong enough to light up the entire hall.” Zürcher Landzeitung

小號 Trumpet 赫爾塞絲 Tine Thing Helseth

節目Programme 德布西 《牧神之午後》前奏曲 胡默爾 降E大調小號協奏曲 拉威爾 《鵝媽媽》 Debussy Prélude à L'Après-midi d'un Faune (Afternoon of a Faun) Hummel Trumpet Concerto in E-flat Ravel Ma Mère l’Oye (Mother Goose) 30.3.2012 （星期五 Fri）8:00pm 香港大會堂音樂廳 Hong Kong City Hall Concert Hall $280, $200, $120 © JONATHAN KEENAN

指揮 Conductor 黎志華

© OBSERVATORIET Jason Lai • Principal Conductor, Yong Siew Toh Conservatory Orchestra, Singapore • Artist Associate, Hong Kong Sinfonietta (2009-2011) • Assistant Conductor, BBC Philharmonic (2002-2005)

“Clarity, confident delivery, and compelling performances.” The Herald

門票於城市電腦售票網發售 Tickets at URBTIX 門票查詢及購票 Ticketing Enquiries & Bookings 2111 5999 | www.URBTIX.hk 節目查詢 Programme Enquiries 2836 3336 | www.HKSL.org 香港小交響樂團保留更改節目及表演者之權利 Hong Kong Sinfonietta reserves the right to change the programme and artists 香港灣仔港灣道 2號12樓1205室 Room 1205, 12/F, 2 Harbour Road, Wanchai, Hong Kong 電話 Telephone: 2824 3555 傳真 Fax: 2824 3798, 2824 3722 網址 Website: www.hk.artsfestival.org 電郵 Email: [email protected]

贊助人 Patron 節目委員會 Programme Committee 發展委員會 Development Committee 曾蔭權先生 The Honourable Donald Tsang Yam-kuen 主席 Chairman 主席 Chairman 許仕仁先生 Mr Rafael S Y Hui, GBM GBS JP 查懋成先生 Mr Victor Cha 永遠名譽會長 Honorary Life President 副主席 Vice Chairman 副主席 Vice Chairman 梁靳羽珊女士 邵逸夫爵士 Sir Run Run Shaw Mrs Leong Yu-san 紀大衛教授 Professor David Gwilt, MBE 委員 Members 委員 Members 杜安娜女士 Mrs Igna Dedeu 執行委員會 Executive Committee 白碧儀女士 Ms Deborah Biber 盧景文教授 Professor Lo King-man, MBE JP 主席 Chairman 廖碧欣女士 Ms Peggy Liao 毛俊輝先生 Mr Fredric Mao, BBS 黃慧玲女士 Ms Whang Hwee Leng 李業廣先生 Mr Charles Y K Lee, GBM GBS JP 譚榮邦先生 Mr Tam Wing-pong, SBS JP 顧問 Advisors 副主席 Vice Chairman 姚玨女士 Ms Jue Yao 鮑磊先生 Mr Martin Barrow, GBS CBE JP 許仕仁先生 The Hon Rafael S Y Hui, GBM GBS JP 伍日照先生 Mr Daniel Ng 郭炳江先生 Mr Thomas Kwok, SBS JP 李國寶博士 Dr The Hon David K P Li, GBM GBS JP 羅志力先生 Mr Peter C L Lo 義務司庫 Honorary Treasurer 梁紹榮夫人 Mrs Mona Leong, SBS BBS MBE JP 白諾信先生 Mr Giorgio Biancorosso 李思權先生 Mr Billy Li 榮譽節目顧問 Honorary Programme Advisors 名譽法律顧問 Honorary Solicitor 委員 Members 史蒂文生黃律師事務所 Stevenson, Wong & Co 高德禮先生 夏佳理先生 The Hon Ronald Arculli, GBS JP Mr Douglas Gautier 紀大衛教授 Professor David Gwilt, MBE Dr Peter Hagmann 核數師 Auditor 約瑟．施力先生 Mr Joseph Seelig 羅兵咸永道會計師樓 PricewaterhouseCoopers 查懋成先生 Mr Victor Cha 周永健先生 Mr Anthony Chow SBS JP 財務及管理委員會 香港藝術節基金會 Hong Kong Arts Festival Trust 黃敏華女士 Ms Nikki Ng Finance and Management Committee 主席 Chairman 李義法官 The Hon Mr Justice Ribeiro 主席 Chairman 霍璽先生 Mr Angus H Forsyth 詹偉理先生 Mr James Riley 李思權先生 Mr Billy Li 管理人 Trustees 黃鳳嫻女士 Ms Gilly Wong 陳達文先生 Mr Darwin Chen, SBS ISO 委員 Member 任志剛先生 Mr Joseph Yam, GBM JP 梁紹榮夫人 Mrs Mona Leong, SBS BBS MBE JP 梁國輝先生 Mr Nelson Leong 陳祖澤先生 Dr John C C Chan, GBS JP

職員 STAFF 發展 DEVELOPMENT 職員（合約）STAFF (CONTRACT) 出版 PUBLICATION 行政總監 Executive Director 發展總監 Development Director 節目 PROGRAMME 編輯 Editor 何嘉坤 Tisa Ho 余潔儀 Flora Yu 物流及接待經理 Logistics Manager 鄺潔冰 Cabbie Kwong 金學忠 Elvis King 節目 PROGRAMME 發展經理 Development Manager 英文編輯 English Editor 嚴翠芳 Josephine Yim 製作經理 Production Manager 魏卓華 Mikel Echevarría 節目總監 Programme Director 廖卓良 Liu Cheuk-leung 梁掌瑋 Grace Lang 助理發展經理 Assistant Development Manager 助理編輯 Assistant Editor 陳艷馨 Eunice Chan 節目經理 Programme Manager 陳楚珊 Sharon Chan 副節目總監 Associate Programme Director 何玉凝 Amy Ho 蘇國雲 So Kwok-wan 會計 ACCOUNTS 市場推廣 MARKETING 助理節目經理 Assistant Programme Manager 節目經理 Programme Manager 會計經理 Accounting Manager 陳采琦 Kathy Chan 助理市場經理 Assistant Marketing Manager 葉健鈴 Linda Yip 陳綺敏 Katharine Chan 陳燕 Lilian Chan 項目經理 Project Manager 外展經理 Outreach Manager 助理會計經理 Assistant Accounting Manager 林慧茵 Jess Lam 市場主任 Marketing Officer 梁偉然 Ian Leung 曾愛明 Ming Jung 梁愷樺 Anthea Leung 藝術家統籌及項目經理 助理節目經理 會計文員 票務主任 Assistant Programme Manager Accounts Clerk Artist Coordination and Project Manager Ticketing Officer 汪文鈺 Joy Wang 黃國愛 Bonia Wong 陳韻妍 Vanessa Chan 關穎思 Catherine Kwan 助理製作經理 客戶服務主任 Assistant Production Manager 行政 ADMINISTRATION 外展統籌 Outreach Coordinator Customer Services Officers 蘇雪凌 Shirley So 劉寶軒 Xanthe Lau 行政秘書 Executive Secretary 陳韻婷 Alyson Chan 節目主任 楊蘊楹 Flora Yeung Programme Officer 陳詠詩 Heidi Chan 外展主任 Outreach Officer 李家穎 Becky Lee 姜嘉敏 Joyce Keung 接待員/初級秘書 Receptionist/Junior Secretary 蔡樂庭 Vanessa Tsoi 發展 市場推廣 MARKETING 李美娟 Virginia Li 外展助理 Outreach Assistant DEVELOPMENT 發展經理 Development Manager 市場總監 Marketing Director 辦公室助理 Office Assistant 陳慧晶 Ainslee Chan 譚穎敏 Myra Tam 鄭尚榮 Katy Cheng 鄭誠金 Tony Cheng 節目及出版主任 Programme & Publications Officer 市場經理 Marketing Managers 曾逸林 Zeng Yilin 周怡 Alexia Chow 技術統籌 Technical Coordinators 梁頌怡 Kitty Leung 黎春成 Anthony Lai 鍾穎茵 Wendy Chung 陳寶愉 Bobo Chan 助理市場經理（票務） 鄭潔儀 Catherine Cheng Assistant Marketing Manager (Ticketing) 陳詠杰 Chan Wing-kit 梁彩雲 Eppie Leung 陳佩儀 Claudia Chan 何美蓮 Meilin Ho 43 音樂總監／指揮 Music Director/Conductor 節目Programme

葉詠詩Yip Wing-sie Debussy Danses Sacrée et Profane for harp & strings © MATTHIAS CREUTZIGER Mozart Sinfonia Concertante in E-flat, K364 Fauré Requiem, Op 48 12.4.2012 © YVONNE CHAN （星期四 Thu）8:00pm © TOPAZ LEUNG 香港大會堂音樂廳 Hong Kong City Hall Concert Hall $360, $250, $140 小提琴 Violin 女高音 Soprano 葉葆菁 Yuki Ip 本大進 Daishin Kashimoto 男中音 Baritone 林俊 Albert Lim 1st Concertmaster, Berlin Philharmonic

合唱團 Chorus 香港青唱 Hong Kong Young People’s Chorus 香港和聲 Hong Kong Voices

Die Konzertisten © HIPPOLYTE ADRIEN

中提琴 Viola 豎琴 Harp 貝桃 黃士倫 20% OFF Ann Huang 凡同時購買4月12及14日音樂會 Lise Berthaud 之正價門票，可獲 8 折優惠 • Winner of Hindemith Prize, 20% discount when you purchase full-price tickets Geneva International Music Competition to both concerts on 12 & 14.4.2012 門票於城市電腦售票網發售Tickets at URBTIX 門票查詢及購票 Ticketing Enquiries & Bookings 2111 5999 | www.URBTIX.hk 聯合主辦 Co-presenter 節目查詢 Programme Enquiries 2836 3336 | www.HKSL.org Hong Kong Sinfonietta reserves the right to change the programme and artists 康樂及文化事務署 贊助場地及售票服務 Venue and ticketing 香港小交響樂團由香港特別行政區政府資助 services sponsored by 香港小交響樂團為香港大會堂場地伙伴 Hong Kong Sinfonietta is financially the Leisure and Cultural Hong Kong Sinfonietta is the supported by the Government of the Services Department Venue Partner of the Hong Kong City Hall Hong Kong Special Administrative Region