2010 House Programme

To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your alarm watches, MOBILE PHONES and PAGERS.Eating and drinking, smoking, unauthorized photography and audio or video recording are forbidden in the concert hall.Thank you.

為了讓大家對這次演出留下美好印象，請在節目開始前關掉手錶、手提電話及傳呼

機等響鬧裝置。會場內請勿擅自攝影、錄音或錄影。

場內嚴禁飲食及吸煙。

多謝合作。

各位觀眾 Dear Patrons：

House Rules 場地規則

Venue ManagementLi Kam Chuen, JohnVenue Management Officer (Tsuen Wan Town Hall)Tel: 2405 0102Fax: 2414 8903

場地管理

李錦銓

場地統籌主任（荃灣大會堂）

電話：2405 0102傳真：2414 8903

香港中文大學合唱團 The Chinese University of Hong Kong Chorus

二零一零周年音樂會 Annual Concert 2010

• 本節目獲得康樂及文化事務署減收租用費計劃資助 This performance receives support from the Leisure and Cultural Services Department’s Reduction of Hire Charges Scheme.

• 本團排練場地及器材由香港中文大學邵逸夫堂提供 The rehearsal venue and equipment for choir rehearsals are provided by the Sir Run Run Shaw Hall of CUHK.

• 欲知更多合唱團資訊，請瀏覽：

For more news & information, please visit: http://www.cuhk.edu.hk/chorus

目錄 Table of Contents

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13

14

30

31

合唱團介紹

Chorus Profile

曲目

Programme

歌詞及樂曲介紹

Lyrics and Programme Notes

幹事會、籌委會成員及職員

Committees Members and Staffs

演出者名單

Performers 演出約長1小時45分鐘，包括一節20分鐘中場休息

Running time: approximately 1 hour and 45 minutes with a 20 minute intermission

二零一零年三月十三日（星期六）晚上八時

13 March 2010 (Saturday) 8:00p.m.荃灣大會堂演奏廳

Tsuen Wan Town Hall Auditorium

2

合唱團及演出者介紹

Chorus Profile & Performers’ Biographies

Hallowed Be Thy Name – A Showcase of Sacred Music

3爾名為聖 ─ 宗教音樂巡禮

Since its founding in 1972, the Chinese University of Hong Kong Chorus has dedicated itself to promoting the enjoyment and appreciation of choral music of various styles and genres. Its members have performed for different audiences, on campus and in the community. For close to four decades, the CU Chorus has impressed generations of music enthusiasts with its exquisite interpretations of masterworks from its immense Chinese and Western repertoire, building for itself a fine name among academic choirs in the region. At the heart of this success is the commitment and enthusiasm of the chorus members.

Tonight the CU Chorus will bring to the audience a memorable and pleasant evening through the rendition of sacred music from the Renaissance to the 21st Century. On this joyous occasion, I congratulate the performers and the organizers on a well-rehearsed programme and wish the concert every success.

Lawrence J. LauVice-Chancellor,

The Chinese University of Hong Kong

Message from the Vice-ChancellorThe Chinese University of Hong Kong

4 Hallowed Be Thy Name – A Showcase of Sacred Music


香港中文大學合唱團團長獻辭

Message from the ChairpersonThe Chinese University of Hong Kong Chorus

每個星期一的傍晚，總會有幾個人在漆黑中提著巨大的電子琴、挽

着厚疊疊的歌譜前往排練目的地，隨後一個一個來自五湖四海 ─ 不

同學系的本科生、不同職業的舊生都來了。排練完畢，我們就會一

邊唱歌，一邊走往火車站，歌聲由山上伸延至山下。

我們來自不同的地方，卻因歌聲而走在一起……

還記得在去年十二月的台灣交流團：凌晨十二時十五分大家正在房

內閒聊，突然一位團員敲門，進來時他拿著一疊歌譜說：「讓我們

一起背歌吧！」看看牆上的時鐘，幾位團員呆了，卻拿起歌譜，走

到他的房間背歌。交流團的日子，有人唱歌，便會有人和應；由早

上至夜晚，由旅遊車至各個景點……

為了背好共有六種語言的歌曲，團員不計較自己有多忙碌，迅速

成立了「背譜小組」。縱使困難，大家彼此勉勵、彼此分享心得秘

訣，我們甚至能把整篇近二百字的芬蘭文歌詞全數背默出來。

指揮平日兼顧兩份「工作」：早上七時至傍晚六時是全職教師，晚

上七時至凌晨三時是義務指揮。當上指揮，他沒有收過幾毛錢，每

晚卻為我們在網上找資料預備每次排練、歌詞翻譯、歌曲錄音、研

究歌曲演繹以及討論團內運作。有次清晨五時四十五分在「線上」

遇到他，便問道：「早晨，還不睡覺？」「還未睡，正在聽你們排

練的錄音嘛！」

合唱團的日常事務，以至籌備音樂會工作如預訂場地、籌措資金、

宣傳、出版場刊……全都由團員們一手包辦。由去年開始，大家的

電郵一星期總會有幾天被「猛烈轟炸」。有一晚，我在晚上十一時

回覆電郵後便去睡覺，第二天早上起來(約七時許)，竟然收到三十

二封新電郵！記得一位晝夜為團而不眠不休的團員被問及：「真佩

服，為何你仍可活到今天！」她微笑地回答：「能做多少便多少，

在畢業前一定要為團辦點事！」

點點回憶拼在一起，拼成了我們：中大合唱團。一點一滴的心血和

一次又一次的支持鼓勵，造就了今晚我們的歌聲。願大家今晚能在

旋律中感受到我們的熱誠，分享這份喜悅！

香港中文大學合唱團

二零零九至二零一零年度團長

謝穎心

I recall the time during our Taiwan Tour at the end of 2009, when a member knocked on my door at 12:15 a.m. one night, and asked, “Wanna memorize the lyrics together?” Everybody in my room was shocked, but after a moment some picked up their scores and joined him. Throughout the tour we sang along, from day to night, from one place to another...

To better memorize this concert’s songs, which consist of six languages, a group of dedicated members formed the “AP (Annual Performance) Study Group”, despite being busy with academic demands. Honestly, remembering the lyrics is not easy; but after weeks of hard work, some of us can even dictate the whole song of 198 Finnish words from memory alone.

This dedication goes for our conductor as well. During the day he is a full time school teacher, but from evening onwards to the small hours, he is our voluntary conductor. His work with us is not paid, yet he spends tons of time and effort in finding the most suitable lyric translations and song recordings for us, and in discussing with the committee members how to better run our chorus. Once, I saw him still online in MSN at 5:45 a.m., so I asked, “Good morning, still working?” “Yes, listening to the recordings from our last rehearsal.”

Everything in the chorus is organized and done by our members, including daily operations, venue-booking, finding sponsors, public relations, making the concert programme… Since taking office last year, our emails have been filled with chorus-related discussions and suggestions. One day when a member was asked why she devoted so much to the chorus, she responded, “Just doing my best and contributing the most to Chorus before I graduate!”

All these memories come together and create us, the CU Chorus. Effort and passion are always with us; they are what make tonight’s concert a success. Hereby I wish that you would feel our passion and enjoy the melodies tonight!

Tse Wing SumChairperson (2009 - 2010),The Chinese University of Hong Kong Chorus

Twice a week, three hours each. Like clockwork, every time before a rehearsal, several people would be seen carrying a massive electric piano to the rehearsal venue. Then one by one, members with different backgrounds come along and join in the singing.

We were strangers before, but music has brought us together.


三月十三日是一個特別的日子。特別，不單因為這晚是我們籌備多

時的音樂會，更因為在這天晚上，我們即將實現我們一年來努力追

求的夢想。

身為表演者，我們的目標當然是要和觀眾分享好的音樂。然而要如

何由零開始，達到這個目標，就必須靠大家的信心和毅力。

信心，是要相信自己的能力，也相信觀眾，而願意付出心力去挑戰

不同的作品。這些作品也許是艱澀的外語，也許手法新奇，也許難

度很高……但因為我們確信只要自己肯用功，就能唱出觀眾能欣賞

的音樂，所以我們有動力每週投放近十小時來練歌，並且在其餘時

間也找不同方法複習，以求更加熟練歌曲。正是有了這些努力，我

們今日才能夠在台上面對觀眾開懷歌唱。

從有了一個理想，到今天結成果實，當中每一步都是靠團員們的努

力和熱誠。我們都有遇到挫折、迷惘的時候，是因為大家有不屈的

毅力，互勵互勉，在困難面前不退縮，我們才能在磨煉中成長。在

此我尤其感激我們的音樂總監和各位音樂會籌委；沒有他們付出大

量的時間和精力，絕不可能有今天的演出。

March 13th is a special day. Special, not only in that it is the night of our long-anticipated concert, but also because it is a night when our dream for the past year can be fulfilled.

As a performing group, our goal has always been to share wonderful music with our audience. But to get to that point, we must have immense faith and will.

We need faith in ourselves, and in our audience, to take on the challenges of different pieces. Be they in difficult foreign languages, unorthodox arrangements, or with formidable requirements... as long as we have faith that we can present these pieces well with proper effort, we are motivated to put in long hours of rehearsals, and find ways to further our skills beyond. It is because of these efforts that we can present our programme confidently on stage tonight.

From having a vision to its coming to fruitage today, every step of the way is built by the diligence and devotion of our members. We all had moments of being lost and frustrated, but because our collective will is indomitable, we encourage each other on, and come out of trials the better. I am particularly grateful to our Music Director and all the Concert Organizing Committee members; this concert would not have been possible without their endless input of time and effort.

Last but not least, I thank you for joining us tonight. We cannot be performers without an audience; it is you who help make our dream a reality. Please enjoy!

Chan Wan MingChairperson of Concert Organizing Committee 2010,The Chinese University of Hong Kong Chorus

中大合唱團2010周年音樂會籌委會主席獻辭

Message from the ChairpersonCU Chorus Concert Organizing Committee 2010

最後，也很感謝入場來觀看音樂會的您。沒有觀眾的參與，我們唱

甚麼也只能自娛，不是分享；多謝您，成全了我們的夢。希望您喜

歡我們的音樂！


二零一零周年音樂會籌委會主席

陳蘊明


你相信奇蹟嗎？

九首作品六種語言 * ，排練時團員叫苦連天，年初首次試背

《 … … 是 … … 的兒子》與《叁佰壹拾》時團員大都痛苦得面容扭

曲，今天大家卻已把大疊的樂譜全啃進腦袋……

在最早可以遞交申請的時候就入紙租用演出場地卻落得全軍覆沒，

直至去年十二月仍為音樂會場地憂心忡忡時，卻收到通知有人放棄

今天的荃灣大會堂的租用申請，讓我們補上……

校內擺攤位售票一星期完全無人問津，現在卻是高朋滿座……

今年是我回歸中大合唱團第五個年頭，今場演出是由我擔任音樂總

監起第四場周年音樂會，還有無數客席演出以至外地演出，奇蹟卻

是一而再三地出現在我們身上。

有說成功靠的是5%幸運、5%天份與90%努力。我們當中不是人人

有天份（尤其是我），所以一起付出了200%努力 — 為著對合唱、

對音樂、對藝術的熱愛，從九月一直堅持到今天，團員甚至自發組

織額外的排練。然而，沒有那5%幸運，最後還是不能成事。

可是，我們就是得到看顧，得著那最後5%。讓大家可以安坐於觀

眾座，看我們為大家送上這一系列在香港難得一聽的合唱作品。

我不是基督徒，但我相信奇蹟。你呢？


音樂總監兼指揮

朱振威

* 致散場前之讀者：不是八首作品五種語言嗎？完場時你自會知道我沒有數錯。

A whole week of in-campus ticket-selling counter drew little attention, still today the seats are filled with friends...

This is my fifth year since returning to CU Chorus, and the fourth annual concert since I became Music Director, in addition to countless guest and overseas performances. Miracles keep happening to us.

Some said that success is 5% luck, 5% talent and 90% effort. Not all of us are talented (especially myself), so we have all given 200% effort – for the love of the chorus, of music and of the art, persevering from September till tonight; some members even organized extra rehearsals. And yet without that 5% luck, we still would not have made it.

But we are indeed blessed with that remaining 5%, so that all of you can be seated comfortably here to enjoy our programme of choral pieces that the local stage rarely sees.

I am not a Christian, but I believe in miracles. Do you?

Leon ChuMusic Director and Conductor,The Chinese University of Hong Kong Chorus

* For readers before end of the programme: Isn’t it eight pieces in five languages? You will know I did not miscount at the end of the concert.

香港中文大學合唱團音樂總監獻辭

Message from the Music DirectorThe Chinese University of Hong Kong Chorus

Do you believe in miracles?

Nine pieces in six languages* have given a hard time to the chorus; everyone was miserable when we first rehearsed Which Was the Son of… and CCCX by memory at the beginning of the year. But today, somehow we have stuffed all the scores into our brains...

We handed in hiring applications for concert venues at the earliest opportunity with no success, but in December a notice came in the mid of our worriment: someone had cancelled their application for this auditorium today, so we can reapply from the waiting list...

8




香港中文大學合唱團於1972年12月由一班愛好合唱音樂的中大學生

自發成立。歷經三十多年的光輝歲月，中大合唱團已從一隊為大專

比賽而組成的學生社團，轉變成追求卓越，致力向大眾分享優質合

唱演出的表演團體。

近年，合唱團多次接受傳媒報道。《經濟日報》、《信報》、《明

報》、香港電台等傳媒也對合唱團的周年音樂會作專題介紹。樂評

人李歐梵、周凡夫等也曾在其專欄或電台節目對合唱團演出致予好

評。2009年，合唱團演唱著名電影《舒特拉的名單》選曲的錄影，

透過YouTube而大受全球猶太人歡迎，更因此吸引以色列最大報章

《新消息報》報道。

合唱團每年演出包括擔任客席嘉賓，以及主辦周年音樂會等。合唱

團2006年應邀到第20屆澳門國際音樂節演出，作首次國際性音樂

節亮相。近年合唱團屢獲邀請到其他學府作交流，曾到上海師範大

學、彰化大葉大學及台北市私立復興實驗高級中學進行示範講座，

介紹香港合唱創作發展，深受當地學生歡迎。

節目創新且多元化，讓合唱團一直走在香港合唱界最前端。合唱

團選曲以帶給觀眾精彩動聽樂曲為主，不拘泥於風格與難度。演唱

過的曲目範圍由貝多芬與馬勒的交響曲到 James Blunt 與鮑比達

的流行曲不等。合唱團多次為新作香港首演以至世界首演，包括松

下耕《若言》、胡銘堯《九肚山下》、蘇梓安《戀之花》及楊嘉輝

《他說》等。

CU Chorus has participated in various guest performances in addition to CU Chorus annual concerts. In 2006, the chorus was invited to perform in the 20th Macau International Music Festival, its debut in an international music festival. In recent years CU Chorus was invited to many institutes for exchange activities. The chorus had given demonstrative talks on the development of Hong Kong choral music in the exchange activities with Shanghai Normal University, Changhua Da-Yeh University, and Taipei Fuhsing Private School, inspiring great interest in local students.

The innovative and diverse programme has lent CU Chorus an edge among other Hong Kong choral groups. The chorus bases its repertoire on appealing and remarkable songs, regardless of the style or performing difficulty. Songs that CU Chorus has performed range from Beethoven’s and Mahler’s symphonies to pop songs by James Blunt and Chris Babida. The chorus also perform many new pieces, sometimes as their Hong Kong premiere or even world premiere; such pieces include Kotoba ni Sureba by Matsushita Ko, Below the Kau To Shan by Dennis Wu, The Flower of Love by Andy So, and When He Said by Samson Young.


The Chinese University of Hong Kong Chorus

The Chinese University of Hong Kong Chorus was founded in December 1972 by a group of CUHK students who loved singing. In these thirty-odd years, CU Chorus has evolved from a student group united for joint-university competition, into an organization dedicated to pursuing excellence and bringing quality choral performances to local audience.

CU Chorus has received multiple media coverage in recent years. The chorus’s annual concerts had featured in Hong Kong Economic Times, Hong Kong Economic Journal, Ming Pao, and Radio Television Hong Kong. Music critics such as Leo Lee Ou-fan and Zhou Fanfu had also given favourable comments on CU Chorus’s performances in their column or radio programme. In 2009, the video recording of CU Chorus performing selections from the soundtrack of the famous film “Schindler’s List” had become popular among Jewish people all over the world through YouTube; the incident was even reported in the largest Israeli newspaper, Yedioth Ahronoth.

9



爾名為聖 ─ 宗教音樂巡禮

朱振威先後隨蔡立德學習敲擊樂及隨林俊學習聲樂，也曾受挪威指

揮家 Kåre Hanken 及保加利亞指揮家 Theodora Pavlovitch 指導

合唱指揮技巧。2003 年畢業於香港中文大學現代語言及文化系，主

修文化研究。

曾任多隊合唱團及樂團指揮，朱氏現任香港中文大學合唱團之音樂

總監兼指揮。朱氏一直積極參與聲樂及舞台演出，如2002年參與德

國史圖格國立歌劇院製作之莫扎特《後宮誘逃》。此外，也曾在多

個本地樂團擔任敲擊樂手。

教學工作方面，朱氏曾為「 ISCM國際現代音樂節2002」擔任特約

導師，現職中學教師。2008年，朱氏與作曲家黃學揚為香港公開大

學「自在人生自學計劃」合作編撰「中西音樂欣賞」課程，並於商

業電台擔任相關節目《一人一大學》客席主持。

學生時代已撰寫樂評的朱氏，文章見於如《信報》、《經濟日報》、

《明報》、《Hi-Fi音響》、《文化現場》、《MUZIK》（台灣）；

香港管弦樂團及Metropolitan Youth Orchestra之場刊。朱氏也曾

替環球唱片多項國際發行之影音產品作字幕翻譯，其中包括伯恩斯

坦之馬勒交響曲全集。

Bulgarian conductor Theodora Pavlovitch. He graduated from the Department of Modern Languages and Intercultural Studies of the Chinese University of Hong Kong in 2003. Chu has been the conductor of several choirs and ensembles; at present he is the music director and conductor of the CU Chorus. Chu participated actively in various vocal and theatrical performances, including a Staatsoper Stuttgart production of Mozart’s Die Entführung aus dem Serail conducted by Lothar Zagrosek in 2002 Hong Kong Arts Festival. He has also been a percussionist in various local orchestras. On the educational front, Chu was the tutor of a workshop by ISCM World Music Days 2002; currently he is a secondary school teacher. In 2008, with composer Alfred Wong, Chu was invited to design a music appreciation course for Capacity Building Mileage Programme by Open University of Hong Kong, as well as being the guest speaker of the related programme on Commercial Radio FM881. Chu has been an active music critic since he was a student. He wrote for Hong Kong Economic Journal, Hong Kong Economic Times, Ming Pao Daily, Hi-Fi Review, C for Culture, MUZIK (Taiwan). His introductory article and programme notes were featured in several house programmes of Hong Kong Philharmonic Orchestra. He was also the subtitle translator for a number of projects by the Universal Music Group, including Bernstein’s Mahler:10 Symphonies.

朱振威音樂總監兼指揮

Leon Chu Music Director / Conductor

Leon Chu studied percussion under Choy Lap-tak, and vocal music under Albert Lim. He had also studied choral conducting in the workshops by Norwegian conductor Kåre Hanken and

10




謝勇存自小學時期開始熱愛合唱音樂，1998年加入香港中文大學合

唱團，曾先後擔任聲部長、幹事會和音樂會籌委會等工作。

謝氏現為香港中文大學訊息工程學系博士研究生。

Jorden Tse started his interest in choral music since he was a primary school student. He joined the CU Chorus in 1998. He had served as Bass part-leader, member of Executive Committee and Annual Concert Organizing Committee.

Currently, Tse is a doctorate candidate in the Department of Information Engineering, the Chinese University of Hong Kong.

(2003-2009), Chik has toured with the Choir in such countries as the United States, Canada, Australia, New Zealand, South Africa, Brazil, China, Malaysia, and 9 European countries. Apart from being an African djembe player and tutor, she has also participated as a soprano in operas such as Puccini’s Suor Angelica and La Boheme, Verdi’s Aida, and Bizet’s Carmen, and Chinese composer Wen-jin Guo’s Poet Li Bai. She had held her first public recital in May 2009.

Chik has been the vocal coach of CU Chorus since September 2009.

謝勇存助理指揮

Jorden Tse Assistant Conductor

戚芷君聲樂指導

Candy Chik Vocal Coach

戚芷君畢業於香港中文大學，先後取得文學士（音樂）學位及哲學

碩士（體育及運動科學）學位，及後又於香港演藝學院取得聲樂深

造文憑。此外，戚氏亦考獲英國皇家音樂學院鋼琴高級演奏証書及

聲樂八級（優異）資格。大學時期曾獲取獎學金，到加拿大蒙特利

爾參加麥基爾大學 (McGill University) 的爵士音樂暑期課程。戚氏

於中文大學時曾跟隨前駐校藝術家吳美樂博士學習鋼琴，於演藝學

院時亦跟隨前聲樂系系主任孟浩文 Brian Montgomery 學習聲樂。

於2003至2009年擔任葉氏兒童合唱團出國組的鋼琴伴奏期間，戚

氏曾多次隨團到十七個國家演出，包括美國、加拿大、澳洲、紐西

蘭、南非、巴西、馬來西亞、中國及歐洲多國。另外，戚氏亦為非

洲鼓鼓手和導師。聲樂方面，戚氏曾於多套香港演藝學院及香港歌

劇院製作的歌劇中演出，例如普契尼的《修女安潔麗卡》和《波希

米亞人》、比才的《卡門》、威爾第的《阿依達》，以及當代作曲

家郭文景的《詩人李白》。於2009年5月，戚氏舉行了首個公開的

獨唱會。

戚氏於2009年9月起應邀出任中大合唱團駐團聲樂指導。

Candy Chik holds a Master of Philosophy (Sports Science and Physical Education) and BA (Music) from the Chinese University of Hong Kong, an Advanced Diploma (Voice) from the Hong Kong Academy for Performing Arts, an Advanced Certificate in piano performance and a Grade 8 Distinction in Voice (ABRSM). Under the university’s sponsorship, she participated in the McGill University’s summer program of jazz music in Montreal, Canada. She studied piano with Dr. Mary Wu in CUHK and voice with Brian Montgomery, the former head of the Department of Voice, in HKAPA. As an accompanist of the Yip’s Children’s Choir

11




現職中學音樂教師的蘇明沅，六歲起學琴，後師隨潘正言並於1996年考獲鋼琴演奏級文憑。1997年開始師隨吳美樂博士研習鋼琴演

奏。就讀香港中文大學音樂系期間，已經常以獨奏及伴奏身份參與

校內演出，包括2002年首次舉行鋼琴協奏曲音樂會，也活躍於不同

類型的合奏小組。除鋼琴外，蘇氏亦曾隨秦慶生學習巴松管。2003年以鋼琴獨奏之優異成績取得學士學位。畢業後於香港中文大學教

育學院深造（主修音樂），獲學位教師教育文憑（中學）課程。

多年來蘇氏曾在多屆香港學校音樂節贏得不同獎項。2002年，獲獎

學金參與於日本鹿兒島舉行之第23屆霧島國際音樂祭，接受著名鋼

琴家鄧泰山指導。2003年，應邀為香港電台第四台「青年音樂家」

節目錄音。蘇氏有豐富合唱伴奏經驗，曾為香港新青年合唱團、香

港中文大學崇基學院合唱團、宣道會建道神學院聖樂營以及教會等

團體擔任鋼琴伴奏。

learned bassoon under Chin Hing-sang. In 2003, So graduated with distinctive performance in piano solo. Afterwards she pursued further studies in the Faculty of Education, the Chinese University of Hong Kong (major in music), and obtained Postgraduate Diploma in Education Programme (Secondary).

So has won a number of prizes in the Hong Kong Schools Music Festival over the years. In 2002, she was granted scholarship to join the Kirishima International Music Festival in Kagoshima, Japan, and studied under famous pianist Mr. Dang Thai Son. In 2003, So was invited to do a recording for the programme “Young Musicians” in Radio 4, RTHK. So has been an accompanist for various organisations, including Hong Kong Youth Choir, Chung Chi College Choir of the Chinese University of Hong Kong, Alliance Bible Seminary Music Camp and the Church.

林俊畢業於香港演藝學院並獲榮譽音樂學士，其後考獲獎學金赴皇

家音樂學院深造，以優異成績取得演藝研究文憑及證書。在學期間

多次成功考獲獎學金，包括英國皇家音樂學院獎學金、威爾斯男聲

合唱團獎學金、香港演藝學院獎學金及埃克森能源公司獎學金。

熱愛歌劇的林氏，曾參與多個大型的製作，曾演出作品包括威爾第

《茶花女》（香港歌劇院）、比才《卡門》（香港歌劇院）、普契尼

《怨女幽魂》（香港演藝學院)、《蝴蝶夫人》（香港管弦樂團）、

《波希米亞人》（英國皇家音樂學院）、莫札特《費羅嘉的婚禮》

( 英國皇家音樂學院）等。二零零七年四月，他獲上海歌劇院之邀

請，在法國著名指揮家 Michel Plasson 指揮下，飾演歌劇《卡

門》中唐．丹凱羅一角。此外，林氏也屢獲邀請作獨唱演出，其中

包括多次應香港巴赫合唱團邀請於大型作品演出。

Albert Lim attained his Postgraduate Diploma in Performance and Postgraduate Certificate in Performance with Distinction at the Royal College of Music after completing his Bachelor’s Degree of Music (Honours) at the Hong Kong Academy for Performing Arts. During his studies, Lim attained a number of scholarships, including Royal College of Music (Hong Kong),

蘇明沅鋼琴伴奏

Shirley So Pianist

林俊聲樂指導

Albert Lim Vocal Coach

Welsh Male Choir Scholarships, the Society of APA Scholarships, Guinness Flight’s Music Prizes, Exxon Energy Limited Scholar-ships. Passionate in opera, Lim has performed numerous roles of famous opera programmes such as playing Dancairo in Carmen by Bizet (Opera Hong Kong’s production), Barone in La Traviata by Verdi (Opera Hong Kong’s production), Gugliemo in Le Villi by Puccini (HKAPA’s production), Ben in The Telephone by Menotti (HKAPA’s production), Marcello in the excerpts of La Boheme by Puccini (Royal College Of Music’s production), Zurga in the excerpts of Les Pechers De Perles by Bizet (RCM’s production), Figaro in the excerpts of Le Nozze Di Figaro by Mozart (RCM’s production) and so on.

Shirley So is currently a secondary school teacher. She learned piano since age six, and obtained Piano Music Performance Diploma in 1996. She has started studying piano performance under Dr. Mary Mei-loc Wu since 1997. During her time as a student of the Music Department in the Chinese University of Hong Kong, So had participated in various school performances, including her debut piano concerto performance in 2002. She was also active in different ensembles. Other than piano, So had

孟提賈維 Jaakko Mäntyjärvi (1963–) 聖母頌 Ave Maria

蒙台威爾第 Claudio Monteverdi (1567–1643) 向主高歌 Cantate Domino

孟德爾遜 Felix Mendelssohn (1809–1847) 普天下當向主歡呼 Jauchzet dem Herrn, alle Welt

帕特 Arvo Pärt (1935–) ……是……的兒子 Which Was the Son of...

孟提賈維 Jaakko Mäntyjärvi (1963–) 叁佰壹拾 CCCX

– 中場休息 Intermission –

拉爾丁 Paul Rardin (1965–) 走向耶路撒冷 Walk in Jerusalem獨唱：何嘉雯、羅玉鈴、戚芷君、黃家駿、張偉文、唐錦亮、陳榮慰

Solo: Ho Ka Man, Law Yuk Ling, Chik Tsz Kwan, Wong Ka Chun, Cheung Wai Man, Tong Kam Leong, Chan Wing Wai

卡亞比亞 Ryan Cayabyab (1954–) 聖芳濟禱文 Prayer of St. Francis of Assisi

契爾考特 Bob Chilcott (1955–) 小爵士彌撒 A Little Jazz Mass

曲目及演出者

Programme and Performers

Programme 曲目

Performers 演出者

指揮 Conductor 朱振威 Leon Chu

鋼琴 Pianist 蘇明沅 Shirley So


13

14




芬蘭作曲家兼合唱指揮家孟提賈維儘管已躋身國際級合唱大師之

列，但他既不是自幼專習音樂，現在也不是以音樂為職業！雖然曾

在西貝流士音樂學院學習音樂理論及合唱指揮，但他在赫爾辛基大

學主修的卻是英文及語言學，畢業後投身翻譯事業。音樂創作是他

的業餘興趣，卻得到空前成就。

《聖母頌》是孟提賈維年青時的作品，寫於1991年，由薩科萊倫學

生會學生合唱團委約創作。創作時間非常緊逼：只有一個下午的時

間！甫完成晚上就要排練隨即演出。樂曲開始由兩部男低音在低音

區以長音維持一個延綿不絕的完全五度，女聲則吟誦歌詞，然後男

高音在上面唱出模仿格雷果聖歌的旋律，製造出一種古老樸實的感

覺。創作及排練時間的極大限制，反而使孟提賈維巧妙地想出只讓

女聲朗讀歌詞，只由男聲唱出結構簡單音樂的演唱形式，創作出一

部既有前衛音響效果，同時引人聯想到遙遠的中世紀，可見孟提賈

維的天賦才華。

可是，正因為時間不足，孟提賈維後來發現自己在創作時單憑記憶

而填上的古典經文原來有錯漏。不過他並沒有在正式出版時修正，

反而留下這小瑕疵，以紀念這次特殊的創作經驗。

Although Finnish composer and choral conductor Mäntyjärvi has long been considered one of the international masters of choral music, he did not concentrate solely on music as a student, nor does he make a career of music. After having studied for Music Theory and Choral Conducting at Sibelius Academy, he

聖母頌 Ave Maria 孟提賈維 Jaakko Mäntyjärvi (b. 1963)

Ave Maria, gratia plena, Dominus tecum, benedicta tu in mulieribus, et benedictus fructus ventris tui [Jesus Christus]1.

Sancta Maria2, ora pro nobis3,nunc, et in hora mortis4.

Amen

Original Text:1. Iesus2. Sancta Maria, mater dei3. ora pro nobis peccatoribus4. et in hora mortis nostrae

Hail Mary, full of grace,The Lord is with thee.Blessed art thou among women,And blessed is the fruit of thy womb, Jesus.

Holy Mary, Mother of God,Pray for us sinners,Now and at the hour of our deaths

Amen.

majored in English and Linguistics at the University of Helsinki, and became a translator after graduation. Music composition is a hobby for him, but a tremendously successful one.

Ave Maria was a work of Mäntyjärvi’s youth, commissioned by the Savolaisen Osakunnan Laulajat student choir in 1991. It was composed in an extremely short time - merely one afternoon! The piece was to be rehearsed and performed the very evening of its completion. It begins with two bass voices sustaining a drone bass in parallel fifths with women’s voices chanting the lyrics; then the tenor enters with a Gregorian-style melody, establishing an austere atmosphere. Far from being a crippling constraint, the extremely short composition and rehearsal time inspired Mäntyjärvi to create an ingenious style wherein women’s voices recite only the lyrics, and the men’s voices sing in simple harmony. This piece is both modern in its sound and ancient in its echo of the distant Middle Ages, reflecting Mäntyjärvi’s brilliance.

However, due to the rush of its composition, Mäntyjärvi later discovered that the prayer he had quoted from memory as lyrics was incomplete, with one word being added and four words being dropped. He kept these mistakes in the formal published version of the song, as a memorial for its unique composing situation.

萬福瑪利亞，袮充滿聖寵，

主與袮同在，

袮在婦女中受讚頌，

袮的親子耶穌同受讚頌。

天主聖母瑪利亞，

求袮為我們罪人祈求天主。

現在和我們臨終時，

阿們。

*(Latin)

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向主高歌 Cantate Domino蒙台威爾第 Claudio Monteverdi (1567-1643)

蒙台威爾第生於16世紀文藝復興時期，是一位意大利的跨時代作曲

家和歌唱家，被後世喻為歌劇之父。由於他的一生橫跨了文藝復興

晚期和之後的巴洛克早期，因此他作品可算集兩家之長。

1620年完成的《向主高歌》內容取詞自《聖經》詩篇第 96及 98篇，提及天地萬物都要歌頌耶和華，因為耶和華行過奇妙的事。這

首歌屬於典型文藝復興風格，甚具舞蹈性。音樂共分三段：第一段

唱出「你們要向耶和華唱新歌，要向耶和華歌唱、稱頌祂的名」

時，音樂是主調織體的三拍子舞曲，跳脫活潑；第二段「因為祂行

過奇妙的事」，音樂轉變成二拍子的對位慢段落，氣氛變得稍為莊

嚴；第三段「在大君王耶和華面前歡呼，用琴和詩歌的聲音歌頌

祂」，音樂維持在二拍子，但氣氛再次變得充滿跳躍感，對位樂句

此起彼落，有如不同的人先後高聲歡呼。最後第二段落重現，樂曲

在一片詳和中結束。

Monteverdi was born in the 16th century; an accomplished Italian composer and singer, he was later honoured as the Father of Opera. As he bridged late Renaissance and the subsequent early Baroque periods, his works carry stylistic characteristics of both periods.

Completed in 1620, Cantate Domino took its lyrics from Psalms 96 and 98 of the Bible. It is a song in classic Renaissance style, with considerable dancing quality, and has the very Baroque addition of an instrumental continuo. The music is stylistically broken into three sections: the first section “Sing to the Lord a new song, sing and bless His name,” is a dance in triple time with homophonic texture, light and lively; the second section “for He has worked wonders” is a slower contrapuntal verse in duple time, and gives a more solemn air; the third section, “Sing and exult and make music, strike the lyrics and let voices sing”, is still in duple time, but once again with a bounce to the music, the counterpoint resembling hails from different people in a crowd. The piece closes with a repetition of the second section, ending the song in a serene tone.

Cantate Domino canticum novum, cantate et benedicite nomine ejus.Quia mirabilia fecit.

Cantate et exultate et psallite,psallite in cithara et voce psalmi.Quia mirabilia fecit.

Sing to the Lord a new song,sing and bless His namefor He has worked wonders.

Sing and exult and make music,strike the lyrics and let voices sing,for He has worked wonders.

Excerpts from Psalm 96 & 98

你們要向耶和華唱新歌

要向耶和華歌唱、稱頌祂的名

因為祂行過奇妙的事

在大君王耶和華面前歡呼

用琴和詩歌的聲音歌頌祂

因為祂行過奇妙的事

節錄自詩篇96及98篇

*(Latin)

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《詩篇》在《聖經》中屬詩歌體裁，本來就用來吟唱。所以古今中

外的作曲家在創作聖樂時，大都愛以《詩篇》的篇章作歌詞，例如

之前蒙台威爾第的《向主高歌》，以及這一首由孟德爾遜創作的

《普天下當向主歡呼》。

孟德爾遜於19世紀初在德國出生，是當今最受歡迎的浪漫時期音樂

家之一。他是一位猶太裔天才作曲家，自小顯露過人的音樂才華，

十一歲開始作曲，此後兩年，他創作了十二首弦樂交響曲。十七歲

時，他完成了著名的劇樂《仲夏夜之夢》，廣為人知的「婚禮進行

曲」即出自此作品。在短短的三十八年生命中，他創作了豐富的作

品，包括交響樂、聖樂、鋼琴和合唱作品等，曲風既保留了古典時

期的嚴謹，別具創意及詩意的創作風格卻證明他沒有落後於當時方

興未艾的浪漫風潮。

普天下當向主歡呼 Jauchzet dem Herrn, alle Welt 孟德爾遜 Felix Mendelssohn (1809-1847)

Jauchzet dem Herrn, alle Welt!Dienet dem Herrn mit Freuden; kommt vor sein Angesicht mit Frohlocken!

Erkennet, daß der Herr Gott ist! Er hat uns gemacht, und nicht wir selbst zu seinem Volk und zu Schafen seiner Weide.

Gehet zu seinen Thoren ein mit Danken,zu seinen Vorhöfen mit Loben; danket ihm, lobet seinen Namen!

Denn der Herr ist freundlich, und seine Gnade währet ewigund seine Wahrheit für und für.

O be joyful in the Lord, all you lands;Serve the Lord with gladnessand come before his presence with a song!

Be sure that the Lord is God:It is he that has made usand not we ourselves; We are his people, and the sheep of his pasture.

Go your way into his gates with thanksgiving,And into his courts with praise.Be thankful to him and speak good of his name.

For the Lord is graciousHis mercy is everlasting;And his truth endures from generation to generation.

Psalm 100:1–5

是次演出的《普天下當向主歡呼》約於1842年寫成，以德文版本的

《詩篇》第100篇作歌詞。孟德爾遜非常崇拜「音樂之父」巴赫，

所以觀眾不難從曲中的對位以及聖詠式齊唱中見到巴赫的影子。

全曲分為三大段落，引子是猶如鼓號曲一般的一句「普天下當向耶

和華歡呼」開始，既莊嚴且引人注目。隨後「你們當曉得耶和華

是神」則變得恭敬內斂，當四聲部輪流唱出「我們是祂造的，也是

屬祂的，我們是祂的民，也是祂草場的羊」，像是世人輪流讚美上

主。中間慢段落氣氛變得莊嚴神聖，以表達出面對上主，「當稱謝

進入祂的門」的謙卑。最後段落「因為耶和華本為善」，音樂變得

充滿喜樂，女高音與男低音在不同的過渡位置都要維持長音，加上

不斷重複，使音樂切實地表達出上主的慈愛與信實，是存到永遠，

直到萬代。

*(German)

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普天下當向主歡呼 Jauchzet dem Herrn, alle Welt

普天下當向耶和華歡呼

你們當樂意事奉耶和華

當來向祂歌唱

你們當曉得耶和華是神

我們是祂造的

也是屬祂的，我們是祂的民

也是祂草場的羊

當稱謝進入祂的門

當讚美進入祂的院

當感謝祂、稱頌祂的名

因為耶和華本為善

祂的慈愛、存到永遠

祂的信實、直到萬代

詩篇100篇1–5節

In the Bible, psalms are a form of poem, which, by their very nature, are meant to be sung; this is why composers past and present have always liked to take the lyrics of their sacred music pieces from the Psalms. Examples include the previous Cantate Domino, and here, Jauchzet dem Herrn, alle Welt.

Mendelssohn has become one of today’s most popular Romantic period composers. He was born in Germany in the early 19th century. As a child prodigy in composition, he showed his talent as early as age 11 when he started writing music; in the following two years he composed 12 string symphonies. When he was 17, he completed the incidental music for Shakespeare’s A Midsummer Night’s Dream, and we still use the familiar “Wedding March” to this day. In his brief life of 38 years, he composed a vast collection of works, including symphonies, sacred music, piano, and choral pieces. His style retains the precision of the Classical period, but with an innovative and poetry that shows his anticipation of the coming Romantic style.

Jauchzet dem Herrn, alle Welt was completed around 1842, using the German version of Psalm 100 for the lyrics. The counterpoint and chorale-like passages in this piece are reminiscent of Bach’s work, as the Father of Music was Mendelssohn’s idol. The three verses of the song can be divided into four sections, opening with the regal and dramatic fanfare-like “O be joyful in the Lord, all you lands”. The following line, “Be sure that the Lord is God”, is more reverent and reserved in comparison, with four parts singing “It is he that hath made us, and not we ourselves; We are his people, and the sheep of his pasture” in turns, as if people are voicing praises successively. In the slower middle verse, the atmosphere becomes solemn and sacred, as befitting the humility as one comes before God: “Go your way into his gates with thanksgiving”. The last verse, “For the Lord is gracious”, is joyful, with soprano and tenor in a very hymn-like setting, which embodies the endless mercy and faithfulness of God.

18




……是……的兒子 Which Was the Son of...帕特 Arvo Pärt (b. 1935)

帕特生於波羅的海小國愛沙尼亞（ 1 9 4 4 年起成為蘇聯一部

份，1991年重新獨立），19歲入讀塔林第二音樂學校，後因被召

入伍而輟學一年，後到塔林藝術學校繼續深造。帕特初試啼聲，

以實驗性的作品令人耳目一新，而他 1964年以拼貼手法創作的

《Collage über BACH 》更可視為後現代主義音樂的先鋒之作。可

是，同行眼中最具活力的作曲界新星，卻成了蘇聯政府眼中並不安

份守己的年青作曲家。忍受多年的壓逼，帕特1980年移居當時的西

德，直至十年前左右才回歸愛沙尼亞。

有人形容︰「他好像一拂衣袖，就有音符掉下來。」帕特擅長創作

合唱音樂、管弦樂和室樂。從七十年代開始，開始以簡約主義及自

創的「鐘鳴作曲法」 (Tintinnabuli) 名震世界。帕特喜歡運用簡單的

和聲結構、單音和基本的三音和弦創作音樂，使音樂的聲響效果像

鐘聲一樣。他稱這種創作手法為「鐘鳴作曲法」。在《……是……

的兒子》這一首歌曲中，聽眾亦可以感受到這個帕特作品的獨特之

處。長篇且不斷重複得跡近單調乏味的歌詞，在帕特手上卻能有不

同的變化。當歌詞提到個別在猶太歷史中重要的人物（如阿伯拉

罕）時，帕特都會利用音樂強調他們的名字。

《……是……的兒子》是帕特於2000年創作的作品，歌詞出奇地取

自《聖經》路加福音第三章二十三至三十八節。這幾節《聖經》所

記述的是耶穌的家譜，由耶穌開始往上查考，最後追朔到亞當，而

亞當正是由神所創造。當年的委約，首演團體是由歐洲多國青年組

成的「歐洲之聲」，或許帕特由此得到靈感，希望借這段可能從未

得作曲家垂青的經文，提醒我們千萬年前原是一家，大家都是神的

兒女 ─ 以宗教的角度，宣揚友愛與和平。

Pärt was born in Estonia (part of Soviet Union since 1944, it regained its independence in 1991). He enrolled in the Tallinn Music Secondary School at age 19, but soon had to defer one year to fulfill his National Service obligation; later, he went to Tallinn Conservatory to further his studies. Pärt’s

When Jesus himself began to beabout thirty years of age, being (as was supposed) the son of Joseph,which was the son of Heli,Which was the son of Matthat,which was the son of Levi,which was the son of Melchi,which was the son of Janna,which was the son of Joseph,Which was the son of Mattathias,which was the son of Amos,which was the son of Naum,which was the son of Esli,which was the son of Nagge,Which was the son of Maath,which was the son of Mattathias,which was the son of Semei,which was the son of Joseph,which was the son of Juda,Which was the son of Joanan,which was the son of Rhesa,which was the son of Zorobabel,which was the son of Salathiel,which was the son of Neri,Which was the son of Melchi,which was the son of Addi,

* which was the son of Cosam,which was the son of Elmodam,which was the son of Er,Which was the son of Jose,which was the son of Eliezer,which was the son of Jorim,which was the son of Matthat,which was the son of Levi,Which was the son of Simeon,which was the son of Juda,which was the son of Joseph,which was the son of Jonan,which was the son of Eliakim,which was the son of Melea,which was the son of Menan,which was the son of Mattatha,which was the son of Nathan,which was the son of David,Which was the son of Jesse,which was the son of Obed,which was the son of Booz,which was the son of Salmon,which was the son of Naason,Which was the son of Aminadab,which was the son of Aram,which was the son of Esrom,

which was the son of Phares,which was the son of Juda,Which was the son of Jacob,which was the son of Isaac,which was the son of Abraham,which was the son of Thara,which was the son of Nachor,Which was the son of Saruch,which was the son of Ragau,which was the son of Phalec,which was the son of Heber,which was the son of Sala,Which was the son of Cainan,which was the son of Arphaxad,which was the son of Sem,which was the son of Noe,which was the son of Lamech,Which was the son of Mathusala,which was the son of Enoch,which was the son of Jared,which was the son of Maleleel,which was the son of Cainan,Which was the son of Enos,which was the son of Seth,which was the son of Adam,which was the son of God.

19




……是……的兒子 Which Was the Son of...

耶穌開頭傳道

年紀約有三十歲

依人看來、他是約瑟的兒子、

約瑟是希里的兒子

希里是瑪塔的兒子、

瑪塔是利未的兒子、

利未是麥基的兒子、

麥基是雅拿的兒子、

雅拿是約瑟的兒子、

約瑟是瑪他提亞的兒子、

瑪他提亞是亞摩斯的兒子、

亞摩斯是拿鴻的兒子、

拿鴻是以斯利的兒子、

以斯利是拿該的兒子、

拿該是瑪押的兒子、

瑪押是瑪他提亞的兒子、

瑪他提亞是西美的兒子、

西美是約瑟的兒子、

約瑟是猶大的兒子、

猶大是約亞拿的兒子、

約拿亞是利撒的兒子、

利撒是所羅巴伯的兒子、

所羅巴伯是撒拉鐵的兒子、

撒拉鐵是尼利的兒子、

尼利是麥基的兒子、

麥基是亞底的兒子、

亞底是哥桑的兒子、

哥桑是以摩當的兒子、

以摩當是珥的兒子、

珥是約細的兒子、

約細是以利以謝的兒子、

以利以謝是約令的兒子、

約令是瑪塔的兒子、

瑪塔是利未的兒子、

利未是西緬的兒子、

西緬是猶大的兒子、

猶大是約瑟的兒子、

約瑟是約南的兒子、

約南是以利亞敬的兒子、

以利亞敬是米利亞的兒子、

米利亞是買南的兒子、

買南是瑪達他的兒子、

瑪達他是拿單的兒子、

拿單是大衛的兒子、

大衛是耶西的兒子、

耶西是俄備得的兒子、

俄備得是波阿斯的兒子、

波阿斯是撒門的兒子、

撒門是拿順的兒子、

拿順是亞米拿達的兒子、

亞米拿達是亞蘭的兒子、

亞蘭是希斯崙的兒子、

希斯崙是法勒斯的兒子、

法勒斯是猶大的兒子、

猶大是雅各的兒子、

雅各是以撒的兒子、

以撒是亞伯拉罕的兒子、

亞伯拉罕是他拉的兒子、

他拉是拿鶴的兒子、

拿鶴是西鹿的兒子、

西鹿是拉吳的兒子、

拉吳是法勒的兒子、

法勒是希伯的兒子、

希伯是沙拉的兒子、

沙拉是該南的兒子、

該南是亞法撒的兒子、

亞法撒是閃的兒子、

閃是挪亞的兒子、

挪亞是拉麥的兒子、

拉麥是瑪士撒的兒子、

瑪士撒拉是以諾的兒子、

以諾是雅列的兒子、

雅列是瑪勒列的兒子、

瑪勒列是該南的兒子、

該南是以挪士的兒子、

以挪士是塞特的兒子、

塞特是亞當的兒子、

亞當是　神的兒子。路加福音3章23-38節

experimental pieces were much appreciated from the start; his 1964 work composed with collage style, Collage über BACH, was considered a vanguard for post-modern music. However, the bright star in the eyes of his fellow composers was an incompliant youngster in the eyes of the Soviet Government. After enduring years of oppression, Pärt moved to the former West Germany in 1980, and only returned to Estonia about ten years ago.

Some said that “he just seemed to shake his sleeves and notes would fall out.” Pärt is well-known for his choral, orchestral, and chamber music. From the 70s onwards, he has been famous for his minimalist style and his “Tintinnabuli” – the use of simple harmonies, single notes and triads to make an impression of ringing bells, an original style created by Pärt. This style can also be observed in Which Was the Son of…

Although the lyrics are long and repetitive almost to the point of droning, they become diversified in the hands of Pärt: when a historically important figure (for example Abraham) appears, the music would change accordingly for emphasis.

Which Was the Son of… was composed in 2000, its lyrics taken from Luke 3:23-38 of the Bible. These verses record the lineage of Jesus, tracing it all the way back to Adam, who was created by God Himself. The commissioned work was premiered by the Voices of Europe, with singers come from different countries; perhaps this was what inspired Pärt to choose the then-untouched text, to remind people that we are ultimately from the same family, all of us the children of God – a message of Love and Peace from a religious perspective.

20




《叁佰壹拾》創作於 2000 ，是為了赫爾辛基大學神學院畢業

典禮而寫。作曲家後來陸續創作一系列歌曲，組成了合唱劇場

《Salvat 1701》。

《叁佰壹拾》是孟提賈維將芬蘭傳統聖詩《當主與我們同在》改編

而成，而將歌名題為《叁佰壹拾》，是因為《當主與我們同在》一

曲在芬蘭教會的聖詩歌集中是第310首而已。《當主與我們同在》

是一首典型芬蘭詩歌，莊嚴之中帶點憂鬱。原曲為同一旋律配上八

段歌詞，孟提賈維只取了第一、二、三、五、六五段。孟提賈維完

全維持了詩歌原來的旋律，僅靠編排其他伴唱作出令人目眩的變

化。歌曲充滿前衛音響，尤其最後一段「當我們在脆弱當中向主耶

穌嘆息」。可是，作曲家採用的創作技巧如平行（同調性及不同調

性）、持續長音、卡農等，全都來自民歌以及傳統音樂，而非複雜

叁佰壹拾 CCCX孟提賈維 Jaakko Mäntyjärvi (b. 1963)

Herra Jeesus kun täällä vain kanssamme on,emme kauhistu vastustajaamme.Viha vaikka on vastaamme sammumaton,niin me turvaamme puolustajaamme.Vaikka kaita on tie ja se taisteluun vie,meille Jeesus on turva ja kilpi.Siis me uskossa vaan käymme taistelemaan.Pyhä on tämä tie, pois jo vilppi.

Vihamies kuka voittaisi sankarin sen,kuka voittaisi Golgatan Herran?Taisteluissa hän linna on turvallinen,hän on voittanut saatanan kerran.Jos me joudummekin syvihin vesihin,ratki keskelle kuoleman kauhun,emme nääntyä voi, hänen äänensä soiläpi myrskyn ja helvetin pauhun.

Ota kuoleman vallan jo taitettu onja on riistetty helvetin voitto.Elon ruhtinas Jeesus on voittamaton,jo on valjennut autuuden koitto.Hänen kunniataan, hänen kirkkauttaanme nyt kiittäen veisaelkaamme.Meille voiton hän toi, lunastuksensa soi,hänen kauttaan me autuuden saamme.

When Lord Jesus is with us here,We shall not fear our Foe.Though Anger unslaking be against us,We shall trust in our Defender.Though the Way is narrow and leadeth toJesus is our Strength and Shield.We shall join Battle in Faith.Our Way is holy and free of Wrong-doing.

What Foe could vanquish that Hero,Who could defeat the Lord of Calvary?In Battle He is a safe Stronghold,He hath triumphed over Satan.Even if we find ourselves in deep Waters,In the midst of the Fear of Death,We cannot fail, for His Voice resoundethThrough the Noise of Storm and Hell.

The Sting of Death is removed,And Triumph is snatched from Hell.Jesus is the invincible Prince of Life,And the Dawn of Bliss is come.Let us sing the PraisesOf His Glory and Brightness.He hath brought us Victory and Redemption,Through Him we are blessed.

的新派技巧。孟提賈維說自己是一位「兼收並蓄的傳統主義者」，

這部以傳統手法創作卻聽來像是走在時代尖端的舊歌新編，足證所

言非虛！儘管他曾戲言「兼收並蓄」是因為他愛抄襲，「傳統主義

者」是因為他只喜歡傳統的三音和弦……

Siis te Jeesuksen ystävät armoitetut,kaikki uskossa vaeltakaatte.Luja toivonne olkoon, te ahdistetut,vaikka kiusoja, vaivoja saatte.Teillä auttaja on, apu ahdinkohontätä tietänne kulkiessanne.Hän on armollinen, hän on uskollinen.Pysykää yhä Jeesuksessanne.

Kun me heikkoina Herralle huokaamme vaan,Pyhä Henkensä auttaa jo meitä.Uni meitä kun pyrkivi ahdistamaan,meitä Herra ei nukkumaan heitä.Kun me uuvumme niin, ettei rukouksiineikä valvomiseen ole voimaa,hän on puolustaja, esirukoilija,eikä heikkoja, huonoja soimaa.

*(Finnish)

21




當主耶穌與我們同在，

我們不會恐懼我們的仇敵。

雖然不安的憤怒侵襲我們，

我們將信任我們的保護者。

雖然引到永生的路很狹窄，

但耶穌是我們的力量和盾牌，

我們要帶著信心加入爭戰。

我們的道路聖潔，遠離不義。

甚麼仇敵可能勝過那個得勝的，

誰能擊敗髑髏地的主？

祂在爭戰中是一個安穩的營壘，

祂向撒旦誇勝！

即使我們身在深水中，

或是被死亡的威脅籠罩，

為了祂再來的聲音，

我們在暴風和陰間的呼喊中不可以退後。

去除了死亡的痛苦，

並且戰勝了陰間。

主耶穌是永遠得勝的生命之主，

極樂的黎明已到。

讓我們歌頌

祂的榮耀和光明。

祂為我們帶來了勝利和豐盛，

主耶穌保守了我們。

所以，受主祝福的朋友們，

請憑著信心去走祂的道路。

受逼迫的人們

願你們有堅固的盼望

雖然可能遇到痛苦和爭鬧。

但你們有幫助，一個愁苦中的救助，

領著你們走過曠野的路。

主耶穌是慈愛的，主耶穌是忠誠的。

靠著主耶穌。

當我們在脆弱當中向主耶穌嘆息，

祂的聖靈必幫助我們。

當我們的夢煩擾我們，

祂必不會讓我們獨自睡覺。

在我們軟弱、無力禱告

或儆醒守望的時候

主耶穌將是我們的保障，為我們祈禱，

定不會懲戒我們的軟弱和缺乏。

翻譯：汪然、周惠鳳

Therefore, ye blessed Friends of Jesus,Go your Way in Faith.May your Hope be strong,ye who are oppressed,Though ye may be visited with Pain and Strife.Ye have a Helper, an Aid in AnguishUpon this Way ye Wander.He is merciful, He is loyal.Keep to your Jesus.

When we sigh unto the Lord in our Weakness,His Holy Spirit doth aid us.When our very Dreams trouble us,The Lord will not let us sleep alone.When we grow weary and have no StrengthTo pray or to watch and wake,He shall be our Defender and pray for us,And not chastise the Weak and the Wanting.

CCCX (310 in Roman numerals) was composed in 2000 for the graduation ceremony of the Faculty of Theology of the University of Helsinki. Mäntyjärvi later continued it into a series, the choral drama SALVAT 1701.

CCCX is a remake of the traditional Finnish hymn When the Lord Jesus is with us; the simplified name CCCX arose from the fact that When the Lord Jesus is with us is the 310th song in the Finnish church hymn book. When the Lord Jesus is with us is a typical Finnish hymn, solemn and with a touch of melancholy. The original song consists of eight verses with the same melody, where Mäntyjärvi only adapted the first, second, third, fifth and sixth verses into his version. Mäntyjärvi kept the entire original

melody of the hymn, creating dazzling variations through the additions of vocal accompaniment. The sound effects of the song are very modern, especially for the last verse “When we sigh unto the Lord in our Weakness”. Yet the compositional techniques, such as parallel motion (diatonic or in dissonance), drone bass, canon, etc., are all rooted in folk song and classical music instead of complicated avant-garde techniques. Mäntyjärvi described himself as an “eclectic traditionalist” and this very modern remix achieved with traditional methods is proof indeed! The composer himself jokes that he is eclectic because he steals elements from others’ works, and that he is traditionalist only because he likes triads…

22




《走向耶路撒冷》是一首節奏明快的黑人靈歌，經美國合唱指揮名

家拉爾丁重新編撰為合唱作品。內容引自《聖經》啟示錄二十一

章︰使徒約翰在異像中看見了新天新地和新耶路撒冷，暗示約翰已

看到神為信徒預備的地方是甚麼模樣。歌詞多次重覆的句子「我要

預備好像約翰一樣走向耶路撒冷」表明信徒可以約翰為榜樣，忠心

服侍神，就可以進入「新耶路撒冷」。

靈歌流行於黑人群體，既可以給人朝氣勃勃、充滿希望的感覺，也

可以表達壓逼中仍堅守信念的苦痛。靈歌本是十九世紀時由黑奴誦

唱，用以在艱辛的工作中提升士氣，後來基督教元素漸漸融入靈歌

中，致使現在大部分的靈歌都帶有基督教訊息。拉爾丁編曲時，加

入了很多現代黑人音樂的元素，例如福音音樂、藍調，甚至是hip-hop！所以聽來時代感十足，而且令人興奮。

走向耶路撒冷 Walk in Jerusalem拉爾丁 Paul Rardin (b. 1965)

I want to be readyI want to be readyI want to be readyTo walk in Jerusalem just like John

John said that Jerusalem was foursquareWalk in Jerusalem just like JohnI hope, good Lord I’ll meet you thereWalk in Jerusalem just like John

When Peter was preaching at PentecostGonna walk in Jerusalem just like JohnYou know he was filled with the Holy GhostWalk in Jerusalem just like John

I want to be ready to walk that roadBetter get readyI want to be ready to wear my robeBetter get readyI want to be ready just to get my crownBetter get ready to walkI’m ready to stroll, I’m ready to strideI’m ready to walk in just like John

I want to walk up the stairs just like JohnI want to leave all my cares just like JohnWant to ride, want to glideWant to sail on in just like John

Get ready, get readyI want to be readyTo walk in Jerusalem just like JohnYou know I want to be readyI want to walk down that road, LordI want to be readyTo go and try on that robe, LordYou know I want to be readyTo walk in Jerusalem just like John

I want to walkIf I have to stumble inIf I have to stagger inIf I have to stoop down on my hands and kneesAnd crawl in ‘cause my feet are too tiredYou know I’m still gonna walkJust like John

You know I want to be readyTo walk just like John

*

23




我要預備好

我要預備好

我要預備好

像約翰一樣走向耶路撒冷

約翰說耶路撒冷是座方城


上帝啊，我希望在那裡見到袮


當彼得於五旬節講道時

將要像約翰一樣走向耶路撒冷

你知道他全身被聖靈充滿


我要預備好踏上旅途

得好好預備

我要預備好披上我的長袍

得好好預備

我要預備好去取得我的王冠

得好好預備上路

我已預備好要漫步，我已預備好要邁步

我已預備好像約翰一樣走向耶路撒冷

Walk in Jerusalem is a lively-paced negro spiritual piece, rearranged into choral version by Rardin. The lyrics come from the Bible, Revelation 21, where Apostle John saw the holy city of New Jerusalem in a prophecy, implying that he had seen the Promised Land. In the song the repeated line “I want to be ready to walk in Jerusalem just like John” affirms that when disciples follow the example of John and serve God faithfully, they too can enter New Jerusalem.

The spiritual was a popular religious song style begun by black slaves in America. It can be delightful, hopeful, and, at the same time, expressing suffering while maintaining faith under oppression. Work songs were originally sung by black American slaves in the 19th century as a means to raise morale during harsh hours of labor, gradually, the addition of religious elements

我要像約翰一樣拾級而上

我要像約翰一樣拋開煩惱

要騎馬，要滑翔

要像約翰一樣向目的地直航

預備好，預備好

我要預備好


我要預備好

上帝，我要沿著那條路走下去

我要預備好

上帝，我要去試穿那件長袍

你知道我要預備好


我要一直走

哪怕步履踉蹌

哪怕腳步蹣跚

哪怕因為雙腳倦怠

而要俯身四肢爬行

你知道我還是會走下去

就像約翰一樣

你知道我要預備好

像約翰一樣走下去翻譯：汪然

changed the work songs to spirituals and now we treasure the songs as fervent religious expression. In his arrangement, Rardin also incorporated a number of modern African-American music elements, for example gospel music styles, the blues, and even hip-hop, resulting in this contemporary and invigorating piece.

24




天主教聖徒阿西西的聖芳濟是著名的禱告者，相傳他在七百多年前

寫下這首禱文，可是一直到1912年，這禱文刊在法國的宗教刊物

上，才漸被流傳，所以也有人認為是後人假託其名字的作品。至於

真正使它變成人所皆知的禱文的，要數美國紐約教區主教斯貝爾曼

樞機主教和霍克思議員，他們在第二次世界大戰印製了數百萬本聖

芳濟禱文派發給大眾，安慰了無數人的心靈。

無數作曲家曾為此禱文譜曲，本團2007年周年音樂會《戰．和．

平》也曾演出香港年青作曲家胡銘堯創作的拉丁語版本，至於是次

演出的版本則由菲律賓著名作曲家卡亞比亞創作。卡亞比亞是菲律

賓的音樂鬼才，既是指揮、作曲家，同時又是鋼琴好手和歌唱家，

作品類別由流行曲與電影配樂到芭蕾舞劇及彌撒曲不等，非常廣

泛。他在24歲時就成為菲律賓十大傑出青年。不論在菲國或是其他

國家，卡氏的演出和才華皆非常出眾，他曾與超過二十個音樂團體

合作，又於世界各地作無數演出。

聖芳濟禱文 Prayer of St Francis of Assisi卡亞比亞 Ryan Cayabyab (b. 1954)

主啊！讓我做你的工具，去締造和平：

在有仇恨的地方，播送友愛；

在有冒犯的地方，給予寬恕；

在有疑慮的地方，激發信心；

在有失望的地方，喚起希望；

在有黑暗的地方，放射光明；

在有憂傷的地方，散佈喜樂；

神聖的導師！

願我不求他人的安慰，

只求安慰他人；

不求他人的諒解，只求諒解他人；

不求他人的愛護，只求愛護他人；

因為只有在施與中，我們有所收穫；

在寬恕時，我們得到寬恕；

在死亡時，我們生於永恆！

主啊！讓我做你的工具，去締造和平。

Lord, make me an instrument of your peace;where there is hatred, let me sow love;where there is injury, pardon;where there is doubt, faith;where there is despair, hope;where there is darkness, light;where there is sadness, joy;

O divine Master,grant that I may not so much seek to be consoled as to console;to be understood, as to understand;to be loved, as to love;for it is in giving that we receive,it is in pardoning that we are pardoned,and it is in dying that we are born again, to Eternal Life.

Lord, make me an instrument of your peace.

禱文內容表示禱告者身處仇恨、迷惑和傷害中，但他仍然祈求主給

他平安和愛心，以寬恕、諒解和愛去面對生命中的困難。卡亞比亞

編排了男女聲以意大利語及英語兩個版本的歌詞作對答，隨著樂曲

的發展，兩把聲音慢慢融合為一。聽眾在卡亞比亞精心編寫的優美

旋律帶領下，可感受到禱文帶給人安慰、平靜的力量。

*

25




聖芳濟禱文 Prayer of St Francis of Assisi

St. Francis of Assisi was a 13th-century cleric who is credited as the author of this invocation from over 700 years ago. It wasn’t until the early 20th century that it really became famous after it was printed in a French spiritual magazine in 1912. There remains some controversy over the real authorship. Nevertheless, the prayer became very well-known by the mid-20th century when millions of copies were distributed during World War II by the Archbishop of New York and a US Senator, offering solace to numerous people.

Many composers have written pieces setting this prayer (for example CU Chorus has performed a Latin version of the prayer created by local composer Dennis Wu in our Annual Concert 2007 entitled “War . Peace”). The version to be performed tonight was written by renowned Filipino composer Ryan Cayabyab. He is an ingenious musician and not only is he a

conductor and composer but also a master pianist and singer. His works are very diverse, ranging from pop songs and film soundtracks to ballets and masses. At age 24, he was one of the “Ten Outstanding Young Persons” awardees in the Philippines. Cayabyab’s talent and performances are unparalleled inside the Philippines and beyond; he has worked with over 20 music groups, and performed in places all over the world.

In the song, the prayer asks God for peace and compassion even in the face of hatred, doubt, and injury, vowing to counter the troubles of life with understanding, love, and pardon. Cayabyab arranged for men’s and women’s voices to sing the Italian and English versions of the lyrics alternately, eventually fusing the two together, delivering peace and tranquility with the beautiful melody.

26




契爾考特是英國炙人口熱的合唱作曲家，同時他也擅長指揮合唱

團。契氏自小接觸音樂，他在著名無伴奏合唱組合「國王歌手」擔

任男高音達12年之久。自1997年起，契氏離團獨立發展成為全職作

曲家及指揮家。他擅長編寫青少年合唱作品，至今作品已逾百首，

在北美洲及歐洲廣泛流傳，為合唱團和聽眾所喜愛。現在，他是英

國廣播公司歌手的客席指揮，同時也應邀指揮多個高水準合唱團，

如世界青年合唱團、台北室內合唱團及紐西蘭青少年合唱團等。

《小爵士彌撒》是契氏的得意之作，由美國新奧爾良兒童合唱團委

約創作。原為童聲合唱作品，後來合唱部分經稍微修訂，成為現在

演出的混聲合唱版本，於世界各地被廣泛演出。契爾考特把爵士樂

與宗教合唱巧妙地接合起來，一新觀眾耳目。

這部作品的內容取自天主教的彌撒禮儀程序。每個樂章都有特定的

禮儀功能，所以數百年來作曲家為個別段落所譜寫的音樂，都表達

著相似情緒與氣氛。可是契爾考特出奇卻為部份歌詞搭上看似風馬

小爵士彌撒 A Little Jazz Mass契爾考特 Bob Chilcott (b. 1955)

I. KyrieKyrie eleison.Christe eleison.Kyrie eleison.

II. GloriaGloria in excelsis Deo.Et in terra paxHominibus bonae voluntatis.Laudamus te. Benedicimus te,adoramus te. Glorificamus te.Gratias agimus tibiPropter magnam gloriam tuam,

Domine Deus, Rex caelestics,Deus Pater omnipotens.Domine Fili unigenite,Jesu Christe,Domine Deus, Agnus Dei,Filius Patris.

牛不相及的音樂風格，然而，作曲家正是借此反傳統的手法，為古

老的歌詞帶出全新的面貌與含義，充份發揮契爾考特的無盡創意。

五個樂章的簡介：

〈垂憐頌〉

第一個樂章只用了原來經文的兩句歌詞：「上主求你垂憐，基督求

你垂憐。」音樂卻是佻皮輕鬆（速度指示寫著「Easy Tempo」），

顯出對契爾考特來說，渴求上主垂憐不一定沉重。

〈榮耀頌〉

一如其他作曲家的榮耀頌，契爾考特以快板的音樂提升觀眾情緒，

貼題地表達了歌者榮耀上帝的興奮。中間一段，則是內斂含蓄的求

主傾聽。結尾歌頌上主再用了開始刺激的快板音樂，表現出讚美上

主的興奮。

* Qui tollis peccata mundi,Miserere nobis;Qui toollis peccata mundi,Suscipe deprecationem nostram.Qui sedes ad dexteram Patris,Miserere nobis.

Quoniam tu solus Sanctus,tu solus Dominus,Tu solus Altissimus, Jesu Christe,Cum Sancto Spiritu:in Gloria Dei Patris. Amen.

III. SanctusSanctus, Sanctus, SanctusDominus, Deus Sabaoth.Pleni sunt caeli et terraGloria tua.Hosanna in excelsis.

(Latin)

IV. BenedictusBenedictus, qui venitIn nomine DominiHosanna in excelsis.

V. Agnus DeiAgnus Dei,Qui tollis peccata mundi:Miserere nobis.Agnus Dei,Qui tollis peccata mundi:Miserere nobis.Agnus Dei,Qui tollis peccata mundi:Dona nobis pacem.

27




I. KyrieLord have mercy.Christ have mercy.Lord have mercy.

II. GloriaGlory to God in the highest.And on earth peace to all those of good will.We praise you. We bless you.We worship you. We glorify you. We give thanks to thee according to the great glory.

Lord God, Heavenly King,God the Father almighty.Lord Jesus Christ, the only begotten Son,Lord God, Lamb of God, Son of the Father.

You who takes away the sins of the world,Have mercy upon us.You who takes away the sins of the world,Receive our prayer.You who sit at the right hand of the Father, have mercy on us.

For You alone are holy.You alone are the Lord.You alone are the most high, Jesus Christ.With the Holy Spirit in the glory of God the Father. Amen.

III. SanctusHoly, Holy, HolyLord God of Hosts.Heaven and earth are full ofYour glory.Hosanna in the highest.

〈聖哉曲〉

一般來說，作曲家為聖哉曲所創作的音樂多是莊嚴而歡欣，可是契

爾考特卻要合唱團以平靜而緩慢的方式唱出「聖哉，萬軍之主，你

的榮耀充滿天地，和撒那，為至高者讚美。」這樣的讚美反而表現

出真心誠意。

〈迎主曲〉

跟〈垂憐頌〉一樣，速度指示同樣是「Easy Tempo」。以爵士的搖

擺感覺，輕輕唱出迎接主的快樂，這份快樂，是欣喜而絕不放肆。

四聲部先輪唱後齊唱，就如不同的人先後加入，齊來頌唱。

〈羔羊經〉

藍調最早源頭可追溯至美國黑奴在田野工作的呼號聲，而早期藍調

歌曲的歌詞多是關於在逼迫之中如何堅忍面對。契爾考特將〈羔羊

經〉配成藍調風格，令這段經文變成猶如來自靈魂深處的呼叫。

IV. BenedictusBlessed is He who comes in the name of the Lord.Hosanna in the highest

V. Agnus DeiLamb of God,Who takes away the sins of the world, have mercy upon us.Lamb of God,Who takes away the sins of the world, have mercy upon us.Lamb of God,Who takes away the sins of the world, grant us peace.

28




Bob Chilcott is a much-admired British choral composer and a talented conductor. He has studied music since he was young and, later, he was a tenor in the famous a cappella choral group the King’s Singers for 12 years; he became a full-time composer and conductor in 1997. Chilcott is famed for his compositions for children’s choirs; to date he has over 100 well-loved pieces performed round the world. At present he is the guest conductor of the BBC Singers. He has been invited to conduct outstanding choirs from all over the world, such as the World Youth Choir, Taipei Chamber Singers, and Tower New Zealand Youth Choir.

A Little Jazz Mass was commissioned by the New Orleans Children’s Chorus. Originally a piece designed for children’s voice, this masterpiece is here adapted for mixed choir and in this form has been widely performed across the world. Chilcott merges jazz with chorale in this piece, bringing to stage a revolutionary take on sacred music.

The lyrics come from the Ordinary (daily) sections of the Catholic mass. Since the individual sections have their specific functions in the mass, they were always composed with similar atmosphere and moods, which for centuries were varied but unchanged in essence. In this radical rethinking, however, Chilcott matched the lyrics with an innovative music style. It was through this unorthodox method that he brought new outlooks and meanings to the ancient texts.

A brief introduction to the five movements of A Little Jazz Mass :

KyrieThe first movement only consists of two lines from the original three-line prayer, “Lord have mercy. Christ have mercy.” sung over blithe, cheerful music (marked as “Easy Tempo”), showing Chilcott’s interpretation that pleading for God’s mercy does not have to be grave.

I . 垂憐經

上主求你垂憐，

基督求你垂憐，

上主求你垂憐。

I I . 榮耀經

天主在天受光榮

主愛的人

在世享平安

我們讚美袮、稱頌袮

朝拜袮、顯揚袮

感謝袮

為了袮無上的光榮

主、天主、天上的君王

全能的天主聖父

主、耶穌基督

獨生子

主、天主、天主的羔羊

聖父之子

除免世罪者

求袮垂憐我們

除免世罪者，

求袮俯聽我們的祈禱

坐在聖父之右者

求袮垂憐我們

因為只有袮是聖的，

只有袮是主

只有袮是至高無上的，耶穌基督

你和聖神，同享天主聖父的光榮

阿們

I I I . 聖哉曲

聖哉！聖哉！聖哉！

天地萬軍的主上帝

你的榮光充滿天地

歡呼之聲，響徹雲霄

IV. 迎主曲

奉祢名而來的，

是應當稱頌的

V. 羔羊經

上帝的羔羊，

除去世人罪的主，

憐憫我們。

上帝的羔羊，


憐憫我們。

上帝的羔羊，


賜我們平安。

29




GloriaThe Gloria is in a brisk Allegro tempo to boost the mood, aptly reflecting the singers’ excitement over the glory of God. The middle verse, in contrast, is much more reticent and modest as the singers ask God to receive their prayers. The end verse is once again in an animated Allegro, rejoicing in singing praises to the Lord.

SanctusIn general, the music for the Sanctus is joyful and majestic; however in Chilcott’s creation, the lines “Holy, Lord God of Hosts. Heaven and earth are full of thy glory. Hosanna in the highest.” are sung in a tranquil and unhurried fashion, the praise sincerely meant in its understated presentation.

BenedictusAs in the Kyrie, this section is marked “Easy Tempo”. The pleasure in God’s coming is demonstrated in the airy swings of jazz music, delightful but never extravagant. The four voices first sing in turn and then in unison, like different people joining in to sing the praises of God.

Agnus DeiThe earliest blues can be traced back to black slaves’ songs as they labored in the fields of America, and many of their lyrics are about how to stay steadfast in the face of oppression. Chilcott’s arrangement of this prayer in blues style makes the Agnus Dei a plea from the depth of one’s soul.


香港中文大學合唱團幹事會 2009–10Executive Committee 2009–10 , The Chinese University of Hong Kong Chorus團長 Chairperson 謝穎心 Tse Wing Sum副團長 Vice-Chairperson 陳蘊明 Chan Wan Ming秘書 Secretary 陳翠儀 Chan Chui Yee財政 Treasurer 汪然 Wang Ran

職員 Staffs舞台總監 Stage Manager 胡幗姿 Remex Wu攝影師 Photographer 余錦超 Martin Yu錄像監製 Video Producer 陳梓霆 Chan Tsz Ting錄音監製 Record Engineer 胡銘堯 Dennis Wu

出版 Publication編輯 Editor 陳蘊明 Chan Wan Ming英語校對 ﹝樂曲介紹﹞ 布慕蓮 Maureen BujaEnglish Editor (Programme notes) 設計 Designer 朱念爵 Richard Chu翻譯 Translators 汪然 Wang Ran 周惠鳳 Chow Wai Fung

語言指導 Language Coaches芬蘭語 Finnish Elina Veikkola德語 German Annette Fromel意大利語 Italian 戚芷君 Candy Chik

宣傳及出版 Promotion Officer 黃家駿 Wong Ka Chun譜務 Score Librarian 梁錦鈴 Leung Kam Ling總務 General Affairs Officer 唐錦亮 Tong Kam Leong福利 Welfare Officers 王卓勳 Wong Cheuk Fan

二零一零年周年音樂會籌委會 Concert Organizing Committee 2010主席 Chairperson 陳蘊明 Chan Wan Ming財政 Treasurer 汪然 Wang Ran

市場推廣部 Marketing Department經理 Department Manager 黃家駿 Wong Ka Chun成員 Member 羅于裴 Law Yu Pui

宣傳部 Promotion Department經理 Department Manager 葉世豪 Yip Sai Ho成員 Members 司徒嘉欣 Si Tou Ka Yan

謝穎心 Tse Wing Sum

出版部 Publication Department經理 Department Manager 陳蘊明 Chan Wan Ming成員 Member 趙惠聰 Chiu Wai Chung

票務 Ticketing Officer 梁境融 Leung King Yung

歡迎加入中大合唱團！ CU Chorus welcome you!

想與志同道合的朋友一起高歌？想挑戰各式各樣的合唱作品？

想一嚐在舞台上與觀眾分享音樂的滋味？

請即加入中大合唱團！

中大合唱團下一輪試音將於四月初舉行，

請有興趣參加的中大同學電郵你的姓名及聯絡電話到[email protected]，

我們會聯絡你有關進一步詳情。

Want to sing along with fellow choir enthusiasts?Experience different pieces?Share your music on stage?Come join us in CU Chorus!

The next round of CU Chorus audition will be held in early April.For CUHK students who are interested in joining, please email

your name and phone number to [email protected]– we will contact you with further information.

演出預告：

2010年7月11日（日）

香港文化中心音樂廳

繫心中國醫者慈善音樂會 —

貝多芬第九交響曲《合唱》

由年青香港指揮家曾智斌聯同歐美獨唱家，

本地職業樂手及醫生組成之樂團，

演唱貝多芬曠世傑作：合唱交響曲。

Our next performance:11th July, 2010 (Sun)

Hong Kong Cultural Centre Concert HallMedArt Charity Concert –

Beethoven’s Symphony No.9 “Choral”A performance of Beethoven’s masterpiece

with local conductor Maestro Jimmy Chiang, foreign guest soloists,

and an orchestra of doctors and local professionals.


演出者 Performers指揮 Conductor 朱振威 Leon Chu鋼琴 Pianist 蘇明沅 Shirley So香港中文大學合唱團 The Chinese University of Hong Kong Chorus


女高音 Soprano

男高音 Tenor

女低音 Alto

男低音 Bass

戚芷君

周惠鳳

何嘉雯*賀曼玲

羅玉鈴

李彥霖

李彥樂

梁錦鈴

梁寶宜

廖婉琪

單顥鈺*溫倩文

陳友傑

陳嘉麟

張偉文

范建明

何翱宇

林君諾

劉偉仁

梁境融

伍澤鴻

唐錦亮

謝偉雄

黃家駿

阮政喬*

鄧汀琳

陳翠儀

陳倩鈺*陳蘊明

趙惠聰

孔曉晴

羅于裴

李思華

廖潔盈

司徒嘉欣*謝穎心

黃芷菁

黃韶芝

胡明川

陳榮慰

張凱傑

程啟翔

朱立榮

郭潤山

李文傑

李卓謙

盧居樂*謝勇存

汪　然

葉世豪

Chik Tsz KwanChow Wai FungHo Ka Man*Ho Man LingLaw Yuk LingLee Yin Lam PatriciaLee Yin LokLeung Kam LingLeung Po YeeLiu Yuen KiShan Hao Yu*Wan Sin Man

Antony ChanChan Ka LunCheung Wai ManFan Kin MingHo Ngo YuLam Kwan NokLau Wai YanLeung King YungNg Chak HungTong Kam LeongTse Wai HungWong Ka ChunYuen Ching Kui*

Angela Tang Ding LinChan Chui YeeChan Sin Yuk*Chan Wan MingChiu Wai ChungHung Hiu Ching, KarenLaw Yu PuiLee Sze Wah SarahLiu Kit YingSi Tou Ka Yan*Tse Wing SumWong Flora Chi ChingWong Siu ChiWoo Ming Chuan

Chen Wing WaiCheung Hoi KitChing Kai CheungChu Lap WingKwok Yun Shan PeterLee Man KitLi Cheuk HimLo Kui Lok*Tse Yeong Tswen JordenWang RanYip Sai Ho

* 聲部長 Part leader

宣傳及出版 Promotion Officer 黃家駿 Wong Ka Chun譜務 Score Librarian 梁錦鈴 Leung Kam Ling總務 General Affairs Officer 唐錦亮 Tong Kam Leong福利 Welfare Officers 王卓勳 Wong Cheuk Fan


支持我們 Support Us在香港，藝團發展極需要票房以外的民間支持才能得以生存。我們誠意邀請您加入我們的贊助人行列，支持香港中文大學學生會學生合唱

團舉辦的演出活動，為我們的音樂發展出一分力。如欲查詢更多細節，請電郵至[email protected]

As a student organization, we rely heavily on the corporate giving and individual support to carry on our mission and keep a wide range of programmes running. Your support is vital for our continuing success. Hereby we sincerely invite you to be one of our honorable sponsors and support our performances. For further information regarding the sponsorship, please contact us at [email protected]

Prof. Amy Barrow 布慕蓮教授 Prof. Maureen Buja Mrs. Anne Carver 陳英凱先生 Mr. Anthony Chan陳江平先生 Mr. Ken Chan陳樂陽先生 Mr. Chan Lok Yeung陳石明先生 Mr. Chan Shek Ming陳梓霆先生 Mr. Chan Tsz Ting張振山先生 Mr. C.S. Cheung蔡潔媛小姐 Miss Choi Kit Wun周立基博士 Dr. Chow Lap Kei朱念爵先生 Mr. Richard Chu

霍陸美珍女士 Mrs. Myrette Fok霍泰輝教授 Prof. Fok Tai FaiMs. Annette Fromel 馮國培教授 Prof. Fung Kwok Pui許寶寶女士 Ms. Eleanor Hui高贊亨先生 Mr. Ko Tsan Hun林家琦小姐 Ms. Kathy Lam李丹教授 Prof. Lee Tan李嘉盈小姐 Ms. Jenny Lee毛孟靜女士 Ms. Claudia Mo盧迪詩小姐 Ms. Stacey RoddaProf. Hans Sluga

伯樂音樂學院 Baron’s School of MusicMartin’s Studio 松板鋼琴城 Matuzaka Piano City柏斯琴行 Parsons Music

香港電台第四台 RTHK Radio 4大公報 Ta Kung Pao文匯報 Wen Wei Po香港中文大學校園電台 The Campus Radio, The Chinese Unversity of Hong Kong

世界自然基金會 World Wide Fund For Nature葉氏兒童音樂實踐中心 Yip’s Children Choral and Performing Arts Centre香港科技大學學生會合唱團 University Choir, The Hong Kong University of Science and Technology Student Union香港中文大學校友事務處 Alumni Affairs Office, The Chinese University of Hong Kong 香港中文大學學術交流處 Office of Academic Links, The Chinese University of Hong Kong香港中文大學崇基學院校牧室 Chung Chi College Chaplaincy, The Chinese University of Hong Kong

香港中文大學邵逸夫堂 Sir Run Run Shaw Hall, The Chinese University of Hong Kong康樂及文化事務署 Leisure and Cultural Services Department

支持及協助 Support and Co-operation謝秉基先生 Mr. Gary TseMs. Elina Veikkola Prof. Jefferson VanderWolk 黃韻梅女士 Ms. Wilma Wong黃文遜醫生 Dr. Wong Man Shun黃雅各先生 Mr. Wong Nga Kok, Jacob黃穎兒先生 Mr. Solomon Wong胡銘堯先生 Mr. Dennis Wu胡幗姿小姐 Ms. Remex Wu甄寶嫦女士 Ms. Yan Po Sheung, Emily楊如虹女士 Ms. Antonia Yeung余錦超先生 Mr. Martin Yu

2010 House Programme

Documents

Transcript of 2010 House Programme