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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.

Chief ExecutiveHong Kong Special Administrative Region

獻辭message

歡迎蒞臨第40

屆香港藝術節。

作為重要的國際

文化盛會，香港

藝術節每年呈獻

世界頂尖及多元

化的表演節目。

今年榮幸再邀請

到世界各地及本

港藝術精英，帶

來舞蹈、音樂、

歌劇及戲劇等精采表演，讓觀眾可欣

賞振奮心靈的繽紛藝饌。

我藉此感謝香港特區政府、香港賽馬

會、各贊助企業及個人的慷慨資助。

踏入第40周年，香港藝術節除了雲

集世界各地的藝術界翹楚，帶來精采

演出，亦透過學生票贊助計劃及「青

少年之友」計劃，培養年青人的藝術

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興

趣。

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。

I warmly welcome you to the 40th Hong Kong Arts Festival.

Recognised for the quality and variety of its programming, the annual Hong Kong Arts Festival is keenly anticipated as the premier event in Hong Kong’s cultural calendar. This year we again welcome top international and local talent in dance, music, opera and theatre, whose artistry will delight and inspire us.

I wish to acknowledge strong support of the Government of Hong Kong SAR, the Hong Kong Jockey Club, and sponsors and donors who make this Festival possible. At this 40 year mark, I am particularly delighted that in addition to presenting wonderful artists to a discerning public, we can also nurture young audiences through our Student Ticket Scheme and Young Friends Scheme, thanks to the contributions of donors and supporters who generously share their own love for the arts with audiences of the future.

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.

獻辭 message

香港藝術節主席 Charles Lee, Chairman

歡迎閣下蒞臨第

40屆香港藝術

節。

今年香港藝術節

呈獻的藝術名家

及精采節目，就

如香港大都會一

樣多元化又璀璨

奪目。延續四十

年的優良傳統，

我們繼續邀請

本地及國際知名的星級藝術家點亮香

港大小舞台，呈現世界豐碩的文化傳

統，豐富未來的文化面貌。

衷心感謝多年來熱心支持香港藝術節

的各界人士及團體。我們過去的成

功源自他們對藝術的熱忱，他們亦深

信豐盛多元的文化藝術生活，是香港

作為名副其實的國際大都會之重要支

柱。

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

享連串多姿多采的節目。

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 this year’s Festival is as diverse and multi-faceted as the city which has hosted this annual event in the course of four decades. As we add to the roll call of local and international luminaries who grace our stages, we continue to draw upon the impressive traditions available to us, and work to augment a heritage for the future.

I am deeply grateful to many individuals and institutions for their contributions to the Festival’s success over the years, informed by a love for the arts and an appreciation of how important it is for a major city worthy of that description to have a rich cultural life.

Thank you for being here to celebrate forty years of the Hong Kong Arts Festival. The Festival would not happen without its audience. The entire Festival team appreciates your contribution to the 40th Hong Kong Arts Festival and hopes that you enjoy many wonderful performances.

香港藝術節資助來自：

The Hong Kong Arts Festival is made possible with the funding support of:

獻辭 message

香港藝術節行政總監 Tisa Ho, Executive Director

敬請關掉所有響鬧及發光裝置，請勿擅自攝影、錄音或錄影，多謝合作。

Please switch off all sound-making and light-emitting devices. Unauthorised photography or recording of any kind is strictly prohibited. Thank you for your co-operation.

Presents

本場刊採用環保紙張印刷。

This

pro

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me

is p

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d on

env

ironm

enta

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iend

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aper.

29.2, 4.3.2012

香港演藝學院香港賽馬會演藝劇院

The Hong Kong Jockey Club Amphitheatre, HKAPA

元朗劇院演藝廳

Auditorium, Yuen Long Theatre

節目資料 P6 for programme details

1.3.2012

香港演藝學院香港賽馬會演藝劇院

The Hong Kong Jockey Club Amphitheatre, HKAPA

節目資料 P23 for programme details

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40thHKAF_ThankYouAcknowledgement-fnA-ol-cs2-EXXON.pdf 2012/1/6 8:18:26 PM

所有照片 All photographs

周樂娉與周樂婷 Chau Lok-ping and Chau Lok-ting © Hugo Lam @ Musica Viva Ltd邵俊傑 Louis Siu © Leo Yu (The Blue Hydrant)

周樂娉與周樂婷鋼琴二重奏音樂會

Chau Lok-ping and Chau Lok-ting Piano Duo Recital

29.2.2012

4.3.2012

比才 (1838-1875) Georges Bizet

《兒童遊戲》鋼琴四手聯彈組曲，作品22Jeux d’enfants for piano four hands, Op 22

〈鞦韆〉沉思曲︰小行板

L'escarpolette (The Swing)Rêverie: Andantino

〈陀螺〉即興曲︰活潑的快板

La Toupie (The Top)Impromptu: Allegro vivo

〈洋娃娃〉搖籃曲︰單純的小行板

La Poupée (The Doll)Berceuse: Andantino semplice

〈旋轉木馬〉活潑的快板詼諧曲︰活潑的快板

Les Chevaux de Bois (Merry-Go-Round)Scherzo: Allegro vivo

〈車輪〉幻想曲︰稍快的小行板

Le Volant (The Wheel)Fantaisie: Andantino molto

〈小號和小鼓〉進行曲︰接近進行曲的小快板

Trompette et Tambour (Trumpet and Drums)March: Allegretto mouvement de marche

〈肥皂泡〉輪旋曲︰中庸的小快板

Les Bulles de Savon (Soap Bubbles)Rondino: Allegretto moderato

〈四角〉素描︰活潑的快板

Les Quatre Coins (The Four Corners)Esquisse: Allegro vivo

〈捉迷藏〉夜曲︰不太慢的行板，接近小行板

Colin-Maillard (Blindman’s Bluff)Nocturne: Andante non troppo quasi andantino

〈跳蛙〉隨想曲︰中庸的快板

Saute-Mouton (Leapfrog)Caprice: Allegro molto moderato

〈小丈夫與小妻子〉（二重奏）二重奏︰小行板

Petit Mari, Petite Femme (Little Husband, Little Wife)Duo: Andantino

〈舞會〉快步舞曲︰急板

Le bal (The Ball)Galop: Presto

7

魯杜斯華夫斯基 (1913-1994) Witold Lutosławski

雙鋼琴《帕格尼尼主題變奏曲》Variations on a Theme by Paganini for two pianos

中場休息 Interval

拉赫曼尼諾夫 (1873-1943) Sergey Rachmaninov

第一雙鋼琴組曲，作品5Suite No 1 for two pianos, Op 5

〈船歌〉小快板

Barcarolle (Barcarolle)Allegretto

〈夜啊！愛情啊！〉偏慢的慢板

La nuit... L'amour (The night...the love)Adagio sostenuto

〈淚水〉 甚緩板

Les Larmes (The Tears)Largo di molto

〈復活節〉雄偉的快板

Pâques (Easter)Allegro maestoso

格雷格‧安德遜 (b. 1981) Greg Anderson

雙鋼琴《卡門幻想曲》Carmen Fantasy for two pianos

演出長約 1小時 30分鐘，包括一節中場休息Running time: approximately 1 hour and 30 minutes with one interval

聖桑 (1835-1921) Camille Saint-Saëns

雙鋼琴《貝多芬主題變奏曲》，作品35Variations on a Theme by Beethoven for two pianos, Op 35

第一變奏︰稍慢的中板Variation I: Moderato assai

第二變奏︰小步舞曲速度Variation II: Tempo di Minuetto

第三變奏︰快板Variation III: Allegro

第四變奏︰稍快Variation IV: Poco piu mosso

第五變奏︰按主題的速度Variation V: Tempo del Tema

第六變奏︰甚快板Variation VI: Molto allegro

第七變奏︰稍慢的中板Variation VII: Moderato assai

第八變奏︰輕盈的急板Variation VIII: Presto Leggerissimo

第九變奏︰如葬禮進行曲般Variation IX: Alla marcia funebre

第十變奏︰快板

Variation X: Allegro

第十一變奏︰急板

Variation XI: Presto

8 9

攣生姊妹周樂娉*和周樂婷*師隨黃懿

倫教授，於2006-2010年獲何鴻毅家族基金頒發全獎學金於香港演藝學院

就讀文憑及音樂學學士，分別以一級

榮譽畢業，並獲得全獎學金繼續修讀

碩士課程。

周氏姊妹在獨奏及二重奏方面屢創佳

績，她們的二重奏演奏事業始於2008年。2 0 0 7年，她們獲獎學金到以色列參加Te l-Hai國際鋼琴大師班，由著名二重奏鋼琴家阿歷山大‧塔密爾指

導，並獲傑出二重奏獎。2008年，她們獲得於波蘭舉行的第四屆國際鋼琴

二重奏大賽冠軍和兩項特別獎，二人

是該項比賽首隊最年輕的優勝者，獲

入選該年度香港電台「十大樂聞齊齊

選」。2010年，周氏姊妹在第四屆聖

The twin sisters Chau Lok-ping* and Chau Lok-ting* were awarded the Robert H. N. Ho Family Foundation Scholarships for outstanding merit in 2006-2010 to study at the Hong Kong Academy for Performing Arts with Professor Eleanor Wong. They both graduated with first class honours bachelor’s degrees in 2010 and are currently working for their master’s degrees at the Academy.

The tw ins began the i r duo career in 2008. In Israel, under the guidance of the distinguished duo pianist Alexander Tamir, they won the Sara Lahat prize for the outstanding duo in the Tel-Hai International Masterclasses. In 2008, they won the first prize, and two other special prizes, at the Fourth International piano duo competition

周樂娉、周樂婷Chau Lok-ping and Chau Lok-ting

瑪利諾國際鋼琴二重奏比賽獲得亞軍

及最年輕優勝者獎。

周氏姊妹多次以二重奏身分參加本地

及國際演出，包括2007年香港回歸十周年的萬人青年音樂會的十琴合奏；

2008年星島七十週年傑出領袖頒獎典禮，以及2010年演藝鋼琴精英籌款音樂會。2009年，他們獲邀在波蘭新松奇舉行的Vacations with Music音樂節，以及以色列首都特拉維夫的二重

奏鋼琴家伊登-塔米紀念音樂會中演

出。2010年，她們在第五屆廈門鼓浪嶼鋼琴節及李斯特誕生二百週年紀念

音樂會演出。周氏姊妹於2009年獲民政事務局頒發嘉許獎，以表揚她們在

國際方面的藝術成就。

*蒙香港演藝學院允許參與演出

in Białystok, Poland. In 2010, they won the second prize in the IV San Marino International Piano Duo Competition and were also awarded a special prize as the youngest winners.

They performed in Ten Piano Ensembles in the celebration of the 10th Anniversary of HKSAR in 2007; Leader of the Year, organised by the 70th Anniversary of Sing Tao Daily in 2008; the Festival Vacations with Music in Nowy Sacz, Poland and the memorial concert for duo pianists Eden-Tamir in Israel in 2009; and the HKAPA Academy's Best Pianists Fund-raising Concer ts, the Fi f th Gulangyu Piano Festival in Xiamen and the Franz Liszt Bicentenary Concert in Hong Kong in 2010. The Secretary for Home Affairs awarded commendations to the Chau sisters for making outstanding contributions in international arts and cultural activities in 2009.

*By kind permission of The Hong Kong Academy for

Performing Arts

10 11

比才 ︰《兒童遊戲》鋼琴四手聯彈組曲，作品22Bizet: Jeux d’enfants for piano four hands, Op 22

比才的鋼琴二重奏組曲《兒童遊戲》

寫於1 8 7 1年，由1 2首短曲組成，每首都有具體標題，像舒曼的《兒時情

景》一樣，而每首都以特定樂種寫

成。

在〈鞦韆〉裏，一位演奏者的上行

十六分音符與另一演奏者的下行十六

分音符交替出現，反映出鞦韆的動

態；旋轉的〈陀螺〉採用游移不定的

十六分音符、軋軋有聲的八分音符和

最後的三連音來刻劃；華麗輕快的

〈洋娃娃〉過後，是奔馳的〈旋轉木

馬〉；〈旋轉木馬〉慢跑似的伴奏十

分別緻，最後卻突然消失不見。〈車

輪〉以上行跑動音描繪虛浮之感，

而進行曲〈小號和小鼓〉則以巧妙的

節奏及和聲手法，刻劃孩童雜亂無章

地模仿士兵步操，後來《卡門》第

一幕也有同類情景。〈肥皂泡〉活靈

活現，肥皂泡彷彿就在鍵盤上漂浮似

的；〈四角〉是手舞足蹈的法國舞

曲，與夢幻的慢速〈捉迷藏〉相映成

趣。上行十六分音符三連音和下行斷

奏八分音符是〈跳蛙〉的特色，然後

是一對小夫妻迷醉的二重唱，線條縱

橫交錯，全曲最後以多姿多彩的〈舞

會〉作結。

Bizet composed his suite of 12 pieces for piano duet entitled Jeux d’enfants (Children’s Games) in 1871. Each piece has a specific title, rather like Schumann’s Kinderszenen, and each is in a particular genre.

The swing alternates upward semiquavers for one player with downward semiquavers for the other, reflecting the trajectory of the movement’s subject. The spinning Top is illustrated by oscillating semiquavers with chugging quavers and, at the end, triplets. The gorgeous lilt of The doll is followed by the galloping Merry-Go-Round with its distinctive cantering accompaniment, suddenly disappearing out of earshot. The upward runs of The Wheel gives the indication of airiness, while the march Trumpet and Drums prefigures the children’s mock-marching in Carmen Act I, illustrating the haphazard nature of kids imitating soldiers with rhythmic and harmonic sleights of hand. Soap Bubbles effervesces nicely, floating up and down the keyboard, while the irrepressible French dance of the Four Corners contrasts with the slow, dreamy contemplation of Bland Man’s Bluff. Upward semiquaver triplets and downward staccato quavers characterise Leapfrog, followed by the intertwining of a rapturous duo for the description of man and wife, before the work is rounded off by a quicksilver dance at The Ball .

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13

聖桑︰雙鋼琴《貝多芬主題變奏曲》，作品35Saint-Saëns: Variations on a Theme by Beethoven for two pianos, Op 35

聖桑的《貝多芬主題變奏曲》寫於

1874年，也就是他40歲生日前一年，主題取自貝多芬的降E大調奏鳴曲（作品3 1第三首）第三樂章〈小步舞曲〉中段，以該段溫和的和聲進行為基

礎， 寫出10段雙鋼琴變奏。

引子只有數小節長，但變化多端；隨

後作曲家把小步舞曲主題分配給兩位

鋼琴家奏出。兩位鋼琴家在〈第一變

奏〉（4 /4拍子）交替奏出十六分音符；八分音符在〈第二變奏〉熱情地

流動。接着音樂回到三拍子主題，但

開端樂句的音程方向卻倒轉了，柔和

的樂音與響亮的斷奏和弦交替出現。

這時回復4 /4拍子，交替的十六分音符令人喘不過氣，然後〈第五變奏〉

（3 /4拍子）的精緻裝飾音型響起，很有莫扎特的特色。在下一變奏，聖

桑要求起起伏伏的音型奏得快速、

平滑；之後是步履蹣跚的葬禮進行曲

（4/4拍子），音樂變得越來越尖銳，轉到6/4拍子後，六連音伴奏在洪亮的交替和弦下隆隆作響。引子重現，引

入倒數第二個變奏。〈第九變奏〉是

段精力充沛的賦格曲（2/2拍子）；高潮在最後的變奏來臨，強烈的重複三

連音走遍整個鍵盤，只在最末幾小節

之前兩次減慢。

Saint-Saëns' set of 10 variations on a theme by Beethoven — the theme being the rather innocuous chordal progression that forms the kernel of the Trio of the third movement Menuetto of Beethoven's E-flat Sonata Op 31 No 3 — was composed for two pianos in 1874, the year before his 40th birthday.

After a quirky introduction of just a few bars, the minuet theme is sounded, shared between the two pianists. The first variation (in 4/4) alternates semiquavers between pianists, then the second continues with more ardently flowing quavers, before returning to the triple beat of the theme, reversing the direction of the interval of the opening phrases and alternating those gentle tones with loud staccato chords. Breathless, alternating semiquavers take over (back in 4/4) before the delicate ornamentation of the fifth variation (3/4), Mozartian in its flow. Fast and smooth is the instruction for the rippling ups-and-downs of the next variat ion, fol lowed by the halting tread of a funeral march, which gets more and more strident before moving from 4/4 to 6/4, with a sextuplet accompaniment rumbling underneath the sonorous alternation of chords. A return to the introduction leads to the penultimate variation, a vigorous fugue in 2/2, before the climactic finale, with its hammered, repeated triplets across the whole keyboard, slowing just twice before the closing bars. 15

魯杜斯華夫斯基︰雙鋼琴《帕格尼尼主題變奏曲》

Lutosławski : Variations on a Theme by Paganini for two pianos

波蘭作曲家魯杜斯華夫斯基是個勤勉

的作曲家。他經常在一首作品花上多

年時間，因此作品數量不多；然而，

他卻寫過大量鋼琴二重奏作品。1936年，他先在鋼琴系畢業，翌年在作曲

系畢業後，就徒步走了250里橫越波蘭到達華沙。1939年底納粹德軍入侵波蘭，他因而避過被抓的命運。其後與

同胞作曲家帕奴夫尼克組成鋼琴二重

奏，兩人在隨後的四年半內寫了二百

多首作品，並冒險協助抵抗侵略。

1944年華沙起義，這批作品不幸只有魯杜斯華夫斯基《帕格尼尼主題變奏

曲》能保留下來。1 9 7 8年，魯杜斯華夫斯基把原來的雙鋼琴版本稍加擴

充，改編成鋼琴與樂團版本，而今晚

演奏的就是原來的雙鋼琴版本。

帕格尼尼《第二十四隨想曲》的主題

十分著名，不但拉赫曼尼諾夫在《帕

格尼尼主題狂想曲》用過，而根據

這個主題寫過改編曲的作曲家亦不

計其數。魯杜斯華夫斯基跟隨帕格尼

尼原著的變奏，用不只一台而是兩台

鋼琴，把原著的可能性盡情發揮。主

題過後是1 2段變奏，每段都十分獨特，而且對兩位鋼琴家的技巧要求都

很高（樂曲只有六分鐘長，因此每段

都很短）。速度在〈第六變奏〉完全

改變，沉思似的樂段起起伏伏，速度

緩慢而全神貫注，構成樂曲中段的靜

態高原；切分節奏在〈第七變奏〉突

然響起，〈第九變奏〉也不甘示弱，

而中間的〈第八變奏〉則充滿鐘聲效

果。原主題在雷聲似的伴奏下重現，

最後為全曲帶來巧妙的終結。

Pol ish composer Lu tos ławsk i had a painstaking writing style. In his later life he often dwelled on single works for a number of years, so his output is quite small. He graduated in piano (1936) and in composition (1937) and escaped capture by the Nazis in late 1939 (walking 250 miles cross-country to Warsaw), before teaming up with fellow composer Andrzej Panufnik to form a piano duet. They played and wrote together for four-and-a-half years whilst assisting the resistance. Unfortunately, only Lutosławski’s Variations on a Theme of Paganini survived the 1944 Warsaw uprising. In 1978 Lutosławski arranged the work for piano and orchestra, very slightly expanding on the original two-piano version, which is the one we hear tonight.

The theme of Paganini’s 24th Caprice is known not only from Rachmaninov’s Rhapsody on a Theme of Paganini but also in countless versions by countless composers. Lu tos ławsk i fo l l ows Pagan in i ’s own variations, but revels in the possibilities that are afforded by not one but two keyboards. After the statement of the theme there are 12 variations, each distinct (but, given the total length of the work — around six minutes — very brief) in their bravura demands on both pianists. There is a complete change of pace for Var VI, a slow, rapt rising and falling meditation which forms the central still plateau, before the syncopated rhythms of Var VII burst in, emulated by Var IX, while in between Var VIII seems to trade in bell effects. The theme proper, with thundering accompaniment returns to complete the Variations with a final quip to end. 17

拉赫曼尼諾夫︰第一雙鋼琴組曲，作品5Rachmaninov : Suite No 1 for two pianos, Op 5

第一雙鋼琴組曲各樂章所引用的

詩句：

〈船歌〉

清涼的傍晚，隱約傳來的浪叠 在平底船緩慢的槳下……再一次的歌聲！再一次的結他弦聲！ ……遠方，現在哀傷，現在又快樂的響着， 船歌乘著翔翅傳來︰ 「船兒划過，水面漾開 如時光消逝於愛的浪湧中﹔ 水波會再平滑 逝去的愛情卻喚不回來」

萊蒙托夫

〈夜啊！愛情啊！〉

愛情的夜晚那是夜鶯高鳴聲從枝幹傳來的時刻 而和風，而水波為寂靜的耳朵奏樂

拜倫

〈淚水〉

淚水，人的淚水！無法訴說的流動着早晚，在暗中沒人看時 世間不知覺的一直如昔前進時 如雨潑下 無盡的，在晚秋的夜裏

丘特切夫

〈復活節〉

大地響起了巨浩的鐘聲連空中亦隆隆作響 銀亮雷鳴的聖歌前進如鈴聲 歡躍於神聖的勝利中

霍米雅科夫

The translations of the poems which appear at the head of each movement in Suite No 1, Op 5:

Barcarolle

O cool evening wave lap gently under the oars of the gondola…that song again! And again the sound of the guitar!…in the distance, now melancholy, now happy,Was heard the sound of the old barcarolle:‘The gondola glides through the water and time flies through love;The waters become smooth again and passion will rise no more.”

Mikhail Lermontov

La nuit... L'amour

It is the hour when from the boughsThe nightingale’s high note is heard;It is the hour when lover’s vowsSeem sweet in every whisper’s word;And gentle winds, and waters near,Make music to the lonely ear.

Lord Byron

Les Larmes

Human tears, O human tears!You flow both early and late You flow unknown, you flow unseenInexhaustible, innumerable,You flow like torrents of rain in the depths of an autumn night.

Fyodr Tyutchev

Pâques

The mighty peal rang out over the earth, And all the air, moaning, shuddered and groaned.Melodious, silver thundering told the news of the holy triumph.

Alexei Khomyakov

拉赫曼尼諾夫在第一雙鋼琴組曲每樂

章的開端都引用了文學作品。水是第

一樂章的靈感來源，拉赫曼尼諾夫引

用了萊蒙托夫描繪黃昏時分，威尼斯

運河上的船夫慢慢把船槳沒入水裏的

情景。夜曲風格的第二樂章刻劃以D大調寫成，是全曲唯一不採用G小調的樂章。夜鶯的歌聲貫徹全樂章，樂

曲開端引用了拜倫。憂傷的第三樂章

引用丘特切夫的詩句：「淚水，人的

淚水！/ 無法訴說的流動着 / 早晚，在暗中沒人看時 / 世間不知覺的一直如昔前進時 / 如雨潑下 / 無盡的 / 在晚秋的夜裏」。最後是霍米雅科夫描寫

的鐘聲。拉赫曼尼諾夫一直對鐘聲情

有獨鐘，他認為俄羅斯鐘聲處處，復

活節時更響徹全國。他日後許多作品

不斷重拾這個題材，甚至寫了一首名

為《鐘聲》的合唱曲。霍米雅科夫寫

道：「大地響起了巨浩的鐘聲 / 連空中亦隆隆作響」。詩句啟發了他採用

重複出現的高音金屬鐘聲、響亮的和

弦和引用素歌《基督升天》。

In Rachmaninov 's Sui te No 1 for two pianos, each movement is headed with a literary quotation. The first, water-inspired, cites Mikhail Lermontov’s description of a gondolier slowly dipping his oar in a Venetian canal at dusk. The second (in D major, the only movement moving away from G minor) takes its lead from Lord Byron, a nocturne through which a nightingale sings. The sad third movement quotes Fyodor Tyutchev about “Human tears / O human tears! / You flow both early and late / You flow unknown / you flow unseen / Inexhaustible, innumerable / You flow like torrents of rain in the depths of an autumn night.” Finally, it is Alexei Khomyakov’s evocation of bells that quite literally chimes with Rachmaninov’s continuing interest in a sound that he felt permeated Russia and never more so than a Russian Easter. In many later works he would return to the idea (indeed, he composed a choral work called The Bells) and here Khomyakov’s lines about “The mighty peal rang out over the earth / And all the air, moaning, shuddered and groaned” inspires repeated high-metalled chimes and sonorous chords, as well as Rachmaninov’s use of the chant Christ is Risen.

18 19

安德遜︰雙鋼琴《卡門幻想曲》

Anderson: Carmen Fantasy for two pianos

比才的《卡門》肯定是史上擁有優美

旋律最多的歌劇之一。許多歌劇只

有一、兩首膾炙人口的歌曲，但《卡

門》卻有十數首。除此之外，比才逝

世後不久就有兩套管弦樂組曲（每套

六個樂章）出現，後世還有許多各式

各樣的改編版本，樂器組合千變萬

化，甚至改編成芭蕾舞劇。

其中一個新近完成的版本是首難度極

高的雙鋼琴幻想曲，出自年輕美國鋼

琴家兼作曲家格雷格‧安德遜之手。

安德遜與利茲‧羅組成安德遜－羅鋼

琴二重奏。樂曲放棄了劇中許多著名

旋律，只選了其中四個。

引子緩慢得近乎散漫，彷彿在夢中回

憶起《卡門》的情節。兩位鋼琴家

奏出音域廣闊的裝飾句過後，獨特的

西班牙節奏響起，刻劃最後一幕開端

那神氣活現的場景：鬥牛場外，眾人

都在等待鬥牛士艾斯卡米羅。另一獨

特的節奏逐漸浮現，這個節奏選自第

一幕卡門名曲《哈巴湼拉舞曲》（劇

情講述她正在勾引荷塞：「要是我愛

上你，你可要當心」），發展出閃爍

的伴奏。氣氛的轉變讓兩位鋼琴家探

索劇中深藏的情感和劇中人的寂寞心

情，然後推向振奮的高潮︰這一段根

據《波希米亞舞曲》（這時卡門和荷

塞都當了土匪）寫成，充滿吉卜賽節

奏。

樂曲介紹︰尼克‧博洛肯費爾特中譯︰鄭曉彤

Bizet's Carmen must be one of the most melody-packed operas ever composed. Where many operas only have one or two well-known tunes, Carmen has dozens, and there are two orchestral suites that appeared soon after Bizet’s death with six movements apiece, and then a whole host of transcriptions for various instruments, even ballet scores.

One of the latest is a virtuosic two-piano fantasy by the young American pianist-composer Greg Anderson who left many famous melodies from the opera out, in choosing just four.

After a slow, almost laid-back introduction, as if remembering Carmen in a dream, and a wide-ranging melisma for both players, a distinctive Spanish rhythm strikes up for the swaggering public scene that opens the final act, set outside a bull ring with everyone waiting for Escamillo the toreador. This melts into another distinctive rhythmic germ, this time from Carmen’s Act I showstopper, the Habanera, as she seduces Don José (“if I love you, then take care”), developing a glittering accompaniment. The mood changes for our two pianists to explore some of the opera’s underlying emotions — and the plethora of lonely people at its heart — before a rousing climax development based on the Danse boheme, full of gypsy rhythms when Carmen and Don José join the brigands.

Programme notes by Nick Breckenfield

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21

邵俊傑與友人敲擊音樂會

Louis Siu and Friends Percussion Recital

邵俊傑^

敲擊

Louis Siu^Percussion

周展彤^^

敲擊

Chau Chin-tung^^Percussion

小山理惠子^^

敲擊

Rieko Koyama^^Percussion

冼宏基

敲擊

Vicky ShinPercussion

陳倩婷

鋼琴

Cynthia ChanPiano

^ 蒙澳門樂團允許參與是次演出 By kind permission of the Macao Orchestra

^^ 蒙香港小交響樂團允許參與是次演出 By kind permission of the Hong Kong Sinfonietta

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Sino Art.pdf 2011/12/6 6:02:30 PM

23

邵俊傑與友人敲擊音樂會

Louis Siu and Friends Percussion Recital

1.3.2012

艾略特‧卡特Elliott Carter

《八首定音鼓獨奏曲》選段Excerpts from Eight Pieces for Solo Timpani

即興 Improvisation無窮動 Moto perpetuo金絲雀 Canaries

羅斯‧愛德華斯Ross Edwards

《馬林巴琴之舞》（馬林巴琴獨奏）Marimba Dances for solo marimba

大衛‧霍連頓 Dave Hollinden

《冷凝》（敲擊獨奏）Cold Pressed for solo percussion

趙朗天 Alain Chiu

《諧．振》二部曲之一（世界首演）

Resonantia Part 1 (world premiere)

葉浩堃 Austin Yip

《諧‧振》二部曲之二#（世界首演）Resonantia Part 2# (world premiere)

中場休息 Interval

一柳慧 Toshi Ichiyanagi

《節奏的變層》（定音鼓獨奏）Rhythm Gradation for solo timpani

亞曆‧奧伐利Alex Orfaly

第二狂想曲（定音鼓獨奏）Rhapsody No 2 for solo timpani

威廉‧卡夫特 William Kraft

第一定音鼓協奏曲（為鋼琴與敲擊樂合奏改編）Timpani Concerto No 1 (arranged for piano and percussion ensemble)

小快板 Allegretto慢慢地 Slowly

轉瞬即逝的 Fleeting

# 香港藝術節委約，「CASH音樂基金支持」 # Comissioned by the Hong Kong Arts Festival with support from CASH Music Fund

節目長約1小時40分鐘，包括一節中場休息Running time: approximately 1 hour and 40 minutes with one interval

藝術節加料節目 Festival PLUS

邵俊傑敲擊樂示範講座及 定音鼓槌製作工作坊

Louis Siu Percussion Lecture Demonstration & Timpani Mallet-making Workshop

30.1.2012 (一) 30.1.2012 (Mon)更多加料節目信息請參閱藝術節加料節目指南，或瀏覽網站：www.hk.artsfestivalplus.org

Find out more about Festival PLUS in the Festival PLUS Booklet or at www.hk.artsfestivalplus.org

24 25

藝術統籌的話

能夠獲邀請於埃克森美孚新視野系列中獻藝，實在感到非常榮幸。衷心感謝香港藝術

節及澳門樂團對我的支持，以及台前幕後的工作人員跟我的配合。

今晚可算是2010年「擊聲樂盤」的續集，所有作品由多國在世作曲家所創作。我以「節奏聲譜」為概念編排樂曲，以樂曲中複雜變化的節奏作主軸。

愛德華斯的《馬林巴琴之舞》與卡特的《八首定音鼓獨奏曲》經過多年已成敲響樂的

經典之作。而每次準備多樣敲響樂曲時就像在玩拼圖，因為每首樂曲都有獨特的樂器

鋪排，霍連頓的《冷凝》就是由19件大小樂器「砌」出來。一柳慧的《節奏的變層》與奧伐利的第二狂想曲是兩首節奏呈強烈對比的得意之作。

一如以往，我於音樂會中首演委約作品，因為沒有新作就談不上創作了。兩位作曲家

都是跟我在同一時期於三藩市灣區深造，經歷不少。我大膽地提出一提兩作，看看

《諧．振》如何由文字變成二部曲。

壓軸卡夫特的第一定音鼓協奏曲對我來說是一大挑戰，雖然已跟鋼琴手陳倩婷於美國

多個比賽合作，但是次改編成敲擊樂合奏版本為亞洲首演。作曲家卡夫特為前洛杉磯

管弦樂團首席定音鼓手，故此對敲擊樂有特別要求，我請到周展彤與小山理惠子，分

別於香港小交響樂團及在日本工作時認識，以及我在初中時一起接觸敲擊樂的冼宏

基，務求能在舞台上擦出一些新舊火花。希望您能一起享受敲響樂帶領的音樂之旅。

邵俊傑

Artist’s Notes

I feel honoured to have been invited to perform in the ExxonMobil Vision Series, and I am grateful for the support from the Hong Kong Arts Festival, the Macao Orchestra and all the staff involved with the performance.

The show tonight can be enjoyed as a sequel to "Sound Palette & Vivacity" Percussion Recital (2010). Tonight's programme features works by living composers, and a concept based on “Rhythm and Spectrum”, which guided us to explore complex and challenging rhythms as the core of the music.

Ross Edwards’ Marimba Dances and Elliott Carter’s Eight Pieces for Solo Timpani have become classics in percussion performances over the years. Preparing a multi-percussion piece is similar to assembling a jigsaw puzzle, as each piece has their unique arrangement. For instance, David Hollinden’s Cold Pressed is “assembled” with 19 instruments of various sizes and Toshi Ichiyanagi's Rhythm Gradation and Alex Orfaly’s Rhapsody No 2 are two timpani pieces with remarkably constrasting rhythms.

I am premiering new comissions in tonight's performance as usual. As new works are actualisations of our creative thoughts — is a new music concert without any new work bereft of creativity? Both composers are experienced professionals who studied in the Bay Area when I was there. I suggested they compose two pieces of work based on the same theme to see if we could turn Resonantia from a text into twin pieces.

The last piece of tonight's performance, William Kraft’s Timpani Concerto No 1, is a huge challenge for me. Though I have performed it with the pianist Cynthia Chan in several competitions in the US, this Asian premiere of an ensemble version is a true test of our ensemble skills. As the former principal timpanist in the Los Angeles Philharmonic Orchestra, the composer Kraft has special requirements for percussionists. I therefore invited Chau Chin-tung and Rieko Koyama, whom I met respectively when I was working in Hong Kong Sinfonietta and Japan, and Vicky Shin, whom I explored percussion with in middle school. We hope that this group of old friends will create sparks on stage taking you on an enjoyable journey across the world of percussion.

Louis SiuTranslated by Veronica Ge

26 27

2013_0131.indd 1-2 31/1/12 1:06 PM

邵俊傑憑傑出演奏表現獲多個獎項，

包括香港藝術發展局新苗資助獎

（2 0 1 0）、達夫家庭定音鼓獎學金（2005、2006）、亞洲文化協會友邦慈善基金音樂獎學金（2005）、澳洲敲擊樂藝術節比賽第一名（2003）、澳洲新南威爾斯省教育部「M u s i c Encore」獎（2003），以及2007年以最年輕的參賽者身分參加法國里

昂國際定音鼓大賽決賽。此外，他還

入圍科林堡交響樂團青年藝術家決賽

（2008）和三藩市交響樂團協奏曲決賽（2006）。

邵俊傑2010年獲澳門樂團音樂總監呂嘉委任為敲擊樂手。2 0 0 8年起，他活躍於香港的音樂演出，包括擔任香

港管弦樂團及香港小交響樂團的特約

敲擊樂手，參與指定音樂會、電視廣

Siu has received numerous awards for his outstanding performances including the youngest finalist at the 2nd International Timpani Competi t ion of Lyon (2008), First prize in the Australian Percussion Eisteddfod (2003), Asian Cultural Council AIA Foundation Music Scholarship (2005), Hong Kong Arts Development Council Emerging Artist Grant (2010), Percussive Arts Society Cloyd Duff Family Scholarships (2005, 2006), Music Encore by the Board of Studies New South Wales (2003), and finalist at Fort Collin Symphony Young Artist Competition (2007) and San Francisco Symphony’s Concerto Competition (2006).

Siu currently serves as percussionist of the Macao Orchestra, a position appointed by Maestro Lü Jia in 2010. Since 2008, he has been actively performing with the Hong Kong Philharmonic Orchestra and the Hong Kong Sinfonietta as an extra percussionist, including in subscription concerts, TV broadcasts and a tour with Edo de Waart and Yip Wing-sie; and he was an intern with the Four Gig Head Percussion Group. In 2007, he performed and toured with the Pacific Music Festival Orchestra, and in 2006 he performed with the Asian Youth Orchestra. In 2005 he participated in the Aspen Music Festival on a full scholarship, where he worked with Benjamin Herman, Dallas Symphony’s Douglas Howard and Philadelphia Orchestra’s timpanist Don Liuzzi. He made his Davies Symphony Hall debut in the same year with the San

邵俊傑Louis Siu敲擊、藝術統籌Percussion and Artistic Coordination

播，並與迪華特和葉詠詩於海外巡迴

演出。他曾在四擊頭敲擊樂團擔任見

習樂手。2 0 0 7年，他在日本太平洋音樂節演出並隨團參加巡演，同時於

2006年參與亞洲青年管弦樂團的巡迴演出。2005年他以全額獎學金參與阿斯本音樂節，與班傑明．赫爾曼、達

拉斯交響樂團的道格拉斯．霍華德和

費城樂團的定音鼓手唐．柳茲合作。

同年，他在戴維斯交響音樂廳首次與

三藩市交響樂團青年樂團及指揮班傑

明．施瓦茨合作；他在三藩市交響樂

團青年樂團在任期間亦曾與著名指揮

家庫爾特．馬殊及蒂爾森．湯瑪斯合

作。邵俊傑也擔任過該團的推廣教育

藝術家。

邵氏在悉尼音樂學院、香港中文大

學、三藩市音樂學院接受音樂教育。

師從三藩市交響樂團首席敲擊樂手傑

克．萬甘、首席定音鼓手大衛．賀

伯特和香港管弦樂團首席定音鼓手龐

樂思。他亦獲邀於克里夫蘭音樂學院

跟隨定音鼓手保羅．亞希奇學習。其

他老師還包括香港城市室樂團的吳美

瑩、悉尼交響樂團的馬克．羅賓遜，

以及澳洲協同擊樂團的愛麗遜．艾丁

頓。

邵俊傑致力於推廣當代音樂，為香港

創樂團創始人之一。他於2007年創立PROJECT.T.T.，並與加拿大阿菲亞拉弦樂四重奏合作，世界首演計劃為弦

樂定音鼓五重奏，旨在推廣高音定音

鼓及敲擊樂，並為作曲家提供樂器實

驗平台。他首演的作品包括亨氏．布

萊克、鄧樂妍、楊嘉輝、林品晶、趙

朗天、葉浩堃等作曲家的作品。

Francisco Symphony Youth Orchestra with Benjamin Shwartz conducting. During his tenure with the SFSYO youth orchestra he worked with Kurt Masur and Michael Tilson Thomas, Siu also served as Opus Teaching Artist for the San Francisco Symphony’s outreach and education programs.

Siu received his music education at Sydney Conservatorium of Music, The Chinese University of Hong Kong and San Francisco Conservatory of Music. He studied with Hong Kong Philharmonic timpanist James Boznos and was a scholarship student of Jack van Geem and David Herbert of San Francisco Symphony. He was also invited to study with Paul Yancich at the Cleveland Institute of Music. Other mentors included Rebecca Ng of City Chamber Orchestra of Hong Kong, Mark Robinson of Sydney Symphony, and Alison Eddington of Synergy Percussion.

Dedicated to new music, Siu was one of the founding members of the Hong Kong New Music Ensemble, he also founded PROJECT.T.T. in 2007. The project aims to promote music for percussion and tenor timpani and create a platform for composers to experiment and develop instrumentally. Louis has premiered works by Heinz Hollinger, Tang Lok-yin, Samson Young, Lam Bun-ching, Alain Chiu and Austin Yip.

30 31

艾略特‧卡特︰《八首定音鼓獨奏曲》選段

Elliott Carter: Excerpts from Eight Pieces for Solo Timpani

6 0多年前，就在完成管樂四重奏《練習曲八首及幻想曲一首》之後不久，

卡特寫作了六首定音鼓獨奏曲。樂

曲只採用四個定音鼓，基本上是節

奏練習曲。這六首樂曲於1 9 5 2年5月6日在紐約現代美術博物館首演，由敲擊樂手阿爾‧霍華特演奏。但卡特

對這幾首樂曲並不滿意，因為他不能

在「不清晰、水汪汪似的聲音裏」清

楚辨認音高。然而由於好幾位敲擊樂

演奏家也希望演奏此曲，於是他在

1960年修訂了其中兩首─〈宣叙調〉和〈即興〉。六年後，他不但把其他

幾首都修訂過，又指定演奏者使用哪

種鼓棒、有時更指定敲打鼓面哪個位

置，還加入兩首新作〈慢板〉和〈如

歌〉，題獻給協助修訂的定音鼓手

揚‧威廉斯。全套八首樂曲1968年出版，但卡特卻明言無論如何都不能在

一次演出中演奏多過四首。

今晚演出的三首樂曲選自最初創作的

六首。刺激而對比鮮明的〈即興〉根

據一連串號角曲似的節奏發展而成，

效果有點類似煙火匯演的配樂。〈無

窮動〉篇幅短得多，重複的節奏型從

未間斷，像持續不斷的隆隆雷聲。最

後的〈金絲雀〉（作曲家在修訂版提

議把標題改為〈吉格舞曲〉）是卡特

最初寫的六首樂曲的最後一首。作曲

家襲用了巴洛克時期的三拍子舞曲形

式，運用開端那獨特的附點節奏，寫

出這個變化多端、技巧要求極高的樂

章。

Over 60 years ago, shortly after composing Eight Études and a Fantasy for wind quartet, Elliott Carter composed six pieces for solo timpanist on just four timpani, which were basically studies in rhythm. They were premiered by Al Howard on 6 May 1952 at New York’s Museum of Modern Art, but Carter expressed disappointment in them, as he wasn’t able to distinguish the pitches clearly enough in the “unclear, swimming sound”. But a number of players wanted to play them, so in 1960 he revised two, Recitative and Improvisation, and then, six years later, not only revised the others, specifying the type of stick to be used and, sometimes, exactly where to strike the skin, but also composing two more: Adagio and Canto, which were dedicated to the timpanist who helped in the revision, Jan Williams. The full set of eight were published in 1968, but Carter explicitly asked for no more than four to be played at any one time.

Three of the original six will be performed. Improvisation develops from a series of fanfare like rhythms into an exciting movement of contrasts, sounding rather like a soundtrack to a firework display, while Moto perpetuo, much shorter, never ceases with its repeated rhythm, so it is more like an extended rumble of thunder. Finally, Carter’s original last piece, Canaries — which in his revision he suggested could be retitled Jig — takes the baroque triple-metre dance, with distinctive opening dotted figure, and creates a varied and virtuosic movement.

33

羅斯‧愛德華斯︰《馬林巴琴之舞》（馬林巴琴獨奏）

Ross Edwards: Marimba Dances for solo marimba

澳洲作曲家羅斯‧愛德華的《馬林巴

琴之舞》寫於1 9 8 2年，愛德華斯寫道：「我在重塑一首馬達加斯加民歌

時，把它的非洲豎琴伴奏改編給馬林

巴琴演奏。這個改編影響了《馬林巴

琴之舞》中馬林巴琴的寫法。」這首

馬達加斯加民歌成了六重奏《活力》

（1979）的一部份，首演時馬林巴琴由約翰‧格里戈里‧紐維斯負責；而

《馬林巴琴之舞》也是作曲家題獻給

紐維斯的作品，樂曲1983年在臥龍岡城藝廊首演時的演奏者卻是米高‧亞

斯基爾。

樂曲由三樂章組成：第一、第三是兩

個舞曲似的長篇樂章，中間是速度

較慢的插段。《馬林巴琴之舞》第一

樂章與卡特〈金絲雀〉一樣採用附點

節奏，兩者也不無相似之處，但前者

的琶音樂句平穩淡雅，在中段加以發

展，開端重現後音樂慢慢沉寂下去，

逐漸止息。較長插段的重複音符很有

氣氛，彷彿馬林巴琴低聲地自言自

語，高音區漸漸變得焦慮善變，接着

卻憂鬱起來。終樂章由溫和的重複音

掀開序幕，稍後的重疊節奏較悅耳，

為樂曲劃上安靜但閃爍的句號。

Australian composer Ross Edwards wrote Marimba Dances in 1982. He wrote that "the marimba writing is influenced by a transcription I made of music for African harp in my reconstruction of a Madagascan folksong.” That became part of a sextet called Laikan (1979), in which the marimba part was first performed by John Gregory Knowles , and i t i s Knowles to whom Edwards dedicated Marimba Dances, even though the premiere, given at the Wollongong City Art Gallery in 1983, was given by Michael Askill.

There are three movements: two longer spirited dance-like pieces flanked by a central, slower interlude. The opening movement uses a dotted rhythm not unlike we’ve just heard in Carter’s last piece, but here there’s a sing-song feel to the arpeggiated phrases, developing in the middle before reprising the opening and gently dying away to end. The longer interlude offers atmospheric repeated notes, as if the marimba is in quiet conversation with itself, becoming more querulous and quirky in the higher register, before turning more sombre. The gentle repeated opening tones of the final movement, and ensuing overlapping rhythm, is sweeter on the ear, ending the Dances in a quietly scintillating style.

35

大衛‧霍連頓︰《冷凝》（敲擊獨奏）

Dave Hollinden: Cold Pressed for solo percussion

《冷凝》為多種無固定音高的敲擊樂

器而寫的作品，採用樂器包括小鼓、

中音鼓、腳踏大鼓、小手鼓、鈴鼓、

牛鈴、響板、西洋木魚、中國木魚、

鐃鈸和三種鈸（水鈸、碎音鈸和叠音

鈸）。

霍連頓在這首樂曲採用「音色譜表」

記譜法，要求音色相似的樂器放在一

起，像大型鍵盤敲擊樂器一樣安排。

事實上，演奏者要把多種敲打樂器─

由演奏者左邊的各種鼓到右邊較高音

的木魚、中音鼓和鐃鈸─合拼成一件

樂器看待。

根據作曲家的解釋，標題「冷凝」是

「榨橄欖油的方法，能榨出味道最

香醇的橄欖油。」樂曲分為三部份，

每部份運用不同的鼓棒，每個部份又

再分為更小的細份。開端以切分節奏

的鼓聲和西洋木魚的快速起伏作為反

覆節拍，在樂曲後段也會重現；鈸又

為音樂帶來鮮明的搖滾樂感覺。圓頭

鼓棒敲打西洋木魚，標誌着速度較慢

（或者說「較疏落」的）中段開始；

換過鼓棒，音樂就進入最後一段。霍

連頓的樂譜習慣使用當代詞彙，此曲

也不例外：各樂段的指示依次為「敏

銳，活潑」、「焦急，熱烈」、「着

迷，堅持」、「精神奕奕，搖擺節

奏」和「渴望，焦慮」，全都以英語

標示。

Cold Pressed is for a variety of indefinitely pitched percussion, including snare drum, tom toms, pedal bass drum, bongos, tambourine, cowbells, woodblocks, temple blocks, crotales and three types of cymbal: splash, crash and ride.

In th is p iece, Ho l l inden uses what ’s known as “timbre staff” notation, requiring instruments with like timbres to be placed together and then set-up to reflect a typical large keyboard-mallet instrument. In essence the player treats the various struck instruments as one, ranging from drums to the player’s left, up to the higher-mettle of the wood blocks, tom toms and crotales to the right.

Hollinden explains the title as “the method of extracting olive oil, which results in the most robust and full-bodied flavour.” The piece is in three sections, marked by changes of stick, each of which can be regarded as being formed of smaller sections. The opening riff — a drum syncopation, followed by a quick rise and fall on the wood blocks — is repeated and recurs later in the piece, while the ensuing cymbal entry definitely has a rock feel to it. Rounded beaters on the wood blocks sound the slower or, rather, sparser, central section, with a return to drum sticks for the final section. Typical of the score are Hollinden’s markings, expressive in a modern way: "pungent, vivid — urgent, animated — obsessive, persistent — spirited with swing and eager, anxious".

趙朗天︰《諧．振》二部曲之一

Alain Chiu: Resonantia Part 1

傳統的敲擊樂把音符和節奏作時間上

的線性處理，共鳴則存留在樂器的振

動裏。《諧．振》旨在透過錯綜複雜的

節奏和多種樂器的結合，營造出獨特

的聲響─一種在某些敲擊樂作品裏

失落了的聲響。更重要的，是此曲旨

在探索另一種「共鳴」，而這種「共鳴」

也是所有傑出音樂不可或缺的─就

是樂手之間的「共鳴」，或稱「默契」；

有了「共鳴」，才能把音樂向前推。

樂曲介紹由作曲家提供

Traditional percussion music deals with the linearity of notes and rhythm in time. Resonance lives through the vibration of the instruments.This piece aims to create a unique sonic dimension, which is sometimes lost in percussion music, using intricate rhythms and a combination of diverse instruments. More importantly, it is a piece to examine the extra facet of “resonance” that all great music possesses: "resonance" amongst the musicians, the rapport if you like, which is necessary to drive great music forward.

Programme notes by the composer

葉浩堃︰《諧．振》二部曲之二

Austin Yip: Resonantia Part 2

在四件大型中西敲擊樂器各自擁有不

同的音衰與音質下，《諧‧振》旨於

從它們的和聲與共振中找出平衡點。

本曲運用中西敲擊技法，在突出四件

樂器本身的特性之餘，又嘗試把它們

的角色互換，達致共融的效果。

樂曲介紹由作曲家提供

Eastern and Western large-scale percussion instruments have different timbres and decay rates. Resonantia aims to f ind the balance between their harmony and resonance. This piece incorporates both Western and Eastern percussion techniques so as to explore the possibility of making a perfect mélange of the instruments, aside from emphasising their own characteristics.

Programme notes by the composer

《諧‧振》諧言皆聲戶皆切，振鷿飛燕齊共嗚。 - 路隆

The original Chinese name of Resonantia can be literally translated as “Harmony and Vibration”. The inspiration was from a line in Lu Long’s poem. The literal translation is as follows: “Harmony of sounds draws people’s extensive attention; vibration attracts herons and swallows to sing along.”

36 37

一柳慧︰《節奏的變層》（定音鼓獨奏）

Toshi Ichiyanagi: Rhythm Gradation for solo timpani

一柳慧的《節奏的變層》寫於1 9 9 3年。顧名思義，節奏動力會逐漸加

強，開端疏落但響亮的聲響開始。與

卡特的《定音鼓獨奏曲》相比，《節

奏的變層》更大膽、對比更強烈；作

曲家藉着用踏板放鬆鼓面的張力令音

高波動，營造出一種獨特的溫和聲

音，並讓隆隆雷聲在靜默中回響。在

第一段，這種手法在四個定音鼓間交

織出一個沒有間斷的音型；而另一高

潮則靠着速度快得多的不斷重複敲打

來營造。波動的樂音再度零零星星地

響起，直至其中一個定音鼓發出的汽

笛聲效漸漸變得明顯，再漸漸蔓延到

第二個定音鼓，速度同時加快。最後

一段需要在四個定音鼓間打出平均的

滾奏，難度極高。

Ichiyanagi composed Rhythm Gradation in 1993. As its title might suggest, there is a gradual increase in rhythmic impetus, from the opening which is sparse with loud salvoes. Much more adventurous and contrasting than the Carter works we heard earlier, here fluctuations in pitch, enabled by releasing the tension on the instruments’ skins via the pedal, creates a distinctively malleable sound, with rolls of thunder echoing into silences. This builds up an unremitting pattern across the four timpani in the first section, while another climax is constructed with much faster constantly repeated beats thereafter. Once again the fluctuating tones at a sparse hit rate return until a siren effect on a single timpani becomes prominent, which slowly spreads across a second timpani while the speed increases. A final section demands expertise at creating an even drum roll across the four timpani.

39

亞曆‧奧伐利︰第二狂想曲（定音鼓獨奏）

Alex Orfaly: Rhapsody No 2 for solo timpani

奧伐利的第二狂想曲題獻給美國指揮家

暨作曲家米高‧狄爾遜‧湯馬士（狄爾

遜‧湯馬士是新世界交響樂團創辦人，

現任三藩巿交響樂團音樂總監）。樂曲

採用五個定音鼓，包括一個高音定音

鼓，音高定在C-G-D-升F-降B。

樂曲分為多個部分。在響亮的慢速開

端，每個樂音前都有一連串短倚音，

需要靈巧的棍法才能應付。奧伐利指

示「真的要用『狂想』的方式奏出。

樂曲的種種元素，要令人覺得這是演

奏者的即興演奏。速度時刻保持流

動……要強調戲劇化和極端的力度對

比。」

霍連頓在曲中試驗種種不同的情緒和

技巧，演奏指示也很多姿多彩，包

括滑奏和急速變化（由「沉重地」，

到「慢而富彈性速度」，再到「強勁

的，突然加快」），因此樂曲末段可

說出人意表︰大家期望的是轟動的高

潮，卻突然轉入安靜的輕敲，最後戛

然而止。

Alex Orfaly's Rhapsody No 2 is dedicated to Michael Tilson Thomas, an American conductor and composer who founded the New World Symphony and is currently music director of the San Francisco Symphony. Five timpani are required for this piece, including a piccolo timpano, the pitches being C-G-D-F sharp-B flat.

The loud, s low opening comprises a sequence of acciaccaturas before each note, requiring nimble stick work and Orfaly instructs that the multi-sectional work should “truly be performed in a ‘Rhapsodic’ manner. The elements of the piece ought to feel as if they are being improvised by the performer. The tempi should always feel fluid… The dramatic, and extreme dynamic contrasts, should be emphasised”.

Having essayed different moods and techniques, with as varied a collection of instructions as Hollinden, including glissandi and quick changes from the likes of pesante (heavily) to slow and rubato then driving, suddenly faster, the piece’s final section has a surprise, with what you might expect to be the battered climax suddenly making way for the last, quiet, taps.

威廉‧卡夫特︰第一定音鼓協奏曲（為鋼琴與敲擊合奏改編）

William Kraft: Timpani Concerto No 1 (arranged for piano and percussion ensemble)

威廉‧卡夫特生於芝加哥，像奧伐利

一樣，既是定音鼓手又是作曲家。

第一定音鼓協奏曲寫於1983年，由印地安納敲擊樂計劃委約創作。1984年3月9日，約翰‧尼爾遜指揮印地安納波利斯交響樂團首演此曲，敲擊樂獨

奏由湯馬士‧阿金斯負責。樂曲後來

贏得甘迺迪中心費德海姆最佳新美國

管弦樂作品獎亞軍。

卡夫特和奧伐利的獨奏曲一樣，採用

五個定音鼓（正常樂團編制則採用四

個），配以規模相當大的敲擊樂組。

樂曲跟隨傳統的協奏曲設計，第一、

第三樂章篇幅較長，速度較快；中間

是神秘的第二樂章，速度雖慢但卻不

斷流動。今晚演奏的是為鋼琴與敲擊

樂合奏改編的版本。

樂曲介紹︰尼克‧博洛肯費爾特

中譯︰鄭曉彤

Chicago-born William Kraft, like Orfaly, is a timpanist as well as a composer.

Comissioned by Indiana Percussion Projects Inc., Timpani's Concerto No 1 was composed in 1983. John Nelson conducted the Indianapolis Symphony, with soloist Thomas Akins, for its premiere on 9 March 1984. It went on to win second prize in that year’s Kennedy Center Friedheim Awards for Best New American Work in Orchestral Music.

Like Orfaly’s solo piece, Kraft utilises five timpani rather than the normal orchestral four, and supports them with a typically large percussion section. It follows a traditional concerto plan with a slow, mysterious but constantly moving, central movement flanked by larger faster movements either side. The arrangement for piano and percussion ensemble will be performed.

Programme notes by Nick Breckenfield

40 41

樂手 Musicians

周展彤 Chau Chin-tung敲擊 Percussion

周展彤現為香港小交響樂團的敲擊樂首席，畢業於香港演藝學院，

經常獲邀參與本港各類文化表演活動，包括最近與香港中樂團在譚

盾指揮的「臥虎藏龍」音樂會中的獨奏演出，以及2004至2007年在鼓王群英會的系列中演出。2002年，他在香港特區回歸五周年慶

典「龍聲飛躍─萬人青年音樂會」中擔任獨奏。他亦經常獲邀在世界各地演出，包括

2001年在法國康城影展擔任表演嘉賓，以及分別於2004和2010年與香港小交響樂團為伍卓賢的《白》作歐洲首演和南美巡演。

Currently principal percussion of the Hong Kong Sinfonietta, Chau graduated from the Hong Kong Academy for Performing Arts. He performs extensively in Hong Kong and recent invitations include a solo appearance with the Hong Kong Chinese Orchestra in Tan Dun’s Crouching Tiger, Hidden Dragon concert and in the Majestic Drums series from 2004 to 2007. In 2002, he performed in The Music of the Dragons Concert in celebration of the Fifth Anniversary of the Hong Kong SAR. His overseas performances include a guest appearance at the 2001 Cannes Film Festival; and the European premiere (2004) and South American tour (2010) of Ng Cheuk-yin’s White with Hong Kong Sinfonietta.

小山理惠子 Rieko Koyama敲擊 Percussion

小山理惠子現為香港小交響樂團的敲擊樂手，曾任日本兵庫縣藝術

文化中心管弦樂團定音鼓手和敲擊樂手。她在美國印第安那大學跟

隨安東尼．西隆和傑拉德．卡利斯的學習，取得演奏證書文憑。取

得學士學位後，理惠子在新英格蘭音樂學院進修，並跟隨波士頓交

響樂團的敲擊樂手弗蘭克．愛普斯坦學習。她的早期演出包括在日本太平洋音樂節與

指揮家葛濟夫和慕迪同台演出。每年夏天她都以敲擊樂手身份參加美國加州聖塔克魯

茲的卡布里羅現代音樂節。

Koyama is currently a percussionist of Hong Kong Sinfonietta and has served as timpanist/percussionist of the Hyogo Performing Arts Center Orchestra. She studied at Indiana University with Anthony Cirone and Gerald Carlyss where she earned the Indiana University’s Performer’s Certificate. After completing her Bachelor’s Degree at Indiana University, Koyama studied at New England Conservatory with Boston Symphony Orchestra’s percussionist, Frank Epstein. Highlights of her early career

include performing under Valery Gergiev and Riccardo Muti’s batons at Pacific Music Festival. She also performs as a percussionist with Cabrillo Festival of Contemporary Music for two weeks every summer in Santa Cruz, California.

冼宏基 Vicky Shin敲擊 Percussion

冼宏基畢業於加拿大蒙特利爾麥基爾大學舒利希音樂學院，曾在多

個國家演出。他的老師包括黃皚雲、法布利斯．馬蘭多拉、安德

雷．馬拉申科、大衛．肯特和龐樂思。他曾獲邀以獨奏身份與麥基

爾管樂團演出，也曾是麥基爾敲擊樂團成員，並隨團參與多倫多國

際敲擊樂節。冼宏基推崇世界音樂，曾師從肖恩．馬塔維斯基學習印度塔布拉鼓，並

參與由沙達‧薩海主持的印度塔布拉鼓工作坊。

Shin graduated from the Schullich School of Music at McGill University in Montreal and has since performed in many different countries. He studied under Aiyun Huang, Fabrice Marandola, Andrei Malashenko, David Kent and James Boznos. Shin performed as a soloist with the McGill Wind Orchestra and was a member of the McGill Percussion Ensemble, which he toured with to participate in the Cool Drummings Festival in Toronto. As an advocate of world music, Shin also studied the Tabla with Shawn Matavetsky and attended workshops given by Pandit Sharda Sahai.

陳倩婷 Cynthia Chan鋼琴 Piano

陳倩婷在三藩市音樂學院取得鋼琴伴奏音樂碩士學位，師從蒂莫

西．巴赫。她亦曾跟隨麥克．馬克雷學習，並取得鋼琴演奏音樂碩

士學位。她所獲的獎學金包括三藩市音樂學院獎學金、華特．古特

曼鋼琴獎學金、羅斯伉儷鋼琴獎學金，以及香港奧地利教育基金會

獎學金等。陳倩婷現為自由身鋼琴家。

Chan earned a Master of Music Degree in Piano Accompanying from the San Francisco Conservatory of Music, where she studied with Timothy Bach. She also holds a Master of Music Degree in Piano Performance from the Conservatory, where she studied with Mack McCray. She is a recipient of SFCM Scholarship, Walter Guttmann Piano Scholarship, Janet Rose and Walter Rose Piano Scholarship, and Hong Kong Austrian Educational Foundation Scholarship. Chan is currently based in Hong Kong as a freelance collaborative pianist.42 43

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作曲家 Composers

趙朗天 Alain Chiu作曲 Composer

趙朗天的作品曾於世界各地的音樂廳和藝術節中演出，包括美國、

香港、葡萄牙和希臘。他的作品包括由邵俊傑及阿菲亞拉弦樂四重

奏委約創作的《消退之星的閃爍》，以及《沉默的意識》、《城市

冥想》等。趙朗天於三藩市音樂學院取得作曲音樂學士學位，獲薩

繆爾．克拉克獎學金，師從康拉德．蘇薩、大衛．加納、艾爾登．棧克斯。2011年，趙朗天的作品被收入格林美大獎得主時代樂團的唱片中。

Award-winning composer Chiu's music has been performed in concert halls and festivals through out the world, including frequent performances in the US, Hong Kong, Portugal and recently, in Greece. His compositions include Under the Twinkle of a Fading Star, commissioned by Louis Siu and the Afiara Quartet, In a Silent Sense and Urban Meditation. Chiu received his Bachelor of Music degree in composition at the San Francisco Conservatory of Music with a Samuel Clarke Scholarship, his teachers included Conrad Susa, David Garner and Alden Jenks. He is also the Finalist of the International Music Prizes for Excellence in Composition 2009. His compositions were recorded by the Grammy Award winning ensemble Orchestra of Our Time in 2011.

葉浩堃 Austin Yip 作曲 Composer

葉浩堃於加州大學柏克萊分校獲音樂文學士學位（高級榮譽），其

後在香港大學取得哲學碩士（作曲）學位，現隨陳錦標博士於香港

大學修讀哲學博士（作曲）學位。他的作品曾於2011「好熱！」當代音樂節、2010悉尼國際現代音樂節、2010日本東京亞洲作曲家

同盟音樂節、2010印尼日惹市現代音樂節、2010上海現代音樂週、2010國際電腦音樂與音訊技術暨新媒體研討會、2009和2010香港「音樂新文化」中演出。

Yip received his Bachelor of Arts (Music) degree at the University of California, Berkeley, a Master of Philosophy (Music Composition) degree at the University of Hong Kong, and is currently a PhD (Music Composition) candidate at the University of Hong Kong under the supervision of Dr Joshua Chan. Yip’s works have been performed in HellHOT New Music Festival 2011, ISCM 2010-Sydney (Australia), ACL 2010-Japan (Tokyo, Japan), Yogyakarta Contemporary Music Festival 2010 (Indonesia), Shanghai Conservatory of Music New Music Week 2010, WOCMAT 2010 and Musicarama 2009, 2010 (Hong Kong).

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• 3 Hong Kong• Acorn Design Ltd• 泛聯展覽物流香港有限公司

Agility Fair & Events Logistics Ltd• 香港法國文化協會 Alliance Française de Hong Kong• 美國商會 American Chamber of Commerce• The Antithesis• Art Renewal Center• 藝林文具印刷有限公司 The Artland Co Ltd• 亞太表演藝術中心協會

Association of Asia Pacific Performing Arts Centres• 亞洲演藝協會

Association of Asian Performing Arts Festivals• 澳洲駐香港總領事館

Australian Consulate-General Hong Kong• 樺利廣告有限公司 Avanny Advertising Co Ltd• 亞域亞洲有限公司 Aves Asia Limited• 龍堡國際 B P International• BIS Records• Bite Communications• Boris & Matthew Ltd• 法國巴黎銀行 BNP Paribas• 英國駐香港總領事館

British Consulate General Hong Kong• 英國文化協會 British Council• 百老匯電影中心 Broadway Cinematheque• 明愛白英奇賓館 Caritas Bianchi Lodge• 香港明愛 Caritas-Hong Kong• 國泰航空公司 Cathay Pacific Airways• Mr T. K. Chan 陳德奇先生• 嘉昱有限公司 Cheer Shine Enterprise Co., Ltd.• Cherrypicks Ltd• 張志偉 Mr Cheung Chi-wai• 香港中文大學 The Chinese University of Hong Kong• 戲曲資料中心• Chinese Opera Information Centre• 邵逸夫堂 Sir Run Run Shaw Hall 音樂系 Music Department• 城市當代舞蹈團 City Contemporary Dance Company• 藝術空間 City Reborn.com• 香港城市大學 City University of Hong Kong 學生發展處 Student Development Services- 荃新天地 Citywalk 文康委員會 Cultural and Sports Committee • 購票通（香港）有限公司 Cityline (Hong Kong) Ltd• Classical in Cinema• 匡湖遊艇會 Club Marina Cove• 商務印書館 Commercial Press• 香港作曲家及作詞家協會

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Consulate General of the Republic of Poland• 俄羅斯駐港領事館

Consulate General of the Russia Federation in the Hong Kong SAR, PRC

• 瑞士駐香港總領事館 Consulate General of Switzerland• 美國駐港澳總領事館

Consulate General of the United States Hong Kong & Macau

• Decca Records• DynaMicS• 裕德堂有限公司 Edeas Ltd• 風采中學 Elegantia College• 百代唱片 EMI Group Hong Kong Ltd• 溢達企業有限公司• Esquel Enterprises Ltd• 金融時報 The Financial Times • 芬蘭航空 Finnair • 藝穗會 Fringe Club• 鳳溪廖萬石堂中學

Fung Kai Liu Man Shek Tong Secondary School• gardens&co.• Gary Tong (TGIF)

• 德國駐香港總領事館 German Consulate General Hong Kong

• 運通製作印刷（國際）有限公司 G. L. Graphic and Printing Ltd

• 六國酒店 Gloucester Luk Kwok Hong Kong• 香港歌德學院 Goethe-Institut Hong Kong• The Grand Cinema• 香港君悅酒店 Grand Hyatt Hong Kong• 鷹君集團有限公司 Great Eagle Holdings Ltd• 恒生管理學院 Hang Seng Management College• 海港城 Harbour City• 灣景國際 The Harbourview• 白沙灣遊艇會 Hebe Haven Yacht Club• 快達票香港有限公司 HK Ticketing• 香港大學附屬學院 HKU SPACE Community College• HMV Hong Kong• 漢設計 Hon Design & Associates• 香港演藝學院 The Hong Kong Academy for Performing Arts• 研究生課程中心 Graduate Education Centre 戲劇學院 School of Drama 音樂學院 School of Music• 香港藝術中心 Hong Kong Arts Centre• 香港芭蕾舞團 Hong Kong Ballet• 香港浸會大學 Hong Kong Baptist University• 全人教育教與學中心

Centre for Holistic Teaching and Learning• 香港中央圖書館 Hong Kong Central Library • 香港中樂團 Hong Kong Chinese Orchestra• 香港大會堂 Hong Kong City Hall• 香港會 Hong Kong Club• 香港鄉村俱樂部 Hong Kong Country Club• 香港文化中心 Hong Kong Cultural Centre• 香港舞蹈聯盟 Hong Kong Dance Alliance• 香港知專設計學院 Hong Kong Design Institute• 時裝及形象設計學院

Department of Fashion and Image Design• 香港經濟貿易辦事處（新加坡）

Hong Kong Economic and Trade Office (Singapore)• 香港青年協會 The Hong Kong Federation of Youth Groups• 香港教育學院 The Hong Kong Institute of Education 學生會 Student Union• 香港旋律 The Hong Kong Melody Makers• 香港金融管理局 Hong Kong Monetary Authority • 香港管弦樂團 Hong Kong Philharmonic Orchestra• 香港理工大學 The Hong Kong Polytechnic University• 香港唱片公司 Hong Kong Records• 香港樹仁大學 Hong Kong Shue Yan University• 香港小交響樂團 Hong Kong Sinfonietta• 香港科技大學

The Hong Kong University of Science and Technology 藝術中心 Center for the Arts• 香港旅遊發展局 Hong Kong Tourism Board• 摩納哥駐港名譽領事

Honorary Consul of Monaco to Hong Kong• 香港尖沙咀凱悅酒店

Hyatt Regency Hong Kong, Tsim Sha Tsui• idance• IFC II• 印度遊樂會 Indian Recreation Club• Dr Michael Ingham• 香港洲際酒店 Intercontinental Hong Kong• iProspect• 英基學校 Island School• 日本國際交流基金會 The Japan Foundation • 賽馬會創意藝術中心 Jockey Club Creative Arts Centre• KadmusArts• Ketchup Records• 九龍灣展質中心 KITEC• 九龍草地滾球會 Kowloon Bowling Green Club• 九龍木球會 Kowloon Cricket Club• 葵青劇院 Kwai Tsing Theatre• 光華新聞文化中心

Kwang Hwa Information & Cultural Centre• 香港朗廷酒店 The Langham Hong Kong• 朗豪酒店 Langham Hotel• 朗豪坊 Langham Place• 梁國權先生 Mr Frankie Kwok-kuen Leung• 李鏡輝先生 Mr Alpha Li • 廖偉棠先生 Mr Liao Wei-tang • 嶺南大學 Lingnan University• 圖書館 Library• 學生服務中心 Student Services Centre• Loft Stage• Love Da Records• 德國漢莎航空公司 Lufthansa German Airlines• 澳門文化中心• Macau Cultural Centre

• 海員俱樂部 Mariner's Club Hong Kong• 美心食品集團 Maxim's Carterers Ltd• 馬可孛羅香港酒店 • Marco Polo Hong Kong Hotel• 好戲網 Mask9.com• 明達音樂有限公司• Master Music Ltd• Mission Production Co Ltd• Moet Hennessey Diageo Hong Kong Ltd• 摩根士丹利 Morgan Stanley• 垂誼樂社 Musicus Society• 南蓮園池 Nan Lian Garden• Naxos• 編綱者有限公司 Net-M@kers Limited• 前進進戲劇工作坊 On & On Theatre Workshop• Palace IFC• 柏斯琴行 Parsons Music• 卓滙達有限公司 Patsville Company Ltd• 珠城錄像有限公司 Pearl City Video Ltd• 香港半島酒店 The Peninsula Hong Kong• 縱橫物流服務有限公司 Power Logistics Limited• Prism Creations• 香港電台 Radio Television Hong Kong• 萊佛士國際學院 Raffles International College• 香港華美達酒店 Ramada Hong Kong• 香港聲樂學院 Red Vocal Academy• 赤豚事務所 Red Zhu Design Co. Ltd• Regal Hotels International• 富豪九龍酒店 Regal Kowloon Hotel • 富豪東方酒店 Regal Oriental Hotel • 雷格斯集團公司 Regus Centre• Ren Publishing Ltd • 羅姆音樂基金會 Rohm Music Foundation• 英國皇家音樂學院香港校友會

Royal Academy of Music Hong Kong Alumni Association• 香港皇家遊艇會 Royal Hong Kong Yacht Club• 皇家太平洋酒店 The Royal Pacific Hotel and Towers• 薩凡納藝術設計（香港）學院

Savanna College of Art and Design (SCAD) Hong Kong School of Film, Digital Media & Performing Arts School of Liberal Arts• SCMP Young Post• 沙田大會堂 Shatin Town Hall• 香港喜來登酒店 Sheraton Hong Kong Hotel & Towers• 絲綢之路 Silk Road Music• 新加坡國際基金會 Singapore International Foundation• 信和集團 Sino Group• Skywide Network Technology• 榮星集團（香港）有限公司

Smartlink Group (Hong Kong) Ltd• 安索帕香港有限公司 Sober Hong Kong Ltd• Sogetsu Teachers' Association• 事必達推廣有限公司 Speedy Promotion Ltd• 史蒂文生黃律師事務所 Stevenson, Wong & Co• Studiodanz• 上揚音樂 Sunrise Music• 瑞士國際航空公司 Swiss International Air Lines Ltd• 香港瑞士旅遊局 Switzerland Tourism Hong Kong• 台北經濟文化辦事處 Taipei Economic & Cultural Office• Telarc International• 電視廣播有限公司 Television Broadcasts Ltd• 天邊外劇場 Theatre Horizon • Time Out Hong Kong• 時代廣場 Times Square• 日本東京都政府 Tokyo Metropolitan Government• 通利琴行 Tom Lee Music Company Ltd• TomSenga Design• TTG Asia• 東華三院李嘉誠中學 TWHGs Li Ka Shing College• Unitel Classica• 環球唱片有限公司 Universal Music Ltd• 香港大學 The University of Hong Kong• 音樂系 The Department of Music• 通識教育 General Education Unit• 市區重建局 Urban Renewal Authority• 城市電腦售票網 URBTIX• 華美粵海酒店 Wharney Guang Dong Hotel• 風車草劇團 Windmill Grass Theatre• W創作社 W Theatre• 無極樂園 Wuji Ensemble• 星海音樂廳 Xing Hai Concert Hall• YFS Discount Store : 甜品家族 Agnes's Dessert• 香港基督教青年會（港青） YMCA of Hong Kong• 青年廣場 Youth Square• 元朗劇院 Yuen Long Theatre• Zenith Designing & Printing Services Ltd

支持及協助 SUPPORT AND CO-OPERATION

職員 Staff行政總監 Executive Director何嘉坤 Tisa Ho

節目 Programme

節目總監 Programme Director 梁掌瑋 Grace Lang

副節目總監 Associate Programme Director蘇國雲 So Kwok-wan

節目經理 Programme Manager葉健鈴 Linda Yip

外展經理 Outreach Manager 梁偉然 Ian Leung

助理節目經理 Assistant Programme Manager汪文鈺 Joy Wang

助理製作經理 Assistant Production Manager蘇雪凌 Shirley So

節目主任 Programme Officer李家穎 Becky Lee

市場推廣 Marketing

市場總監 Marketing Director 鄭尚榮 Katy Cheng

市場經理 Marketing Managers 周　怡 Alexia Chow梁頌怡 Kitty Leung鍾穎茵 Wendy Chung

助理市場經理（票務）

Assistant Marketing Manager (Ticketing)梁彩雲 Eppie Leung

發展 Development

發展總監 Development Director 余潔儀 Flora Yu

發展經理 Development Manager嚴翠芳 Josephine Yim

助理發展經理 Assistant Development Manager 陳艷馨 Eunice Chan

會計 Accounts

會計經理 Accounting Manager 陳綺敏 Katharine Chan

助理會計經理 Assistant Accounting Manager 曾愛明 Ming Jung

會計文員 Accounts Clerk 黃國愛 Bonia Wong

行政 Administration

行政秘書 Executive Secretary陳詠詩 Heidi Chan

接待員 / 初級秘書 Receptionist / Junior Secretary 李美娟 Virginia Li

辦公室助理 Office Assistant鄭誠金 Tony Cheng

職員 Staff (合約contract)

節目 Programme

物流及接待經理 Logistics Manager金學忠 Elvis King

製作經理 Production Manager廖卓良 Liu Cheuk-leung

節目經理 Programme Manager 何玉凝 Amy Ho

助理節目經理 Assistant Programme Manager陳采琦 Kathy Chan

項目經理 Project Manager林慧茵 Jess Lam

藝術家統籌及項目經理 Artist Coordination and Project Manager陳韻妍 Vanessa Chan

外展統籌 Outreach Coordinator 陳韻婷 Alyson Chan

外展主任 Outreach Officer蔡樂庭 Vanessa Tsoi

外展助理 Outreach Assistant陳慧晶 Ainslee Chan

節目及出版主任 Programme & Publications Officer曾逸林 Zeng Yilin

技術統籌 Technical Coordinators黎春成 Anthony Lai 陳寶愉 Bobo Chan 鄭潔儀 Catherine Cheng 陳詠杰 Chan Wing-kit 陳佩儀 Claudia Chan 何美蓮 Meilin Ho

出版 Publication

編輯 Editor 鄺潔冰 Cabbie Kwong

英文編輯 English Editor魏卓華 Mikel Echevarría

助理編輯 Assistant Editor陳楚珊 Sharon Chan

市場推廣 Marketing

助理市場經理 Assistant Marketing Manager陳燕 Lilian Chan

市場主任 Marketing Officer 梁愷樺 Anthea Leung

票務主任 Ticketing Officer 關穎思 Catherine Kwan

客戶服務主任 Customer Services Officers劉寶軒 Xanthe Lau楊蘊楹 Flora Yeung姜嘉敏 Joyce Keung

發展 Development

發展經理 Development Manager譚穎敏 Myra Tam

出版：香港藝術節協會有限公司 承印：嘉昱有限公司 本刊內容，未經許可，不得轉載。

Published by: Hong Kong Arts Festival Society Limited Printed by Cheer Shine Enterprise Co., LtdReproduction in whole or in part without written permission is strictly prohibited.

地址 Address: 香港灣仔港灣道2號12樓1205室 Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong

電話Tel: 2824 3555 傳真Fax: 2824 3798, 2824 3722 電子郵箱Email: afgen@hkaf.org節目查詢(辦公時間內) Programme Enquiries (during office hours): 2824 2430

贊助人 PATRON曾蔭權先生 The Honourable Donald Tsang Yam-kuen

永遠名譽會長 HONORARY LIFE PRESIDENT邵逸夫爵士 Sir Run Run Shaw

執行委員會 EXECUTIVE COMMITTEE

主席 Chairman李業廣先生 Mr Charles Y K Lee, GBM GBS JP

副主席 Vice Chairman許仕仁先生 Mr Rafael S Y Hui, GBM GBS JP

義務司庫 Honorary Treasurer李思權先生 Mr Billy Li

委員 Members夏佳理先生 The Hon Ronald Arculli, GBS JP紀大衛教授 Professor David Gwilt, MBE查懋成先生 Mr Victor Cha周永健先生 Mr Anthony Chow SBS JP黃敏華女士 Ms Nikki Ng李　義法官 The Hon Mr Justice Ribeiro詹偉理先生 Mr James Riley黃鳳嫺女士 Ms Gilly Wong任志剛先生 Mr Joseph Yam, GBM JP

節目委員會 PROGRAMME COMMITTEE

主席 Chairman許仕仁先生 Mr Rafael S Y Hui, GBM GBS JP

副主席 Vice Chairman紀大衛教授 Professor David Gwilt, MBE

委員 Members盧景文教授 Professor Lo King-man, MBE JP毛俊輝先生 Mr Fredric Mao, BBS譚榮邦先生 Mr Tam Wing-pong, SBS JP姚　珏女士 Ms Jue Yao伍日照先生 Mr Daniel Ng羅志力先生 Mr Peter C L Lo白諾信先生 Mr Giorgio Biancorosso

榮譽節目顧問 Honorary Programme Advisors高德禮先生 Mr Douglas GautierDr Peter Hagmann約瑟．施力先生 Mr Joseph Seelig

財務及管理委員會 FINANCE AND MANAGEMENT COMMITTEE

主席 Chairman李思權先生 Mr Billy Li

委員 Member梁國輝先生 Mr Nelson Leong

發展委員會 DEVELOPMENT COMMITTEE

主席 Chairman查懋成先生 Mr Victor Cha

副主席 Vice Chairman梁靳羽珊女士 Mrs Leong Yu-san

委員 Members杜安娜女士 Mrs Igna Dedeu白碧儀女士 Ms Deborah Biber廖碧欣女士 Ms Peggy Liao黃慧玲女士 Ms Whang Hwee Leng

顧問 ADVISORS鮑　磊先生 Mr Martin Barrow, GBS CBE JP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梁紹榮夫人 Mrs Mona Leong, SBS BBS MBE JP

名譽法律顧問 HONORARY SOLICITOR史蒂文生黃律師事務所 Stevenson, Wang & Co

核數師 AUDITOR羅兵咸永道會計師樓 PricewaterhouseCoopers

香港藝術節基金會 HONG KONG ARTS FESTIVAL TRUST

主席 Chairman霍　璽先生 Mr Angus H Forsyth

管理人 Trustees陳達文先生 Mr Darwin Chen, SBS ISO梁紹榮夫人 Mrs Mona Leong, SBS BBS MBE JP陳祖澤博士 Dr John C C Chan, GBS JP

www.hk.artsfestival.org網上追蹤香港藝術節 Follow the HKArtsFestival on

奈吉爾．甘迺迪演奏會Nigel Kennedy Plays Bach

漢堡芭蕾舞團《 慾望號街車》The Hamburg Ballet - A Streetcar Named Desire

里昂歌劇院芭蕾舞團Lyon Opera Ballet

徹卡奧維《手塚》Sidi Larbi Cherkaoui TeZukA

《愛之初體驗》Journey to Home

《蜂》The Bee

節目1 Programme 1

節目2Programme 2

香港賽馬會當代舞蹈平台系列Hong Kong Jockey ClubContemporary Dance Series

香港賽馬會當代舞蹈平台系列Hong Kong Jockey ClubContemporary Dance Series

瑞信新晉藝術家系列CREDIT SUISSE EMERGING ARTISTS SERIES

琶音古樂團L'Arpeggiata / Christina Pluhar

京劇—馬連良紀念系列Beijing Opera -A Tribute to Laosheng Master Ma Lianliang

粵劇《搜書院》Cantonese Opera - Searching the Academy

香港小交響樂團《如夢逝水年華》Hong Kong Sinfonietta -La Valse Remembered

《六月戀人》June Lovers

《示範單位》Show Flat

《示範單位》Show Flat

《藝裳奇幻世界》World of WearableArt

《藝裳奇幻世界》World of WearableArt

《野豬》The Wild Boar

《野豬》The Wild Boar

《野豬》The Wild Boar

《4.48精神崩潰》TR Warszawa Theatre4.48 Psychosis

亞太舞蹈平台Asia Pacific Dance Platform

琶音古樂團L'Arpeggiata / Christina Pluhar

京士頓玫瑰劇院《不可兒戲》Rose Theatre -The Importance of Being Earnest

《山海經傳》Of Mountains and Seas

法國北方布夫劇場 - 彼得．布祿克的《魔笛》Theatre des Bouffes du Nord - A Magic Flute

《香港式離婚》（重演）The Truth About Lying (Re-run)

新民謠．中國風China Folk Rock

馬丁．史岱費爾德鋼琴獨奏會Martin Stadtfeld Piano Recital

巴維．哈斯四重奏Pavel Haas Quartet

石坂團十郎大提琴獨奏會Danjulo Ishizaka Cello Recital

粵劇 — 折子戲精選Cantonese Opera -Excerpts of selected repertoires

《機器人幻想曲》Sans Objet by Aurelien Bory

布利斯托爾老域劇團《神醫》Bristol Old Vic Faith Healer

布利斯托爾老域劇團《神醫》Bristol Old Vic Faith Healer

藝子與舞子The Geisha of Gion

白建宇 - 拉威爾鋼琴獨奏全集音樂會Kun Woo Paik Plays Ravel

卡麗塔．馬蒂娜女高音獨唱會Karita Mattila in Recital

約翰博士與Lower 911樂隊Dr John & The Lower 911

十六合唱團及古樂團 — 基斯杜化士The Sixteen - Harry Christophers

沙漠搖滾塔里溫Tinariwen

巴伐利亞電台交響樂團Bavarian Radio Symphony Orchestra

鄭明勳與皇家阿姆斯特丹音樂廳樂團Myung-whun Chung andthe Royal Concertgebouw Orchestra

巴伐利亞國立歌劇院《女人心》Bavarian State OperaCosì Fan Tutte

蒙地卡羅芭蕾舞團《仲夏夜之夢》Monte-Carlo Ballet - Le Songe

蒙地卡羅芭蕾舞團《仲夏夜之夢》Monte-Carlo Ballet - Le Songe

漢堡芭蕾舞團《馬勒第三交響曲》The Hamburg Ballet - Third Symphony of Gustav Mahler

香港中樂團「樂旅中國VI」Hong Kong Chinese Orchestra - Music About China VI

埃克森美孚新視野EXXONMOBILE VISION

周樂娉與周樂婷鋼琴二重奏音樂會Chau Lok-ping and Chau Lok-ting Piano Duo Recital邵俊傑與友人敲擊音樂會Louis Siu and Friends Percussion Recital

多米拿堤合唱團Dominante

《泰特斯》(2012)Titus Andronicus (2012)

香港藝術節委約及製作Commissioned and producedby the Hong Kong Arts Festival

多米拿堤合唱團 Chamber Choir Dominante周樂娉與周樂婷鋼琴二重奏音樂會 Chau Lok-ping and Chau Lok-ting Piano Duo Recital

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雜技 / 娛樂CIRCUS / ENTERTAINMENT

流行 / 爵士 / 世界 / 當代音樂POP/ JAZZ / WORLD/ CONTEMPORARY

戲劇THEATRE

歌劇OPERA

舞蹈DANCE

音樂CLASSICAL MUSIC

埃克森美孚新視野EXXONMOBIL SERIES

特別節目SPECIAL PROJECT

新銳舞台系列NEW STAGE SERIES

瑞信新晉藝術家系列CREDIT SUISSE EMERGING ARTISTS SERIE

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香港藝術節委約及製作Commissioned and producedby the HKAF

香港藝術節委約及製作Commissioned and producedby the HKAF

香港藝術節委約及製作Commissioned and producedby the HKAF

香港藝術節委約及製作Commissioned and producedby the HKAF

香港藝術節委約Commissioned by the Hong Kong Arts Festival

香港藝術節委約及製作Commissioned and producedby the HKAF

香港藝術節委約及製作Commissioned and producedby the HKAF

香港藝術節委約及製作Commissioned and producedby the HKAF

香港文化中心音樂廳

Concert Hall,HK Cultural Centre

香港文化中心大劇院

Grand Theatre,HK Cultural Centre

香港文化中心劇場

Studio Theatre, HK Cultural Centre

香港大會堂音樂廳

Concert Hall,HK City Hall

香港大會堂劇院

Theatre,HK City Hall

香港演藝學院戲劇院Drama Theatre, HKAPA

葵青劇院黑盒劇場Black Box Theatre, Kwai Tsing Theatre

元朗劇院演藝廳Auditorium, Yuen Long Theatre

香港演藝學院香港賽馬會演藝劇院The Hong Kong Jockey Club Amphitheatre, HKAPA

沙田大會堂演藝廳Shatin Town Hall Auditorium

香港藝術中心壽臣劇院Shouson Theatre

九龍灣國際展貿中心匯星Star Hall, KITEC

葵青劇院演藝廳Auditorium, Kwai Tsing Theatre

香港演藝學院歌劇院Lyric Theatre, HKAPA

國際金融中心二期55樓 55/F, Two IFC

南蓮園池香海軒 Xiang Hai Xuan Multi-purpose Hall, Nan Lian Garden

藝術節加料節目 Festival PLUS

莫扎特歌劇全方位 All About Mozart’s Opera26/12 費加羅的婚禮 Le Nozze di Figaro (The Marriage of Figaro)2/1 唐．喬望尼 Don Giovanni8/1 皇帝的慈悲 Mitridate, Re di Ponto (Mithridates, King of Pontus)15/1 魔笛 Die Zauberflöte (The Magic Flute)1-17/2 談談歌劇 Talk About Opera18/2 老師歌劇班 Opera for Teachers19/2 學生歌劇班 Opera for Students26/2 引入《女人心》 Before Così 26/2 「心」入後台 Backstage at Così

舞蹈搜影 2 Dance on Screen 24/2 夢見巴別塔 Dreams of Babel5/2 零度複數 Zero Degrees5/2 縮影 Miniatures

舞蹈點滴 About Dance31/1 與約翰．紐邁亞對談 Meeting John Neumeier4/2 漢堡芭蕾舞團後台之旅 Backstage at The Hamburg Ballet9/2 里昂歌劇院芭蕾舞團的精髓 The Essence of Lyon Opera Ballet 1/3 艾可．蘇布利陽托爪哇舞蹈工作坊 Eko Supriyanto Javanese Dance Workshop1/3 KENTARO!! Hip Hop 工作坊 Hip Hop Workshop2/3 亞太舞蹈平台演後藝人談 Asia Pacific Dance Platform — Meet-the-Artist (Post-Performance)3/3 蒙地卡羅芭蕾舞團後台之旅 Backstage at Les Ballets de Monte-Carlo11, 16/3 城市舞蹈 Urban Dance

劇藝在校園 Theatre Into School 玩轉現實幻想曲 Playing with Illusion and Reality:10/12 2011學校演出 2011 School Showcases25/2 2012公開演出 2012 Public Showcase

香港劇場面面觀 Hong Kong Theatre Connection14/1 談野豬之道？ A Wild Talk21/1 《愛之初體驗》公開圍讀 Journey to Home — A Play Reading21/1 《示範單位》 不「是但」 The Making of Show Flat10/2 《 野豬 》演後藝人談 The Wild Boar — Meet-the-Artist (Post-Performance)16/2 《示範單位》演後藝人談 Show Flat — Meet-the-Artist (Post-Performance)12/3 黃詠詩新作圍讀展演 Wong Wing-sze’s New Work — A Play Reading

座談會 Symposium

大師班 Masterclasses17/2 卡麗塔．馬蒂娜歌唱大師班 Karita Mattila Voice Masterclass23/2 巴維．哈斯四重奏大師班 Pavel Haas Quartet Masterclass25/2 《彌賽亞》工作坊 Messiah — Workshop2/3 多米拿堤合唱團大師班 Dominante Choral Coaching Masterclass

藝術家全接觸 Artist Encounters14/1 百花：粵劇發展的黃金時代 Hundred Flowers – A Golden Era in the Development of Cantonese Opera21/1 藝裳奇幻之旅 A WOW Encounter30/1 邵俊傑敲擊樂示範講座及定音鼓槌製作工作坊 Louis Siu Percussion Lecture Demonstration & Timpani Mallet-making Workshop1/2 《不可兒戲》劇本誦讀 The Importance of Being Earnest — A Reading9/2 《六月戀人》演後藝人談 June Lovers — Meet-the-Artist (Post-Performance)12/2 京劇大師馬連良之藝術與人生 The Life and Artistry of Beijing Opera Grand Master Ma Lianliang12/2 談詩。談歌。談中國新民謠的一片天。 Chinese Folk Rock Music — An Artist Chat & Demonstration18/2 藝子與舞子演後藝人談 The Geisha of Gion — Meet-the-Artist (Post-Performance)25/2 《山海經傳》專家研討會 International Forum on Gao Xingjian’s Of Mountains and Seas25/2 高行健與林兆華 Meeting with Gao Xingjian & Lin Zhaohua2/3 跟布利斯托爾老域會面 Meeting Bristol Old Vic

展覽 : 香港藝術節四十年海報巡禮Exhibition: Showcasing 40 Years of Hong Kong Arts Festival Posters

電視特備節目 Festival on TV