樂曲介紹 Programme Notes

里諾之歌� 朱里維 (1905 –1974)

朱里維出生於一個藝術氣氛濃厚的家庭，父親是畫家，母親是音樂家，他小時隨修道院院長陶達學習風琴及和聲，但受到鼓勵去接受師範訓練。他在巴黎幾間學校當過教師後，決定讓自己發揮音樂才華。1930–33 年間，他師從作曲家瓦里斯，1935 年開始轉隨馬納學習根據數字比探索和聲學。1945 年他踏進了新階段，寫下《第一鋼琴奏鳴曲》，以紀念巴爾托克。朱里維並沒有採用當時流行的序列音樂技巧，而是認為德布西對他的影�至深。1943–59 年，他當上法國喜劇院的音樂總監；1966–70 年在巴黎音樂學院教授作曲。

�《里諾之歌》是首長笛與鋼琴曲，寫於 1944年，為應巴黎音樂學院委約，替其中一項比賽撰寫的作品，當年的冠軍是後來甚有名氣的長笛演奏家雷波爾。神話中里諾是位音樂家，奧菲斯與海克力斯�是他的學生。這首曲主要是悲傷的殯儀音樂，接以幾首喪葬舞。後來也改編成長笛、弦樂三重奏與豎琴曲。

�《里諾之歌》由鋼琴開始，奏出幾個強力的八度音和音群後，長笛以顫音和下行裝飾音回應。這樣重複了兩次後，第一個五拍子長笛哀嘆漸漸奏�，緊接較為柔和的第二個哀嘆，領出一段「快板」舞曲，長笛頻頻吹著重複的音，與鋼琴奏�的固定音型相對。音樂聲變得複雜，中間稍有紓緩，是一段題為��「適當地歌唱」的慢樂段。接著又領回�頭的哀嘆，奏�較高的音。之後，由重複音組成的快步舞曲及鋼琴的固定音型重新奏�，一直推進至明亮的樂音才告結束全曲。

Chant de Linos André Jolivet (1905 –1974)

Jolivet was born into an artistic family. His father was a painter and his mother was a musician. He studied organ and harmony with Abbé Theodas but was encouraged to train as a school teacher. Having taught at various Paris schools, he decided to develop his musical talents. He studied with Varèse between 1930 and 1933 and followed lessons from Mana from 1935 where he began to explore harmony based on number ratios. He entered a new phase in 1945 during which he wrote with his First Piano Sonata, written in memory of Bartok. Jolivet didn’t use serial techniques and considered Debussy his main influence. He became Director of Music at the Comedie Francais from 1943 to 1959 and taught composition at the Paris Conservatoire from 1966 to 1970.

Chant de Linos was written in 1944 for flute and piano, commissioned by the Paris Conservatoire for one of its competitive prizes, the flute virtuoso Jean-Pierre Rampal being the first winner. Based on the mythological musician, Linus, who taught Orpheus and Heracles, it is essentially funeral music with laments followed by mourning dances. It was later transcribed for flute, string trio and harp.

The piano opens with strong octaves and note clusters answered with flute trills and a descending flourish. After two repetitions, the first quintuple-time flute lament becomes increasingly elaborate. A second, softer lament follows and is again elaborated, leading to an Allegro dance with frequent repeated notes in the flute against rhythmic ostinatos in the piano. Developing in complexity, there is a moment of relief with a slower section marked Ben cantando which leads to a return of the opening lament, now at a higher pitch. The quick, repeated-note dance returns with its piano ostinatos and drives to a brilliant ending.

四首阿美尼亞的旋律����� 曼托瓦尼�(生於1974)

曼托瓦尼生於法國巴黎一個名為沙蒂永的郊區，在巴黎音樂學院修讀音樂分析、美學、配器、作曲及音樂史，其後又在 IRCAM（即「聲樂／音樂研究與協作學院」）進修電腦音樂課程。他創作了大量管弦樂、室樂、器樂、合唱與聲樂曲，以及一齣歌劇，其中最成功的器樂作品有《雙鋼琴與樂團協奏曲》（2012）、��《鋼琴與樂團幻想曲》（2010）和《水之戲小提琴與樂團曲》（2012）。

曼托瓦尼自己這樣解說：「我是為 2010 年的 ARD 慕尼黑音樂大賽創作這首長笛樂曲的。剛開始動筆時，我想，如果能夠『改變』一下這件西方樂器，嘗試運用特別技巧，令它奏出阿美尼亞的色彩。於是，我從那個國家的樂曲找尋靈感（主要是從音樂大師阿雷�巴提勤的演奏中獲得靈感）。這《四首旋律》並非改編自任何一首阿美尼亞樂曲，因為，舉例來說，所用的音樂語言沒有型式化，只是把一個極度豐富的傳統音樂素材賦予西方的演繹。」

Quatre Mélodies Arméniennes Bruno Mantovani (b. 1974)

Born in a suburb of Paris, France called Châtillon-sous-Bagneux, Mantovani entered the Paris Conservatoire to study analysis, aesthetics, orchestration, composition and music history. He followed this with computer music courses at IRCAM (Institut de Recherche et Coordination Acoustique/Musique). He has composed a large catalogue of orchestral, chamber, instrumental, choral and vocal works, including an opera. Among his other successful instrumental works are Concerto for Two Pianos and Orchestra (2012), Fantaisie for Piano and Orchestra (2010) and Jeux d'Eau for Violin and Orchestra (2012).

Mantovani himself writes ‘When I started to write this flute piece for the ARD competition in München, Germany in 2010, I thought that it would be interesting to "alter" the western instrument, attempting, through the use of specific techniques, to give it an Armenian colour. Furthermore, I drew several musical ideas from the country's repertoire (notably inspired by the playing of the great virtuoso, Araïk Bartikian). These Quatre Mélodies are not at all a transcription of Armenian pieces, because, for example, the language is not modal. They are however, a contemporary occidental interpretation of a traditional musical material of infinite richness.’

長笛及鋼琴奏鳴曲，作品二十三���� 利伯曼�(生於1961)

� 帶彈性速度的緩板�� 急板

利伯曼生於美國紐約市，在卡奈基音樂廳演奏自己的作品《第一奏鳴曲》時，只有十六歲。他就讀於茱莉亞音樂學院，先後考獲學士及博士學位。除了這首《長笛及鋼琴奏鳴曲》，他其餘幾首很受樂迷歡迎的作品有：《長笛與結他奏鳴曲》��（1988）、歌劇《道林 �格雷的畫像》（1996）、《小號協奏曲》（2000）、��《小提琴協奏曲》（2000）、歌劇《寂寞芳心小姐》（2006），以及英國皇家芭蕾舞團與美國三藩市芭蕾舞團聯合製作的芭蕾舞《科學怪人》（2016）。現時他任教於紐約的曼尼斯音樂學院。他的音樂是傳統調式的結合，同時運用雙調與複調技巧。這首《長笛及鋼琴奏鳴曲，作品 23》寫於 1987年。

�〈帶彈性速度的緩板〉以鋼琴奏出琶音音型開始，帶著深思的意味，而長笛則以表情豐富的上行旋律加入，流露出淡淡懷舊的氣氛。鋼琴漸漸活躍�來，長笛也加入，熱切的氣氛漸濃。突然間，音樂驟然活躍，張力也增加。但很快，沉思的氣氛再次出現。當張力再度增強後，鋼琴�首的音型重臨，長笛以上行的樂音結束這段樂章。

飛快的鋼琴三連音帶出〈急板〉樂章。長笛加入，漸漸開展成更長的樂句，而鋼琴不住向前推進的節奏彷彿停不下來。到了這首如火如荼的樂曲的第二樂節，音樂向高音區躍升，三連音變成四連音，直至達到如飛般快的高潮才告�終結。

Sonata for Flute and Piano, Op. 23 Lowell Liebermann (b. 1961)

Lento con rubato Presto

Lowell Liebermann was born in New York City and performed his own Sonata No. 1 in Carnegie Hall at the age of 16. He studied at The Julliard School, where he obtained his Bachelor’s and Doctoral degrees. In addition to the Sonata for Flute and Piano, popular compositions include Sonata for Flute and Guitar (1988), the opera The Picture of Dorian Gray (1996), Trumpet Concerto (2000), Violin Concerto (2000), the opera Miss Lonelyhearts (2006) and the ballet Frankenstein (2016), a co-production between The Royal Ballet and San Francisco Ballet. Teaching at the Mannes College Music School in New York, his music is a combination of traditional tonalities, with bitonal and polytonal techniques. The Sonata for Flute and Piano, Op. 23 was written in 1987.

The Lento con rubato begins with thoughtful piano arpeggio figures, the flute enters with an expressive rising melody giving a rather nostalgic mood. The piano becomes more active and the flute joins giving increasing warmth. There is a brief burst of activity and increased tension, but the reflective mood returns. After another rise in intensity, the opening piano figures return and the flute ends with an ascending line.

Highly active piano triplets introduce the Presto . The flute enters and gradually develops longer phrases as the driving piano rhythms keep the music moving. Soaring to the heights in the second section of this furious piece, the triplets give way to quadruplets for the final climactic stretto.

Lapsus Memoriae� 李一葦

至理名言：傻子的話毋須相信。

檔案狂熱：我們正處於一個史無前例地關心歷史的時代。歷史有兩重意義。第一是歷史事件，因為歷史事件從來不止一個版本；第二是歷史／歷史事件的用處。我們（最少有部分人）十分關心別人怎樣看歷史、別人知悉多少過去的事，以及我們可以怎樣修改歷史。我們�患了社會憂鬱症：如果梅菲定律正確無誤，有一天我們可能發現自己回到了中古時代。我們�被當作是心智失常的人，大夥兒被押上「愚人之船」上囚禁�—�不折不扣的「一船傻子」—�更被判處永久流放。船在各城市間漫無止境地來回，沒有一個城市肯為它敞開大門。

�「納」拉圖斯特拉如是說：李斯特和帕格尼尼等大師把「作曲�—�演奏家」這個名銜演繹得淋漓盡致，發揚光大。在此之前 , 我們不過是為貴胄和教廷服務的無名之輩。但說�來，連巴赫也是藉此身份揚名。如果追尋歷史，作曲�—�演奏家這個��「行業」，甚至可回溯至中古時代的宮廷小丑。宮廷小丑以娛人為己任，日常一手�攬作曲、唱歌、彈奏樂器、說故事等工作，可說是十八般武藝。各位尊貴的聽眾，今晚我有幸為大家說一個故事，希望你們欣賞。�

幻想之城的銘文 :�一個虛構城市的沒落。那是一個如癌細胞演變般的自絕 (／決 )過程，有關這個過程的回憶 , 我們竟也說不出來。在此，我們不得不讚嘆人類腦袋的奧妙：那些造成創傷的片段、那些教人難以繼續存活的回憶，自有機制把它們一一壓下去。在我們不敢面對的記憶禁區、在回憶留白的空間，想像力乘虛而入。這件事不是這樣發生的 ; 這件事在別處發生；或� , 更徹底的，這件事從未發生過。有人辯稱這是政治，事實上，這不過是量子物理：「有可能發生的事終會發生。」

至理名言：傻子的話毋須相信。

Lapsus Memoriae Angus Lee

Axiom: The words of the fool is not to be trusted.

Mal d'Archive: we live in a Time that has never been more concerned with history. Or, in the first instance, histories, since the singularity we perceive has always been more than one; then, in the second instance, the use of history / histories. We (at least some of us) are concerned with how others view history, how much of the past others may know and how we may alter it. We are all social hypochondriacs: if Murphy's Law holds true, one day we may find ourselves back in Medieval Times, where we would be deemed insane, collectively imprisoned on Das Narrenschiff - "ships of fools" - and sentenced to eternal exile as the ship drifts aimlessly between cities that would customarily refuse to open up.

Also Sprach Narr[ustra]: before the likes of Liszt and Paganini embodied and glorified the name 'performer-composer', we were humble servants who served Noblemen and the Church. But even Johann Sebastian Bach made a reputation out of it. Delving further into the anonymous past, we find our distant cousins in the Medieval court jester, or, put less courteously, the court fool, whose daily routine as an all-round entertainer included, among others, song-writing / singing, instrument performances, and story-telling. And to the dear readers, Noblemen, it would be a pleasure to entertain you tonight with a story.

Epigrafe in memoria di una città immaginaria: the fall of a[n imaginary] city. A mutation, a cancerous process of self-[de]termination. Can we even speak of the memory of such a process? Here, we must marvel at the human psyche's ability to recalibrate, repressing traumatic events that may threaten a person's existence when recalled. In these censored gaps - Lapse of memories - that we unconsciously refuse to confront, enter imagination. It occurred in another fashion. It occurred elsewhere. Or, better still, it never occurred. Some argue this is politics, where in fact it is quantum physics, "anything that could happen will happen."

Axiom: The words of the fool is not to be trusted.

降 E大調長笛及鋼琴奏鳴曲，作品十八� 史特勞斯 (1864–1949)

� 不太快的快板�� 如歌的行板�� 終曲

理察�史特勞斯生於德國慕尼黑，父親法蘭茲�史特勞斯是慕尼黑宮廷樂團的圓號首席。理察在十歲那年，已寫下編號一的作品，那是一首供樂團演奏的��《節日進行曲》；剛滿二十歲，已在邁寧根當指揮家布洛的助手。1886 年，他

出任慕尼黑歌劇院的助理指揮；1889 年，任威瑪宮廷歌劇院指揮。此後，他先後獲聘為柏林歌劇院和維也納歌劇院的指揮，奠立�指揮事業。

史特勞斯的作品遍及多個樂種，不過以所創作的歌劇賺得�亮名聲，尤其是《莎樂美》（1905）、《伊利特拉》（1909）和《艾雷克塔》（1911）最膾炙人口。1924年，他退居上巴伐利亞的加米施，繼續作曲；1945年到瑞士定居。

�《奏鳴曲，作品十八》原是寫給小提琴與鋼琴合奏，創作於1887-88年間。2008年，長笛家帕胡德把這曲改編成長笛與鋼琴曲，於同年演奏及出版。

�〈不太快的快板〉一開始就甚為宏闊，鋼琴以雄厚的完全和弦承托�首的旋律，這個樂旨是附點音型接以三連音。來到較為抒情的第二主題，由長笛在高音區吹奏一段熱情的主題。這三段主題全作了詳盡闡述，遊走多個遠系調，幾乎在毫不覺察下返回到主調。這又再一次帶動主題，把�首音型作最後一次清楚肯定奏出。

獨奏�領先奏出比例勻稱優雅的〈如歌的行板〉，由鋼琴以溫柔擺盪的音型襯托。旋律經過一番裝飾，並於主調中悄悄地結束。隨著一段更活潑的樂節在交叉節奏中開始，兩件樂器�把音型作越來越詳盡的闡述，又開展成更熱情的樂節，相映成趣。最後，音樂才慢慢安�下來，在輕聲中結束。

�〈終曲〉一開始，是鋼琴��地奏出這首奏鳴曲�首的和弦，繼而用有力的八度音宣告�首主題的另一個版本。長笛以明快的音階加入，接以主題的再另一個版本。新一個主題是堅定的重複音，以較輕鬆的片段音型來回應，漸漸開展成澎湃前行的動力。兩件樂器交替在不同音域奏出較簡短細碎的音型，輕鬆地互相模仿，再奏�開首的特色。這時以廣闊�密的發展，在凱旋聲中圓滿結束全曲。

Sonata in E-flat for Flute and Piano, Op. 18 Richard Strauss (1864–1949)

Allegro ma non troppo Andante cantabile Finale

Born in Munich, Richard was the son of Franz Strauss, principal horn player in the Munich Court Orchestra. At the age of ten, he wrote Festival March Op. 1 for orchestra and, at just over twenty, became the assistant to Von Bulow at Meiningen. In 1886, he became assistant conductor of Munich Opera and in 1889 conducted at the Weimar Court Opera. Further appointments at the Berlin Opera and the Vienna Opera consolidated his career.

Although he wrote in a wide variety of genres, Strauss’ fame rests with his operas, notably Salome (1905), Elektra (1909) and Der Rosenkavalier (1911). He retired to Garmish in Upper Bavaria from 1924, continuing to compose, and settled in Switzerland in 1945.

The Sonata Op. 18 was originally for violin and piano and was written between 1887 and 1888. It was arranged, performed and published for flute and piano by Emmanuel Pahud in 2008.

The Allegro ma non troppo opens rather grandly with full piano chords supporting the opening melodic motif, a dotted figure followed by a triplet. This is considerably extended and leads to a second, more lyrical theme. This too is developed and leads to a passionate theme high in the flute. There is considerable development of these themes, passing through an extensive range of distant keys. The return to tonic almost passes unnoticed but leads to further thematic development and final emphatic statements of the opening figures.

The soloist leads in an elegantly proportioned Andante cantabile melody, accompanied by gentle undulating piano figures. The melody is decorated and ends quietly in the tonic. Then begins a more animated and free-sounding section, with cross rhythms, more and more elaborate figurations in both instruments. This develops into a much more passionate section full of contrasts before the music gradually settles to a quiet ending.

The Finale begins with hushed piano chords based on the opening of the Sonata and continues with energetic octaves announcing another version of the opening theme. The flute enters with brilliant scales before continuing with yet another version of the theme. A new theme with firm repeated notes is answered with lighter, fragmented figures, gradually developing with great forward power. Shorter, wispy figures are passed between the instruments and registers in imitation giving a lighter mood and leading to a recapitulation of the opening material. This is given further comprehensive development and a triumphant conclusion.

Lapsus Memoriae 英文樂曲介紹由表演�提供，中文翻譯由盧定彰提供。其他樂曲介紹由米高���賴恩提供，中文翻譯由格致語言顧問有限公司提供。

Programme notes of Lapsus Memoriae provided by the artist, Chinese translation provided by Daniel Lo.Other programme notes provided by Michael Ryan, Chinese translation provided by KCL Language Consultancy Ltd..