“They play not just in three individual parts but more importantly, in three dimensions.”

– The Australian

Alexander Sitkovetskyviolin

Isang Enderscello

Wu Qianpiano

SITKOVETSKY TRIO RECITAL

薛高維茨基鋼琴三重奏

Co-Presenter

Thursday 8pm

香港大會堂音樂廳Concert Hall, Hong Kong City Hall

14 NOV 2019

PR Partner

PartnerConcert SupportersConcert Sponsor Hotel Sponsor

Collaborators

Premiere Performances of Hong Kong is financially supported by the Art Development Matching Grants Scheme of the Government of the Hong Kong Special Administrative Region飛 躍 演 奏 香 港 獲 香 港 特 別 行 政 區 政 府 「 藝 術 發 展 配 對 資 助 計 劃 」 的 資 助

Hong Kong Sinfonietta is financially supported by the Government of the Hong KongSpecial Administrative Region 香 港 小 交 響 樂 團 由 香 港 特 別 行 政 區 政 府 資 助Hong Kong Sinfonietta is the Venue Partner of the Hong Kong City Hall香 港 小 交 響 樂 團 為 香 港 大 會 堂 場 地 伙 伴

www.urbtix.hkwww.pphk.org

FORMERLY THE "HONG KONG INTERNATIONAL CHAMBER MUSIC FESTIVAL"

前身為香港國際室內樂音樂節

8 - 16 JANUARY 2020

比爾斯飛躍演奏音樂節

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music festival

Over 30Participating

Artists!超過30位演奏家參與演出

藝術總監 林昭亮

「香港的文化地標」 《南華早報 》

The content of this programme does not reflect the views of theGovernment of the Hong Kong Special Administrative Region節目內容並不反映香港特別行政區政府的意見

Venue Partners PR PartnerFinancial Support Acknowledgement Hotel Sponsor Media PartnerSupporter

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節目Programme

勞煩閣下於音樂會後完成電子問卷。

Please fill out our survey after the concert.

拉赫曼尼諾夫 15’ G小調第一鋼琴三重奏《悲歌》

貝多芬 30’ 降E大調第二鋼琴三重奏，

作品70

稍慢板 — 不太快的快板

小快板

從容的小快板

終曲：快板

中場休息

柴可夫斯基 45’

A小調鋼琴三重奏，作品50

悲歌的樂章

主題與變奏

變奏，終曲與尾奏

RACHMANINOVTrio élégiaque No. 1 in G minor

BEETHOVEN Piano Trio in E-flat Major,

Op. 70, No. 2

Poco sostenuto – Allegro ma non troppo

Allegretto

Allegretto ma non troppo

Finale: Allegro

Intermission

TCHAIKOVSKY

Piano Trio in A minor, Op. 50

Pezzo elegiaco

Tema con variazioni

Variazione, Finale e Coda

場地規則

為了讓觀眾及演出者能享受是次音樂會，於音樂會進行期間，請勿在場內攝影、錄音或錄影，亦請勿吸煙或飲食。在音樂會開始前，

請關掉手提電話、其他響鬧及發光的裝置。多謝各位合作。

HOUSE RULESIn order to make this performance a pleasant experience for the artists and other members of the audience, please refrain from recording, filming, taking photographs, and also from smoking, eating or drinking in the auditorium. Please ensure that your mobile phones and any other sound and light emitting devices are switched off before the performance. Thank you for your kind co-operation.

主辦機構保留更改節目的權利。節目內容並不反映香港特別行政區

政府的意見。

Programme may be subject to change. The content of this programme does not reflect the views of the Government of the Hong Kong Special Administrative Region.

今晚的音樂會由香港電台第四台(FM97.6-98.9兆赫及

radio4.rthk.hk)錄音，並將於2019年12月27日(星期五)

晚上8時播出及2020年1月1日(星期三)下午2時重播。

Tonight's concert is recorded by RTHK Radio 4 (FM Stereo 97.6-98.9 MHz and radio4.rthk.hk) and will be broadcast on 27th December 2019 (Fri) at 8 pm with a repeat on 1st January 2020 (Wed) at 2 pm.

香港小交響樂團由香港特別行政區政府資助Hong Kong Sinfonietta is financially supported by the Government of the Hong Kong Special Administrative Region

香港小交響樂團為香港大會堂場地伙伴Hong Kong Sinfonietta is the Venue Partner of the Hong Kong City Hall

門票：城市售票網 Tickets at URBTIX2111 5999 | www.URBTIX.hk節目查詢 Programme Enquiries: 2836 3336 | info@hksinfonietta.org

首席客席指揮 Principal Guest Conductor

柏鵬 Christoph Poppen• Principal Conductor, Cologne Chamber Orchestra• Artistic Director, Marvão International Music Festival, Portugal

★★★★★BBC Music Magazine

“Excellent interpretation.”Kölner Stadtanzeiger

© T

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節目Programme

亨策 第一交響曲（1947，1991修訂）（香港首演）

貝多芬 C大調第一交響曲，作品 21

貝多芬 C大調小提琴、大提琴及鋼琴協奏曲，作品56

Hans Werner Henze Symphony No 1 (1947, rev 1991) (Hong Kong première)

Beethoven Symphony No 1 in C, Op 21Beethoven Concerto in C for Violin, Cello & Piano, Op 56

薛高維茨基鋼琴三重奏Sitkovetsky Trio

“Unbounded, tireless energy… Bravo!”

The Strad

16.11.2019(星期六 Sat) 8pm 7pm*

香港大會堂音樂廳HK City Hall Concert Hall

$420 $280 $160

* 音樂會將提前一小時於晚上7時舉行The concert will be rescheduled to start at 7pm (one hour early)

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Dear friends and music lovers,

I am delighted to welcome you to tonight’s recital featuring the spectacular Sitkovetsky Piano Trio.

The Sitkovetsky Trio made their Hong Kong debut in our Chamber Music Festival in 2018 – and their performances were so riveting, I knew I had to bring them back. Even more exciting, we are collaborating with the Hong Kong Sinfonietta so that the Sitkovetsky Trio will be performing two concerts – tonight’s recital, as well as Saturday’s Beethoven Triple Concerto under the baton of Christoph Poppen.

We have two more concerts coming this fall. Superstar pianist Alice Sara Ott will be playing a one-hour Recital of Debussy, Satie and Chopin entitled “Nightfall” on Nov 26th. And on December 1st, we are presenting the Romer String Quartet in the intimate JC Cube at Tai Kwun.

We are also busy preparing for the 11th Beare’s Premiere Music Festival (formerly the Hong Kong International Chamber Music Festival), which will take place from 8-16 January 2020. Some highlights of the festival include a rare performance of the complete Brandenburg Concertos, a multi-media presentation (film and music) of Tan Dun’s Martial Arts Trilogy for piano, violin and cello, and a performance of the original score of Mendelssohn’s famous Octet including 100 bars of previously unpublished music. Please see our website for more details.

I am very grateful to the Home Affairs Bureau for supporting us through the Art Development Matching Grants Scheme, under which every dollar we are able to raise through donations and sponsorships are matched 150% by the Hong Kong Government. I would also like to thank tonight’s Concert Sponsor, Whitney Ferrare, and our Hotel Sponsor, One96 for hosting the artists, as well as all our Supporters and Collaborators.

Enjoy the music!

Andrea D FesslerExecutive Director and FounderPremiere Performances of Hong Kong

行政總監致辭Message from Our Executive Director

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17oct-corporate-ad-170x247.pdf 1 17/10/2019 3:43 PM

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Alexander Sitkovetsky, violinIsang Enders, celloWu Qian, piano

The Sitkovetsky Trio has established itself as an exceptional piano trio of today, with sensational performances in the foremost concert halls around the world. Formed in 2007, when they were students at the Yehudi Menuhin School, Alexander Sitkovetsky (violin) and Wu Qian (piano) were joined in 2018 by German-Korean cellist Isang Enders to continue their journey of successful appearances. Their thoughtful and committed approach have brought the ensemble critical acclaim and invitations to renowned concert halls around the world, such as the Amsterdam Concertgebouw, Frankfurt Alte Oper, Palais des Beaux Arts, Musée du Louvre, l’Auditori Barcelona, Wigmore Hall and Lincoln Center New York to name but a few.

阿歷山大．薛高維茨基，小提琴

安達斯，大提琴

吳倩，鋼琴

薛高維茨基鋼琴三重奏以其於世界

各地震撼人心的精彩演出成為當

今最享有盛譽的鋼琴三重奏之一。

成立於2007年在耶胡迪．梅紐因

音樂學校的求學時期，三重奏的成

員包括小提琴家薛高維茨基、鋼琴

家吳倩，以及於2018年加入的新

成員 — 大提琴家安達斯。他們對

音樂富有創見且全情投入，深受大

眾喜愛，演出邀約不斷，曾於多

個國際知名的場地獻演，包括阿姆

斯特丹皇家音樂廳、法蘭克福老

歌劇院、布魯塞爾藝術會堂、巴黎

羅浮宮、巴塞隆拿音樂廳、倫敦域

摩堂、紐約林肯中心等。

薛高維茨基鋼琴三重奏Sitkovetsky Trio

The 2018/2019 season brought them on tour around Asia, performing six concerts in South Korea, Singapore and Japan. Further highlights of the season include appearances at the Bath MozartFest, St George’s Bristol, Beethovenhaus Bonn as well as return invitations to Concertgebouw Amsterdam and Chamber Music Society of Lincoln Center. Committed to contemporary music, they premiered a new triple concerto by Charlotte Bray with the Philharmonia Orchestra in May 2019, with further performances planned.

First Prize winners of the International Commerzbank Chamber Music Award, the Sitkovetsky Trio is also a recipient of the NORDMETALL Chamber Music Award at the Mecklenburg-Vorpommern Festival and the Philharmonia-Martin Chamber Music Award. They have been supported by the Hattori Foundation, Musicians Benevolent Fund, Fidelio Trust and Swiss Global Artistic Foundation. They are also recipients of the Golubovich Fellowship, Richard Cairnes Junior Fellowship for Chamber Music at Trinity Laban College of Music, Royal Northern College of Music Fellowship and held a Junior Fellowship at the Royal Academy of Music from 2008 to 2010.

They released their first recording with BIS Records in 2014 including works by Smetana, Suk and Dvor ák to much critical acclaim. This led to further releases of works by Brahms and Schubert on the Wigmore Live Label and another recording for BIS of Mendelssohn Trios in 2015. Recently, they have recorded their third disc for BIS: Beethoven’s Trios Op 1 and Op 70, and Allegretto in B-flat major for Piano Trio WoO 39 as part of their complete Beethoven cycle, to be released in time for the composer’s 250th birthday celebration in 2020.

於2018/2019樂季，薛高維茨基鋼

琴三重奏在南韓、新加波、日本三

地共舉行了六場音樂會。其他重點

演出包括於巴斯莫扎特音樂節、聖

喬治布里斯托爾音樂廳及波恩貝多

芬故居獻演，以及再度於阿姆斯特

丹音樂廳及紐約林肯中心室樂音樂

會演出。他們亦致力於當代音樂的

演出，先於今年5月與倫敦愛樂管

弦樂團合作為當代作曲家布雷的三

重協奏曲作首演，並已計劃於隨後

為新作舉行多場演出。

薛高維茨基鋼琴三重奏除了是國

際德國商業銀行室樂獎的冠軍、

亦是梅克倫堡 — 前波莫瑞音樂節

的NORDMETALL室樂獎及愛樂馬丁

室樂獎的獎項得主。他們亦獲服

部基金會、音樂家慈善基金會、費

德里奧信託及瑞士環球藝術基金的

贊助。他們同時是多項獎學金的

得主，包括戈盧博瓦茨獎學金、聖

三一音樂學院室樂獎學金及英國皇

家北部音樂學院獎學金。此外，他

們亦於2008至2010年間獲英國皇

家音樂學院青年獎學金。

薛高維茨基鋼琴三重奏於2014年

發行了收錄史密塔納、蘇克和德伏

扎克作品的首張錄音，好評如潮。

第二張錄音隨即於2015年面世，

收錄布拉姆斯及舒伯特的作品，

同年亦推出灌錄了孟德爾遜三重奏

的錄音。最近完成的唱片收錄貝多

芬的三重奏作品，為他們的貝多芬

作品全集的錄製作結，並將於2020年推出，以慶祝貝多芬的250歲

誕辰。

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SERGEI RACHMANINOV (1873-1943)Trio élégiaque No. 1 in G minor (1892)

Rachmaninov’s two piano trios may both bear the description ‘élégiaque’ but that is where the similarity ends. The single-movement First Trio was dashed off in a matter of days and never published in Rachmaninov’s lifetime. The Second, on a larger scale, was a reaction to Tchaikovsky’s death and clearly a response to the great man’s own Piano Trio – arguably the first true Russian masterpiece in the genre. The first Trio is a concise, experimental outing into chamber music – a work-in-progress rather than a finished masterpiece.

That said, it’s striking how clearly you can hear Rachmaninov’s voice – the opening theme, uttered by the piano against a barely-there string accompaniment of undulating triplets – could not be by anyone else. It has a poignant quality so characteristic of the composer’s mature music – with a rising three-note figure that comes to rest, temporarily, on a note a third above.

Rachmaninov was still a student when he wrote this Trio and what surprises is the confidence with which he deals with an unfamiliar medium. Of course the piano writing is entirely idiomatic, but so too is the way he approaches the string instruments. It seems that he probably wrote the piece for a chamber recital he was giving two weeks later with two fellow students – cellist Anatoly Brandukov and violinist David Kreyn.

The rising opening phrase dominates the entire movement and proves fruitful for variation

節目簡介Programme Notes

and development. But what keeps it from ever sounding predictable or overly dominant is the subtle alteration of its rhythm. Even the secondary theme is derived from a scalic idea, now in the major and first presented by violin, marked Con anima, soon joined in duet by the cello, the sense of movement increasing as the note values in the piano accompaniment get ever smaller. Rachmaninov develops these ideas with a natural instinct for drama and an imagination that ensures that there’s constantly something fresh to captivate the ear.

And in the coda, he offers another highly characteristic gesture, restating the opening idea in octaves between the strings, the piano given new tremolo effect deep in the bass. It’s marked Alla marcia funebre, making the sense of elegy in the title entirely clear. How remarkable to think that this was the product of an 18-year-old’s musical imagination.

LUDWIG VAN BEETHOVEN (1770-1827)Piano Trio in E-flat Major, Op. 70, No. 2 (1808)

Poco sostenuto – Allegro ma non troppoAllegrettoAllegretto ma non troppoFinale: Allegro

The piano trio was a genre particularly close to Beethoven’s heart – he chose it as his calling card when he proudly presented to the world his set of three piano trios, Op. 1. It was an astute choice: if he’d chosen the symphony, concerto, piano sonata or string quartet, he would have

拉赫曼尼諾夫(1873-1943)G小調第一鋼琴三重奏

《悲歌》(1892)

拉赫曼尼諾夫的兩部鋼琴三重奏均

以「悲歌」為名，卻不盡相同。

第一鋼琴三重奏只有一個樂章，

數日內匆匆寫成，在作曲家生前從

未發表。第二鋼琴三重奏回應柴可

夫斯基的逝世，以及明顯地，他的

鋼琴三重奏作品(可說是俄羅斯首

部這曲式的真正傑作)。第一鋼琴

三重奏是一首緊湊的、實驗性的室

內樂作品，是一部半成品而非已完

成的傑作。

在這部作品中，我們可清楚聽到拉

赫曼尼諾夫的獨特樂音。開篇處由

鋼琴奏出主題，弦樂聲部以起伏的

三連音輕聲伴奏，這顯然是拉赫曼

尼諾夫的風格。曲中包含的痛苦情

緒也體現出這位作曲家成熟時期作

品的特徵，以向上的三音組合及三

度音程寫成。

寫作這首三重奏時，拉赫曼尼諾夫

仍是一名學生；他處理這樣並不

熟悉曲式時的自信令人驚歎。鋼琴

部分的寫法純熟，作曲家處理弦樂

聲部的方法亦通暢。或許，他這

首作品是為兩周後的一場室內樂

音樂會而寫。音樂會上，他與兩位

同學 — 大提琴演奏家布蘭杜可夫

以及小提琴演奏家大衛．克萊恩合

作演出該曲。

開篇處上揚的樂句主導整個樂章，

為後來的變奏以及發展部做足鋪

墊。樂句在節奏上的微妙變化，不

斷予聽眾新鮮感，同時不至於顯得

支配整個樂章。第二主題亦由音階

式的樂句引出，以大調寫成，初時

由小提琴演奏(標記為「生機勃勃

的」)，不久後大提琴加入，與小

提琴合作二重奏。當鋼琴伴奏的音

符時值愈來愈小，旋律中的動感愈

來愈強。拉赫曼尼諾夫以富有戲劇

性及想象力的方法發展這些樂思，

以確保總有新鮮的元素吸引聽眾

關注。

結尾處，拉赫曼尼諾夫又做出極富

個性的舉動：大提琴與小提琴聲

部相隔八度地重奏開篇樂思，鋼琴

在低音聲部奏出全新的顫音效果。

此部分標記為「葬禮進行曲」，

悲歌的意味全然顯露。這作品竟然

出自一位十八歲音樂學生之手，

其想象力實在叫人驚歎。

貝多芬(1770-1827)降E大調第二鋼琴

三重奏，作品70 (1808)

稍慢板 — 不太快的快板

小快板

從容的小快板

終曲：快板

鋼琴三重奏這一曲式對貝多芬別具

意義。貝多芬的第一號作品是三首

鋼琴三重奏，這是他驕傲呈獻予世

人的一張名片。這是一個聰明的選

擇：如果貝多芬選擇交響曲、協奏

曲、鋼琴奏鳴曲或是弦樂四重奏作

9

faced direct comparison with Mozart and Haydn (though the latter did develop the piano trio from its early days in which the keyboard instrument was king and the cello did little more than add weight to the bass-line).

While those early Op. 1 pieces are impressive, Beethoven truly transforms the medium in the piano trios that followed: the two Op. 70 Trios and the ‘Archduke’, Op. 95. With these great works he set the stage for others to follow – figures as varied as Mendelssohn, Brahms, Ravel and Shostakovich.

It seems unjust that, of the Op. 70 Trios, No. 1 is by far the more popular. Having a nickname (in this instance ‘Ghost’) always helps, but the E-flat Trio is every bit as fine, albeit possessing a completely different demeanor. Whereas the heart of the First lies in its drawn out, almost Impressionistic slow movement (from where it gets its nickname), the Second Op. 70 is basically very convivial. Within that sense of ease, however, Beethoven conceals all sorts of composerly sleights of hand, as we’ll discover.

The work opens with a slow introduction based on a simple scalic figure – first descending then ascending, initially heard on cello, then taken up by the violin, followed by the piano, with the strings now offering a chordal accompaniment. As the piano limbers up with trills that are initially carefree, the music abruptly takes a more dramatic turn, leading to an improvisatory-sounding passage in the keyboard. The introduction ends hovering on an unresolved chord, Beethoven leaving the listener unsure as to what will come next.

為第一號作品，他將面對與莫扎特

以及海頓作品的直接比較。儘管海

頓早已開始寫作鋼琴三重奏作品，

但在那些作品中，鍵盤樂器是絕對

的王者，而大提琴不過是增添一些

低音的和聲。

儘管第一號作品的數首鋼琴三重奏

已讓人印象深刻，貝多芬的作品70以及作品95《大公爵》三重奏卻真

正改革了這種曲式。透過這些偉大

作品，貝多芬為後來各具風格的作

曲家如孟德爾遜、布拉姆斯、拉威

爾以及肖斯塔高維契等，搭建了創

作同類作品的舞台。

作品70的兩首三重奏中，第一首

更為出名，這似乎不太公平。或許

因為第一首作品的暱稱《鬼魅》讓

它引來更多關注，不過降E大調的

第二首卻同樣出色。當第一首作品

的核心在於其被拉長的、頗富印象

派色彩的慢板樂章(《鬼魅》一名

由此得來)，第二首作品整體上卻

是非常歡愉的。在輕鬆自在的氛圍

中，貝多芬隱藏着各式花哨的作曲

技巧，誠如我們即將發現的那樣。

作品開篇緩慢，旋律建基於一個簡

單音階上：起初下行，繼而上行，

最初由大提琴奏出，小提琴隨後接

過，再轉予鋼琴，此時弦樂奏出和

弦式的伴奏。當鋼琴聲部展開一連

串暢快的顫音，旋律忽然出現富戲

劇化的轉變，導向鍵盤聲部的一個

即興樂段。開篇部分收束在一個懸

而未決的和弦上。接下來將要發生

什麼，作曲家並未明確告知聽眾。

10 11

What then happens is not, as so often with him, a driving Allegro but instead a delightfully unassuming theme with the strings initially operating as one against the piano. Even where the writing is loud or accented, it has an underlying geniality to it, and the second theme of the Allegro is waltz-like in character. In spite of avoiding major contrast, Beethoven constantly develops and alters the motifs. Another striking moment comes near the movement’s end, when we get an unexpected reminder of the slow introduction.

Perhaps aware of the potency of the slow movement of the ‘Ghost’, Beethoven does without a slow movement in the E-flat Trio, instead having two central Allegretto movements. First comes a double-variation movement, which is surely a tribute to his teacher Haydn, who so perfected the form and who was still alive when Beethoven wrote this Trio. Beethoven creates drama by having his themes in C major and C minor, opposing sunniness with tempestuousness, the composer making the utmost out of this contrast in the variations that follow, with the two themes finally merging in a C minor final section. This is followed by a second Allegretto that is more Minuet than Scherzo in mood – perhaps another bow to Haydn.

The sparkling finale reinforces the work’s good humour, with Beethoven creating a stimulating conversation between the instruments, all very much equal players in the dialogue, taking it off in this direction and that, now whispered, now fervent, but ultimately unashamedly upbeat.

-Harriet Smith

PYOTR ILYICH TCHAIKOVSKY (1840-1893)Piano Trio in A minor, Op. 50 (1881-1882)

Pezzo elegiacoTema con variazioniVariazione, Finale e Coda

Within Pytor Ilyich Tchaikovsky’s (1840-1893) considerable musical oeuvre, there are surprisingly few chamber music compositions. Trained within a Conservatory tradition that emphasized Western compositional techniques and expressions, we would certainly expect to find a multitude of works for small ensembles. We find, however, only three string quartets, a string sextet, a single piano trio and three works for violin and piano. These compositions have received almost unanimous praise from the listening public; however, music critics and composers callously suggest that Tchaikovsky was merely a “symphonist who produced chamber music by paring things down rather than creating within the form.” Tchaikovsky was one of the earliest of a new kind of music professional in Russia. Trained in the Western classical tradition, he could combine the heritage from Beethoven and Schumann with that of native composers such as Glinka. In addition, he could take the strong programmatic elements from composers such as Liszt and Berlioz and use them to create rich psychological worlds.

The Piano Trio in A minor, Op. 50, was completed in December 1881 and given its premiere in late January 1882 in Moscow, with the composer Sergey Taneyev on the piano and Wilhelm Fitzenhagen, considered the greatest

第一樂章後，貝多芬並非如慣常那

樣寫下一個強而有力的快板樂章，

而是在鋼琴聲部的配合下，由弦樂

聲部奏出歡愉且謙和的主題句。

儘管旋律聲量頗大，卻仍隱隱透出

溫暖的感覺。此快板樂章的第二主

題像華爾茲舞曲般，儘管希望避免

過分鮮明的對比，貝多芬仍然在主

題句基礎上不斷發展及改變。另一

引人關注的瞬間來自樂章結束前，

其重溫緩慢開篇的部分讓人意料

不及。

或許因為意識到《鬼魅》中慢板樂

章的效果，貝多芬未曾為這首降

E大調三重奏創作慢板樂章，取而

代之的是兩個置於曲目中間的小

快板。第一個小快板以「雙重變

奏」寫成，明顯是向他的老師海

頓致敬。海頓擅長寫作雙重變奏，

當貝多芬寫作這首三重奏時，他

仍健在。貝多芬將C大調主題句與

C小調主題句並置，在陽光與雷暴

之間創造戲劇張力。在接下來的變

奏中，對比更為顯著，而C大調與

C小調主題句最終融合為C小調寫

成的終章。緊隨而來的是第二個小

快板樂章，在情緒上更像小步舞曲

而非諧謔曲 — 或許是對海頓的再

度致意。

充滿火花的終曲重申此曲的幽默特

性，貝多芬在此為不同樂器之間創

造興味盎然的對話。對話中，演奏

者身份平等，朝向同一方向前行，

時而輕聲細語，時而熱烈，最終迎

向一個坦蕩的昂揚尾聲。

柴可夫斯基

(1840-1893)A小調鋼琴三重奏，

作品50 (1881-1882)

悲歌的樂章

主題與變奏

變奏，終曲與尾奏

在柴可夫斯基數量豐富的作品中，

室內樂作品卻少得叫人驚訝。柴可

夫斯基就讀的音樂學院注重西方作

曲技巧及表達，我們理應期待他為

小型樂團寫出眾多作品，卻僅有三

首弦樂四重奏、一首弦樂六重奏、

一首鋼琴三重奏，以及寫給小提琴

與鋼琴的三首作品。這些室內樂作

品得到聽眾的一致好評，而樂評

人及作曲家卻無情地表示，柴可

夫斯基只是「一位交響樂作曲家，

他寫作的室內樂作品不過是削減了

交響曲的部分內容，而非按照室內

樂作品的模式創作」。柴可夫斯基

是俄羅斯歷史上最早的音樂專家，

他接受西方古典傳統訓練，將貝多

芬和舒曼等人的音樂遺產與本國作

曲家如格林卡等人的風格結合。另

外，他也能將李斯特和白遼士等作

曲家作品中強烈的標題音樂元素

糅入作品，藉此創造豐富的精神

世界。

A小調鋼琴三重奏，作品50於1881年12月完成，1882年1月底在莫斯

科首演，由作曲家坦尼耶夫演奏鋼

琴，由被稱為「俄羅斯最偉大的老

師及演奏家」的費森海根演奏大提

琴。這作品的題獻是「紀念一位偉

大的藝術家」，也就是尼古萊．

12 1312

teacher and performer in Russia, on cello. The work was dedicated “In memory of a great artist,” i.e., Nikolay Rubinstein, the brother of Anton Rubinstein. The choice of instruments for this trio: violin, cello, and piano, reflects the instrumentation of a particular section of the Second Piano Concerto of 1879 that was important to Tchaikovsky’s memory of Rubinstein.

In many ways, this is a work of homage and memory, particularly in the variation movement. From the outset, this is a piece that is both highly conventional and also very experimental. The first movement is a basic Sonata-Allegro form, with a mournful cello over the arpeggiated piano line. The violin and cello exchange lines before the piano takes over the theme and the cello takes over the support function. There seems to be many Russian elements in this first movement in both the rhythms used and the kind of melodic writing.

The extensive second movement is broken into two parts: first the theme and 11 variations and then a final variation and coda. Through the variation set, each different variation seems to be creating a memory of Rubinstein: figural variations and fugue could be recalling Rubinstein’s founding of the Moscow Conservatory while the sound of a music box, a waltz, a mazurka and other dances recall family and social elements. It is the final variation – nearly five times as long as of the 11 variations that preceded it – that sets a stop to this whirl through the past and returns us to the present. But we end with the opening theme of the first movement returning, sadly now recast as a funeral march. You will recognize the rhythmic pattern in the piano immediately.

-Maureen Buja

飛躍演奏香港旨在把國際著名音樂

家和演奏新星帶到香港演出及舉辦

外展活動。在這個充滿活力的城市

裡，引入文化藝術的氣氛，以音樂

啟發大眾。

費詩樂女士於2007年成立飛躍演奏

香港並註冊為慈善機構，旨在為這

個充滿活力的城市，引入文化藝術

的氣氛，讓香港成為國際文化發展

的重要城市。我們的節目豐富及多

樣化，包括不同樂器的組合、獨特

的演出風格及音樂類型，並由廣受

歡迎的國際演奏家和耀眼的新晉音

樂家擔綱演出。

飛躍演奏香港每年主辦超過100個活動，當中包括：

• 比爾斯飛躍演奏音樂節(前身為香港國際室內樂音樂節)五至六

場音樂會及超過20個外展及教育活動

• 演奏系列(每年四至六場音樂會)• 親子系列(每年二至四場音樂會)• 校園室內樂教育計劃(每年超過

50場校園音樂會)

我們的活動適合香港所有階層，不

論有特殊需要的學生或是香港的精

英分子也是我們的觀眾。我們相信

每個人不論其身份地位、種族或語

言，都會被世界級的音樂會感動。

Premiere Performances brings internationally celebrated musicians and the world’s brightest rising stars to Hong Kong for solo recitals, chamber music and community outreach, building a vibrant local arts scene and inspiring audience members of all ages with performances that are accessible to all.

Founded in 2007 as a registered charity by Andrea D. Fessler, Premiere Performances aims to contribute to a vibrant local classical music scene and establish Hong Kong as a leader in the international cultural landscape. From international favourites to the world’s brightest rising stars, our programmes feature a dynamic array of instruments, performance styles and genres.

Premiere Performances presents over 100 events each year including: • Beare’s Premiere Music Festival (formerly

The Hong Kong International Chamber Music Festival), 5-6 concerts and over 20 Education & Outreach events

• Recital Series (4-6 concerts per year)• Family Series (2-4 concerts per year)• Chamber Music In Schools (50+ in-school

performances per year)

From special needs students to the elite of Hong Kong, we have programmes aimed at all demographics. We believe that everybody, regardless of social class, ethnicity or language, will be moved by the power of a world class live music performance.

飛躍演奏香港簡介About Premiere Performances of Hong Kong

魯賓斯坦，即安東．魯賓斯坦的

弟弟。作曲家以此三重奏的樂器

選擇 – 小提琴、大提琴、鋼琴來

回應他創作於1879年的第二鋼琴協

奏曲中某個特定部分的配器，而這

部協奏曲是柴可夫斯基對於魯賓斯

坦回憶的重要承載。

從許多方面來說，這是一部致敬與

回憶的作品，特別是其中的變奏

樂章。從一開始，作品已表現出既

保守又富實驗性的特質。第一樂章

依快板奏鳴曲式寫成，在鋼琴奏出

的琶音旋律線上，是大提琴悲傷的

聲音。小提琴與大提琴交替奏出

主題，直至鋼琴接過主題句，大提

琴扮演承托的角色。不論在節奏抑

或在旋律寫作手法上，第一樂章均

有眾多俄羅斯元素穿插其間。

第二樂章可分作兩部分：第一部分

是主題句及十一段變奏，第二部

分是一個變奏終曲加尾聲。每一個

變奏段落聚合出作曲家對於魯賓斯

坦的懷念：音型式的變奏與賦格

引人回想魯賓斯坦創辦莫斯科音

樂學院，而作品中音樂盒的聲音、

一段華爾茲、一段瑪祖卡以及其它

舞曲，則讓人想起魯賓斯坦的家庭

生活與社交活動。變奏終曲的時長

是前十一段變奏的近五倍，將聽眾

從過去帶回當下。當第一樂章的開

篇主題句在此時重現，這一節奏模

式由鋼琴奏出，聽來悲傷得如葬禮

進行曲。

中譯：李夢

14 15

飛躍演奏香港需要你們的支持！We Need Your Support!

飛躍演奏香港是註冊慈善團體及非牟利機構，為香港樂迷呈獻國際級獨奏及室內樂演奏會。本機構僅有約一成半開支由音樂會門票收入支付，餘額有賴捐獻者慷慨解囊，讓我們繼續將最好的音樂演出帶給香港觀眾。

我們獲得政府的「藝術發展配對資助計劃」資助，您們捐助我們每一分一毫香港政府均會作出1.5倍的配對資助，加倍支持我們的發展。

飛躍演奏香港乃註冊慈善機構，凡捐款港幣100元或以上均可提供申報免稅 收據。

感謝您的慷慨支持！Thank You So Much for Your Generous Support!

「飛躍演奏香港之友」的禮遇Benefits of the Friends Circle

港幣HKD 100+

港幣HKD

1,000+

港幣HKD

5,000+

港幣HKD

10,000+

港幣HKD

18,000+

港幣HKD

25,000+

港幣HKD

50,000+獲確認信及申報免稅收據Letter of Recognition and Charitable Tax Receipt

P P P P P P P優先訂購門票Advance Booking Period P P P P P P P成為「飛躍演奏香港之友」Membership to Friends Circle P P P P P P鳴謝於飛躍演奏香港所有音樂會的場刊及網站上Name in House Programmes and on Website

P P P P P P

專貴訂票服務Concierge Ticketing Service P P P P P彈性更改門票Flexible Rescheduling P P P P P獲邀請欣賞一次私人沙龍音樂會Invitation to One Private Salon Concert

P P P P獲邀請參觀音樂會總綵排Access to Closed Dress Rehearsals P P P獲邀請欣賞兩次私人沙龍音樂會Invitation to Two Private Salon Concerts

P P獲邀請欣賞飛躍演奏香港全年的私人沙龍音樂會Invitation to All of Premiere Performances’ Salons for One Year

P

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Donate Now to Become a Friend of Premiere Performances

Premiere Performances is a registered charity and a non-profit organisation. Only about 15% of Premiere Performances’ costs are covered by ticket sales. The generous contributions of our patrons and sponsors help us make up the shortfall so that we can continue to bring the best in the world to Hong Kong for you, its audiences.

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As a registered charity, any donation of HK$100 or more to Premiere Performances is tax-deductible with receipt.

網上捐款

Online Donation

到www.pphk.org網站上點擊「支持我們」或透過以下二維 條碼(QR code)並以信用卡捐款

Click on “Support Us” at www.pphk.org or follow this QR code to make a donation on your credit card

郵寄劃線支票

By Mailing Crossed Cheque

郵寄至香港銅鑼灣禮頓道77號 禮頓中心15樓1522室飛躍演奏 香港收，抬頭「飛躍演奏香港 有限公司」或“Premiere Performances of Hong Kong Ltd.”

Send a cheque made out to “Premiere Performances of Hong Kong Ltd” to Premiere Performances, Room 1522, 15/F, Leighton Centre, 77 Leighton Rd, Causeway Bay

銀行轉賬

Make a Bank Transfer

至花旗銀行戶口 250-390-48085510，然後 電郵入數紙至info@pphk.org

Deposit to Citi account number 250-390-48085510 and email the receipt to info@pphk.org

飛躍演奏香港有限公司

Premiere Performances of Hong Kong Limited

Pro BonoLegal CounselPaul Hastings LLP

Board of GovernorsAndrea FesslerWinnie KwanHarry LeeShu Yin LeeEster LiJoanne OoiVivek SharmaAda Tse

Young Music Lovers CircleSteering CommitteeCatherine ChengAndrew D’AzevedoOshan GunawardanaRadhika MahidharaPhilippa SalewiczMegan SchmalzriedJian ShenFiona Steffensen

StaffAndrea Fessler Executive Director and FounderLoretta Cheung Box Office ManagerAinsleigh Hennig Development OfficerAlice Lam Project OfficerSharen Lau Marketing ManagerHenry Leung General ManagerMarinella Li Development Manager Yim Kwan Lo Assistant Project Manager Leo Phillips Director of Chamber Music

捐款方法How To Donate

16 17

飛躍演奏香港之友Friends of Premiere Performances

飛躍演奏香港謹此向以下人士的慷慨捐助深致謝忱。Thank you to all of our generous donors whose support allows Premiere Performances to provide the world class range of programming and outreach that we present.

Contributions over $50,000Anonymous (6)Audry Ai & Tom MorrowAndrew AlexanderSarah & Anthony BoltonJessica Bruser & Heath ZarinThe Capital Group Companies Charitable FoundationRohin ChadaCharities Aid Foundation AmericaEster & Eugene ChungAnne Farlow & Oliver BolithoAndrea Fessler & Davide ErroWhitney FerrareLeonie Foong & Wen TanGreat Eagle Holdings LimitedGoldman Sachs Matching Gift ProgramWendy & Danny HegglinJean HoJenny HodgsonAbby & Fred HuHaewon Hwang & Nick TaylorWinnie Kwan & Mark ShuperShu Yin LeeKim & Adam LeitzesJeff LevyLipman KarasCamilla & John LindforsY.S. Liu Foundation Ltd.Macquarie Group FoundationSharene and Ian MakThe Ronald & Rita McAulay FoundationVivek SharmaFiona SteffensenJulie & Sebastian WittgensteinElaine Wong and Fritz DemopoulosClara Wu Tsai & Joe TsaiYangTse Foundation

$25,000 - $49,000Aaron ChandrasakaranMira ChristantoSpencer GohBobbi Hernandez & Morgan SzeSusan Ho & Andrew BrandlerRimmo JollyJanice Lee & Joe BaeNiklaus LeungTracy LiAlison Lusher & Benjamin FalloonMoon Yik Company LimitedAmna & Ali NaqviTung Family FoundationJeanie WooAdrian WuSofia Zanchini & Gaetano BassolinoJason Zhang

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