hong kong schools music festival 70th anniversary 香港學校音 … · september 2018...

SEPTEMBER 2018 二零一八年九月號

Hong Kong Schools Music Festival 70th Anniversary 香港學校音樂節•回眸七十年

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It’s usually after Chinese New Year when the annual Schools Music Festival becomes a high point for Hong Kong. Actually, for some schools, students, and parents, the excitement may have started even earlier. By the time the school academic year begins, many students and teachers have already gotten the competition pieces at hand to practise. Some schools may start using the time during lunch, or before and after school for rehearsals. Parents join in by requesting extra lessons from instrument or singing teachers. In recent years, there has been no shortage of master-classes and lessons tailor-made for festival participants. The Festival has gained a lot of support from many people in Hong Kong, and the level of enthusiasm seems ever growing.

I never took part in the Festival as a contestant. Yet, I learned about it through Wah Kiu Yat Po, the old Hong Kong newspaper that used to print pages of winners’ photos. It was always nice to see the many smiling faces of students who were holding their trophies or certificates.

The first time I saw a contest at the Festival was after my secondary school years. On stage were treble voices, which sounded celestial. Yet, the most heated contests which I have attended were years later after I joined Radio 4. In fact RTHK has a long history of broadcasting performances from the Hong Kong Schools Music Festival. We usually relay the Choir Finals and Winners’ Concerts. In the past five years, Radio 4 has become the sponsor of the Chinese Instruments Scholarship, and broadcast the finals which took place at RTHK studios.

Once, as a Radio 4 production team member, I attended a choir final. Students came by coach. Upon arrival, they quickly assembled, warmed up and even checked their physical appearance in details to make sure they presented their best on stage. During the performance, they were totally absorbed by the music and delivered the best standard they could achieve. When it was time for announcement of results, the venue was in dead silence. The tranquility was suddenly broken by cheering, clapping, and screaming to maximum loudness. At this super electrifying moment, many students were in tears, both the winners and those who didn’t manage to win!

A competition does have the magic to elevate one’s ability to learn, to concentrate and to draw on one’s potential; and the participants’ charisma can almost always thrill the audience!

Finally, I am reminded of two unforgettable finals I attended. One time, when the champion was announced, while the winning young singers and their teachers all got up to yell excitingly and hug each other, students from the other teams instantly stood up to applaud the winning choir! The other time, participating teams who sat wide apart were calling out the other schools’ names to congratulate each other!

This is the spirit that has kept the Hong Kong Schools Music Festival blooming for 70 years.

Jimmy Shiu Head, Radio 4

農曆年過後，便踏入學校音樂節旺季。其實對好些學校、同學

或家長而言，旺季可能開始得更早。不少老師和同學在新學期

起已準備好明年參賽的曲譜，並積極練習。而同學在午飯時、

上課前和放學後趕緊排練，亦時有所聞。家長的狂熱程度亦不

惶多讓，這正是請器樂或聲樂老師為子女「加堂」的好時候。

近年亦盛行大師班和特別為學校音樂節比賽而度身打造的大小

課程。總之，港人對這個一年一度的學界音樂盛事，肯定是充

滿熱誠，這熱誠亦多年不減。

我從來未參加過學校音樂節比賽，但對這個盛事一直都有印

象。當年的《華僑日報》，就常常以全版刊載得獎同學的笑臉

和心聲。回想起第一次觀看比賽是中學畢業後，那是小學合唱

比賽，天籟般的歌聲叫人神往。然而，我真正體會到音樂比賽

是如何的熾熱，是成為第四台員工之後。事實上，香港電台多

年來會轉播學校音樂節的盛況，其中主要為合唱決賽和優勝者

音樂會。而近五年間第四台更贊助了中國樂器獎學金，並轉播

在電台舉行的決賽。

有一年我以工作人員身份近距離接觸合唱決賽。看見同學剛下

旅遊巴士，隨即列隊、熱身、妝扮自己，以最佳狀態出台。演

出期間他們全神貫注，以近乎完美的水平完成作品。公佈結果

前，場內鴉雀無聲，正當大家屏息靜氣之時，寧靜卻突然被震

耳欲聾的呼喊聲、尖叫聲和掌聲打破，而不論勝出與否，好些

參加者都在這熱血沸騰的一刻流淚！

一個競賽的環境，的確有一股神奇力量，能提升參加者的學習

能力、專注力和潛力，而這份不能言喻的魅力，的確能帶來無

窮的感染力。

最後想分享兩個令我印象很深刻的經歷。那年，某某中學勝

出，當全隊合唱團的成員和老師都興奮不已地站起來歡呼和擁

抱之際，「落敗」的那一隊同學亦站立起來，為勝出的一隊鼓

掌。另一年，在參賽隊伍之間，隔著幾十尺之外，同學互相呼

叫對方學校的名字，表達祝賀。

這就是學校音樂節七十年來令人回味的原因之一！

第四台節目總監　蕭樹勝

掌台人隨筆The Desk of HR4

▲The 18th Hong Kong Schools Music Festival was featured in Wah Kiu Yat Po on 29 March 1966

1966年3月29日的《華僑日報》刊載第十八屆香港學校音樂節的資訊

Radio 4 would like to thank the patrons for their generous support. If you would like to become a patron of ‘FM’ Fine Music, please call us on 9073 3474 for further information during office hours.

香港電台第四台謹向以下贊助者的慷慨支持致以最深謝意。有興趣成為「美樂集」贊助者的朋友，可在辦公時間內致電9073 3474查詢有關詳情。

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SEPTEMBER 2018 | FINE MUSIC | FOREWORD 前言

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SEPTEMBER 2018 | FINE MUSIC | CONTENTS 目錄

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01 FROM THE DESK OF HEAD, R4掌台人隨筆

SPECIAL FEATURES 特稿04 In Conversation with Kirill Troussov

07 ‘Artist-in-Residence’ Rachel Cheung – Flashback 「駐台演奏家」張緯晴—剪影

11 Young Music Makers 2019 樂壇新秀2019

COVER STORY封面故事15 Hong Kong Schools Music Festival 70th Anniversary

香港學校音樂節•回眸七十年

COLUMNS專欄23 Sunday Opera 歌劇世界

27 Jazzing Up 爵士靈感

31 Musical Exchange 談天論樂

33 Music from China 樂在神州

35 Friends of Radio 4 第四台之友

37 New Releases 碟碟不休

39 Concert Highlights 音樂會轉播精選

43 Main Programme Chart 節目時間表

47 Programme Highlights 節目精華

55 ‘FM’ Classified Board 《美樂集》分類廣告

56 Coda

SEPTEMBER 2018 二零一八年九月號

3

Meeting Yehudi Menuhin

L: You won the Yehudi Menuhin International Violin Competition

and the International Henryk Wieniawski Violin Competition

when you were about 10 years old; how do you think these

experiences have shaped your career?

K: I think competitions are a good start to a career because

people get to know you and listen to you. I think a violin

competition is a stage where a young violinist can present

him- or herself to people. I had already played concerts at

that time so for me it was kind of an extra step which was

very nice. It was a very important experience. And also I was

lucky to know Yehudi Menuhin in person so I had time to

spend with him when I was very young and I learned a lot

about his life, his experiences, and it helped a lot to have the

opportunity to meet with him and spend time with him.

L: Yehudi Menuhin was a world renowned violinist, educator,

and conductor, as is Christoph Poppen, a name familiar to

many people in Hong Kong due to his engagements in town.

Can you tell us about your experience working with him?

K: Yes, I think the first time we met was around 15 years ago

in Tokyo. Since we are living in the same city we spend a lot

of time together. He is a great person and a great violinist. I

learned a lot from his way of conducting and seeing music.

We worked and talked a lot about music so it was for me

very special time spent. We are still very good friends and we

meet very often in Munich.

L: Would you follow their footsteps and take up the baton at

some point?

K: I haven’t thought about it yet but maybe one day. I have

enough with concerts and masterclasses at the moment!

One of My Favourite Concertos

L: Let’s talk about your upcoming Hong Kong debut. You will

be performing Mendelssohn’s Violin Concerto with the City

Chamber Orchestra of Hong Kong under Jonathan Berman.

This is a concerto admired by many musicians. Menuhin

himself described Mendelssohn as a ‘lucid romantic’. Josef

Joachim called the concerto ‘the heart’s jewel’. What kind of

musical connections do you have with this concerto? Can

you share some personal insights with us?

K: For me it’s one of my favourite concertos because it’s a kind

of chamber music you do together with orchestra musicians.

There’s so much detail in each instrument and each time I

play there are new things I discover, new things I see, colours

and atmosphere that we can create on stage while we are

playing. For me it’s simply one of the genius concertos

written for violin. His lightness and his brilliance and also not

going to the heavy parts and always staying on the light side.

There’s amazing atmosphere in this music, for me it’s one

of my favourite works so I am very happy to come to Hong

Kong and perform for the audience.

L: You mentioned the details in different instruments, what do

you find special about it? Or is there any specific section in

the concerto that really touches you or that listeners should

really pay attention to?

K: In the first movement there is the theme that first comes in

the wind section, then it comes to the violin, and it kind of

Kirill Troussov is described as one of the most gifted violinists today. Guided and supported by Yehudi Menuhin since childhood, he spoke with Livia Lin ahead of his Hong Kong debut about his love for the Mendelssohn Violin Concerto and the Stradivarius ‘Brodsky’ violin he performs on.

L: Livia Lin

K: Kirill Troussov

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SEPTEMBER 2018 | FINE MUSIC | SPECIAL FEATURES 特稿4

grows one into the other. As the section finishes, there is the

theme (again). They end up talking to each other and playing

at the same time. There is this great cadenza which is not

very long but there is everything you need. There is nothing

to add and nothing to take.

L: In this concerto as a whole, Mendelssohn took a lot of

advice from his violinist friend, the dedicatee Ferdinand

David. He was already a professional violinist when the two

collaborated and in fact he was the Concertmaster of the

Gewandhaus Orchestra. The music became better tailored

for violinists through his input but it also became technically

more challenging. What kind of challenges were there when

you first learned to play this concerto and what age were you

when you first picked up this piece?

K: I think I was age 8 and when I played this concerto for the

first time with orchestra I was 11. It was in the winter and

it was cold since we were in a cold country and of course

for me that time many things were new and I felt the work

was a big rock in front of me which I had to go on but the

longer I played I discovered this lightness and virtuosity. I

would say that for the left hand, it is written faster than other

concertos and there are sections that are very demanding

with fast technique in the left hand and lightness in the right

hand. This is what makes this concerto unique.

The Brodsky Violin

L: Can you talk a little bit about your ‘Brodsky’ violin which you

have been performing on since 2006? The instrument got its

name from the Russian violinist Adolf Brodsky, who gave the

premiere of Tchaikovsky’s Violin Concerto on it in 1881. How

special is it to be able to get your hands on this extraordinary

instrument?

K: I think for everybody who plays a Stradivarius violin, it’s a

very special moment when you receive the instrument. I feel

like a part of the life of the violin because many violinists have

played it before me and many violinists will play after me.

I’m just a little part of this violin’s history. Each time I take

this instrument or every day that I practise, especially when I

play Tchaikovsky’s concerto, I just imagine how much history

this violin has spent on earth, being heard and being held by

so many great musicians. And on top (of that), I’ve played

the Tchaikovsky Concerto on this violin makes it even more

special. I am happy and honoured to be able to play this

wonderful instrument.

L: Besides the history behind this violin, what else is particular

about this instrument? Can you describe the tone of it, having

been playing on it for quite some time now?

K: I had been playing a Stradivarius violin before the ‘Brodsky’.

Both were unique but both were so different. This violin has

an incredible timbre of tone and it’s quite dark. I have tried

many strings and I have found my optimal settlement for this

violin. It’s just like singing. Sometimes a violin can sound

sharp on the E string but this violin just sounds very equal

on all the strings and especially the middle register is just

fantastic. For violinists who are listening now, the up part and

the down part of the violin are all in one piece so this is pretty

rare.

transcribed by Jacqueline Leung

Don’t miss Kirill Troussov’s performance which will be

broadcast live on 28 September (Fri) at 8pm with a repeat

on 3 October (Wed) at 2pm.

小提琴家特魯索夫將聯同貝爾文指揮的香港城市室樂團演

出孟德爾遜的E小調小提琴協奏曲。第四台將於9月28日(星期五)晚上8時現場直播，並於10月3日(星期三)下午2時重播，敬請留意。

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5SEPTEMBER 2018 | FINE MUSIC | SPECIAL FEATURES 特稿

Daphne Lee 李德芬

My colleague Shing Chun-hay exclaimed that he had been watching Rachel Cheung play since he was a child! Unquestionably, Rachel’s performance experience is exceptionally rich. Not because she is old enough, but because she was a prodigy! She started winning numerous prizes since childhood. And one of the most notable achievements in her career was the Audience Prize that she was awarded at the renowned Van Cliburn International Piano Competition last year, in which she was one of the finalists!

We are proud to have Rachel Cheung as one of our ‘Artists-in-Residence’ this year. Her live performance was held in RTHK Studio One on 19 July. She performed works by Janáček, Chopin, and Liszt. The studio was fully packed with her fans and friends, and students of different ages. Professor Eleanor Wong, Rachel’s teacher and Ms Helen Wong, Rachel’s mentor were prominent guests among audience members.

I must say Rachel is very sincere about music. In the interviews by different media during the preparation months for this year’s ‘Artist-in-Residence’, she repeatedly mentioned that what is of utmost significance for a performer is the music itself, not the technical skill that he or she possesses, a statement that can be manifested in the way she plays music. She also tells us that she has overcome some hurdles during her past performing years. One’s music road is in fact no different from one’s road in life, in that in tackling future challenges; one must set clear objectives and be fully equipped. By then, one will be able to turn hardship to impetus.

If you have missed her marvellous live performance, please visit RTHK’s archive: rthk.hk


▲ Rachel finished her recital with Mephisto Waltz No. 1 by Liszt. You can tell the intensity of the music by her hair! 張緯晴以李斯特的第一梅菲斯托圓舞曲結束當晚的獨奏會。單看她的頭髮，也知道這曲是多麼有動感了！

SEPTEMBER 2018 | FINE MUSIC | SPECIAL FEATURES 特稿

我的八十後同事成俊曦笑言：「我細細個就聽張緯晴演出㗎

喇！」不錯，生於香港的鋼琴家張緯晴，演出經驗的確豐

富，卻不是因為她已一把年紀，而是她年紀輕輕已在世界各

地獲獎無數。單以去年而言，張緯晴晉身格拉賓國際鋼琴大

賽的決賽，奪得觀眾大獎，為港增光。

第四台有幸邀得張緯晴擔任本年最後一位「駐台演奏家」，

而獨奏會已於7月19日在香港電台一號錄播室舉行。當晚她

送上楊納傑克、蕭邦和李斯特的作品。現場直播音樂會座無

虛席，觀眾中有不少是她的支持者和朋友，也有學生，而她

的恩師黃懿倫教授，以及曾為張緯晴提供不少指導的黃慰倫

老師也是座上客。

為張緯晴籌備這場音樂會期間，報社傳媒都趨前訪問，為

她本人及音樂會宣傳。我觀察到，她十分謙遜敦厚，常常

說，音樂不是用來展示自己的才華，而她只是把音樂的本質

帶到你面前。如果你聽過她演奏，必定認同。她表示，過去

多年，經歷了好幾個音樂藝術上的關口，才有今天的成績。

走音樂道路，如同走人生道路。前路定必還有更多關口，但

只要目標清晰，準備充份，任何艱難都會變成進步的動力。

如果你錯過了這場精彩演出，歡迎登入香港電台網站

重溫：rthk.hk

▼ Rachel with our two MCs, Joanne Tam (third left) and Raymond Chung (second right), and the production team 張緯晴與大會司儀譚綺旻（左三）和鍾子豪（右二），以及工作人員

▼ Professor Eleanor Wong (second right), Rachel’s teacher and Ms Helen Wong (second left), Rachel’s mentor 張緯晴的兩位良師黃懿倫教授（右二）與黃慰倫老師（左二）

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▲Radio 4 colleague Shing Chun-hay is one of her fans! 既然第四台同事成俊曦自少就欣賞張緯晴的演出，又怎可能不索取簽名呢！

▲Autograph session after the recital 獨奏會後的簽名會


‘Young Music Makers 2019’ (YMM) has started taking applications since last month and has generated much interest within the music community. YMM offers multi-platform exposure to distinguished budding artists.

Young instrumentalists and vocalists, soloists, and ensemble musicians are welcome to showcase their talent. Successful candidates will be featured in radio and TV programmes, on RTHK’s website, the Final Concert, and more.

「樂壇新秀2019」自上月開始接受報名以來，已引來不少迴響和查詢。

我們歡迎熱愛音樂的年青朋友，以個人或團隊、器樂或歌唱的形式報名參加，讓年輕一代與愛樂者分享美樂。

入圍新秀除了會亮相於電台和電視專輯、香港電台網頁，以及在閉幕音樂會演出外，還有其他表演機會。

Here are some of the recent achievements of the past YMM 多位歷屆新秀近年在樂壇上也有好成績

SEPTEMBER 2018 | FINE MUSIC | SPECIAL FEATURES 特稿

Kathy Lam 林家琦

▲Lau Cheuk-yan Alison was recognised as ‘Persons with Outstanding Contributions to the Development of Arts and Culture’, awarded by the Secretary for Home Affairs Commendation Scheme 2017, as well as being a Special Prize winner in the 22nd Concorso Internazionale per Cantanti Lirici Spazio Musica, Italy.

劉卓昕除了獲選為民政事務局局長嘉許計劃2017「推動文化藝術發展傑出人士」之外，也是第二十二屆意大利國際歌劇演唱家大賽特別獎得主。

▲Chan Ting-yuen is the Guest Principal of the Shanghai Symphony Orchestra 陳定遠是上海交響樂團的客席首席巴松管手

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Young Music Makers featured in LCSD’s ‘City Hall Virtuosi’ and ‘Our Music Talents’ 2018—2019 series include: Chan Kai-him, Chan Siu-tung Toby, Lau Cheuk-yan Alison, Liu Chi-man Elise, Lee Yi-wei Angus, and Sung Dizhang Jasper.

If you wish to share your performance with other music lovers, do plan to take part in ‘Young Music Makers 2019’. For more information, regulations, and application details, please go to rthk.hk/ymm2019.

You can hand in your application now until 31 October 2018. Apply now it’s your time to shine!

在康文署「大會堂樂萃」及「音樂顯才華」2018–2019系列亮相的樂壇新秀有：陳啟謙、陳劭桐、劉卓昕、廖智敏、李一葦和宋狄樟。

若你也想跟音樂同好分享你的演出，今天就報名參加「樂壇新秀2019」吧！截止日期為2018年10月31日。

詳情和報名表格可在香港電台網站rthk.hk/ymm2019下載。各位熱愛音樂的年青朋友不要遲疑，可能你就是下一位樂壇新秀！

▲So Wai-lung (left) and his two-piano partner, Jonathan Law, were awarded the Gold Medal in the Open category at the Chiang Mai Ginastera International Music Festival 2017.

蘇颹龍(左)和他的雙鋼琴拍檔羅瑋庭，贏得2017年清邁希納斯特拿國際音樂節公開組金獎。

▲Yeung Chun-yin Patrick and his partner Charis Chan were awarded the First Prize in the Open Duo category at the 12th Asia Pacific Harmonica Festival held recently in Beijing. He also won the Third Prize in the Open Solo category.

楊浚賢剛在第十二屆北京亞太口琴節與他的拍檔陳子允贏得二重奏公開組冠軍，他也奪得口琴獨奏公開組季軍。

▼Lee Chun-lok Gordon was the First Prize winner in the ‘Chromatic Harmonica Solo (Adult)’ category at the World Harmonica Festival 2017, Trossingen.

李俊樂是2017年德國世界口琴節半音階口琴獨奏（成人組）冠軍得主。

▼Leung Shing-hei Kevin won the Second Prize in the ‘Chromatic Harmonica Solo (with Test Piece)’ category at the World Harmonica Festival 2017, Trossingen.

梁承熹贏得2017年德國世界口琴節半音階口琴獨奏（指定曲目）亞軍。


In the blink of an eye, the Hong Kong Schools Music Festival & Speech Festival organised by the Hong Kong Schools Music and Speech Association (HKSMSA) has reached its 70th year. A gala concert will be held to celebrate this joyous anniversary.

Approximately 700 students of winning schools from the two festivals have been invited to perform at this spectacular event, along with experienced instrumentalists, soloists, and conductors and composers from abroad.

Radio 4 will bring you the recorded concert and a new series Hong Kong Schools Music Festival – The Platinum Anniversary (Cantonese programme),

hosted by Dennis Wu every Sunday at 10am to tell you more about the history of HKSMSA.

不經不覺，香港學校音樂及朗誦協會（協會）主辦的「香港學校音樂節及朗誦節」已經來到第七十個年頭。

為記念這個重要時刻，協會將舉辦週年慶典，請來約七百位曾經在音樂節及朗誦節上獲得不同類別獎項的優勝學校學生，

與職業樂手、獨奏家以及海外遠道而來的指揮家和作曲家合演音樂會。第四台會帶來這場音樂會之餘，

逢星期日早上10時亦安排有由胡銘堯主持的「香港學校音樂節—回眸七十年」特輯，讓你更了解協會七十年的歷史。

Hong Kong Schools Music Festival & Speech Festival 70th Anniversary Gala

香港學校音樂節及朗誦節七十週年慶典

SEPTEMBER 2018 | FINE MUSIC | COVER STORY 封面故事

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Hong Kong Schools Music Festival & Speech Festival 70th Anniversary Gala to be held in September

The Gala for the Future

“We hope to deliver the message of ‘passing the torch’ with a Gala that involves the masses.” said Amika Au, the Administrative Secretary of Hong Kong Schools Music and Speech Association (HKSMSA).

The Sun and The Phantom Union

This Anniversary Gala which will be held at the Hong Kong Cultural Centre on the evening of 9 September, will have two halves, with a total of eight sections. The opening work for the Gala is The Sun, a piece taken from The Age of the Dragon, composed by Kuan Nai-chung. It will be performed by a joint-school Chinese orchestra, partnered with Chau Chin-tung, Principal Percussion of the Hong Kong Sinfonietta and Sophia Woo, a percussionist with the Hong Kong Philharmonic Orchestra. The 79-year-old composer Kuan Nai-chung will fly from Canada to conduct the work himself.

After The Sun is an excerpt from The Phantom Union, a Cantonese operatic song from The Peony Pavilion, performed by 15-year-old Tam Ching. It will be followed by a commissioned English drama medley, Inspiration, to be perfomed by prize-winners of Speech Festivals in the past six years.

From Handel to Mascagni

The second half of the concert will begin with Schumann’s Piano Concerto in A minor. Pianist Colleen Lee and the Diocesan Boys’ School Symphony Orchestra will perform the first movement of the concerto, under the baton of Neil Varon, acclaimed

conductor from the United States, who teaches at the Eastman School of Music. Neil Varon will also conduct the Finale of the Gala.

Just before the Finale, the primary and secondary school joint choirs will each be singing several famous choral works under the esteemed American choral conductor Brady Allred. A joint-school orchestra and choir will then perform three music works in the Finale, namely the Overture to Ruslan and Ludmila by Glinka, Mascagni’s Intermezzo from Cavalleria Rusticana, and Handel’s Hallelujah Chorus from Messiah, bringing the Gala to a grand and memorable close.

Just like Music Festival and Speech Festival, this Anniversary Gala is comprised of a variety of items. It is therefore no surprise that Amika and his colleagues have spent more than a year in organising this Gala, always thinking about the best options of repertoire, performers, and rehearsal and performance schedule.

The Past for the Future

While preparing for the Gala, Amika was most impressed by the effort paid by his seniors and colleagues; their hard work contributed a great deal to the development of HKSMSA. When HKSMSA first established, they had only one small office with a couple of staffers and around twenty-something competition items. After seventy years of evolution, HKSMSA hosts more than 600 competition items where almost 400,000 local students take part in over 4,000 competitions. “If our predecessors had not sown the seeds, we would not be able to reap the harvest today.” Amika wants the Gala to be a walk down memory lane, and also a window to many more decades of development, so that more students can go after their dreams and display their talents through the platforms of Music Festival and Speech Festival.

The Hong Kong Schools Music Festival & Speech Festival 70th Anniversary Gala will be broadcast on 21 September (Fri) at 8pm in Live in 4 with a repeat on 26 September (Wed) at 2pm.

Li MengTranslated by Esther Chiang

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薪火相傳

「我們希望以這場讓眾人參與的音樂會，傳遞出『薪火相傳』

的訊息。」香港學校音樂及朗誦協會行政秘書區偉麟說。

匯聚精英的慶典

這場慶典將於9月9日晚上在香港文化中心舉行，分上、下半

場，共八個段落，曲目種類多樣，有獨唱、合唱、協奏等。為

音樂會揭開序幕的，是聯校中樂團演出關迺忠的〈太陽〉。這

首選自《龍年新世紀》的曲目將由來自十多間學校的得獎中樂

樂手合奏，與他們合作的是香港小交響樂團敲擊樂首席周展彤

和香港管弦樂團的資深敲擊樂手胡淑徽。七十九歲的關迺忠也

將從加拿大專程到香港，親自指揮該曲。

緊隨著一首澎湃激昂的〈太陽〉之後，是粵曲獨唱《牡丹亭驚

夢之幽媾》的選段，以及過往六年的香港學校朗誦節優勝者，

合作演出的英語戲劇《靈感》。今年十五歲的譚晴早於八年前

已在學校音樂節粵曲比賽中勝出，他將在此次慶典上演出《牡

丹亭驚夢》的著名唱段。

慶典的下半場，將由舒曼的A小調鋼琴協奏曲展開。本地著名鋼琴家李嘉齡將與拔萃男書院管弦樂團合奏該曲的第一樂章，

指揮則是從美國遠道而來，任教於伊士曼音樂學院的華隆。除

了這首觀眾耳熟能詳的鋼琴協奏曲外，華隆也會擔任慶典大匯

演的指揮。

大匯演前，來自美國的奧爾雷德會指揮小學與中學聯校合唱

團，分別演出多首合唱名曲。而在大匯演中，由十多間學校組

李夢

成的聯校管弦樂團則會演出三首音樂作品，包括葛令卡的《魯

斯蘭與柳德米拉》歌劇序曲、馬斯康尼歌劇《鄉村騎士》的間

奏曲，以及韓德爾的〈哈利路亞大合唱〉，為整場慶典劃上完

美句號。

用一多年時間籌備

節目豐富，藝術種類多元化，這場週年慶典頗費了區偉麟和同

事不少心力。香港學校音樂節及朗誦節歷來比賽項目眾多，如

何把這些項目和器樂種類融合成一場慶典，是協會再三考慮斟

酌的事情。也難怪從確定曲目，到尋找合適的演出者，再到排

練和表演，協會的同事足足用了一年多的時間籌備。

在準備週年慶典的期間，讓區偉麟印象最深刻的不單是節目的

權衡與取捨，還有前輩同行對於協會成長的辛勤付出。協會創

辦之初，只有一間辦公室、三兩位員工，比賽項目也只有二

十多個。七十年過去，比賽不斷發展，如今已包括六百多個

項目，而每年為香港接近四十萬學生舉辦超過四千多場比賽。

「如果沒有前輩的付出，我們不可能見到今天的成果。」區偉

麟期望，這一場七十週年慶典，既是對過往音樂人走過道路的

回溯，也開啟未來數十年音樂節繼續發展成長的一扇窗，惟願

越來越多喜歡音樂的學生，透過學校音樂節和朗誦節，展現才

華，勇敢追尋夢想。

香港學校音樂節及朗誦節七十週年慶典將於 9月

21日(星期五)晚上8時在第四台音樂會播出，並於

9月26日(星期三)下午2時重播。


Hong Kong Schools Music Festival 70th Anniversary

An Innovative Beginning

Considered from its beginning to be an innovative music event, the Festival drew great attention from the city in its early days. It was not just a music competition among schools but also included concert presentations and orchestral training. There was a rapid increase in the number of participants from its first appearance and the government responded by giving more resources to support HKSMSA. The press reported on its progress every day. Interviews of participants and judges, commentaries about the Festival, and detailed reports of results appeared extensively in various newspapers. It drove and motivated the early days of music education in Hong Kong and played a significant and leading role in its development.

An Expanding Festival

In its first year, it was only a small-scale event, lasting for only two days; now, the Festival covers almost a month. Since music education was uncommon in Hong Kong decades ago, very few students and schools participated in it. Some categories even only had one participant. Because it was not easy to fill up a two-day schedule speech and dance competitions were added to the music festival. Since its establishment, the Festival has been growing fast to include a great variety of genres, such as percussion ensemble, accordion, Chinese music ensemble, chamber music, and many more.

Cherrie Yu

The Hong Kong Schools Music Festival is an important collective memory for many students and teachers. It has become an indispensable

event, and even a tradition in schools since its beginning in 1949, when it was first held by the Hong Kong Schools Music and Speech

Association (HKSMSA). Its importance in the development of music education is something that should not be forgotten. In celebration of its

70th anniversary, let’s review its history and how it relates to Hong Kong’s music education.

Choir and Piano are Favourites

Among all the categories, choir and piano are probably the most popular and recognisable in the Festival. The choir categories started in 1950, the second music festival, with boys choir, girls choir, and mixed choir, divided into senior and junior groups. The piano category, which was part of the very first festival, had the largest number of participants (40) and was divided into senior, intermediate, and junior groups. Along with the extensive development of music education in Hong Kong, these two categories have been the focus of the Festival, and it has also established a long tradition among various schools and students.

Hong Kong Schools Music Festival – The Platinum Anniversary (Cantonese programme), hosted by Dennis Wu will be broadcast on Radio 4 every Sunday at 10am.

19

帶來舉足輕重的影響

香港學校音樂節最初起名為「學校音樂比賽」，由香港學校

音樂及朗誦協會於1949年首次舉辦。當時協會的工作，並不

單是舉辦音樂比賽，更會提供音樂會和管弦樂團訓練，是當時

提供音樂教育最前線的機構，其地位尤其重要。而學校音樂節

（早年稱為校際音樂節）更是備受矚目的年度節目。比賽期

間，有關的報導每天在報刊出現，緊貼比賽情況，例如介紹能

躋身器樂決賽的學生，又有評論文章討論音樂節的大小事項，

可見音樂節備受關注，帶來舉足輕重的影響。作為當時僅有

的音樂機構，協會得到教育署資源上的支持，加上按年倍增的

參加人數，社會對音樂教育龐大的需求成為音樂節急速發展的

契機。

音樂節的發展潛力

起初的比賽項目除了音樂，還有舞蹈和朗誦。因為參與人數較

少，比賽規模也相對地小，首屆比賽只有兩天。畢竟，當時能

夠負擔學音樂的學生不多，參加的學校和學生都是重複又重複

的名字。一個項目可以只有寥寥數位參賽者，甚至有些只有

一位。話雖如此，比賽項目卻不單調 ─ 敲擊合奏、口琴、手

風琴等相對較冷門的都有，項目多樣化，反映音樂節有發展潛

力。參賽學校和學生的名字雖然不多，但他們正正造就音樂節

成為香港音樂教育不可或缺的傳統。其中歷史最悠久，發展規

模最大的兩個重點項目，正是合唱和鋼琴。

余卓伶香港學校音樂節—回眸七十年2018年，香港學校音樂節慶祝七十週年。七十年間，它成為了不少香港學生重要的課外活動。師生為了這個比賽，甚至改變了對「課餘時間」的理解，不但是放課後的數小時，甚至在午飯時間、週末、

學校假期都成為他們一同奮鬥的目標。學校音樂節對香港音樂教育的影響究竟有多大，它的發展又如何？


受歡迎的比賽項目

合唱和鋼琴項目的內容於音樂節初期已發展成熟。合唱項目於

1950年第二屆出現，有男、女和混聲合唱，又分有高級和初級

組。鋼琴為首屆最多人參加的項目（共四十人），分高、中和

初級組。隨着社會對音樂教育更為重視，學校可以投放音樂訓

練的資源增加，參加這些項目的學校不再局限於傳統名校。音

樂節經過七十年的發展，曾獲獎的學校亦多不勝數，學生於此

的交流更為豐富。

而在這七十年間，相繼出現的有管樂比賽、樂隊、中樂獨奏、合

奏等。由比賽項目的演變，足以見到香港音樂的進程與發展。

為了紀念香港學校音樂節七十週年，第四台於9月一連五集回

顧其發展，希望透過節目與音樂界前輩、教育同工，亦有從學

生時代已參加，至今已成為音樂家的，一同回顧這歷史悠久的

學校音樂比賽，一起了解香港音樂教育的發展。

香港學校音樂節—回眸七十年由胡銘堯主持，逢星

期日早上10時於第四台播出。

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Prof. Lo King-man, producer and director of numerous opera productions in Hong Kong.

SEPTEMBER 2018 | FINE MUSIC | COLUMNS 專欄

Lo King-man

SUNDAY OPERASundays 2:00pm

Sunday Opera’s September listing consists of five important works, each a musical gem of its respective era: a brilliant opera buffa of

the bel canto period, a panoramic melodrama by an Italian genius, a lyrical masterpiece of Russian romanticism, a perverted biblical tale

of German expressionism, and an intensely emotional contemporary psychological drama.

▲ Sesto Bruscantini, bass

▲ Gösta Winbergh, tenor

▲ Montserrat Caballé, soprano

▲ Mirella Freni, soprano

▲ Leo Nucci, baritone

▲ Sherrill Milnes, baritone

2 September: Donizetti’s Don Pasquale

In a life of extraordinary productivity, Gaetano Donizetti (1797-1848) composed some 70

operas. A dozen of these still remain on top of the current international repertoire. He wrote

in the famous bel canto style, which glorifies the beauty of the human voice in mellifluous

melodies with florid coloratura embellishments and powerful dramatic expression. Following

a highly successful career in Italy, Donizetti achieved great international fame working in

Paris and Vienna during the last years of his life.

Don Pasquale, an opera buffa (comic opera) in three acts, is Donizetti’s 64th work for the

theatre, completed towards the end of his career in late 1842, allegedly in only 11 days,

not counting orchestration. It is one of the most enduringly popular comic operas in the

history of the art form. Giovanni Ruffini wrote the libretto, which was so drastically revised

by the composer that he refused to acknowledge its authorship when the opera was given

its premiere in Paris in January 1843.

Don Pasquale is an elderly wealthy bachelor who plans to arrange for his heir and nephew,

Ernesto, to marry a rich woman of noble birth. Ernesto rejects the plan because he is in

love with Norina, a poor young widow. Don Pasquale threatens to disinherit Ernesto and

drive him out of the house. He decides to get married himself to produce an heir, and asks

his personal physician Malatesta to find him a wife.

The doctor is a close friend of Ernesto and Norina, and the three plot together a scheme to

teach the old man a lesson by making him suffer the punishment of an outrageously absurd

fake marriage. The opera is full of farcical situations, delightful tunes, and hilarious humour.

The title role is interpreted by bass Sesto Bruscantini; Norina is portrayed by soprano Mirella Freni; Ernesto is sung by tenor Gösta Winbergh;

and Malatesta performed by baritone Leo Nucci. The Philharmonia Orchestra and the Ambrosian Opera Chorus give lively support under the

baton of Riccardo Muti.

9 September: Richard Strauss’ Salome

By the time Richard Strauss (1864-1949) started work on the composition of his

third opera Salome, he was already enjoying an international reputation as the

foremost avant-garde symphonic genius for his brilliant and complex tone poems

such as Don Juan, Till Eulenspiegels lustige Streiche, Also sprach Zarathustra,

and other epoch-making orchestral masterpieces.

Set to Oscar Wilde’s French play, translated into German by Hedwig Lachmann,

Salome was given its premiere at the Dresden Court Opera in December 1905.

It was a sensational success in terms of its technical mastery and dramatic

intensity. At the same time, it caused a scandal for its blatantly erotic treatment

of a biblical subject, with graphic description of Salome’s adolescent obsession

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with the physical attraction of Jochanaan (John the Baptist), her insistent attempts to seduce her object of perverted passion, her

voluptuous Dance of the Seven Veils, and the grisly fulfilment of her desire to kiss the mouth of the prophet’s severed head.

Our 1968 recording features the great Spanish soprano Montserrat Caballé in the title role, celebrated American baritone Sherrill

Milnes as Jochanaan the Baptist, Welsh tenor Richard Lewis as King Herod Antipas, and American mezzo-soprano Regina Resnik

as Queen Herodias. The London Symphony Orchestra performed under the musical direction of Austrian conductor Erich Leinsdorf.

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16 September: Previn’s A Streetcar Named Desire

André Previn (born 1929) is one of the world’s most versatile and successful living

musicians. He is equally acclaimed and admired for his achievements as concert

pianist, jazz performer, symphony conductor, and composer of both serious art music

and popular movie scores. Up to the present, he has received four Academy Awards

(Oscars) for his film music and five Grammy Awards for his classical recordings.

In 1995, Previn accepted a commission from the San Francisco Opera to compose a

work based on the landmark masterpiece of modern drama by Tennessee Williams,

A Streetcar Named Desire, winner of both the Pulitzer Prize and the New York

Drama Critics’ Circle Best Play award of 1948. The opera had its world premiere in

September 1998 with soprano Renée Fleming in the principal role of Blanche DuBois.

Previn composed the role especially with Fleming’s voice and artistry in mind.

23 September: Verdi’s La Forza del Destino

Composed on commission from the Imperial Theatre of St. Petersburg, La Forza del Destino (The Force

of Destiny), the 23rd of a total of 29 operas by Giuseppe Verdi (1813-1901), was given its premiere in

November 1862. The composer revised the work extensively and presented the new version at La Scala

Theatre of Milan in February 1869. This was an important event as it marked Verdi’s reconciliation with a

theatre in which he had not set foot in more than 20 years. His main complaint had been on the quality of

productions, and he returned only when the management guaranteed him absolute control over his works,

thus launching the final phase of his long and illustrious creative career.

The opera is set in Spain and Italy during the Spanish succession war in the 1700s.

Having failed in an attempt to elope with Leonora, Don Alvaro accidentally kills her father. Both lovers flee but

become separated. She takes refuge in a monastery and lives as a hermit in a mountain cave. Her brother

Carlo tries to track down the lovers in order to revenge his father’s death. Destiny brings them together and

leads the story to its tragic end.

In the role of Leonora is the legendary Greek soprano diva Maria Callas. Don Alvaro is sung by the famous

American tenor Richard Tucker, and Carlo by Italian baritone Carlo Tagliabue. The Chorus and Orchestra of

La Scala, Milan, give magnificent support under the inspired leadership of Tullio Serafin.▲ Poster image of Verdi’s La forza del

destino

▲ Renée Fleming, soprano ▲ Elizabeth Futral, soprano

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The libretto by Philip Littell is a skilful adaptation of the original play. Blanche arrives to stay with her sister in New Orleans. She is a woman

of fading good looks who tries to hide her distasteful past with pretensions to virtue and refinement, only thinly masking her alcoholism and

delusions. The insistent probing of Stanley, her brother-in-law, gradually uncovers the truth. The subsequent violent confrontation leads to

Blanche’s breakdown and confinement.

Complementing Fleming’s performance are soprano Elizabeth Futral as Blanche’s sister Stella, baritone Rodney Gilfry as Stanley, and tenor

Anthony Dean Griffey as Mitch. This live recording was made during the first performances at San Francisco Opera Orchestra, with composer

Previn on the conductor’s podium.

SEPTEMBER 2018 | FINE MUSIC | COLUMNS 專欄24

Another major conductor has lost his job following sexual harassment charges. The Chief Conductor of Royal Concertgebouw Orchestra (RCO), Daniele Gatti, was accused of sexual misconduct by two sopranos he has worked with. RCO issued a statement on 2 August, terminating the Italian maestro’s contract with immediate effect. “This has irreparably damaged the relationship of trust between the Orchestra and its Chief Conductor”, said in the statement. Recently, both James Levine, conductor emeritus of the Metropolitan Opera, and Charles Dutoit, Conductor Laureate of the Philadelphia Orchestra, also lost their positions on similar charges.

The scandal was first disclosed by the Washington Post on 26 July. Soprano Alicia Berneche and Jeanne-Michèle Charbonnet both reported that they had been kissed and groped by the conductor in 1996 and 2000 respectively. Since the news article was published, a few more female RCO colleagues also reported to the Orchestra the same unpleasant and inappropriate experiences with Gatti, which leads to the end of their partnership.

Gatti subsequently released a statement denying all the allegations. “All my life I have always been totally alien to any behaviour that may be referred to the term harassment, whether psychological or sexual,” he said. But he also sincerely apologises “if he had offended anyone”. RCO announces they would find replacements for Gatti for all planned concerts.

繼利雲和杜托華後，古典音樂界再有指揮捲入性醜聞。皇家阿姆斯特丹

音樂廳樂團總指揮加地被兩名女高音指控性騷擾。消息曝光後，樂團於

8月2日發表聲明，即時解僱這位意大利指揮，並表示事件破壞了相互之間的信任，關係已達到無可挽救的地步。

美國《華盛頓郵報》於7月26日率先披露這宗醜聞。女高音貝妮卓在報導中表示於1996年遭加地強吻及非禮，而另一位女高音夏邦妮則表示在2000年有過同樣不愉快的經歷。及後皇家阿姆斯特丹音樂廳樂團亦有多位女士不約而同地向樂團透露曾遭遇類似事件，令樂團最後決定終

止與加地的合作關係。

加地隨後發表聲明否認有關指控，認為自己與「騷擾」這個詞語沾不上

邊，不過他亦對所有感到冒犯的人真誠地致歉。皇家阿姆斯特丹音樂廳

樂團原定由加地指揮的音樂會將由其他指揮取代。

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Tune in to Artbeat every Saturday at noon for more arts happenings around town.

請收聽逢星期一至六黃昏6時的藝壇快訊，了解海外及城中最新的藝術資訊。

皇家阿姆斯特丹音樂廳

樂團總指揮加地

被控性騷擾遭解僱

Chief Conductor of Royal Concertgebouw Orchestra Daniele Gatti Fired Over

Sexual Harassment Allegations

Arts Happenings 藝壇快訊

Charles Chik 戚家榮

30 September: Tchaikovsky’s Eugene Onegin

One of the great achievements of Pyotr Ilyich

Tchaikovsky (1840-1893) and his best-known work

for the operatic stage, Yevgeny Onyegin (Eugene

Onegin) is based on a famous verse narrative

by Alexander Pushkin, with a libretto written by

the composer in collaboration with Konstantin

Shilovsky.

Completed in 1878, the opera tells the story of

a young aristocrat, well-educated, egoistical,

fashionable, and well-connected in high society, but

aimless in life and bored with the world in general,

who rejects the sincere affection of a simple country

girl of modest social status, only to find himself

passionately in love with her years later when she is

married to a nobleman of high ranking. She rejects

him, though she confesses that she still loves him.

Onegin is left to live a life of desolation and remorse.

Tchaikovsky’s score contains several extended

scenes which have long become concert favourites.

These include Tatyana’s letter scene, Onegin’s

rejection of Tatyana, Lensky’s tragic lament before

his fatal duel with Onegin, and the brilliant orchestral

waltz and polonaise.

In our 1993 recording, baritone Dmitri Hvorostovsky

in the title role leads a cast which includes soprano

Nuccia Focile as Tatyana, mezzo-soprano Olga

Borodina as her sister Olga, and tenor Neil Shicoff

as the poet Lensky. The St. Petersburg Chamber

Choir and Orchestre de Paris are conducted by

Semyon Bychkov.

▲ Dmitri Hvorostovsky, baritone

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逢星期六晚上10時播出的爵士靈感（英語節目），主持高爾文將帶大家穿越爵士樂的時空，從搖擺、咆哮、自由爵士至

九十年代的懷舊山地搖滾，並送上多位爵士樂名家的經典之作。

After the American Civil War, segregation — the insidious separation of blacks from whites into supposedly equal but factually very unequal places

and roles in society — gained momentum throughout both Southern and Northern states. Blacks could only work as servers or entertainers in white

clubs; they couldn’t play in white bands, nor could whites play in black bands. When black saxophonist Charlie Parker toured the South, his trumpeter

Red Rodney was forbidden to enter the clubs because he was white. Parker’s solution was to claim that Rodney was black, but albino. Rodney was

introduced and billed as ‘Albino Red’. More often segregation was insurmountable with tragic consequences — blues musician Blind Willie Johnson was

refused hospital treatment at a white hospital and died as a result. This inhumane treatment naturally led to deep feelings of resentment.


Jazz Expressing Inequality

Songs protesting inequality became an important part of the jazz genre — from

Billie Holiday’s haunting rendition of Strange Fruit to Fats Waller’s poignant

Black and Blue and Nina Simone’s furious Mississippi Goddam. This latter song

was so provocative that Simone’s career slumped badly in America, forcing her

to move to France. Another manifestation of that resentment was the creation

of bebop — a virtuosic music with odd rhythms and notes that Thelonious

Monk famously claimed whites couldn’t play. Amusingly, Monk, who had a

fiendish sense of humour, claimed that he’d intended the music to be called

bipbop, but the other musicians misheard him!

More Facets to Jazz

The schism between swing and bebop was only the first in an increasingly

multifaceted art form. Many of the new styles were created by a handful of

adventurous players with restless minds. Trumpeter Miles Davis, for example,

went from swing to bebop to cool jazz to electric jazz to modal jazz to third

stream within a few decades. This proliferation of styles was a manifestation

of the spirit of freedom inherent in jazz from its earliest days, and

reached its zenith in a style appropriately known as free jazz. Ornette

Coleman and Anthony Braxton rejected the conventions of traditional

jazz and focused on improvisation without pre-established chord

progressions, standard rhythm patterns, or even pre-composed

melodies. Free jazz was often indistinguishable from extremely

dissonant, avant-garde art music, and shared many of the same

approaches. But as jazz fractured into this plethora of styles, it also

declined in popularity, gradually being replaced by rock-and-roll and

pop music in the public imagination.

Loud Beats Simple

Ironically, this decline could never have happened had it not been for

an invention specifically created for the big band — amplification. In

the early days of jazz, a guitar or banjo part was usually very simple

— strummed chords in a simple rhythm — and could easily be heard

in the context of a small group instruments. Singers had no trouble

competing with the volume of the combo. But as clubs demanded

larger bands, singers and acoustic guitars simply couldn’t be heard.

Amplification was the solution but it led to the economically viable

basis of rock — loud sounds played by fewer people. By the 70s,

jazz in America had all but died commercially. The few remaining

big bands played high school gymnasiums to small crowds, record

companies issued fewer records, radio stations turned to rock, and

jazz clubs across the country closed. Jazzers looked to the music

that eclipsed their own for survival, and created jazz rock and jazz

fusion; smooth jazz blended jazz with pop music. A revival in the

90’s brought retro-swing rockabilly/jazz groups like Big Bad Voodoo

Daddies and Squirrel Nut Zippers to national attention, but jazz has

not yet been able to recover its popularity. Nevertheless, there is

something enduring about jazz and the spirit of freedom it embodies.

If George Lucas is to be believed, it will be with us forever, even

played by bug-eyed aliens in cantinas at the far ends of the galaxy.

Christopher Coleman 高爾文Saturdays 10:00pm

▲ Pianist Thelonious Monk in a distinct look with suit, hat, and sunglasses

▲ Charlie Parker claimed trumpeter Red Rodney was ‘black’, but albino

27

多位第四台主持分別邀請兩位嘉賓，就特定主題暢所欲言，讓大家在音符之間，悠然增值。

談天論樂逢星期一晚上8時正

▲ 戚家榮▲ 葉朗年▲ 嚴振邦

24/9 藝術節目「買手」主持：林家琦嘉賓:梁掌瑋、楊芷蘭

每個藝團都有節目部，當然就是為該團訂定節目。這些表演製作有的是原

創，有的是外購。然而，這些節目部的買手在製定節目時可有什麼考量？

如何估算或滿足市場要求？在呈現節目時可有政治考慮？節目中請來兩位

節目部巨頭：康樂及文化事務署助理署長（演藝）楊芷蘭和香港藝術節節

目總監梁掌瑋，與聽眾解構當藝術節目買手的點點滴滴。

3 / 9 香港人的音樂路主持：凌崎偵嘉賓:葉詠詩、伍卓賢

香港小交響樂團音樂總監葉詠詩出生於音樂家庭，曾遠赴英美兩地著名音樂學府修

讀演奏和指揮。自1986年學成回港至今，她一直專注樂團指揮。音樂創作人伍卓賢

是fusion(融合)組合SIU2的笙演奏家。多年來，他經常與樂團、舞蹈團以及劇團等

藝術團體，以不同形式搭檔演出。

不少人認為香港的藝術發展空間狹窄，靠做音樂為生是不可能的事。今集就讓兩位

嘉賓現身說法，談談他們如何走出一條香港人的音樂路。

▲ 余達心 ▲ 蕭樹勝

▲ 伍卓賢、凌崎偵與葉詠詩

▲ 李德芬


▲ 林家琦▲ 梁掌瑋 ▲ 楊芷蘭

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10/9 解構「音哲」主持：戚家榮嘉賓：嚴振邦、葉朗年

音樂與哲學看似「河水不犯井水」，其實息息相關。數千年前，古希臘哲

學家柏拉圖與亞里士多德已開始研究音樂與人類情感的關係。哲學家叔本

華的《意志與表象的世界》影響了華格納創作歌劇；在尼采筆下亦啟發出

多首藝術歌曲和鋼琴作品。

究竟在哲學上如何討論音樂？作曲家又如何表達哲學思想？「好青年荼毒

室」（哲學部）編輯嚴振邦和香港中文大學哲學系碩士生及樂評人葉朗

年，將在節目中拆解兩者千絲萬縷的關係。

17/9 從《聖經》看苦難主持：李德芬嘉賓:余達心、蕭樹勝

中國人一向忌諱不吉利的字眼，不少人希望所信奉的宗教能夠保佑他們一

生順利，免除苦難。然而，環觀四週，苦難似乎是無所幸免的，而且人人

所遇到的苦難都不一樣。本集節目，邀得前中國神學研究院院長余達心

和第四台台長蕭樹勝，一起探討《聖經》對苦難的傳釋，並透過相應的音

樂，介紹藝術家如何描寫他們眼中《聖經》的苦難。

31


第二部份中西文化交匯的花果

第二至四集：中國內地1949年至二十一世紀初

創作取材重要來源之一是民歌，其次結合了國家

政治任務的創作，再其次才是傳統古詩詞。有

不少出色的民歌改編曲，如〈牧歌〉、〈阿拉木汗〉、

〈小河淌水〉等；創作歌曲如〈我的祖國〉、

〈英雄們戰勝了大渡河〉、〈森林啊！綠色的海

洋〉、〈黃浦江頌〉等，至於古典詩詞代表作首推

〈陽關三疊〉。六十年代中的文革時期，創作的政

治任務壓倒一切，革命樣板戲幾乎是音樂舞台上的全

部，只有少數作品如〈毛澤東詩詞合唱〉、〈長征組

曲〉之類能存在。直到四人幫倒台，1978年改革開放，生活、創作才漸漸回到較正確的軌道上。八十年

代後期音樂創作活潑、多樣而豐富起來，瞿希賢、黎

英海的民歌合唱、其他創作如陸在易的〈雨後彩虹〉、

金湘的〈詩經五首〉再次展現如五十年代初年的花繁

果纍。另一支奇兵突起是蒙古的創作如〈八駿贊〉，

更具民族特色。

至於第二部份的第四集「寶島台灣的合唱」和第三部

份「南邊疆上的奇花異果─香港的合唱創作」（分兩

選集）和第四部份「本色與原創的聖頌」則於10月份播出。

逢星期五下午3時正

現代意義的中國合唱來自西方─尤其是基督教的影響。

由基督教傳教士聖詩頌唱教育，至後來學堂樂歌，到抗戰群眾歌曲至合唱花果，見到長足的進展。

In a new episode of Music from China (Cantonese programme), Chiang Wai-man covers Chinese choral music. As we understand today, it came from western influences such as Christian hymns and anthems. The programme consists of eight episodes divided into four parts.

Part 1: Choral music coming from the WestIn 19th century, Christian missionaries came to China and brought along hymns. In 1930s, the Japanese invasion instigated the boom of mass choral singing among Chinese against Japanese invasion. First fruits of choral composition emerged.

Part 2: Cultural interflow when East meets WestChinese choral music in mainland China: from 1949 to early 21st century

Three main sources of materials are found in this period: folksongs, classical poetry, and patriotic compositions with strong political influence.

Details of Parts 3 and 4 will be included in October FM.

Tune in every Friday at 3pm for an anthology of Chinese choral music.

第一部份合唱文化自西徂東

第一集：最早期的合唱創作

基督教早於唐朝已傳中土，輾轉到明清間，天主教與基督新教才逐

漸普遍傳播及影響中國社會、教育、文化和生活。1843年五口通商，西教士大舉來華，在各地傳教，並以方言詩教導信眾和傳福

音；傳教士辦學，引進西方教育，教導學生聖詩與音樂；1880至1904年間，登州文會館（山東齊魯大學前身）傳教士夫人狄就烈(Julia Brown Mateer)教導學生五線譜，以及創作包括合唱等歌曲 ─這可能是最早的合唱創作，十九世紀末還有福州客語詩歌〈月季花〉。

而配合國家的新教育制度，創作學堂樂歌及最早一批合唱者，要算是

沈心工、李叔同等人。然而，合唱初熟之果則推趙元任的〈海韻〉，

其後則有黃自的〈長恨歌〉。日本侵華也竟然造就了群眾合唱的發

展，大量抗日歌曲應運而生，最具代表性的是冼星海的《黃河大合

唱》。整體而言，這時期的創作水平、題材都有待提高和拓展。

▲ 1864年在中國的傳教士夫人狄就烈 (Julia Brown Mateer)

▲ 位於廣州的冼星海墓

Chiang Wai-man 蔣慧民

節目分四個部份，共八集：

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www.finemusic.org.hk

Friends of Radio 4 Society Limited第四台之友協會有限公司

會籍年費 Annual Membership Fee

個人會員 Individual Member : HK$120家庭會員Family Member : HK$150半費會員Concession Member : HK$60

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Friends’ Exclusive Benefits•《美樂集》郵寄至府上•各大琴行及種種不同的優惠•優先獲得指定的第四台音樂會門券•參加第四台之友特備活動

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Please allow 3 weeks for processing of membership and 5 weeks for delivery on the first issue of Fine Music. 會員證將於三星期內寄到府上；而第一期《美樂集》將於五星期內郵寄至閣下地址。

「第四台之友協會」會員購買以下演奏會門票，可享九折優惠。Members of ‘Friends of Radio 4’ can enjoy 10 % discount on the following concert tickets.

Concert: Atmospheric Music Theatre by Law Wing-fai - Tranquil as a Chrysanthemum 演奏會：羅永暉「意境音樂劇場」─人淡如菊

Date 日期 : 24-26 / 10 / 2018Time 時間 : 8 pmVenue 地點 : Theatre, Hong Kong City Hall 香港大會堂劇院

Concert: Bel Canto Singers presents - Xu Zhimo & Schubert’s “Schwanengesang” 演奏會：美聲匯主辦─徐志摩及舒伯特的《天鵝之歌》

Date 日期 : 24 / 10 / 2018 (Mon)Time 時間 : 8:30 pmVenue 地點 : Theatre, Hong Kong City Hall 香港大會堂劇院

Livia Lin and a group of music critics guide you through some of the most interesting new releases to keep you in touch with

the latest in fine music recordings. The segments are also available on Radio 4’s website for streaming: rthk.hk/radio4

凌崎偵和多位樂評人在「碟碟不休」中，為你介紹最新推出的影音製作。環節更可於網上重溫：rthk.hk/radio4

Livia Lin 凌崎偵

Monday and Friday 5:30pm 逢星期一及五下午5時30分

3 SEP

14 SEP

24 SEP

10 SEP7 SEP

21 SEP17 SEP

1 OCT28 SEP

SEPTEMBER 2018 | FINE MUSIC | COLUMNS 專欄 37

Date 日期 Highlights 重點推介

4/9(Tue 二)8:00pm

5/9(Wed 三)8:00pm

10/9(Mon 一) 2:00pm

Repeat 重播

14/9(Fri 五)8:00pm

LIVE 現場直播

19/9(Wed 三) 2:00pm

Repeat 重播

音樂會轉播精選 HIGHLIGHTS OF CONCERT BROADCASTS

▲ Michael Tilson Thomas, Music Director 音樂總監：狄遜‧湯馬士

▲Edo de Waart, conductor 指揮：迪華特

▲ Yuri Temirkanov, conductor 指揮：坦美卡諾夫

▲ Denis Matsuev, piano 鋼琴：馬祖耶夫

▲ Leonidas Kavakos, violin 小提琴：卡伐確斯

▲Timothy McAllister, saxophone

薩克管：麥雅利斯達

Michael Tilson Thomas and Leonidas KavakosThe San Francisco Symphony and its Music Director Michael Tilson Thomas engage in a season-long symphonic cycle of Schumann’s four symphonies, all of which will be broadcast for Radio 4’s listeners this month. Blossoming with robust energy, the Third Symphony, ‘Rhenish’, opens the cycle. The programme also features Sibelius’ The Swan of Tuonela and his beloved Violin Concerto, performed by the internationally sought-after violinist Leonidas Kavakos.

Edo De Waart | John Adams and BrahmsThe former Artistic Director of the Hong Kong Philharmonic, Edo De Waart, once again takes the stage with the Orchestra with Brahms’ radiant Symphony No. 2. Joining him is Timothy McAllister, ‘one of the foremost saxophonists of his generation’ (New York Times), in John Adams’ show-stopping Saxophone Concerto, a jazz-inspired work written for and given its premiere by him in 2013.

Gohrisch International Shostakovich Days

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迪華特 | 亞當斯與布拉姆斯

香港管弦樂團前藝術總監迪華特重臨港樂舞台，指揮布拉姆斯明麗怡人的第二交響曲。專程亮相的還有《紐約

時報》讚譽為「當今最頂尖的薩克管演奏家之一」的麥雅利斯達，將帶來亞當斯令樂迷拍案叫絕的薩克管協奏

曲。此作品由爵士樂啟發，特為麥雅利斯達而寫，2013年首演正是由他獨奏。

戈里施國際蕭斯達高維契音樂節

1960及1972年，蕭斯達高維契曾兩度造訪德累斯頓東南面名為戈里施的小鎮。現在的戈里施每年均舉辦國際蕭斯達高維契音樂節，藉此紀念這位作曲家。今年的音樂節前夕，德累斯頓國家愛樂樂團和指揮坦美卡諾夫率先送上

一場全蕭斯達高維契節目，演奏〈節日序曲〉、第五交響曲，並聯同樂團首席小號手富克斯和首屈一指的俄羅斯

鋼琴家馬祖耶夫，帶來C小調鋼琴、小號與弦樂團協奏曲。

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狄遜•湯馬士與卡伐確斯

三藩市交響樂團與音樂總監狄遜•湯馬士，以整個樂季探索舒曼全部四首交響曲。本月第四台將為聽眾全數送上該四場音樂會。首先登場是煥發著旺盛能量的第三交響曲「萊茵」，同場亦有西貝流士〈圖翁內拉的天鵝〉，以

及由炙手可熱的小提琴家卡伐確斯，演奏西貝流士最受歡迎的小提琴協奏曲。

In 1960 and 1972, Shostakovich twice visited a small commune southeast of Dresden called Gohrisch, which has become the place for the annual International Shostakovich Days. On the eve of the music festival this year, Yuri Temirkanov conducts the Staatskapelle Dresden in an all-Shostakovich programme including Festive Overture, Symphony No. 5, and Concerto for Piano, Trumpet and String Orchestra in C minor, with the Orchestra’s Principal Trumpet Helmut Fuchs and one of the world’s leading Russian pianists, Denis Matsuev.

SEPTEMBER 2018 | FINE MUSIC | COLUMNS 專欄 39

Date 日期 Highlights 重點推介

27/9(Thu 四)8:00pm

2/10(Tue 二) 2:00pm

Repeat 重播

Mon - Fri 星期一至五 : 7:55am, 12:55pm, 7:55pmWeekends 週末 : 9:55am, 4:55pm, 7:55pm

– be in touch in 3 minutes — 三分鐘錦囊

Topic 內容 Host 主持

Mon : Jazz, Blues, and Broadway Christopher Coleman

Tue : G ramophone Classical Music Awards Livia Lin

星期三 :大地之歌林詠璋

星期四 :今日話當年馬盈盈

Fri : The Golden Voices Lo King-man

星期六 :碟碟不休胡銘堯

星期日 :樂在神州蔣慧民

Lenzburgiade

Taking place in the Lenzburg Castle, one of the oldest castles of Switzerland, this concert from the music festival Lenzburgiade centres on the acclaimed multi-percussionist Martin Grubinger and his family and friends. Together with his percussionist father Martin Grubinger, Sr.; his wife, pianist Ferzan Önder; her twin sister, Ferhan Önder; along with fellow percussionist Alexander Georgiev, they bring forth a mesmerising evening of music by Steve Reich, Fazil Say, and Tan Dun.


▲ Martin Grubinger, percussion

敲擊樂：葛魯賓格

▲ Ferhan and Ferzan Önder, piano duo

鋼琴二重奏：菲珊‧安達、菲漢‧安達

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林茲堡音樂節

這場音樂會在瑞士其中一座最古老的林茲堡城堡舉行。主角是載譽全球的敲擊樂奇才葛魯賓格，以及他的

一眾家人朋友，包括與他同名的父親、鋼琴家妻子菲珊•安達和孿生姊妹菲漢•安達，還有敲擊樂同行佐治亞夫，一同在台上合奏萊爾、薩爾和譚盾的音樂，樂也融融，呈獻魅力非凡的「擊情」之夜。

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Monday星期一

Tuesday星期二

Wednesday星期三

Thursday星期四

Friday星期五

Saturday星期六

Sunday星期日

Morning Call with Stacey Rodda清晨妙韻盧廸思

In Touch with Music程迷古典Colin Touchin 杜程

Sunday Morningon 4 週日早晨Rachel Lai 黎慧因

Minutes That Matter

Non-stop Classics美樂無休

Stacey Rodda/Ben Pelletier盧廸思/彭禮傑

Play by Ear 週末隨想Synthia Ko高德儀

Hong Kong Schools Music Festival The Platinum Anniversary香港學校音樂節回眸七十年

Dennis Wu 胡銘堯

Church Service主日崇拜

Artbeat Stacey Rodda盧廸思

Songs of the Earth 大地之歌

Lam Wing-cheong 林詠璋

News at One

Music à la Carte (Tue ﹠ Thu : Chinese Music) 午間精點(星期二及四：中樂篇)Tina Ma/Daphne Lee/Charles Chik 馬盈盈/李德芬/戚家榮

Live on 4 第四台音樂會(Repeat重播)

Youth in Harmony音符出少年(Repeat重播)

Next Stop is R4下一站…四台

Prudence Lee/Halo Lau 李顯瑜/劉梓熙

Sunday Opera歌劇世界Lo King-man盧景文

Alex Tam 譚天樂

(1st Sunday 首個週日）

(1st b/c: Wed)(首播：星期三)

(1st b/c: Thu)(首播：星期四)

(1st b/c: Fri)(首播：星期五)

(1st b/c: Sat)(首播：星期六)

Music from China樂在神州

Chiang Wai-man蔣慧民

Four for Classics with Livia Lin 四時行樂凌崎偵

All or Nothing情有獨鍾

Phil Whelan/Tina Ma Phil Whelan/馬盈盈

Children’s Corner親親童樂日

Nancy Loo羅乃新New Releases (Mon ﹠ Fri)碟碟不休(星期一及五)

News at Six Arts News 藝壇快訊

Tunes to Remember人約黃昏後

Emma Liu廖碧楨

Jazz and more... with Kathy Lam 不太古典林家琦

All or Nothing情有獨鍾

Cantilena自投羅網

Nancy Loo羅乃新

Musical Exchange談天論樂

Live on 4 第四台音樂會

Youth in Harmony音符出少年

Sunday Divertimento星夜樂逍遙

Wendy Ng伍穎文

Presenters’ Choice 美樂同行 Jazzing Up 爵士靈感

Christopher Coleman 高爾文

Historical Recordings 歷史錄音

Tina Ma 馬盈盈

Early Music 早期音樂

Calvin Lai 賴建群

Keyboard Music 鍵盤音樂

Daphne Lee 李德芬

Chamber Music 室樂

Raymond Chung 鍾子豪

Original Soundtrack 電影原聲配樂

Charles Chik 戚家榮

BBC World Service(Relay) 英國廣播公司國際頻道(轉播)

7:00am

8:00am

9:00am

10:00am

11:00am

12:00pm

1:00pm

2:00pm

3:00pm

4:00pm

5:00pm

6:00pm

7:00pm

8:00pm

9:00pm

10:00pm

11:00pm

7:00amBilingual雙語B Cantonese粵語C English英語E

Music for All適合所有樂迷

Music Exploration擴闊音樂領域

Concerts音樂會時段

Artnews藝術資訊

Education教育節目

Religion宗教節目

News新聞

* Reflections 晚禱Mon-Fri (星期一至五)10:56pm

RTHK Radio 4 香港電台第四台 FM Stereo 97.6-98.9MHz http://www.rthk.org.hk

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SEPTEMBER 2018 | FINE MUSIC | MAIN PROGRAMME CHART 節目時間表 43

SEPTEMBER 2018 | FINE MUSIC | PROGRAMME HIGHLIGHTS 節目精華 47

8:00pm LIVE ON 4 第四台音樂會

Leonidas Kavakos (v)San Francisco Sym. Orch. / Michael Tilson ThomasSibelius: The Swan of Tuonela, Op. 22 9’ Violin Concerto in D minor, Op. 47 34’Schumann: Symphony No. 3 in E flat, Op. 97, ‘Rhenish’ 37’

RecordedatLouiseDaviesSymphonyHall,SanFranciscoon

8/11/2015.

卡伐確斯（小提琴）

三藩市交響樂團/狄遜‧湯馬士

西貝流士：圖翁內拉的天鵝，作品22

D小調小提琴協奏曲，作品47

舒曼：降E大調第三交響曲，作品97，

「萊茵」

2015年11月8日三藩市路易斯戴維斯交響音樂廳

錄音。

5/9/2018(Wed星期三)2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）

Live at the WigmoreWolfgang Redik (v)Matthias Gredler (vc)Stefan Mendl (p)Haydn: Trio in E flat, Hob.XV:30 15’Schumann: Trio No. 1 in D minor, Op. 63 31’

RecordedatWigmoreHall,London,on31/5/2010.

威格摩音樂廳的迴響

雷迪（小提琴）

格列拿（大提琴）

門度（鋼琴）

海頓：降E大調三重奏，Hob.XV:30

舒曼：D小調第一三重奏，作品63

2010年5月31日倫敦威格摩音樂廳錄音。


Gohrisch International Shostakovich DaysDenis Matsuev (p)Helmut Fuchs (tr)Dresden Staatskapelle / Yuri TemirkanovShostakovich: Festive Overture, Op. 96 6’ Concerto for Piano, Trumpet and String Orchestra No. 1 in C minor, Op. 35 25’ Symphony No. 5 in D minor, Op. 47 45’

RecordedatSemperoper,Dresden,on21/6/2018.

1/9/2018(Sat星期六)8:00pm LIVE ON 4 第四台音樂會

Michael Collins (basset cl)BBC Sym. Orch. / Osmo VänskäBeethoven: Egmont Overture, Op. 84 8’Mozart: Clarinet Concerto in A, K. 622 16’Delius: Eventyr (Once Upon a Time) 15’Nielsen: Symphony No. 5 35’

RecordedattheRoyalAlbertHall,London,on20/8/2012.

米高‧歌連斯（巴塞單簧管）

英國廣播公司交響樂團/梵士奇

貝多芬:艾格蒙序曲，作品84

莫扎特:A大調單簧管協奏曲，K.622

戴流士:從前

尼爾遜:第五交響曲

2012年8月20日倫敦皇家阿爾拔音樂廳錄音。

2/9/2018(Sun星期日)2:00pm SUNDAY OPERA 歌劇世界Donizetti: Don Pasquale 122’Don Pasquale: Sesto Bruscantini (b)Norina: Mirella Freni (s)Ernesto: Gösta Winbergh (t)Dottor Malatesta: Leo Nucci (br)Ambrosian Opera Cho.Philharmonia Orch. / Riccardo Muti唐尼采第：唐帕斯夸萊

唐帕斯夸萊：布魯斯格天尼（男低音）

諾蓮拿：費蘭妮（女高音）

艾尼斯圖：溫伯（男高音）

馬拉鐵斯達醫生：奴西（男中音）

亞布斯安歌劇院合唱團

愛樂樂團/慕迪

8:00pm YOUTH IN HARMONY 音符出少年

Moran Singers Ensemble / Guy PelcYehezkel Braun arr.: Dror YikraZarai & Wiesenberg: Uzziah Built TowersBdil: Let Them be RememberedDalal & Bat: Zaman AsalamVarious: Songs in Yiddish and LadinoShachar: An Old HutShemar & Bat: A Serenade to YouNini & Dor (Cohen arr.): Mizmor Layla

Presented by World Youth and Children Choral

Artists’ Association and Hong Kong Treble Choirs’Association. Recorded at Sha Tin TownHall Auditorium

on17/7/2018.

以色列莫蘭合唱團/佩爾克布勞恩改編：自由的呼聲澤萊及維森伯格：烏西雅建築城樓比刁：永遠銘記他們達拉爾及拜特：和平年代多位作曲家：意第緒語和拉迪諾語歌曲沙查爾：舊棚屋撒碼及拜特：送給你的小夜曲尼尼及吉爾多（科恩改編）：歌頌夜晚

世界青少年合唱藝術家協會有限公司及香港童聲合唱協會主辦。2018年7月17日沙田大會堂演奏廳錄音。

3/9/2018(Mon星期一)2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Eva Steinaa (ob)Danish Nat. Sym. Orch. / Fabio LuisiR. Strauss: Oboe Concerto 27’Bruckner: Symphony No. 7 in E 72’

RecordedatConcertHall,DanishRadioConcertHouse,Co-

penhagen,on22/4/2018.

史坦娜（雙簧管）丹麥國家交響樂團/路易斯李察‧史特勞斯：雙簧管協奏曲布魯克納：E大調第七交響曲

2018年4月22日哥本哈根丹麥電台音樂廳錄音。

4/9/2018(Tue星期二)2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播） Chiemgau Spring Music FestivalTango Fever Ch. EnsembleNisinman: Hombre Tango 4’ Argentinos a Europa 4’ Daniel’s Tango 11’Tarantino: Ciudad triste 5’Piazzolla: Oblivion 10’Piazzolla (Nisinman arr.): Adiós Nonino 11’Milhaud: La Création du monde 20’Mendizábal (Nisinman arr.): El Entrerriano 3’Schulhoff: Tempo di Fox à la Hawaii, Boston, Tango, and Shimmy-Jazz from ‘Jazz-like – Partita for Piano’

Recorded at Auditorium, Annette-Kolb Gymnasium,

Traunstein,on17/6/2018.

莘姆歐春季音樂節探戈熱室樂合奏團尼仙曼：熱愛探戈阿根廷人到歐洲丹尼爾的探戈他蘭天奴：悲傷的城市皮亞蘇拉：遺忘皮亞蘇拉（尼仙曼改編）：父親再見米堯：世界之創造門迪沙巴（尼仙曼改編）：恩特雷里奥斯人舒爾荷夫：夏威夷狐狸的節拍、波士頓、探戈與搖擺爵士樂，選自「爵士風鋼琴組曲」

2018年6月17日特勞恩施泰安妮特科爾布體育館演奏廳錄音。

節目精華Programme Highlights

戈里施國際蕭斯達高維契音樂節馬祖耶夫（鋼琴）富克斯（小號）德累斯頓國家愛樂樂團/坦美卡諾夫蕭斯達高維契：節日序曲，作品96 為鋼琴、小號與弦樂團寫的 C小調第一協奏曲，作品35 D小調第五交響曲，作品47

2018年6月21日德累斯杉佩爾歌劇院錄音。

6/9/2018(Thu星期四)2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 1/9/2018, 8:00pm節目與2018年9月1日晚上8時相同

8:00pm LIVE ON 4 第四台音樂會Liszt Festival RaidingBoris Giltburg (p)Liszt: 12 Études d’exécution transcendanteRachmaninov: Etudes-Tableaux, Op. 39

RecordedatConcertHall,Raiding,on16/6/2018.

萊丁李斯特音樂節驕德堡（鋼琴）李斯特：十二首超技練習曲拉赫曼尼諾夫：圖畫練習曲，作品39

2018年6月16日萊丁音樂廳錄音。

7/9/2018(Fri星期五)2:00pm YOUTH IN HARMONY (REPEAT) 音符出少年（重播）Prog. as 2/9/2018, 8:00pm節目與2018年9月2日晚上8時相同

8:00pm LIVE ON 4 第四台音樂會BBC Proms 2014 Lise Berthaud (va)BBC Sym. Orch. / Andrew LittonVaughan Williams: Fantasia on Greensleeves 5’ Symphony No. 4 in F minor 34’Birtwistle: Exody 28’Walton: Viola Concerto 25’

RecordedatRoyalAlbertHall,London,on10/9/2014.

Boris Giltburg 驕德堡

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8:00pm LIVE ON 4 第四台音樂會Laura Claycomb (s)San Francisco Sym. Orch. / Michael Tilson ThomasR. Strauss: Serenade in E flat, Op. 7 10’ Brentano Lieder, Op. 68 18’Schumann: Symphony No. 1 in B flat, Op. 38, ‘Spring’ 34’

Recorded at Louise Davies Symphony Hall, San Francisco, on

15/11/2015.

卡利金寶(女高音)三藩市交響樂團/狄遜‧湯馬士李察‧史特勞斯：降E大調小夜曲，作品7 貝林坦奴歌曲，作品68舒曼：降B大調第一交響曲，作品38，「春天」

2015年11月15日三藩市路易斯戴維斯交響音樂廳錄音。

12/9/2018(Wed星期三)2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 7/9/2018, 8:00pm節目與2018年9月7日晚上8時相同

8:00pm LIVE ON 4 第四台音樂會Ruhr Piano FestivalYuja Wang (p)WDR Sym. Orch. / Jakub HrůšaProkofiev: Piano Concerto No. 5 in G, Op. 55 22’R. Strauss: Ein Heldenleben, Op. 40 48’

RecordedatPhilharmonie,Essen,on16/6/2018.

魯以鋼琴音樂節王羽佳（鋼琴）西德電台交響樂團/哈魯沙浦羅歌菲夫：G大調第五鋼琴協奏曲，作品55李察‧史特勞斯：英雄的一生，作品40

2018年6月16日埃森愛樂音樂廳錄音。

13/9/2018(Thu星期四)2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 8/9/2018, 8:00pm目與2018年9月8日晚上8時相同

Yuja Wang 王羽佳

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英國廣播公司逍遙音樂節2014

貝桃（中提琴）

英國廣播公司交響樂團/李頓

佛漢威廉士：綠袖子幻想曲

F小調第四交響曲

布特維素：流亡

華爾頓：中提琴協奏曲

2014年9月10日倫敦皇家亞爾拔音樂廳錄音。


BBC Proms 2007European Union Youth Orch. / Colin DavisBrahms: Tragic Overture, Op. 81 14’ Symphony No. 3 in F, Op. 90 38’Sibelius: Symphony No. 5 in E flat, Op. 82 32’



歐洲聯盟青年樂團/哥連‧戴維斯

布拉姆斯：悲劇序曲，作品81

F大調第三交響曲，作品90

西貝流士：降E大調第五交響曲，作品82


9/9/2018(Sun星期日)2:00pm SUNDAY OPERA 歌劇世界R. Strauss: Salome 100’Salome: Montserrat Caballé (s)Jochanaan: Sherrill Milnes (br)Herodes: Richard Lewis (t)Herodias: Regina Resnik (ms)London Sym. Orch. / Erich Leinsdort李察‧史特勞斯：莎樂美

莎樂美：卡芭兒（女高音）

約翰：米爾士（男中音）

希律王：利維士（男高音）

希羅迪亞：利斯尼克（女中音）

倫敦交響樂團/萊恩斯托

8:00pm YOUTH IN HARMONY 音符出少年Wah Yan College Kowloon Boys’ Cho. / Chan Ka-hei LesleyCantoría Hong Kong / John WinzenburgTsang Chiu-in, Chan Yan-yi Crystal (p)Lasso: Bon jour, mon coeurChan Ka-hei Lesley: A love story in the wartime capital cityTormis: Incantatio maris aestuosiHideki Chihara: Aka aka ya (O bright)Kodály: HusztChan Kai-young: Two Cantonese PiecesChan Hing-yan: Quotation of QueriesPoulenc: Chansons Françaises

Presented by HKBU Department of Music. Recorded at

HongKongBaptistUniversityACHallon14/7/2018.

九龍華仁書院男聲合唱團/陳家㬢

CantoríaHongKong/文盛伯曾昭妍、陳恩怡（鋼琴）

拉素：你好，我的心

陳家㬢：亂都之戀

托爾米斯：怒海咒語

千原英喜：噢，明亮

高大宜：廢墟

陳啟揚：兩首廣東話歌

陳慶恩：蘇問

浦朗克：法國歌曲

香港浸會大學音樂系主辦。2018年7月14日香港

浸會大學大學會堂錄音。

10/9/2018(Mon星期一)2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）

Prog. as 5/9/2018, 8:00pm節目與2018年9月5日晚上8時相同

11/9/2018(Tue星期二)2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播） Prog. as 6/9/2018, 8:00pm節目與2018年9月6日晚上8時相同

Lise Berthaud 貝桃

Andrew Litton 李頓

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LIFE Victoria, Barcelona 2017Elena Mateo, Carolyn Sampson (s)Estitxu Sistiaga, Joseph Middleton (p)Wagner: ‘Träume’ and ‘Im Treibhaus’ from ‘Wesendonck Lieder’ 9’Respighi: ‘I Fauni’, ‘Egle’ and ‘Crepuscolo’ from ‘Deità silvane’ 9’Britten: ‘The Nightingale and the Rose’ from ‘The Poet’s Echo’ 4’Gounod: Le temps des roses 2’Fauré: Les roses d’Ispahan, Op. 39, No. 4 3’R. Strauss: Das Rosenband, Op. 36, No. 1 3’and more

Recorded at Chapel of Santa Àgata, Barcelona,

on9/11/2017.

巴塞隆娜維多利亞音樂會系列2017

瑪蒂奧、辛普森（女高音）

西斯提亞高、美道頓（鋼琴）

華格納：「夢」及「在暖房裡」，

選自《威森東克歌曲》

雷史碧基：「牧神」、「埃格勒」及

「黄昏」，選自《森林之神》

布烈頓：「夜鶯與玫瑰」，

選自《詩人的迴音》

古諾：玫瑰之時

佛瑞：佩斯帕罕的玫瑰，作品39，第四首

李察‧史特勞斯：玫瑰花帶，作品36，第一首

及更多

2017年11月9日巴塞隆娜聖亞加他禮拜堂錄音。



Edo de Waart | John Adams and BrahmsTimothy McAllister (sx)Hong Kong Phil. / Edo de WaartRossini: William Tell OvertureJohn Adams: Saxophone ConcertoBrahms: Symphony No. 2 in D, Op. 73

Presented by Hong Kong Philharmonic Society.

LivefromHongKongCulturalCentreConcertHall.

迪華特 l 亞當斯與布拉姆斯麥雅利斯達（薩克管）

香港管弦樂團/迪華特

羅西尼：《威廉‧泰爾》序曲

亞當斯：薩克管協奏曲

布拉姆斯：D大調第二交響曲，作品73

香港管弦協會主辦。香港文化中心音樂廳現場

直播。


劉承皓（鋼琴）

陳天姿（古箏）

香港演藝學院演藝交響樂團/蔡敏德

陳哲：蒼歌引

莫扎特：C小調第二十四鋼琴協奏曲，K.491

蘇浩慈：無線電對話

演藝交響樂團主辦。2018年6月15日演藝音樂廳

錄音。





Inon Barnatan (p)San Francisco Sym. Orch. / Michael Tilson ThomasCopland: Orchestral Variations 13’ Inscape 16’Schumann: Symphony No. 2 in C, Op. 61 40’

RecordedatLouiseDaviesSymphonyHall,SanFrancisco,on

27/3/2016.

巴拿坦（鋼琴）


柯普蘭：管弦樂變奏曲

構成要素

舒曼：C大調第二交響曲，作品61


錄音。




Kissinger SommerJoseph Calleja (t)Munich Radio Orch. / Ramón TebarVerdi: Overture to ‘Nabucco’ 7’ ‘O figli…Ah, la paterna mano’ and ‘Ballo’ from ‘Macbeth’ 13’ ‘O fede negar…Quando le sere…’ from ‘Luisa Miller’ 5’ ‘Ah si, ben mio…’ from ‘Il Trovatore’ 3’Puccini: Intermezzo from ‘Manon Lescaut’ 5’ ‘E lucevan le stelle’ from ‘Tosca’ 3’Cilea: ‘È la solita storia del pastore’ from ‘L’ arlesiana’ 4’Offenbach: Barcarolle from ‘Les contes d’Hoffmann’ 3’

Recorded at Max Littmann Hall, Bad Kissingeno,

on24/6/2018.

基昇雅夏季音樂節

卡利亞（男高音）

慕尼黑電台樂團/堤巴

威爾第：《那布哥》序曲

「噢孩子⋯呀，父親的手」及

「舞會」，選自《麥克白》

「我不相信⋯當夜晚到了⋯」，

選自《魯伊莎‧米勒》

「對，親愛的」，選自《遊吟武士》

浦契尼：《曼儂‧雷斯高》間奏曲

「星光燦爛」，選自《托斯卡》

齊里亞：「這是平常的牧羊故事」，

選自《阿萊城姑娘》

奧芬巴赫：船歌，選自《荷夫曼的故事》

2018年6月24日巴特基昇根麥斯列文音樂廳

錄音。

Inon Barnatan 巴拿坦

Joseph Calleja 卡利亞

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BBC Proms 2007Simón Bolívar Youth Orch. of Venezuela / Gustavo DudamelShostakovich: Symphony No. 10 in E minor, Op. 93 59’Bernstein: Symphonic Dances from West Side Story 25’Moncayo: Huapango 9’Márquez: Danzón No. 2 11’Ginastera: Estancia Suite 15’



委內瑞拉西門波利瓦青年樂團/杜達美蕭斯達高維契：E小調第十交響曲，作品93

伯恩斯坦：交響舞曲，選自《夢斷城西》

蒙卡悠：華盼戈

馬爾卡斯：第二舞曲

希納斯特拿：大莊園組曲


16/9/2018(Sun星期日)2:00pm SUNDAY OPERA 歌劇世界

Previn: A Streetcar Named Desire 102’Blanche DuBois: Renée Fleming (s)Stanley Kowalski: Rodney Gilfry (br)Stella Kowalski: Elizabeth Futral (s)Harold Mitchell: Anthony Dean Griffey (t)San Francisco Opera Orch. / André Previn 普列文：慾望號街車

杜布娃：費林明（女高音）史丹利‧高華斯基：紀飛（男中音）史黛娜‧高華斯基：富曹（女高音）美曹：格烈菲（男高音）三藩市歌劇院樂團/普列文

8:00pm YOUTH IN HARMONY 音符出少年

Lau Shing-ho Alexander (p)Chan Tin-chi Jenny (guzheng)HKAPA Acad. Sym. Orch. / Sharon Andrea ChoaChen Zhe: Cang Ge YinMozart: Piano Concerto No. 24 in C minor, K. 491So Ho-chi: Radio Conversation

Presented by Academy Symphony Orchestra. Recorded at

AcademyConcertHallon15/6/2018.

Gustavo Dudamel 杜達美

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20/9/2018(Thu星期四)2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）



International Chamber Music Festival, UtrechtEmmanuel Tjeknavorian, Simone Lamsma, Candida Thompson (v)Iris Juda, Lise Berthaud (va)Victor Julien-Laferrière, Harriet Krijgh (vc)Magda Amara (p)Martynas Levickis (accordion)Avi Avital (mandolin)Beethoven: Piano Trio, Op. 10, No. 1, ‘Ghost’ 25’Bartók: Romanian Folk Dances 7’Brahms: String Sextet No. 2 in G, Op. 36 40’

Recorded at Main Hall, Tivoli Vrendenburg, Utrecht,

on27/6/2018.

烏特勒支國際室樂音樂節

爵拿科利安、藍絲瑪、湯臣（小提琴）

猶大、貝德侯（中提琴）

朱利安—拉佛里、奇利克（大提琴）

亞瑪拿（鋼琴）

利維基斯（手風琴）

艾維他（曼陀鈴）

貝多芬：鋼琴三重奏，作品10，第一首，

「鬼魅」

巴托：羅馬尼亞民族舞曲

布拉姆斯：G大調第二弦樂六重奏，作品36

2018年6月27日烏特勒支鐵伏尼科里雲登堡

大廳錄音。



Hong Kong Schools Music Festival & Speech Festival 70th Anniversary GalaLi Yui-ching Enoch, Zhang Yiuchi (v)Colleen Lee (p)Chau Chin-tung, Sophia Woo (per)Tam Ching (Cantonese operatic soloist)Prize-winners of the 64th – 69th Hong Kong Schools Speech FestivalString EnsembleJoint-school Cho. (Primary Schools) and Joint-school Cho. (Secondary Schools) / Brady AllredJoint-school Chinese Orch. / Kuan Nai-chungFinale Cho., Diocesan Boys’ School Sym. Orch., Joint-school Sym. Orch / Neil Varon




Susan Graham (ms)San Francisco Sym. Orch. / Michael Tilson ThomasBrahms: Variations on a Theme by Haydn, Op. 56a 19’Berlioz: La Mort de Cléopâtre 21’Schumann: Symphony No. 4 in D minor, Op. 120 31’

RecordedatLouiseDaviesSymphonyHall, SanFrancisco, on

15/5/2016.

嘉咸（女中音）


布拉姆斯：海頓主題變奏曲，作品56a

白遼士：克利奧帕特拉之死

舒曼：D小調第四交響曲，作品120


錄音。




Schleswig–Holstein Music FestivalSol Gabetta (vc)NDR Elbphilharmonie Orch. / Christoph EschenbachSchumann: Overture to ‘Genoveva’ 9’Elgar: Cello Concerto in E minor, Op. 85 28’Berlioz: Symphonie Fantastique, Op. 14 56’

Recorded at Music and Congress Hall, Lübeck,

on1/7/2018.

Kuan Nai-chung: ‘The Sun’ from ‘The Age of the Dragon’Cantonese Operatic Song Solo: ‘The Phantom Union’ from ‘The Peony Pavilion’ (excerpt)Drama Medley: InspirationSchumann: Piano Concerto in A minor, Op. 54, 1st mov’tMark Hayes: CredoSteve Ho: In One AccordElgar: The Snow, Op. 26, No. 1Ryan Murphy: Let All the World in Every Corner SingGlinka: Overture to ‘Ruslan and Ludmila’ Mascagni: Intermezzo from ‘Cavalleria Rusticana’Handel: ‘Hallelujah Chorus’ from ‘Messiah’

Presented by Hong Kong Schools Music and Speech

Association.RecordedatHongKongCulturalCentreCon-

certHallon9/9/2018.

香港學校音樂節及朗誦節七十週年慶典

李睿正、張耀之（小提琴）

李嘉齡（鋼琴）

周展彤、胡淑徽（敲擊）

譚晴（粵曲獨唱）

第64-69屆香港學校朗誦節優勝者

弦樂小組

聯校小學合唱團，聯校中學合唱團/

布雷迪‧奧爾雷德

聯校中樂團/關廼忠

匯演合唱團、拔萃男書院管弦樂團、

聯校管弦樂團/尼奧‧華隆

關廼忠：〈太陽〉，選自《龍年新世紀》

粵曲獨唱：牡丹亭驚夢之幽媾（選段）

戲劇混合曲：靈感

舒曼：A小調鋼琴協奏曲，作品54，第一樂章

希斯：信念

何崇志：只有和聲

艾爾加：雪花，作品26，第一首

萊恩‧墨菲：讓普世同頌唱

葛令卡：《魯斯蘭與柳德米拉》序曲

馬斯康尼：間奏曲，選自《鄉村騎士》

韓德爾：〈哈利路亞大合唱〉，

選自《彌賽亞》

香港學校音樂及朗誦協會主辦。2018年9月9日

香港文化中心音樂廳錄音。


BBC Proms 2006Nat. Youth. Orch. of Great Britain / Colin DavisStravinsky: Symphony in Three Movements 23’Janáček: Taras Bulba 25’Sibelius: Pohjola’s Daughter, Op. 49 14’ Symphony No. 7 in C, Op. 105 24’



大不列顛國家青年樂團/哥連‧戴維斯史達拉汶斯基：三樂章交響曲

楊納傑克：《塔拉斯‧布巴》狂想曲

西貝流士：波希奧拉的女兒，作品49

C大調第七交響曲，作品105


23/9/2018(Sun星期日)2:00pm SUNDAY OPERA 歌劇世界Verdi: La Forza del Destino 132’Leonora: Maria Callas (s)Don Alvaro: Richard Tucker (t)Don Carlo di Vargas: Carlo Tagliabue (br)Preziosilla: Elena Nicolai (ms)Orch. & Cho. of La Scala, Milan / Tullio Serafin威爾第：命運的力量

里奧挪拉：卡拉絲（女高音）唐艾瓦奴：杜加（男高音）唐卡魯：塔爾亞保（男中音）佩兹奧絲拿：尼高拉（女中音）米蘭史卡拉歌劇院樂團及合唱團/薩拉芬

8:00pm YOUTH IN HARMONY 音符出少年 Ponomaryov VESNA Children’s Cho. / Nadezhda AverinaRubin: Spring TransfigurationVlasov (Averina arr.): To the Fountain of BakchisaraiPodgaits: Golden SadnessGlinka (Podgaits arr.): Travelling SongEsenwalds: StarsSlovak Folk Song (Raichl arr.): Tancuj, TancujMellnas: AgleptaRachmaninov (Podgaits arr.): Spring Waters

Presented by World Youth and Children Choral Artists’Association and Hong Kong Treble Choirs’Association.

Recorded at Hong Kong Cultural Centre Concert Hall

on17/7/2018.

俄羅斯春天兒童合唱團/阿維琳娜魯賓：春天換新顏

弗拉索夫（阿維琳娜改編）：致巴赫奇薩賴的

淚泉

波德蓋茨：金色的悲傷

葛令卡（波德蓋茨改編）：旅行歌曲

埃森瓦爾德茲：星星

斯洛伐克民歌（賴赫爾改編）：跳吧，跳吧

繆納斯：魔咒

拉赫曼尼諾夫（波德蓋茨改編）：春泉

世界青少年合唱藝術家協會有限公司及香港

童聲合唱協會主辦。2018年7月17日香港文化

中心音樂廳錄音。



Susan Graham 嘉咸

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SEPTEMBER 2018 | FINE MUSIC | PROGRAMME HIGHLIGHTS 節目精華

舒拉斯域—荷斯坦音樂節嘉比塔（大提琴）德國北部電台艾比管弦樂團/艾遜巴赫舒曼：《格諾費娃》序曲艾爾加：E小調大提琴協奏曲，作品85白遼士：幻想交響曲，作品14

2018年7月1日呂北克音樂及會議廳錄音。

27/9/2018(Thu星期四)2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 22/9/2018, 8:00pm節目與2018年9月22日晚上8時相同

8:00pm LIVE ON 4 第四台音樂會LenzburgiadeMartin Grubinger, Martin Grubinger Sr., Alexander Georgiev (per)Ferhan Önder, Ferzan Önder (p)Reich: Quartet for Two Pianos and Two Vibraphones 18’Say: Gezi Park 1 26’Tan Dun: The Tears of Nature 36’

RecordedatCastle,Lenzburgon24/6/2018.

林茲堡音樂節葛魯賓格、老葛魯賓格、佐治亞夫（敲擊）菲漢‧安達、菲珊‧安達（鋼琴）萊爾：雙鋼琴與雙顫音琴四重奏薩爾：基茲公園一譚盾：大自然的眼淚

2018年6月24日林茲堡城堡錄音。


8:00pm LIVE ON 4 第四台音樂會Kirill Troussov + CCOHKKirill Troussov (v)City Ch. Orch. of Hong Kong / Jonathan BermanWebern (Schwarz arr.): Langsamer Satz Mendelssohn: Violin Concerto in E minor, Op. 64Barhms: Serenade No. 2, Op. 16

Presented by City Chamber Orchestra of Hong Kong.

LivefromHongKongCityHallConcertHall.

特魯索夫與香港城市室樂團特魯索夫（小提琴）香港城市室樂團/貝爾文魏本（舒華施改編）：慢句孟德爾遜：E小調小提琴協奏曲，作品64布拉姆斯：第二小夜曲，作品16

香港城市室樂團主辦。香港大會堂音樂廳現場直播。

29/9/2018(Sat星期六)8:00pm LIVE ON 4 第四台音樂會BBC Proms 2011Susan Graham (ms)Gustav Mahler Jugendorchester / Colin DavisStravinsky: Symphony in Three Movements 24’Ravel: Shéhérazade 21’Tchaikovsky: Symphony No. 4 in F minor, Op. 36 43’


英國廣播公司逍遙音樂節2011嘉咸（女中音）馬勒青年樂團/哥連‧戴維斯史達拉汶斯基：三樂章交響曲拉威爾：天方夜譚柴可夫斯基：F小調第四交響曲，作品36


30/9/2018(Sun星期日)2:00pm SUNDAY OPERA 歌劇世界Tchaikovsky: Eugene Onegin 133’Eugene Onegin: Dmitri Hvorostovsky (br)Tatyana: Nuccia Focile (s)Lensky: Neil Shicoff (t)St. Petersburg Ch. Cho.Orch. de Paris / Semyon Bychkov柴可夫斯基：尤金‧奧涅金尤金‧奧涅金：霍洛斯托夫斯基（男中音）塔堤安娜：霍齊莉（女高音）林斯斯：史確夫（男高音）聖彼得堡室內合唱團巴黎樂團/比哥夫

8:00pm YOUTH IN HARMONY 音符出少年 Wong Pui-ying (v)Hong Kong Children’s Sym. Orch. / Lio Kuok-manVieuxtemps: Violin Concerto No. 5, Op. 37

Presented by Hong Kong Children’s Symphony Orchestra.

Recorded at Hong Kong City Hall Concert Hall on

22/8/2018.

黃沛盈（小提琴）香港兒童交響樂團/廖國敏魏歐當：第五小提琴協奏曲，作品37

香港兒童交響樂團主辦。2018年8月22日香港大會堂音樂廳錄音。

1/10/2018(Mon星期一)2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 26/9/2018, 8:00pm節目與2018年9月26日晚上8時相同

9:00pm MUSIC FOR THE NATIONAL DAY FIREWORKS DISPLAY 2018 國慶煙花匯演音樂2018


8:00pm LIVE ON 4 第四台音樂會Anna Lucia Richter (s)Britta Schwarz (a)Werner Güra (t)Robert Holl (b)San Francisco Sym. Orch. & Cho.Andras Schiff (p/cond)Mozart: Piano Concerto No. 27 in B flat, K. 595 32’Haydn: Missa in Angustiis, Hob. XXII:11, ‘Nelson Mass’ 43’Schubert: Ständchen, D. 920 5’ Widerschein, D. 639 4’ Fischerweise, D. 881 3’ Das Lied im Grünen, D. 917 4’ Im Frühling, D. 882 4’ Totengräbers Heimweh, D. 842 6’ Der blinde Knabe, D. 833 4’

Recorded at LouiseDavies SymphonyHall, San Francisco, on

4/10/2015.

力克特（女高音）舒華茲（女低音）古拉（男高音）賀爾（男低音）三藩市交響樂團及合唱團安德斯．舒爾夫（鋼琴及指揮）三藩市交響樂團及合唱團莫扎特：降B大調第二十七鋼琴協奏曲，K.595海頓：為困擾時期而寫的彌撒曲， Hob.XXII:11，「聶爾遜彌撒曲」舒伯特：小夜曲，D.920 倒影，D.639 漁夫之歌，D.881 鄉村之歌，D.917 在春天，D.882 掘墓人的思緒，D.842 瞎眼男孩，D.833

2015年10月4日三藩市路易斯戴維斯交響音樂廳錄音。

Sol Gabetta 嘉比塔

Christoph Eschenbach 艾遜巴赫

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香港柴灣康民街2號康民工業中心23樓2315室

製作：天邦廣告設計有限公司

訂閱及查詢電話：

查詢：9073-3474第四台節目：2339-6425廣告：9073-3575

節目如有更改，恕不另行通知。

文章中的觀點見解及作者個人意見，

並不代表本刊出版人或編輯部之立場。

© 2018 by Friends of Radio 4 Society. All rights reserved. No part of this publication may be reproduced without the prior permission of the publisher.

© 2018第四台之友協會。版權所有。未經出版人許可，不可擅自複印或轉載。

www.finemusic.org.hk

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Heavenly Music天韻樂室

Music rooms equipped with grand piano / piano for hire

2-manual electronic organ available for practice and examination

Sound proofing to high standard fit for recording

Directly opposite Sai Ying Pun MTR station exit B3

Call 21100432 [email protected]

廣告查詢：Miss Wong 黃小姐

Tel 電話：9073 3575

Email 電子郵箱：

[email protected]

Contact Us

CLASSIFIED BOARD 分類廣告

SEPTEMBER 2018 | FINE MUSIC | CLASSIFIED BOARD 分類廣告

3/10/2018(Wed星期三)2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 28/9/2018, 8:00pm節目與2018年9月28日晚上8時相同

8:00pm LIVE ON 4 第四台音樂會EGranada FestivalLes Siècles / Pablo Heras-CasadoDebussy: Prélude à l’après-midi d’un faune 10’ Première Suite 28’ Ibéria, 2nd mov’t of Images pour orchestre 20’ La Mer 24’

RecordedatPalaciodeCarlosV,LaAlhambra,Granada,on

22/6/2018.

格拉納達音樂節世紀樂團/希拉—卡沙多德布西：牧神之午後前奏曲第一組曲伊比利亞，為樂團而寫的《意象》的第二樂章大海

2018年6月22日格拉納達阿蘭布拉卡洛斯五世宮廷錄音。

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In the 1950’s, while in the city of Arezzo in Tuscany, Italy, the Czech composer Bohuslav Martinů visited the Basilica of St. Francis and there he saw the cycle of the frescoes ‘The Legend of the True Cross’ painted by the Renaissance painter Piero della Francesca. Afterwards, he composed the three-movement work ‘The Frescoes by Piero della Francesca’ and he remarked on the paintings, “I have admired this work of art and I have tried to express in music the same kind of solemn frozen silence and opaque coloured atmosphere, which contains strange, peaceful, yet moving poetry.” Although the music was composed with 20th century writing technique, and contains a dense texture, it retains the sense of transparency that prevails in all Renaissance paintings. Martinů himself reflected that he learned it from the way Piero della Francesca painted. It is amazing to see how different arts media, which are 500 years apart, can connect!

A few months ago, I hosted two programmes in Tunes to Remember, focusing on ‘Painting and Music’. I explored examples of music compositions as inspired by paintings, and vice versa, paintings as inspired by music. And it was truly enlightening to see how different art forms can mutually inspire! Let me talk about two examples.

數月前，筆者在「人約黃昏後」以「繪畫和音樂」為題，主持了兩輯節目，其中所介紹的，有靈感來自繪畫的音樂創作，也有

來自音樂的繪畫創作。看到不同藝術媒體能互相影響，甚有趣味！以下就與你們分享其中兩個例子。

Here is a beautiful poster designed by the Russian-born Jewish artist Marc Chagall. It was designed in 1967 for the Metropolitan Opera production of Mozart’s opera The Magic Flute. Chagall also did the costumes and the sets. Reviews were mixed. Some found them to be too wild and dreamlike while some were mesmerised, even believing by the end of the opera that the music might have also been written by the painter!!!

這張《魔笛》的海報漂亮嗎？海報是由二十世紀著名俄羅斯猶太裔畫家夏加爾，為大都會歌劇

院於1967年製作莫扎特歌劇「魔笛」而設計。我覺得漂亮極了！它也充份顯露出夏加爾的風格呢！夏加爾所畫的人物或動物都是在畫中「飛來飛去」，別具夢幻色彩！

這位畫家當年為歌劇製作還設計了佈景、服裝和場刊。設計頗具爭議，有些觀眾嫌太夢幻神

化、有些卻著了迷、有些還以為音樂也是由夏加爾創作的！！！

Editor’s note: These two programmes were broadcast on 15 & 22 April. If you are interested, please log on to our programme archive (rthk.hk).

編者按：以上所提兩輯節目已於4月15及22日播出。歡迎你在香港電台第四台的網站重溫(rthk.hk)。

Emma Liu 廖碧楨

▲ ‘The Legend of the True Cross’ – ‘Adoration of the Holy Wood and the Meeting of Solomon and the Queen of Sheba’ by Piero della Francesca 弗朗西斯卡的《真十字架的傳奇》─〈示巴女王會見所羅門，並尊崇亞當之木〉

‘The Magic Flute’ by Marc Chagall 夏加爾的《魔笛》

▲

捷克作曲家馬天奈於五十年代到訪意大利阿雷佐城，在當地的聖方濟各教堂內，看到文藝復興時期畫家弗朗西斯卡

繪畫的一系列壁畫《真十字架的傳奇》，深受感動。之後，他創作了《皮埃羅•德朗•弗朗西斯卡的壁畫》。筆者一向鍾

情於文藝復興時期的畫作，畫家用色新穎清新，佈景井然有序，線條簡潔優美，予人安和舒服的感覺。

雖然馬天奈這套作品跟畫作的創作時期相距五百多年，但當中所用二十世紀的「摩登」音樂手法，加上音樂織體密密麻

麻，讓音樂帶出一定的透明度。馬天奈說這種透明度是從弗朗西斯卡的繪畫手法學回來的。

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arc

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hong kong schools music festival 70th anniversary 香港學校音 … · september 2018...

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