Parsons Ad

音樂嘉年華： 喝彩！Piazzolla SoundFest: Bravo! Piazzolla

冰朵  指揮

五明佳廉  小提琴

克拉恩荷夫  班多紐手風琴

Gisèle Ben-Dor conductor

Karen Gomyo violin

Carel Kraayenhof bandonéon

音樂會開始前45分鐘，文化中心行政大樓4樓AC2設有由歐兆明博士(3/6英語、4/6粵語)主持的免費講座。

Free pre-concert talks by Dr Stefan Au (3/6 English; 4/6 Cantonese) in AC2, 4/F, Administration Building of the Cultural Centre 45 minutes before each concert.

節目約於10時結束(上半場：12分鐘、30分鐘；下半場：20分鐘、22分鐘)。

Concert ends approx. 10:00pm (1st half: 12 mins, 30 mins; 2nd half: 20 mins, 22 mins).

雷維爾塔斯 《瑪雅之夜》 持續的慢板 行板

皮亞佐拉 《布宜諾斯艾利斯的四季》 夏 秋 冬 春

中場休息

皮亞佐拉 班多紐手風琴協奏曲「阿空加瓜」 清晰的快板 中板 急板

珍納斯特拿 《牧場》組曲，Op.8 僱農之舞 麥田之舞 鎮民之舞 馬術表演 黃昏牧歌 馬蘭波舞曲

REVUELTAS LanochedelosMayas Lento – molto sostenuto Andante

PIAZZOLLA TheFourSeasonsofBuenosAires Verano Porteño (Summer) Otoño Porteño (Autumn) Invierno Porteño (Winter) Primavera Porteña (Spring)

Interval

PIAZZOLLA Concerto for BandoneónAconcagua Allegro marcato Moderato Presto

GINASTERA EstanciaSuite Op. 8 Los Trabajadores Agrícolas (The Land Workers) Danza del Trigo (Wheat dance) Los Puebleros (The Town Folk) La Doma (Rodeo) Idilio Crepuscular (Twilight Idyll) Danza final, Malambo (Final Dance, Malambo)

各位觀眾欣賞美樂前，請關掉手提電話及其他響鬧裝置。場內不准飲食、攝影、錄音或錄影。我們歡迎閣下保留場刊，若不欲保留，請於完場後將場刊交回場地入口，以作循環再用。祝大家有一個愉快的音樂體驗。

Dear patronsFor a wonderful concert experience, please kindly switch off your mobile phone and other beeping devices before the concert begins. Photography, recording, filming, eating or drinking are not allowed. We hope you enjoy reading this house programme and wish to retain it. If you don’t wish to take your programme home with you, please return it to the admission point after the performance for recycling. We wish you a very enjoyable evening.

Swire Ad Conductor

HKPO Ad Aug 2009 170x247 aw.indd 2 21/08/2009 3:11 PM

以公司英文名稱序In alphabetical order of company name

主要贊助M A J O R F U N D I N G B O D Y

首席贊助P R I N C I PA L PAT R O N

節目贊助 M A J O R S P O N S O R S

Saluteto Our Partners

感謝伙伴香港管弦樂團衷心感謝以下機構的慷慨贊助和支持！The Hong Kong Philharmonic Orchestra would like to express our heartfelt thanks to the Partners below for their generous sponsorship and support!

如欲查詢有關贊助或捐款事宜，歡迎致電 (852) 2721 2030 或電郵至 development@hkpo.com 與我們聯絡。For sponsorship and donation enquiries, please call (852) 2721 2030 or email to development@hkpo.com

CIC Investor Services Limiteda subsidiary of Crédit Industriel et Commercial, France

PHO

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Hiro

香港管弦樂團 (港樂)是亞洲區內最具領導地位的樂團之一，豐富香港文化生命逾一世紀，並已發展成一個集華人與海外

音樂精英的傑出樂團，吸引世界級藝術家同台獻藝。港樂每年透過超過150場精彩演出，觸動逾200,000樂迷的心靈。

在藝術總監兼總指揮艾度．迪華特領導下，港樂的藝術水平屢創高峰。港樂近年演出馬勒交響曲系列、歌劇音樂會、傳統

古典樂曲以外的嶄新曲目，均為樂迷所熱切期待，更成為樂團藝術發展的里程碑。

2010/11樂季，港樂邀得多位樂壇巨星助陣：郎朗、曹秀美、宓多里、列賓、林昭亮、王健等。利茲、湯．庫普曼、丹尼夫擔任

客席指揮的音樂會亦不容錯過。馬其頓鋼琴家狄里柏斯基以第二鋼琴協奏曲繼續其拉赫曼尼諾夫巡禮，樂季壓軸演出，

是迪華特與港樂一連三周的柴可夫斯基節。

2006年4月起，太古集團慈善信託基金成為樂團的首席贊助，此為港樂史上最大的企業贊助，令樂團得以在藝術上有

更大的發展，向世界舞台邁進的同時，將高水準的演出帶給廣大市民，讓更多人接觸到古典音樂。港樂和香港的城市

脈搏深深緊扣，積極推廣管弦樂至社會各階層，將精彩的音樂會體驗帶到各家各戶，當中不少重要演出更透過電台及

電視轉播給全港市民欣賞，包括於跑馬地馬場遊樂場舉行的全年最大型交響演奏—太古「港樂．星夜．交響曲」。為了

提高全港中、小、特殊學生對古典音樂的興趣，港樂舉辦音樂教育計劃「�豐保險創意音符」，提供免費音樂會及各項

教育活動。香港藝術發展局於2008年2月頒發「藝術推廣獎」予香港管弦樂團，以表揚港樂近年來成功擴展觀眾層面和

獲取公眾支持。

港樂的海外巡迴演出，讓樂團在港外建立聲譽及進一步提升藝術水平。樂團曾參與上海之春國際音樂節及北京國際

音樂節，2009年1月，樂團在迪華特的領導下到廣州、北京及上海作中國巡演。2010年9月，迪華特與港樂參與上海

世博，於上海東方藝術中心演出貝多芬第九交響曲及特別委約香港作曲家林丰創作的《融》，作為2010中國巡演的首站，

隨後分別到西安音樂廳及北京國家大劇院演出馬勒第七交響曲。

The Hong Kong Philharmonic Orchestra (HKPO) is one of Asia’s leading orchestras. Enriching Hong Kong’s cultural life for over a century, the Orchestra has grown into a formidable ensemble of Chinese and international talents, attracting world-class artists to collaborate on its stage. HKPO annually touches the lives of over 200,000 music lovers through more than 150 performances. Under the leadership of Artistic Director and Chief Conductor Edo de Waart, HKPO continues to scale new heights in musical excellence. The continuing cycle of Mahler symphonies and challenging programming outside the traditional repertoire have become highly anticipated events as well as musical milestones for the Orchestra.

Celebrated artists continue to grace our halls in the 2010/11 season: Lang Lang, Sumi Jo, Midori, Vadim Repin, Cho-Liang Lin, Wang Jian, just to name a few. Our roster of guest conductors includes Maestro Carlo Rizzi, Ton Koopman and Stéphane Denève. Simon Trpčeski, who headlines the Rachmaninov cycle, has returned with another brilliant interpretation of the composer’s famous Second Piano Concerto; while Maestro de Waart and the HKPO will bring to you a 3-week Tchaikovsky Festival as the season finale.

From April 2006, The Swire Group Charitable Trust became the Hong Kong Philharmonic’s Principal Patron. Swire’s sponsorship of the Hong Kong Philharmonic, the largest in the Orchestra’s history, supports artistic growth and development as the Orchestra takes its place on the world stage, and brings performances of musical excellence to the widest possible public. HKPO stays in tune with our city by presenting the orchestra in unexpected venues and bringing the excitement of the concert experience to every home through radio and television broadcasts including the largest symphonic event of the year, Swire Symphony under the Stars, at Happy Valley. The Orchestra runs a comprehensive schools education programme, HSBC Insurance Creative Notes, bringing the joy of classical music to primary, secondary and special school kids. In February 2008, the Hong Kong Arts Development Council honoured the HKPO with the Arts Promotion Award, in recognition of its success in expanding its audience base and gaining public support in recent years.

The Orchestra also builds its reputation and raises its artistic standards by touring. Apart from participating in the Shanghai Spring International Music Festival and the Beijing Music Festival, the Orchestra undertook a China tour of Guangzhou, Beijing and Shanghai under the leadership of Maestro de Waart in January 2009. In September 2010, de Waart and the HKPO appeared at the Expo 2010 Shanghai, performing Beethoven’s Ninth Symphony and the newly commissioned work Rong written by Hong Kong composer Fung Lam in the Shanghai Oriental Art Center, as the first stop of the 2010 China tour. It was followed by performances of Mahler’s Seventh Symphony in the Xi’an Concert Hall and Beijing’s National Centre for the Performing Arts.

香港管弦樂團由香港特別行政區政府資助 The Hong Kong Philharmonic Orchestra is financially supported by the Government of the Hong Kong Special Administrative Region香港管弦樂團首席贊助：太古集團 SWIRE is the Principal Patron of the Hong Kong Philharmonic Orchestra香港管弦樂團為香港文化中心場地伙伴 The Hong Kong Philharmonic Orchestra is the Venue Partner of the Hong Kong Cultural Centre

Pictures from Russia Ad

指揮家冰朵不但擅長演繹傳統古典音樂作品，推動南美拉丁音樂更是不遺餘力。她特別鍾情珍納斯特拿、雷維爾塔斯、

皮亞佐拉、巴卡羅夫等作曲家的作品，是備受世界樂壇推崇的南美拉丁音樂專家。

她的南美拉丁作品錄音眾多，最有名的包括由EMIClassics發行、指揮聖塔芭芭拉交響樂團、杜鳴高、馬汀妮茲及托拉

演出、選自珍納斯特拿首部歌劇《唐．羅德里戈》的聲樂作品大碟。此外，她又曾灌錄珍納斯特拿的全套芭蕾舞曲

《牧場》世界首演、《變奏協奏曲》(與倫敦交響樂團合作)、以及《卡索斯主題粉飾》兩個版本的世界首演。

冰朵現為聖塔芭芭拉交響樂團的桂冠指揮，於2004年，聯同珍納斯特拿的女兒佐珍娜成立叫好叫座的探戈及馬蘭波

藝術節，以一系列不同的音樂會、舞蹈、及電影，展示風靡全世界的探戈藝術，以及較少人認識、較具鄉村味道的馬蘭波

藝術。此外，她又獲波士頓普羅藝術室樂團的樂手投票選為樂團的榮休指揮。

曾經在東歐廣泛地區巡迴演出的她，更獲匈牙利電視公司頒發巴托獎。冰朵於烏拉圭出生及成長，父母均為波蘭人。

她於特拉維夫魯賓音樂學院及美國耶魯大學音樂系進修，現與丈夫及兩名兒子居於美國。

As well as being renowned for her interpretations of the established classics, Gisèle Ben-Dor is a champion of Latin American music,

notably the works of Ginastera, Revueltas, Piazzolla and Luis Bacalov, and is widely regarded as one of the world's finest and most

dedicated exponents of this repertoire.

She has committed much of this repertoire to disc, most noticeably her recording on EMI Classics with the Santa Barbara Symphony of vocal

music by Ginastera, featuring Placido Domingo, Ana Maria Martinez and Virginia Tola in excerpts from Ginastera's first opera Don Rodrigo.

Other notable recordings include the world première recording of the complete score of Ginastera's ballet Estancia and his Variaciones

Concertantes with the London Symphony Orchestra, and the world première of both versions of the Glosses on Themes of Pablo Casals.

Gisèle Ben-Dor is currently Conductor Laureate of the Santa Barbara Symphony. In 2004, working with Georgina Ginastera, the composer's

daughter, she created the exciting and extraordinarily popular Tango and Malambo Festival, a wide-ranging feast of concerts, dance, and

film celebrating the urban and universally admired tango and its less familiar cousin, the more rustic Malambo. She also holds the position

of Conductor Emerita of the Boston Pro-Arte Chamber Orchestra, a post to which she was elected exclusively by the musicians.

A winner of the Bartók Prize of Hungarian Television, Gisèle Ben-Dor has toured extensively in Eastern Europe. Born and raised in Uruguay

of Polish parents, she studied at the Rubin Academy of Music in Tel-Aviv and the Yale School of Music before residing in the United States,

where she lives with her husband and two sons.

冰朵 指揮

Gisèle Ben-Dor conductor

小提琴家五明佳廉是2008艾佛利．費雪獎學金得主，自從15歲時於1997年國際青年音樂會演奏家選拔賽獲獎後，她在

國際樂壇上嶄露頭角，並活躍於世界舞台，在北美、南美、歐洲和亞洲演出音樂會、獨奏會及室樂音樂會。

五明佳廉曾經與不同樂團合作，其中包括：紐約愛樂、洛杉磯愛樂、費城樂團、明尼蘇達樂團、三藩市、聖路易斯、

辛辛那提、休斯頓、蒙特利爾、溫哥華等交響樂團、華盛頓國家交響樂團、伯明翰市交響樂團、皇家蘇格蘭國家樂團、

里爾國家交響樂團、蘇格蘭室樂團、皇家利物浦愛樂、貝爾根愛樂及海牙樂團等等。

她曾到世界各地參演室樂音樂會，如：阿斯本音樂節、拉維尼亞音樂節、卡拉摩音樂節、林肯中心的主要莫扎等

音樂節、巴黎羅浮宮、西班牙桑坦德國際音樂節、東京香奈銀座音樂廳、三得利音樂廳、塞浦路斯費羅斯基金會

室樂節、德國莫利茲堡音樂節、法國貝莉雅約會室內樂音樂節、奧地利月湖音樂節等，合作的音樂家包括舒爾夫、

范可倫、塔梅斯提特、布雷利、沃格勒、波泰娜等等。2008年，她於紐約聯合國總部舉行的首屆恐襲受害者座談會上

演奏。

五明佳廉於東京出生，在加拿大蒙特利爾長大，五歲開始學琴。她11歲時於紐約茱利亞音樂學院進修，師隨迪蕾，後於

印地安那大學跟隨富克斯學習，以及於新英格蘭音樂學院跟隨懷勒斯坦學習。她所用是一把史特拉迪瓦里名琴，由一位

私人贊助者送贈。

Recipient of the prestigious Avery Fisher Career Grant in 2008, violinist Karen Gomyo first caught public attention after winning the 1997

Young Concert Artists International Auditions at the age of 15. Since then she has been active as soloist, recitalist and chamber musician

across North and South America, Europe and Asia.

Karen Gomyo has performed with the New York Philharmonic, Los Angeles Philharmonic, Philadelphia Orchestra, Minnesota Orchestra,

San Francisco, Saint Louis, Cincinnati, Houston, Montreal and Vancouver Symphonies, the National Symphony of Washington, the City of

Birmingham Symphony Orchestra, the Royal Scottish National Orchestra, Orchestre National de Lille, Scottish Chamber Orchestra, the Royal

Liverpool Philharmonic, Bergen Philharmonic and Den Haag Residentie Orkest, among others.

She has performed chamber recitals at the Aspen, Ravinia and Caramoor Festivals, Mostly Mozart at Lincoln Center, the Louvre in Paris,

Festival Internacional Santander in Spain, Chanel Ginza and Suntory Hall in Tokyo, the Pharos Trust Chamber Music Festival in Cyprus,

Moritzburg Festival in Germany, Rencontres de Musique de Chambre Bel-Air in France and Mondsee Festival in Austria, collaborating with

Heinrich Schiff, Isabelle van Keulen, Antoine Tamestit, Frank Braley, Jan Vogler and Christian Poltéra. In 2008 she performed at the First

Symposium for the Victims of Terrorism held at the headquarters of United Nations in New York.

Born in Tokyo, Karen Gomyo was raised in Montreal and began to play the violin when she was five. She started her studies with Dorothy

DeLay at The Juilliard School in New York at the age of 11, continuing with Mauricio Fuks at Indiana University and with Donald Weilerstein

at the New England Conservatory. She plays on a Stradivarius violin that was bought for her exclusive use by a private sponsor.

五明佳廉 小提琴

Karen Gomyo violin

克拉恩荷夫是當代最多才多藝的班多紐手風琴演奏家，作曲編曲同樣了得。他對阿根廷探戈的了解深刻，演出風格自成

一派。他於1987年百老匯音樂劇《熱情探戈》與皮亞佐拉緊密合作，又與探戈大師普格里謝相識多年、交情深厚。他事業

上其中一個重要演出，是於2002年2月，在荷蘭亞歷山大王子及馬茜瑪王妃的婚禮上，演出《再會諾尼諾》一曲。

他曾是甘盈紀探戈六重奏樂團的成員，並與該團合作共21年，期間曾與莫里康、馬友友、欣素、貝爾及菲爾森等名家

合作。曾合作過的樂團包括倫敦交響樂團、柏林愛樂、里昂國家樂團、音樂家樂團、辛辛那提樂團、悉尼交響樂團、

倫敦交響樂團等。他的音樂風格多樣化，曾經與邦蒂絲、博沙圖及流行歌手Sting作跨界合作。於荷蘭，他曾與夏薩斯

(《鮮血，汗水和淚水》)、另類樂隊Bl f (《巴塞隆納》、《布根維爾》、《沒有探戈》)、奧絲達夏殊(《你現在那裡》)及雲娜(《告別

一位朋友》)等合作灌錄歌曲。

他的大碟包括：《荷蘭的探戈》(1997)、《五首探戈》(1998)、《探戈之最》(2000)、《皇家探戈》(榮獲2003年愛迪生聽眾

大獎)、《街頭探戈》(2003)、《雲之守衛》(2006)、《探戈英雄》CD/DVD(2006)、《古巴記憶》(2008)及《惻隱》(2009)。

2005年，他獲阿根廷政府嘉許，以表揚他於全球推動阿根廷探戈藝術的努力。這些在紀錄片《探戈抱擁》、《班多紐》及

《懷舊?一部關於探戈路的電影》都有記載。

In addition to being a composer and arranger, Carel Kraayenhof is the most fascinating and versatile contemporary bandonéon player.

His unique style is due to his profound knowledge of the Argentinean tango. He worked closely with Astor Piazzolla on the 1987 Broadway

show Tango Apasionado, and had a long personal friendship with the Tango maestro Osvaldo Pugliese. One of the highlights of his career

came in February 2002 when he performed Adiós Nonino during the marriage ceremony of H.R.H. Prince Willem Alexander and H.R.H.

Princess Máxima in the Netherlands.

For 21 years he was part of the ensemble, Sexteto Canyengue, and he has also worked with Ennio Morricone, Yo-Yo Ma, Janine Jansen,

Joshua Bell and Quirine Viersen. He has performed with orchestras including the London Symphony, Berlin Philharmonic, l'Orchestre

National de Lyon, Tonkünstler Orchestra, Cincinnati Symphony, Sydney Symphony and London Philharmonic. He does not restrict himself to

one single style of music, and other collaborations have been with such diverse musicians as Dulce Pontes, Marco Borsato and Sting. In the

Netherlands he has recorded with André Hazes (Bloed, zweet en tranen), Bl f (Barcelona, Bougainville, Geen Tango), Trijntje Oosterhuis

(Nu dat jij er bent) and Dana Winner (Afscheid van een Vriend).

His recordings include Tangueros de Holanda (1997), Cinco tangos (1998), Tango Maxima (2000), Tango Royal (which was awarded the Edison

Audience Award in 2003), Street Tango (2003), Guardians of the Clouds (2006), Tango heroes CD/DVD (2006), Memorias de Cuba (2008) and

Compassion (2009).

In 2005 he was awarded by the Argentinean Government for his inexhaustible worldwide efforts for the Argentinean tango. These have

included the making of several documentaries including In de greep van de Tango, Bandoneón and Nostalgia? A tango road movie.

克拉恩荷夫 班多紐手風琴

Carel Kraayenhof bandonéon

雷維爾塔斯Silvestre Revueltas 1 8 9 9 - 1 9 4 0

《瑪雅之夜》持續的慢板

行板

LanochedelosMayasLento – molto sostenutoAndante

雷維爾塔斯生於墨西哥一條名叫聖地牙哥帕帕斯基亞羅的小村莊，童年和

青少年時代經常往返墨西哥和美國，在兩地都接受過音樂教育，是個

小提琴手。他第一份專業音樂工作就是在德州一所劇院擔任樂團小提琴手，

並在阿拉巴馬州當指揮；1929年起在墨西哥城的樂團當指揮，又在墨西哥城

音樂學院教授小提琴。然而思想左傾的他，1937年遠赴西班牙，在西班牙

內戰中為共和黨人效力；回到墨西哥後專注作曲，但酗酒卻令他百病纏身，

才40歲便與世長辭。他第一首作品寫於1930年；由於他英年早逝，加上身兼

多職 (忙於指揮和教學之餘還活躍政壇)，因此作品數量很少。儘管如此，

時至今日他依舊地位超然─西班牙作家塞爾吉奧．費爾南德斯．布拉沃形容

他是「二十世紀墨西哥樂壇大人物之一」。

雷維爾塔斯受聘於墨西哥城音樂學院後不久，便形容「這是個垂死的地方─

死於傳統、死於蛀蟲、死於莫大的哀傷」，決心要為音樂學院帶來一番新氣象，

跟院長卡洛斯．查韋斯一同引入新音樂。而他也像皮亞佐拉復興探戈時一樣

遇到巨大阻力─他憶述：「長久以來耽於安逸的公眾和守舊的樂評，對我報以

嘲笑、噓聲、抗議、侮辱和憤慨。」他在作品裡流露的不是對傳統的認同，

而是對墨西哥人日常生活的認同，尤其認同人們為政治改革而奮鬥。雖然他

避免採用大量墨西哥民間舞曲和旋律，卻又清楚知道自己音樂的節奏和旋律

都源於墨西哥人的生活：「我的節奏隆隆有聲，有動感，是觸覺的，視覺的。

我以圖像思考，想像旋律線條在不斷變化、不斷移動。」

雷維爾塔斯天生是個電影音樂作曲家，他也是首批以電影音樂聞名的作曲家

之一，前後共為七齣電影譜寫配樂，其中包括查諾．烏內塔執導的《瑪雅

之夜》(1939年)。這是雷維爾塔斯最生動、最五光十色的作品之一。電影於

約二十年前上畫，隨即被人遺忘，墨西哥指揮家何塞．艾夫斯．利門圖爾

據此改編了一首交響組曲，1961年1月30日與瓜達拉哈拉交響樂團首演。

後來又出現了一個規模較小的版本，選曲了上述組曲的某些段落，還有一些

直接從原配樂取用的素材。新版本篇幅較短，樂團規模也較小─今晚演出的

就是這個版本。

Silvestre Revueltas was born in the small village of Santiago Papasquiaro in Mexico.

His childhood and youth, as well as his musical training as a violinist, were divided

between Mexico and the USA. His first professional work was as a violinist in a theatre

orchestra in Texas and as a conductor in Alabama. From 1929 he conducted orchestras

in Mexico City and taught violin at the Conservatory in Mexico City, but in 1937 his

strong socialist leanings took him to Spain, in order to play an active role supporting

the Republican cause in that country's civil war. On his return to Mexico he concentrated

on composing, but he died of alcohol-related health problems at the age of 40. His first

compositions date from 1930, and while his early death and his activities as conductor,

teacher and political activist severely restricted his output, he stands today, in the words

of the Spanish writer Sergio Fernandez Bravo, as "one of the most important figures of

Mexican twentieth-century music".

Shortly after his appointment at the Conservatory in Mexico City, Revueltas described

the place as "dying from its tradition, from its moths and from its glorious sadness."

Determined to breathe fresh life into it, both he and Carlos Chávez, the Director, began

to introduce new music which, rather like Piazzolla's attempts to revitalise the tango,

met with outright hostility, Revueltas recalled "taunts, hisses, protests, insults and the

angry indignation of a public long-ensconced and of the same old critics". In his own

music he acknowledged a debt not to tradition, but to the everyday life of the Mexicans,

particularly in their struggle for political reform, and while he avoided making much

use of the folk dances and melodies of his native land, he nevertheless recognised that

the rhythms and melodies of his music were drawn from Mexican life; "My rhythms

are booming, dynamic, tactile, visual. I think in images that are melodic strains that

move dynamically".

Revueltas was a natural composer of film music – one of the first composers to

distinguish himself in the genre – producing seven film scores including that for Chano

Urueta's 1939 movie La noche de los Mayas (The Night of the Mayas), which is among

the most vivid and colourful Revueltas ever wrote. Some 20 years after the film was

shown and forgotten, the Mexican conductor José Ives Limantour created a symphonic

suite from the film score which he premièred with the Guadalajara Symphony Orchestra

on 30th January 1961.

Subsequently, a smaller version was made incorporating some passages from the

Limantour suite as well as material directly taken from the original film score. Shorter

and for a reduced orchestra, it is this version which we hear performed today.

編制：長笛、短笛、雙簧管、兩支單簧管、

巴松管、四支圓號、小號、長號、大號、

鑼、大鼓、鈸、印度鼓、砂槌、鋸琴、

木琴及弦樂組。今次是港樂首次演出此

作品。

Instrumentation: flute, piccolo, oboe,

two clarinets, bassoon, four horns, trumpet,

trombone, tuba, tam-tam, bass drum,

cymbals, Indian drum, maracas, guiro,

xylophone, and strings. This is the Hong Kong

Philharmonic’s first performance.

皮亞佐拉Astor Piazzolla 1 9 2 1 - 1 9 9 2

《布宜諾斯艾利斯的四季》夏

秋

冬

春

TheFourSeasonsofBuenosAiresVerano Porteño (Summer)Otoño Porteño (Autumn)Invierno Porteño (Winter)Primavera Porteña (Spring)

傑出爵士小號手迪茲．古萊斯皮曾說，皮亞佐拉是「當今世上最優秀的音樂家

和編曲家」，而且皮亞佐拉創作甚豐，甚至對於自己究竟有多少作品也茫無

頭緒，曾對一位傳記作者說：「點算工作就讓別人來做吧。我只管繼續

創作。」他的獨立作品看來有三百多首，全是探戈、探戈改編曲或以探戈為

基礎的作品。今日他被譽為「探戈之王」，也實在有根有據。

這四首探戈合起來剛好是一年四季，原是1965至1969年間皮亞佐拉為

自己的五人探戈樂隊而寫的。原作雖與隱約與韋華第有關 (韋華第的《四季》

正是意大利巴洛克風格的代表作)，但樂曲卻沒有明顯表現每個季節的特質

(原作標題的「porteño」意謂與布宜諾斯艾利斯有關的事或人)─倒像告訴

世人，在布宜諾斯艾利斯，無論夏、秋、冬、春，全都是探戈季節。

然而俄羅斯指揮家利奧尼特．德西亞尼克夫2009年的改編版卻加強了韋華第

與皮亞佐拉原作的關係。首先，德西亞尼克夫把樂曲改編成獨奏小提琴與

弦樂團樂曲，就像韋華第《四季》一樣；又將原作每首樂曲改編成由三樂段

組成，結構上與韋華第《四季》更相似 (《四季》的每個季節都是一首三樂章的

協奏曲)。德西亞尼克夫多次直接插進韋華第選段，但又考慮到南北半球的

季節並不相同，所以就別開生面地組合兩位作曲家的音樂：阿根廷的夏季，

就是意大利的冬季。

In the words of the great jazz trumpeter Dizzie Gillespie, Astor Piazzolla was "the best

musician in the world today and the best arranger". And, as for being prolific, Piazzolla

himself had no idea how many works he composed, telling one of his biographers;

"Let others do the counting. I’ll go on composing”. He appears to have written well

over 300 individual works, virtually all of which are tangos, arrangements of tangos or

based on tangos. Not for nothing is he described today as the "King of Tango".

The four Tangos which, together, are named after the four seasons of the year were

originally composed for Piazzolla’s own five-piece tango band between 1965 and

1969. While, in Piazzolla's original, there are loose references to Vivaldi (whose own

Four Seasons is one of the iconic works of the Italian Baroque) there is none of the

distinct character defining the four seasons in the titles (the term porteño meaning

anything or anyone associated with Buenos Aires). Rather it seems that Piazzolla is

saying that whether it is Otoño (Autumn), Invierno (Winter), Primavera (Spring) or

Verano (Summer), it is always tango season in Buenos Aires.

However, in 2009 the Russian conductor Leonid Desyatnikov drew a more obvious

link between Vivaldi and Piazzolla in his version of The Four Seasons of Buenos Aires.

For a start he arranged it, as Vivaldi's work, for solo violin and string orchestra and

turned each of Piazzolla's original tangos into three-section pieces to correspond

more closely to the format of Vivaldi's work (in which each season is represented by a

three-movement concerto). Desyatnikov included several direct quotations from Vivaldi,

but, bearing in mind that the seasons are inverted between the northern and southern

hemispheres, turned them on their head; thus, when it is summer in Argentina, it is

winter in Italy.

皮亞佐拉：《布宜諾斯艾利斯的四季》PIazzolla: The Four Seasons of Buenos Aires

〈夏〉以弦樂冷冷的顫抖著開始，小提琴滑過冰冷的樂段，然後直接引用韋華第

的〈冬〉。慢速部分響起情感強烈的樂段；直到第三部分的結尾，韋華第才

重現，全樂團奏出〈冬〉的著名樂段，一番滑落後嘎然而止─還是名符其實

的「滑落」呢。

長篇的大提琴獨奏讓〈秋〉第一部分充滿憂鬱氣氛；小提琴寫法與韋華第

遙相呼應─尤其顫音以及在弦線間靈敏地遊走的技巧，在哀怨的長篇華彩

樂段裡特別明顯─但仍堅守皮亞佐拉的獨特音樂語彙。

低音弦樂為〈冬〉的開端營造壓迫感，獨奏小提琴迸發出韋華第式的華彩

樂段，然後與低音弦樂一同奏出悲涼的旋律。活潑的樂段倏地響起，獨奏

小提琴奏出韋華第〈夏〉的選段，伴奏彷彿在描繪悶熱的天氣。樂章結束前，

弦樂撥奏再次直接引用韋華第的選段。

第一小提琴和中提琴奏出生動的賦格樂段，為〈春〉掀開序幕，既輕盈又令人

愉快。獨奏小提琴加入後不久就搖身一變，奏出活力四射的舞曲。慢速部分

令人想起歌舒詠歌曲《秋天葉落時》；最後一部分重拾探戈舞稜角分明的尖銳

節奏，而獨奏小提琴卻奏出明顯的韋華第式音型，最終以輝煌燦爛的炫技為

樂章畫上壯麗的句號。

Summer opens with the strings shivering frostily while the violin slips and slides over

some very icy passages before breaking into a direct quotation from Vivaldi's Winter. The

movement's slow section introduces a more emotionally-charged idea, and only at the

very end of the last section does Vivaldi reappear, the entire orchestra sounding out a

famous passage from Winter before, quite literally, sliding to a complete halt.

A lengthy cello solo gives a sorrowful air to the first part of autumn, while the solo violin

writing, especially in its lengthy melancholy cadenza, nods to the techniques of Vivaldi

in its trills and agile movements across the strings, but remains firmly rooted in the a

musical idiom which is uniquely Piazzolla.

Low strings give an oppressive feel to the opening of Winter, the solo violin bursting into

a Vivaldi-like cadenza before joining in with the lower strings in a sorrowful melody. In a

more lively outburst, the solo violin recalls moments from Vivaldi's Summer over a sultry

accompaniment, and at the very end of the movement pizzicato strings bring in a direct

quotation from Vivaldi.

A lively fugue between first violins and violas opens Spring with a delicious lightness, the

solo violin adding its voice before breaking out into a vivacious dance. The slow section

of this movement calls to mind the Gershwin song "When autumn leave begin to fall",

while the final part returns to the angular and spiky rhythms of the tango complete with

decidedly Vivaldi-esque figurations from solo violin part. This brings the movement to a

close with some spectacular virtuoso pyrotechnics.

今次是港樂首次演出《布宜諾斯艾利斯

的四季》，這個版本由德西亞尼克夫為

獨奏小提琴及弦樂團而改編。

Tonight’s version of The Four Seasons of

Buenos Aires is arranged by Leonid Desyatnikov

for solo violin and strings. This is the Hong Kong

Philharmonic’s first performance.

皮亞佐拉Astor Piazzolla 1 9 2 1 - 1 9 9 2

班多紐手風琴協奏曲「阿空加瓜」清晰的快板

中板

急板

Concerto for Bandoneón AconcaguaAllegro marcatoModeratoPresto

皮亞佐拉生於阿根廷，1924年與家人移民美國，是個班多紐手風琴高手

(班多紐手風琴形狀像個方型盒子，兩端都有按鈕。雖然是1840年代德國的

產物，但由於攜帶方面，成了布宜諾斯艾利斯探戈樂隊的恩物)。傑出探戈歌手

卡洛斯．加德爾1930年代巡迴紐約和美國演出時，皮亞佐拉便獲邀為他

伴奏。皮亞佐拉回到阿根廷後不久，就以替探戈樂隊編曲而聞名；1941年

為了寫作適合在音樂廳演出的優秀作品，開始隨珍納斯特拿學習。但阿根廷

的探戈樂團多認為他的作品太複雜，所以皮亞佐拉便在1946年自立門戶，

創辦自己的樂團。

皮亞佐拉對寫作嚴肅作品的興趣越來越濃，遂在1949年解散了探戈樂團，

甚至有一段日子放棄了班多紐手風琴，追求較嚴肅的音樂。1953年，他的

音樂會作品《布宜諾斯艾利斯交響曲》首演，卻弄至場面失控─他把探戈與

交響樂團共冶一爐，卻令部分觀眾大為反感。然而此曲讓他贏得獎學金到

巴黎留學，跟隨德高望重的作曲老師納迪婭．布朗熱學習。

1954年，皮亞佐拉開始上布朗熱的課時，起初還企圖抑壓自己的音樂背景，

希望集中以歐洲古典傳統風格創作。可是有一天，布朗熱請他演奏他一首以

探戈為基礎的班多紐手風琴曲《勝利》。布朗熱聽罷便說：「艾斯托，你的古典

作品寫得很好，但這才是真正的皮亞佐拉，別把它擱下。」皮亞佐拉聽從良師

意見，返回阿根廷全情投入推廣探戈。

班多紐手風琴與探戈樂隊息息相關，因此在皮亞佐拉的音樂裡也十分重要─

他創作了兩首班多紐手風琴協奏曲，一首是班多紐手風琴與結他(1985年作)，

另一首則為班多紐手風琴、弦樂團和敲擊樂而寫 (樂曲以南美洲最高的山峰

「阿空加瓜」為副題。據出版商巴格尼所言，那是因為此曲是「艾斯托的巔峰

之作」)，1979年在布宜諾斯艾利斯由皮亞佐拉親自首演。

《班多紐手風琴協奏曲》跟隨傳統協奏曲的形式，由三個樂章組成。第一樂章

沒有前奏，開宗明義是首堅定的探戈舞曲，鋼琴、敲擊樂和尖銳的弦樂和

弦鞭策著班多紐手風琴前進。獨奏者奏出發人深省的華彩樂段，引入抒情的

中間部份；又一華彩樂段過後，探戈再次響起，音樂一直舞動著，最後戛然

而止─樂章的開端和結束同樣突然。

Argentinean by birth, Astor Piazzolla emigrated with his family to the USA in 1924. He was a virtuoso player of the Bandoneón – a square, box-like accordion with buttons at either end, invented in Germany in the 1840s but much favoured by the tango bands of Buenos Aires because of its easy portability. He was invited by the great tango singer, Carlos Gardel, to accompany him during his tours of New York and the USA during the 1930s. Returning to Argentina, Piazzolla soon established a reputation as an arranger for tango bands. In 1941, keen to develop his skills as a composer for the concert hall, he started taking lessons with Ginastera. His works were considered too complex for most of the Argentinean tango orchestras, so in 1946 Piazzolla formed his own.

With increasing interest in serious composition, he disbanded his orchestra in 1949 and even, for a time, abandoned the bandoneón, while he sought a more serious compositional voice. In 1953 the first performance of his concert work Sinfonia Buenos Aires dissolved into an outright brawl when members of the audience reacted strongly against his integration of the tango and the symphony orchestra, but the work earned Piazzolla a scholarship to go to Paris to study with the doyenne of composition teachers, Nadia Boulanger.

In his first lessons with her during 1954, Piazzolla attempted to suppress his musical background in the hope of being able to concentrate on the musical styles drawn from the European Classical tradition, but when, at her request, he played his tango-based bandoneón work, Triunfal, she told him; “Astor, your classical pieces are well written, but the true Piazzolla is here, never leave it behind”. Taking that advice he returned to Argentina and devoted himself to promoting the tango.

Being an instrument indelibly associated with the tango bands, the bandoneón also features prominently in Piazzolla’s music and his output includes two concertos for the instrument, one for bandoneón and guitar, dating from 1985, and the Concerto for Bandoneón, String Orchestra and Percussion (subtitled "Aconcagua" after South America’s highest mountain peak, because, according to the publisher Aldo Pagani, "this is the peak of Astor's oeuvre”). Piazzolla himself premièred Aconcagua in Buenos Aires in 1979.

Following the pattern of a traditional concerto, the bandoneón concerto is in three movements. The first movement bursting on to the scene without any preamble with an assertive tango, the bandoneón prodded along by the piano, the percussion and stabbing string chords. A more reflective cadenza for the soloist leads to a lyrical central section, wrapped up by another cadenza, after which the tango starts up again and the movement dances its way to an end as abruptly as it began.

樂 隊 編 制 ： 大 鼓 、 三 角 鐵 、 鋸 琴 、

豎琴、鋼琴及弦樂組。今次是港樂首次

演出此協奏曲。

The orchestra for this concerto calls for:

bass drum, triangle, guiro, harp, piano, and

strings. This is the Hong Kong Philharmonic’s

first performance.

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皮亞佐拉：班多紐手風琴協奏曲「阿空加瓜」PIazzolla: Concerto for Bandoneón Aconcagua

意味深長的第二樂章以班多紐手風琴開始，然後獨奏小提琴、獨奏大提琴及

豎琴加入，組成氣氛醉人的四重奏。其他弦樂樂器相繼加入，產生遼闊的

效果，然後漸漸沉寂下去。

第三樂章重拾探戈風格，皮亞佐拉襲用了自己的探戈舊作《瘦削的阿勞迪》

(原曲是1970年他為電影《靈魂與生命》而寫的配樂)。樂章結束時，皮亞佐拉

一改街頭探戈舞曲的風格，轉而寫作氣氛較嚴肅、份量較重的樂段。正如他

自言：「我不知道結尾怎麼寫才好，於是跟自己說：『就寫探戈吧，識貨之人

會知道我作曲收放自如，要像別人就像別人，要做自己就做自己。』」

The bandoneón begins the second movement in contemplative mood, later joined by

a solo violin, cello and harp in a wonderfully atmospheric quartet. The rest of the strings

gradually join in and the music sweeps up expansively, before gently falling back again.

With the third movement we are back in the realms of the tango with music based on a

Tango (Flaco Aroldi) which Piazzolla had first used in his soundtrack for the 1970 film

Con alma y vida (With Life and Soul). For the movement’s ending Piazzolla decided

to move away from the street tango style of the rest of the movement and close with

something rather more weighty and serious. As he wrote; "I didn't know how to finish it,

and then I told myself: I give them a tango so the erudite know that when I want I can

write like them, and when I want I can do my thing”.

珍納斯特拿Alberto Ginastera1 9 1 6 - 1 9 8 3

《牧場》組曲，Op. 8僱農之舞

麥田之舞

鎮民之舞

馬術表演

黃昏牧歌

馬蘭波舞曲

EstanciaSuite Op. 8Los Trabajadores Agrícolas (The Land Workers)Danza del Trigo (Wheat dance)Los Puebleros (The Town Folk)La Doma (Rodeo)Idilio Crepuscular (Twilight Idyll)Danza final, Malambo (Final Dance, Malambo)

默文庫克教授的一番話，就能把今晚曲目的背景交代得清清楚楚：「二十世紀

初，阿根廷古典樂壇民族主義澎湃，不少本土作曲家都趨之若鶩。許多頂尖

作曲家橫渡大西洋，到歐洲各大音樂重鎮求學，親身接觸法國印象主義和

西班牙民族主義，並把這些作曲手法帶返阿根廷。」1920年代開始，由這種

趨勢發展起來的民族風格，雖然無疑很吸引、很有獨特的阿根廷色彩，卻

過份依賴歐洲的音樂語彙 (而且已頗顯過時)，因此在國際樂壇難成氣候─

直至珍納斯特拿較國際化的作品出現，情況就為之一變。

珍納斯特拿1916年7月11日生於布宜諾斯艾利斯，自小表現音樂天份，12歲

考進當地的威廉斯音樂學院，兩年後開始作曲。他還未滿20歲，就憑著

芭蕾舞劇《班南比》一舉成名；1941年寫作的芭蕾舞劇《牧場》，既令美國

作曲家柯普蘭將他稱為「阿根廷音樂的希望」，又奠定了他在阿根廷樂壇

領導地位。同年開始在阿根廷國家音樂學院和聖馬田國家軍事學院執教，

但1945年卻因為公開批評貝隆總統的政策而被辭退，餘生也大多在海外

度過；然而他一直對阿根廷樂壇有重要影響。他1983年6月25日在日內瓦

與世長辭。

《牧場》是「以阿根廷鄉村生活為題材的獨幕芭蕾舞劇，共有五個場景」，靈感

來自南美洲大草原、這片偌大空曠的地方變幻莫測的氣氛、還有牧牛人的

傳統歌舞；內容描寫牧場一天的生活，從天亮到日落，並滲進數首真正的

牧牛人舞蹈。舞劇由林肯．基爾斯坦美國芭蕾舞團委約創作，但由於舞團在

籌備上演期間先後宣布破產和解散，因此舞劇遲至1952年才得以上演。當時

珍納斯特拿把劇中幾首樂曲改編成音樂會組曲，1943年5月首演，此後一直

是他最受歡迎的音樂會作品之一。今晚的選曲由組曲的部分樂章和原著劇樂

的部分舞曲組成。

節目介紹中文翻譯：鄭曉彤

Professor Mervyn Cooke, effectively sets the scene for today's concert. "In Argentina

during the first half of the twentieth century, numerous native composers contributed

towards a phenomenal growth of musical nationalism in the classical concert hall. Many

leading composers had crossed the Atlantic to study in the major musical centres of

Europe, taking back to Argentina compositional techniques they had learnt from first-

hand exposure to the music of French impressionist and Spanish nationalist composers.

From the 1920s onwards, this trend resulted in a nationalist style that, while undeniably

attractive and unique to Argentina, was arguably too heavily rooted in rather outmoded

European idioms to make much of a sustained impact on the international musical

scene. All this changed dramatically with the more cosmopolitan work of Alberto

Ginastera."

Born in Buenos Aires on 11th July 1916 Albert Ginastera showed his aptitude for music

at an early age and at 12 was admitted to the city's Williams Conservatory. He composed

his first music two years later, and before he was 20 had achieved his first major

success with his ballet music Panambi. It was another ballet score, Estancia (The Ranch)

composed in 1941, which prompted the American composer Aaron Copland to declare

him "the great hope for Argentine music”, and established Ginastera as the leading voice

in Argentinean music. That same year he began his teaching career on the faculties of

the National Conservatory and of the San Martín National Military Academy. He was

dismissed from these posts in 1945 for speaking out against the policies of President

Juan Perón's government, and spent most of the rest of his life out of the country. But

he remained a powerful influence over Argentinean music until his death in Geneva on

25th June 1983.

Described as a “ballet in one act and five scenes based on Argentine country life”,

Estancia was inspired by the rolling pampas (South American plains), by the constantly

changing moods of this huge, empty landscape and by the traditional songs and

dances of the gaucheso (cowboys). The ballet itself depicts life on a ranch, following a

single day from dawn until dusk and incorporating several authentic gaucheso dances.

Commissioned by Lincoln Kirstein's American Ballet Caravan, Estancia was not staged

until 1952 because the company was declared bankrupt and was dissolved while the

work was still being prepared. In the meantime Ginastera produced a concert suite

from the ballet which was premièred in May 1943 and remains one of his most popular

concert works. Today's performance includes several movements from that Suite

alongside other dances taken from the full ballet score.

Programme notes by Marc Rochester

編制：長笛(兼短笛)、短笛、兩支雙簧管、

兩支單簧管、兩支巴松管、四支圓號、

四支小號、定音鼓、三角鐵、鈴鼓、

響板、鈸、大鼓、鑼、軍鼓、小鼓、

木琴及弦樂組。今次是港樂首次演出此

作品。

Instrumentation: flute (doubling piccolo),

piccolo, two oboes, two clarinets,

two bassoons, four horns, two trumpets,

timpano, triangle, tambourine, castanets,

cymbals, bass drum, tam-tam, military drum,

snare drum, xylophone, and strings.

This is the Hong Kong Philharmonic’s

first performance.

艾度．迪華特Edo de Waart藝術總監兼總指揮Artistic Director & Chief Conductor

總指揮席位由以下機構贊助

Maestro’s Chair – endowed byThe Octavian Society & Y. S. Liu Foundation

PHO

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Lee

PHOTOS BYCheung Chi Wai & Keith Hiro

蘇柏軒Perry So副指揮Associate Conductor

PHO

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香港管弦樂團 Hong Kong Philharmonic Orchestra

第一小提琴First

Violins

第二小提琴SecondViolins

梁建楓Leung Kin-fung

第一副團長First AssociateConcertmaster

王思恆Wong Sze-hang

第二副團長Second AssociateConcertmaster

朱蓓Zhu Bei

第三副團長Third AssociateConcertmaster

毛華Mao Hua

程立Cheng Li

把文晶Ba Wenjing

桂麗Gui Li

龍希Long Xi

冒異國Mao Yiguo

梅麗芷Rachael Mellado

倪瀾Ni Lan

王亮Wang Liang

黃嘉怡Christine Wong Kar-yee

張希Zhang Xi

●范丁Fan Ting

▲梁文瑄Leslie RyangMoon-sun

華嘉蓮Katrina Rafferty

鈴木美矢香Miyaka Suzuki

冒田中知子Tomoko Tanaka Mao

李嘉道Ricardo de Mello

方潔Fang Jie

何珈樑Gallant Ho Ka-leung

簡宏道Russell Kan Wang-to

周騰飛Zhou Tengfei

# 徐姮Xu Heng

#樂師席位由以下機構贊助 法國興業私人銀行

# Musician’s Chair – endowed by Societe Generale Private Banking

許致雨Anders Hui

李智勝Li Zhisheng

■趙瀅娜Zhao Yingna

潘廷亮Martin PoonTing-leung

*柯雪Ke Xue

*陳怡廷Chen Yi-ting

●鮑力卓Richard Bamping

■方曉牧Fang Xiaomu

▲熊谷佳織Kaori Wilson

黎明Li Ming

羅舜詩Alice Rosen

崔宏偉Cui Hong-wei

范欣Fan Yan

洪依凡Ethan Heath

孫斌Sun Bin

王駿Wang Jun

范星Fan Xing

中提琴Violas

大提琴Cellos

陳怡君Chen Yi-chun

+ 關統安Anna Kwan Ton-an

陳屹洲Chan Ngat Chau

張明遠Cheung Ming-yuen

霍添Timothy Frank

李銘蘆Li Ming-lu

宋亞林Yalin Song

▲林穎Dora Lam

*劉博軒Liu Boxuan

*劉芳希Liu Fang-xi

第二小提琴SecondViolins

*張姝影Zhang Shu-ying

*付水淼Fu Shuimiao

●凌顯祐Andrew Ling

*楊帆Yang Fan

*潘Pan Yan

PHO

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●首席Principal

■聯合首席Co-Principal

▲助理首席Assistant Principal

+ 樂師席位由以下機構贊助 邱啟楨紀念基金+ Musician’s Chair – endowed by C. C. Chiu Memorial Fund

* 「何鴻毅家族基金─ 香港管弦樂團駐團學員培訓」計劃樂手* Fellows of The Robert H. N. Ho Family Foundation Orchestral Fellowship Scheme

低音大提琴DoubleBasses

林傑飛Jeffrey Lehmberg

鮑爾菲Philip Powell

▲姜馨來Jiang Xinlai

馮榕Feng Rong

費利亞Samuel Ferrer

●林達僑George Lomdaridze

范戴克Jonathan Van Dyke

*張沛姮Chang Pei-heng

低音長號Bass

Trombone

長笛Flutes

雙簧管Oboes

巴松管Bassoons

單簧管Clarinets

圓號Horns

小號Trumpets

敲擊樂器Percussion

●史德琳Megan Sterling

香港管弦樂團 Hong Kong Philharmonic Orchestra

▲盧韋歐Olivier Nowak

●韋爾遜Michael Wilson

■布若芙Ruth Bull

●韋麥克Mark Vines

▲周智仲Chow Chi-chung

●史安祖Andrew Simon

▲史家翰John Schertle

▲李浩山Vance Lee

李妲妮Natalie Lewis

●韋雅樂Jarod Vermette

韋力奇Maciek Walicki

高樂朋Robert Collinson

●陸森柏Paul Luxenberg

●泰貝桑Shaun Tilburg

梁偉華Raymond LeungWai-wa

胡淑徽Sophia Woo Shuk-fai

●史基道Christopher Sidenius

●龐樂思James Boznos

●葉幸沾Shirley Ip

英國管Cor Anglais

低音單簧管Bass

Clarinet

低音巴松管Contra

Bassoon

短笛 Piccolo

杜爾娜Sarah Turner

簡博文Michael Campbell

崔祖斯Adam Treverton Jones

施家蓮Linda Stuckey

大號Tuba

長號Trombones

豎琴Harp

定音鼓Timpani

鍵盤Keyboard

李少霖Homer Lee Siu-lam

高志賢Marc Gelfo

▲莫思卓Christopher Moyse

華達德Douglas Waterston

●莫班文Benjamin Moermond

■柏如瑟Russell Bonifede

●傲高年Colin Oldberg

特約樂手Extra players

敲擊樂器Percussion

艾班頓 雲維華 蔡立德Brandon Estes Ivan Wan Choy Lap Tak

定音鼓Timpani

何銘恩Jojo Ho

日本311事件雖然已事隔約三個月，但地震及海嘯對日本人民

帶來的災難非淺，日本災民仍然需要大家的支持。香港管弦

樂團13位樂師，聯同港樂董事局主席劉元生先生，於5月8日

演出一場音樂會，為地震災民籌款。日本總領事隈丸優次先生

亦親臨支持並表示謝意。是次音樂會共籌得超過三十萬善款。

如在座的您亦想為日本災民出一份力，請捐款到香港紅十字會，

並註明支持「日本地震及海嘯2011」。

About three months have passed since the devastating 311 earthquake

and tsunami hit Japan. But the Japanese people still need your support to

rebuild their shattered lives and livelihoods. On 8th May 13 musicians from

the Hong Kong Philharmonic joined hands with Mr Y. S. Liu, Chairman of

the Hong Kong Philharmonic Society, to perform in a concert raising funds

for the victims. Mr Yuji Kumamaru, Consul General of Japan attended the

concert and showed his sincere gratitude for their efforts. This event raised

over $300,000. If you wish to show your support to Japan’s recovery, you

may make your donation to the Hong Kong Red Cross specifying ‘Japan

Earthquake and Tsunami 2011 operation’.

01 參與演出的樂師包括：冒田中知子、冒異國、鈴木美矢香、熊谷佳織、洪依凡、鮑力卓、霍添、林達僑、韋爾遜、史家翰、簡博文、莫班文和韋麥克。Musicians who participated in the fundraising concert: Tomoko Tanaka Mao, Mao Yiguo, Miyaka Suzuki, Kaori Wilson, Ethan Heath, Richard Bamping, Timothy Frank, George Lomdaridze, Michael Wilson, John Schertle, Michael Campbell, Benjamin Moermond and Mark Vines.

02 日本總領事隈丸優次。Yuji Kumamaru, Consul General of Japan

HKPO | JUN | HOPE FOR JAPAN

01

02

聆聽您的意見We’re listening!您們親臨音樂廳，以行動支持樂團，我們衷心感謝。您們的寶貴意見，我們同樣重視。請以電郵comments@hkpo.com與我們聯絡。

Thank you for coming to our concerts. For any comments, please email us at comments@hkpo.com so that we could continue to bring more exciting concerts to you!

PHO

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EXECUTIVE COMMITTEEMr Y. S. LiuChair

Mrs Janice Choi, MH

Mr Daniel Ng Yat-chiuMr Benedict Sin Nga-yanMr Jack C. K. So, JP

Mr Stephan Spurr

FINANCE COMMITTEEMr Benedict Sin Nga-yanChair

Mr Glenn FokMr Y. S. LiuMr Daniel Ng Yat-chiuMr Kenny Wong Kam-shanMr Robert T. Wong

FUNDRAISING COMMITTEEMrs Janice Choi, MH

Chair

Ms Winnie ChiuMrs Leigh Tung ChouMrs Tasha LalvaniVice-chair

Mr Chan Tin ChiMr David FriedMr Daniel Ng Yat-chiuMr Peter SiembabMr Jack C. K. So, JP

DEVELOPMENT COMMITTEEMr Stephan SpurrChair

Mr James BoznosMs Joanne ChanMs Winnie ChiuProf. Daniel ChuaProf. David Gwilt, MBE

Mr Warren LeeDr Lilian Leong, BBS, JP

Sir David Tang, KBE

名譽贊助人行政長官曾蔭權先生

董事局劉元生先生主席

蘇澤光先生副主席

陳祖泳女士邱詠筠女士蔡關穎琴律師蔡寬量教授霍經麟先生湯德信先生喬浩華先生林煥光先生梁馮令儀醫生劉靖之教授羅志力先生伍日照先生蘇兆明先生冼雅恩先生詩柏先生鄧永鏘爵士黃錦山先生衛嘉仁先生

贊助基金委員會

伍日照先生主席

林煥光先生劉元生先生冼雅恩先生

名譽顧問陳永華教授張建東博士周永成先生何超瓊女士胡法光先生嘉道理勳爵夫人梁定邦醫生岑才生先生黃英琦女士楊鐵樑爵士

HONORARY PATRONThe Chief ExecutiveThe Hon Donald Tsang Yam-kuen, GBM

BOARD OF GOVERNORSMr Y. S. LiuChairman

Mr Jack C. K. So, JP

Vice-Chairman

Ms Joanne ChanMs Winnie ChiuMrs Janice Choi, MH

Prof. Daniel ChuaMr Glenn FokMr David FriedMr Peter KilgourMr Lam Woon-kwong, GBS, JP

Dr Lilian Leong, BBS, JP

Prof. Liu Ching-chihMr Peter Lo Chi-likMr Daniel Ng Yat-chiuMr Nicholas Sallnow-SmithMr Benedict Sin Nga-yanMr Stephan SpurrSir David Tang, KBE

Mr Kenny Wong Kam-shanMr David Zacharias

ENDOWMENT TRUST FUNDBOARD OF TRUSTEESMr Daniel Ng Yat-chiuChair

Mr Lam Woon-kwong, GBS, JP

Mr Y. S. LiuMr Benedict Sin Nga-yan

HONORARY ADVISERSProf. Chan Wing-wah, JP

Dr the Hon Marvin Cheung, OBE, SBS, JP

Mr Vincent Chow Wing-shing, MBE, JP

Ms Pansy Ho Chiu-kingMr Hu Fa-kuang, GBS, CBE, JP

Lady KadoorieDr Ronald Leung, OBE, JP

Mr Shum Choi-sang, SBS, OBE, MA, JP

Ms Ada Wong Ying-kay, JP

The Hon Sir T. L. Yang, GBM, JP

執行委員會劉元生先生主席

蔡關穎琴律師伍日照先生冼雅恩先生蘇澤光先生詩柏先生

財務委員會冼雅恩先生主席

霍經麟先生劉元生先生伍日照先生黃錦山先生黃文耀先生

籌款委員會蔡關穎琴律師主席

邱詠筠女士周董立茂女士TashaLalvani女士副主席

陳天賜先生湯德信先生伍日照先生施彼德先生蘇澤光先生

發展委員會詩柏先生主席

龐樂思先生陳祖泳女士邱詠筠女士蔡寬量教授紀大�教授李偉安先生梁馮令儀醫生鄧永鏘爵士

香港管弦協會 Hong Kong Philharmonic Society

行政人員

麥高德先生行政總裁

行政及財務部何黎敏怡女士行政及財務總監李康銘先生財務經理

張嘉雯小姐人力資源經理

李家榮先生資訊科技及項目經理

郭文健先生行政及財務助理經理

陳碧瑜女士行政秘書

蘇碧華小姐行政及財務高級主任

陳麗嫻小姐接待員

梁錦龍先生辦公室助理

藝術策劃部韋雲暉先生藝術策劃總監

王嘉瑩小姐助理經理(藝術家事務)

羅芷欣小姐藝術策劃助理

翁瑋瑜小姐教育及外展統籌主任

梁琪琪小姐教育及外展主任

發展部李察先生發展總監

吳凱明女士發展經理

MANAGEMENT

Mr Michael MacLeodChief Executive

ADMINISTRATION AND FINANCEMrs Vennie HoDirector of Administration and Finance

Mr Homer LeeFinance Manager

Miss Cherish CheungHuman Resources Manager

Mr Andrew LiIT and Project Manager

Mr Alex KwokAssistant Administration and Finance Manager

Ms Rida ChanExecutive Secretary

Miss Vonee SoSenior Administration and Finance Officer

Miss Pamela ChanReceptionist

Mr Sammy LeungOffice Assistant

ARTISTIC PLANNINGMr Raff WilsonDirector of Artistic Planning

Miss Michelle WongAssistant Manager (Artist Liaison)

Miss Christy LawArtistic Planning Assistant

Miss Flora YungEducation and Outreach Coordinator

Miss Kiki LeungEducation and Outreach Officer

DEVELOPMENTMr Richard TruittDirector of Development

Ms Edith NgDevelopment Manager

聯絡我們香港九龍尖沙咀文化中心行政大樓八樓電話：27212030傳真：23116229

Contact usLevel 8, Administration Building, Hong Kong Cultural Centre, Kowloon, Hong KongTel: 2721 2030 Fax: 2311 6229www.hkpo.com

朱荻恩小姐發展助理經理

韓嘉怡小姐發展助理經理

市場推廣部譚兆民先生市場推廣總監

陳剛濤先生市場推廣經理

梁國順先生巿場及傳訊高級主任

黃穎詩小姐巿場及傳訊主任

陳嘉惠女士編輯

陸可兒小姐企業傳訊主任

林美玲小姐客務主任

樂團事務部邵樂迦先生樂團事務總監

楊劍騰先生樂團人事經理

陳國義先生舞台經理

何思敏小姐樂譜管理

丁美雲小姐樂團事務助理經理

蘇近邦先生運輸主任 (樂器)

Miss Judy ChuAssistant Development Manager

Miss Kary HonAssistant Development Manager

MARKETINGMr Paul TamDirector of Marketing

Mr Nick ChanMarketing Manager

Mr Gordon LeungSenior Marketing Communications Officer Miss Natalie WongMarketing Communications Officer

Ms Tiphanie ChanPublications Editor

Miss Alice LukCorporate Communications Officer

Miss Alice LamCustomer Service Officer

ORCHESTRAL OPERATIONS Mr Luke ShawDirector of Orchestral Operations

Mr Ambrose YeungOrchestra Personnel Manager

Mr Steven ChanStage Manager

Miss Betty HoLibrarian

Miss Natalie TingAssistant Orchestral Operations Manager

Mr So Kan PongTransportation Officer (Musical Instruments)

David M. Webbwebb-site.com

大師會特別為熱愛管弦樂的企業及人士而設，旨在推動香港管弦樂團的長遠發展及豐富市民的文化生活。港樂謹此向下列各大師會會員致謝。

Maestro Circle is established for the business community and individuals who are fond of symphonic music. It aims at supporting the long-term development of the Hong Kong Philharmonic Orchestra and enriching cultural life. We heartily thank the following Maestro Circle members.

Maestro Circle 大師會

以公司英文名稱序In alphabetical order of company name

白金會員 PLATINUM MEMBERS

鑽石會員 DIAMOND MEMBERS

珍珠會員 PEARL MEMBERS

Peter Siembab

Mrs Joy Chung

綠寶石會員 EMERALD MEMBERS

多謝支持Thank You for Your Support

香港管弦樂團在此向以下商業機構及熱心人士表達由衷謝意！The Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support.

樂團席位贊助基金 CHAIR ENDOWMENT FUND

常年經費 ANNUAL FUND

總指揮贊助基金The Maestro’s Chair endowed byThe Octavian Society Limited

劉元生慈善基金Y. S. Liu Foundation

紅寶贊助人 Ruby PatronHK$10,000 – HK$29,999Mr Barry John Buttifant陳靜娟女士Ms Vivien C C ChanMrs Anna Chen鄭李錦芬女士Ms Eva Cheng蔡維邦先生Mr Edwin ChoyDr & Mrs Carl Fung馮慶鏘伉儷Mr & Mrs Kenneth H C Fung馮兆林先生夫人Mr & Mrs Fung Shiu Lam高膺伉儷Mr & Mrs Ko Ying關智健先生及家人Dr Justin L. Kwan & Family李健鴻醫生Dr Lee Kin Hung梁馮令儀醫生Dr Lilian Leong麥耀明先生Mr Lawrence Mak麥禮和醫生Dr Mak Lai WoDr John MalpasMrs Anna Marie Peyer田家炳基金會Tin Ka Ping Foundation丁天立伉儷Mr & Mrs Ivan Ting曹延洲醫生Dr Tsao Yen Chow汪徵祥慈善基金The Wang Family Foundation黃保欣先生Mr Wong Po Yan任懿君先生Mr David Yam Yee Kwan

金管贊助人Gold Patron>HK$100,000

新昌國際集團有限公司Hsin Chong International Holdings Ltd嘉里控股有限公司Kerry Holdings Limited黃少軒江文璣基金有限公司Mr & Mrs S H Wong Foundation Ltd

銀管贊助人Silver Patron HK$50,000 – HK$99,999

Mr & Mrs Alec P Tracy陳建球伉儷Mr & Mrs E Chan張爾惠伉儷Mr & Mrs Lowell & Phyllis Chang梁烈安伉儷Mr & Mrs Leung Lit On

銅管贊助人 Bronze Patron HK$30,000 – HK$49,999

Mr & Mrs David Fried金菁女士Ms Jin Jing陳智文先生Mr Stephen Tan謝超明女士Ms Tse Chiu Ming董建成先生夫人紀念鮑復慧女士

Mr C.C. & Mrs Harriet Tung in memory of Ms Ida Pau Fook Wai

翡翠贊助人Jade Patron HK$5,000 – HK$9,999無名氏Anonymous (2)陳振漢醫生Dr Edmond Chan陳健華先生Mr Chen Chien HuaMr Cheng Kwan MingMrs Mitzi Lee梁冠強先生Mr Jack Leung梁贊先生及周嘉平女士Mr Jan Leung & Ms Emily ChowMr & Mrs Michael & Angela Grimsdick何兆煒醫生Dr William Ho 胡立生先生Mr Maurice Hoo龔鳴夫先生Mr Jackson Kung Ming Foo梁卓恩先生夫人Mr & Mrs Cheuk-yan & Rotina Leung李景行先生Mr Richard LiMs Li Shuen Pui AgnesMr & Mrs John & Coralie Otoshi彭永福醫生及夫人Dr & Mrs Pang Wing Fuk潘昭劍先生Mr Poon Chiu Kim RaymondMs Carley Shum & Mr Jeff Szeto

明珠贊助人Pearl Patron HK$3,000 – HK$4,999無名氏Anonymous (2)陳鴻遠先生Mr Chan Hung Yuen Robert陳葆酉先生及馮永仁先生Mr Po Chan & Mr Nicholas FungMr & Mrs Jonathan Cheng 張德龍先生Mr Cheung Tak LungMr Chow Ping WahDr Affandy Hariman Mr Toru Inaoka 關日華醫生Dr Mike Kwan Yat WahMr Lee Chi Wa陸伯良先生Dr Joseph PangMr Tsunehiko Taketazu 曾文生先生Mr Eric M S Tsang胡志剛先生Mr Wu Chi Kong

樂師贊助基金The Musician’s Chair endowed by邱啟楨紀念基金C. C. Chiu Memorial Fund

法國興業私人銀行Societe Generale Private Banking

教育項目資助機構 EDUCATION PROGRAMME SUPPORTER

�豐銀行慈善基金The Hongkong Bank Foundation

學生票資助基金 STUDENT TICKET FUND

金管贊助人Gold Patron>HK$100,000

�生銀行Hang Seng Bank芝蘭基金會Zhilan Foundation

銀管贊助人Silver Patron HK$50,000 – HK$99,999

嘉里控股有限公司Kerry Holdings Limited信興教育及慈善基金Shun Hing Education and Charity Fund

紅寶贊助人Ruby PatronHK$10,000 – HK$29,999

無名氏AnonymousMr Ian D Boyce陳求德醫生及夫人Dr & Mrs Chan Kow TakMr David Chiu馮兆林先生夫人Mr & Mrs Fung Shiu Lam高膺伉儷Mr & Mrs Ko Ying 關智健先生及家人Dr Justin L. Kwan & Family李玉芳女士Ms Doreen Lee梁惠棠醫生Dr Thomas W T Leung羅家驩慈善基金Lo Kar Foon Foundation朗軒創意國際有限公司Long Hin Creative International Ltd.文本立先生夫人Mr & Mrs Bernard Man黃建安先生Mr Thomas Wong Kin On任懿君先生Mr David Yam Yee Kwan葉謀遵博士Dr M T Geoffrey Yeh

多謝支持Thank You for Your Support

香港管弦樂團在此向以下商業機構及熱心人士表達由衷謝意！The Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support.

翡翠贊助人Jade Patron HK$5,000 – HK$9,999

無名氏AnonymousMr Iain BruceMrs Anna Chen陳健華先生Mr Chen Chien HuaMr Chu Ming Leong鍾思源醫生Dr Chung See Yuen熊芝華老師Ms Teresa Hung關家雄醫生及夫人Dr & Mrs Kwan Ka Hung梁卓恩先生夫人Mr & Mrs Cheuk-Yan & Rotina LeungMs Liu YingDr Lo Xina駱余劍清紀念基金Lok Yu Kim Ching Memorial FundNathaniel Foundation Limited曹延洲醫生Dr Tsao Yen ChowMr Wong Kong Chiu盛平公證行有限公司Zennon & Pierre Company Limited

明珠贊助人Pearl PatronHK$3,000 – HK$4,999

無名氏Anonymous (3)陳鴻遠先生Mr Chan Hung Yuen RobertMrs K L ChanDr Chan Man Wai周慕華女士Ms Catherine Mo Wah Chau Ms Katherine Cheung祈大衛教授Professor David Clarke 馮為佳先生及馮霍幸楹女士Mr Alex Fung & Mrs Hanne Froseth-Fung何炳佑先生夫人伉儷Mr & Mrs Phyllis & Adolf Ho劉秉勳先生Mr Philip Lau劉玉強先生Mr Matthew Lau Yuk Keung 李慕怡小姐Ms Morley Lee李樹榮博士Dr Lee Shu Wing Ernest梁錦暉先生Mr Leung Kam Fai林燕女士Ms Lemon Lim Yin呂永照先生Mr Lui Wing Chiu羅紫媚& Joe JoeMr Lo Cheung On, AndrewDr Ingrid Lok Hung 麥輝成先生Mr Mak Fai Shing芥籽園基金Mustard Seed FoundationOxford Success (Overseas) Ltd岑才生先生Mr Shum Choi Sang 蘇展鵬先生Mr C. P. So Miss Ophelia TamMs Tsang Kwai Fong蔡東豪先生Mr Tony Tsoi王立怡小姐Ms Jennifer Wang黃星華博士Dr Dominic S W Wong, GBS, OBE, JPMr Wu Ken胡躍民先生及顧曉方女士Mr Wu Yeuk Man & Ms Ku Hiu Fong Cindy

銅管贊助人Bronze Patron HK$30,000 – HK$49,999

李國賢博士Dr Simon K.Y. Lee梁家傑伉儷Mr & Mrs Alan LeongDr John Shum Ding Ping & Ms Chan Kit Wah Eva王培麗博士紀念鮑復慧女士Dr Eleanor Wong in memory of Ms Ida Pau Fook Wai

商藝匯萃 PAGANINI PROJECT

贊助基金 ENDOWMENT TRUST FUND

樂器捐贈 INSTRUMENTAL DONATION

香港管弦協會婦女會捐贈 Donated by The Ladies Committee of the Hong Kong Philharmonic Society

所捐贈之罕有樂器– Rare instruments donated –

• 安域高．洛卡(1902)小提琴．由程立先生使用 • Enrico Rocca (1902) Violin, played by Mr Cheng Li

• 桑．巴蒂斯．維爾翁(1866)小提琴由第三副團長 • Jean-Baptiste Vuillaume (1866) Violin, played by Ms Bei Zhu, 朱蓓小姐使用 Third Associate Concertmaster

• 約瑟．加里亞奴(1788)小提琴由第二副團長 • Joseph Gagliano (1788) Violin, played by 王思恆先生使用 Mr Wong Sze-hang, Second Associate Concertmaster

• 卡洛．安東尼奧．狄斯多尼(1736)小提琴， • Carlo Antonio Testore (1736) Violin, played by Mr Ni Lan 由倪瀾先生使用

為支持「提升樂團樂器素質計劃」而捐贈之其他樂器– Other instruments donated in support of the “Instrument Upgrade and Enhancement Project” – • 德國轉閥式小號兩支 • Two German Rotary Trumpets• 德國華格納大號乙套 • A set of Wagner Tubas• 翼號乙支 • A Flugelhorn

贊助基金於一九八三年由以下機構贊助得以成立。 The Endowment Trust Fund was set up in 1983 with these initial sponsors.

香港賽馬會慈善信託基金 �豐銀行慈善基金 置地有限公司

The Hong Kong Jockey Club Charities Trust The Hongkong Bank Foundation The Hongkong Land Group

花旗銀行 怡和有限公司 香港董氏慈善基金會

Citibank, NA Jardine, Matheson & Company Ltd The Tung Foundation

此計劃由「商藝匯萃」發起及組織。This project is initiated and organised by Business for Art Foundation.

汪穗中先生捐贈 Donated by Mr Patrick Wang• 艾曼．謝曼明(1907)小提琴．由冒田中知子小姐使用 • Emile Germain (1907) Violin, played by Ms Tomoko Tanaka Mao

張爾惠先生捐贈 Donated by Mr Lowell Chang• 洛治．希爾(c.1800)小提琴．由王亮先生使用 • Lockey Hill (c.1800) Violin, played by Mr Wang Liang

鍾普洋先生捐贈 Donated by Mr Po Chung• 多尼．哈達(1991)大提琴．由張明遠先生使用 • Dawne Haddad (1991) Violoncello, played by Mr Cheung Ming-yuen

史葛．羅蘭士先生捐贈 Donated by Mr Laurence Scofield• 安素度．普基(1910)小提琴．由張希小姐使用 • Ansaldo Poggi (1910) Violin, played by Ms Zhang Xi

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