rthk radio 4 ‘artist-in-residence’ colleen...

RTHK Radio 4 ‘Artist-In-Residence’ Colleen Lee香港電台第四台「駐台演奏家」李嘉齡

JULY 2014 二零一四年七月號

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This month, we welcome our second Artist-in-Residence of the year, ‘International Chopin Piano Competition’ winner Colleen Lee. For her recent rendition of Chopin’s Ballade No. 1 at The University of Hong Kong, Colleen was described as ‘shuttling between power and introspective, clear in phrasing, and particularly outstanding with the final Presto con fuoco section’ (HK Economic Journal, 12 June 2014). I am glad to tell you that all four Chopin Ballades are included in her first recital on 17 July. More than that, you can see her live at Studio One on 24 July at the second recital. Her choice of all-time favourites includes Beethoven’s Moonlight Sonata, Chopin’s Fantasie-Impromptu, and Debussy’s Clair de lune. Book your tickets now for an intimate recital of monumental piano works!

The young pianist has a long association with Radio 4. I first met her in 1996 when she was a student at Heep Yun College. Together with her teacher, Eleanor Wong, she came into Studio Two to demonstrate how a piano lesson was conducted. Ms Wong was an inspiring teacher and Colleen was a delightful student. She appeared as one of our Young Music Makers in the same year and was featured in Gifted, a CD Radio 4 produced in 2007.

Colleen is an all-round musician. She was once a guest on ‘My Ideal Concert’. The programme she selected included more than just piano works. Last year, she appeared three times on ‘Musical Exchange’ and displayed her knowledge in a variety of interesting topics. As a pianist, she is often seen as a solo recitalist, an accompanist, a soloist in concertos, and chamber musician. Radio 4 listeners may still vividly remember her recent collaborations with RTHK Quartet.

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For about two years now, from Monday to Friday, we have been playing jazz from 6:15 to 7pm. To a lot of our listeners, it’s the perfect time for some stress-free music. After all, it’s nice to have a swinging tune or two to accompany our way home after a tiring day of work.

From July, the relaxing mood will carry on for one more hour. From 7 to 8pm, for your listening pleasure, Kathy Lam has handpicked favourite classical works, timeless movie soundtracks, golden moments from great musicals, and tunes that may surprise you. Stay tuned to Jazz and more… , starting from 1 July.

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The annual International Rostrum of Composers (IRC) is back. Hong Kong composer Viola Yuen will share with you interesting works she brought back from Finland. To tie in to the IRC, we will be broadcasting a 9-part series hosted by Colin Touchin entitled Quills and Skills on the wonders of music creativity through the ages. Don’t miss this interesting and innovative

programme!

Jimmy Shiu Head, Radio 4

本月，我們歡迎今年第二位駐台演奏家登場，她正是「蕭邦國際鋼琴大賽」的優勝者李嘉齡。她剛在香港大學演奏過蕭邦的第一敘事曲，6月12日的《信報》評論：「李嘉齡遊走於威武和內省之間，造句乾淨俐落，尾奏 Presto con fuoco 尤為出色。」很高興告訴你，在7月17日第四台播出的音樂會中，由李嘉齡演奏的曲目包括蕭邦全部四首敘事曲。而在7月24日的現場演出中，她則選了一套耳熟能詳的節目，包括貝多芬的「月光」奏鳴曲、蕭邦的「幻想即興曲」和德布西的「月光」。要欣賞李嘉齡琴鍵下的不朽名曲，請即索取免費門票。

李嘉齡與第四台可說是結下不解之緣。我第一次在電台遇見她時，她還在協恩中學讀書。那是1996年，她與老師黃懿倫在二號錄播室示範一堂鋼琴課，老師甚具啟發性，學生令人眼前一亮。同年，李嘉齡成為樂壇新秀；2007年在第四台出版的「非凡響」CD專輯中，亦收錄了她的演出。

李嘉齡是一位十分全面的音樂家。她曾是「美樂會知音」的客席主持，所選的曲目範圍遠超過她熟悉的鋼琴音樂。去年，她三次在「談天論樂」亮相，涉獵不同話題，反映出她有廣博的音樂知識。此外，她同樣是一位相當全面的鋼琴家，常以獨奏、伴奏、協奏或室樂演奏者的身份出現。第四台聽眾也許仍記得不久前她與香港電台弦樂四重奏的合作演出吧！ * * *

過去兩年的星期一至五下午6時15分，我們都會播放爵士樂。對不少樂迷來說，黃昏正是讓心情鬆一鬆的時刻。畢竟，忙了一天，以爵士節拍伴人踏上歸家路，實是最佳選擇。

由7月份起，我們會把這份悠閒的情懷延續多一小時。林家琦在7至8時為你精心預備古典金曲、雋永的電影原聲、經典音樂劇的選段，以及你意想不到的調子。請緊記收聽不太古典。

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國際作曲家交流會議又重臨第四台。本地作曲家阮慧玲會與你分享她從芬蘭帶回來的多首作品。而配合這項一年一度的盛事，第四台特別播出由杜程主持，一連九集的作曲漫談(英語節目)，為你展示作曲的歷史，萬勿錯過！

第四台節目總監　蕭樹勝

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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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掌台人隨筆From The Desk of HR4

FOREWORD 前言

July 2014 | FINE MUSIC 1

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CONTENTS 目錄

01 FROM THE DESK OF HEAD, R4掌台人隨筆

SPECIAL FEATURES 特稿04 In Conversation with Daniel Müller-Schott

07 ‘Artist-in-Residence’ Chau Chin-tung Concert – Flashback 「駐台演奏家」周展彤音樂會 ─ 剪影

10 Inside the Mad Mind of AYO Founder Richard Pontzious

COVER STORY 封面故事13 ‘Artist-In-Residence’ Colleen Lee

「駐台演奏家」李嘉齡

COLUMNS 專欄21 Sunday Opera 歌劇世界

24 Striking Chords 3 藝人藝談

29 Quills and Skills 作曲漫談

32 All or Nothing 情有獨鍾

35 International Rostrum of Composers 國際作曲家交流會議

37 Songs of the Earth 大地之歌

39 Musical Exchange 談天論樂

41 Jazz and more... 不太古典

43 New Releases 碟碟不休

46 Concert Highlights 音樂會轉播精選

49 Main Programme Chart 節目時間表

50 Programme Highlights 節目精華

59 ‘FM’ Classified Board 《美樂集》分類廣告

60 Coda61 Friends of Radio 4 第四台之友

美樂集FINE MUSIC

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The Man Behind the Music

J : I speak with many musicians, and some say they prefer to focus purely on the music and be guided by the manuscript, others are much more influenced by the circumstances and the personality. I suppose you have to look at both.

D : I think so, both aspects are very important because to study the manuscripts and to learn more about the ideas of the composer and the details of the score is one side, but to have the feeling of participating in the life and times of the composer is very inspiring. In this case of Dvořák and his cello concerto, I think it’s crucial because it has such a big influence on the composition and the process of writing this piece. I think it’s important to learn more and to know more about everything.

A Czech in New York

J : Didn’t Dvořák write the work when he was in New York?

D : Yes, he wrote it in New York when he was teaching at the National Conservatory. There was one occasion which I would say was the turning point for Dvořák: when he heard the premiere of the second cello concerto by Victor Herbert, in 1893, I believe. This

J : Jonathan Douglas D : Daniel Müller-Schott

Described as a ‘fearless player with technique

to burn’ by the ‘New York Times’, award-winning

cellist Daniel Müller-Schott counts many of the

world’s most distinguished musicians as his regular

musical partners. With a concert in Hong Kong,

Daniel Müller-Schott talks to Jonathan Douglas

about his journey with Dvořák.

was the moment when Dvořák really changed his ideas about the cello as a solo instrument and that actually the cello could stand alone against the symphony orchestra. He then started writing this concerto. Had he not been in New York and not heard this piece, I don’t think we would be able to enjoy Dvořák’s cello concerto today.

J : It’s so interesting that despite the fact that he was in America, that he missed home and was perhaps not entirely happy, he was so inspired to write so many great works.

D : Yes, especially if you think of the New World Symphony that he had written just before starting to work on the cello concerto, at the same time he was really longing for his home. What you get from reading his letters is that he treasured the folk elements of the Bohemian music side so much and was including those melodies into his symphonies and concertos. It’s very interesting to follow the inspirations that Dvořák must have had at the time. There was a real aspect of longing for his home. Also, when he got the message that his sister-in-law was seriously ill, it made him change the perception of the cello concerto; that was also very moving and makes it even more personal.

SPECIAL FEATURES 特稿

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D : Yes, that’s right and the CD just came out a month ago, and this was a recording that I did in Hamburg with the NDR Sinfonieorchester with Michael Sanderling. He was a cellist himself and is now Chief Conductor in Dresden, Germany, so that was another inspiring collaboration.

J : That must be another big decision, deciding when the time is right, and who you collaborate with; this must have been a major decision for you.

D : Yes, absolutely and since you speak about it I’m just remembering my talks with one of my teachers, the wonderful Steven Isserlis from England, and he told me he had to wait 40 years, almost his entire career, to record the Dvořák and I must admit I wasn’t that patient.

- transcribed by Jacqueline Leung

Don’t miss this beautiful rendition of the Dvořák Cello Concerto by Daniel Müller-Schott and the Hong Kong Sinfonietta led by Yip Wing-sie to be broadcast in Live on 4 on 5 July (Sat) at 8pm.

德國大提琴家梅勒—索特被《紐約時報》評為「讓技巧燃燒，無懼的樂手」。他曾在6月底與葉詠詩指揮的香港小交響樂團演出德伏扎克的B小調大提琴協奏曲。實况錄音於7月5日(星期六)晚上8時在第四台音樂會播出。

Writing from the Heart

J : Another thing about this work is the sheer scale. It’s really like a huge symphony.

D : It is, and it’s fascinating to see at the time when he finished the piece there were many comments by cellists at the time that the piece was unplayable because the conception was so big, it was so symphonic, and there were so many difficulties technically. These comments led Dvořák to offer some ossia versions where some bars were made much easier. This is another reason that today we look at the manuscript and play everything Dvořák had originally intended.

Singing Possibilities

J : You talk about the technical difficulties. How do you see the cello’s relationship with the orchestra?

D : Well, I think the cello concerto is like a theatre play, where the cello has many roles. And you have to, somehow, know exactly which role is needed at the time you play it. The very first cello entrance is really heroic and extroverted and you dive into the platform of a symphonic orchestra. Then you also stand against the largeness of the orchestra but you also have wonderful, tender, lyrical moments. I think Dvořák really brought out the most singing possibilities that the string instrument can have. Also, in the second movement, there’s a great dialogue between the wind instruments and the cello, so there’s also a lot of chamber music in the piece, so in some ways he really brought very complex elements together in just one piece and that, of course, makes it very challenging.

J : I suppose he’s a composer who really writes from the heart, in a very special way, and you would think that the cello was an instrument which really suited his personality.

D : Yes, and I see it as coming from the viola, since Dvořák played the viola for many years himself and he had lots of experience with chamber music. Somehow the cello complemented his way of expression in his compositions and I think it really suited him very well.

J : I think I’m right in saying that you recently recorded this work, is that right?


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▼ MCs (from left) Eunice Chow and Jonathan Douglas, interviewing Chau Chin-tung and his wife, Mandy Lo, who is also a percussionist. 司儀(左起)周琬婷、杜格尊，訪問周展彤及他的太太兼敲擊樂拍檔勞善雯。 ▼ Chau Chin-tung in utter concentration 周展彤演出十分專注

成俊曦

The whole RTHK Studio One trembled with tremendous energy during the ‘Artist-in-Residence’ live concert on 22 May with percussionist Chau Chin-tung. It was an unforgettable experience for all to personally feel the seats vibrating, as set off by all kinds of drums, and to watch the performance up-close with such an amazing array of Western and Chinese percussion instruments. Chau Chin-tung shared the stage with 18 of his musician friends. The programme focused on both Western and Chinese repertoire, showcasing a diversity of musical styles and Chau Chin-tung’s excellent versatility.

The audience gave an enthusiastic response particularly in A Toasting Song of Joy, when Chinese instruments, including suona, dizi and sheng, accompanied a debate of two performers who spoke in funny voices. There was also a heightened sense of excitement when Chau Chin-tung and Jason Leung portrayed the drama in the drum duo The Ox Fighting the Tiger with their body movement and facial expression. Those who could not make it to Studio One unfortunately had to miss this enjoyable live experience and the autograph session afterwards. But good news: Radio 4 has filmed the concert. The video is available on RTHK’s website (www.rthk.hk). And of course you can always access our programme archive on the web for the audio version of this wonderful performance.

Can you name every one of these percussion instruments? 你認識幾多件敲擊樂器呢？

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Shing Chun-hay


▼ Autograph session after the show 周展彤在音樂會後為觀眾簽名留念

▼ Among the audience was Yim Hok-man (right), Chau Chin-tung’s percussion teacher 周展彤的老師閻學敏(右)亦有到臨欣賞演出


澎湃的鼓聲，震動香港電台一號錄播室每一個角落。席上每一位觀眾在近距離觀賞演出，無不感受到

敲擊樂的懾人力量。演奏家周展彤在5月22日演出的「駐台演奏家」音樂會，絕對是一場難忘的音樂體

驗 ─ 中、西敲擊樂器擺滿舞台已經是目不暇給，周展彤更邀來十八位好友同台演出，熱鬧非常！節目

中、西樂並重，涵蓋傳統曲目至當代創作，周展彤靈活穿梭於各種風格中，演奏來得駕輕就熟。

現場觀眾反應相當熱烈。尤其在《喜酒歌》中，兩位笙演奏家走到台前拿來啤酒、花生，以逗趣的聲

音爭論，贏得不少觀眾的笑聲。周展彤和梁正傑演奏《牛鬥虎》時，更以表情和身體動作，烘托樂曲

中牛虎相遇，一觸即發的緊張氣氛。未能前來一號錄播室觀賞的樂迷，很可惜無法享受這精彩的現場

效果，以及見證在音樂會後熱鬧非常的簽名會。

在此送上好消息 : 第四台已將音樂會錄影，並已上載至香港電台網頁(www.rthk.hk)供樂迷觀賞。你亦

可以隨時於第四台網站重溫是次「駐台演奏家」的錄音。

Toasting in A Toasting Song of Joy 演奏《喜酒歌》，怎少得互敬一杯？

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成俊曦


AYO Founder Richard Pontzious

Inside the Mad Mind of

He is a Renaissance man, they say: conductor, writer, educator, visionary, fundraiser, orchestra builder, diplomat – who gave up a comfortable life in California, where he was senior music critic for the San Francisco Examiner, to create what critic Leo Lee Ou-fang has called ‘The Pride of Hong Kong,’ our own Asian Youth Orchestra (AYO). Every summer he brings together 100-plus outstanding young Asian musicians for six weeks of demanding rehearsals, masterclasses, and performances at home and around the globe.

The Asian Tour

This year the AYO is marking its 24th Season with its annual Rehearsal Camp at The Hong Kong Academy for Performing Arts and 16 concerts in the region, starting with Hong Kong (15 and 16 August), before proceeding to Shanghai, Hangzhou, Beijing, Tianjin, Taipei, Chiayi (Taiwan), Osaka, Ayase and Tokyo.

We look back with pride at our successes, not least our performance at the United Nations in New York for the world body’s 50th anniversary, playing the global premiere performances of Tan Dun’s Symphony 1997 with cellist Yo-Yo Ma for the Hong Kong reunification ceremonies, receiving Japan’s Premium Imperiale Grant for Young Artists, and Mr. Pontzious receiving a Bronze Bauhinia Star from Hong Kong. Who could have imagined years ago that he would celebrate his 70th birthday while still at the Orchestra’s helm, 27 years after moving to the city!

The Road to Hong Kong

Success did not come overnight. Mr. Pontzious’ early days in Asia were spent teaching music in Taiwan in those rigid martial law days under Generalissimo Chiang Kai-shek, in Japan from 1968 to 1973, and then in Shanghai in 1983 and 1984, where he led the Conservatory Orchestra in those post-Cultural Revolution days.

‘It was both exhilarating and scary to live in Shanghai in 1983,’ recalls Mr. Pontzious. ‘Emotions were still raw for those who had suffered so greatly during the tragic years of the Cultural Revolution. Those were the days long before neon lights on Nanjing Lu and five-star hotels on every street corner. I weighed 180 pounds or so when I went in, and came out at 124 pounds a year later, with all the stress and life in those days.’

Liu Yunjie, now with the San Francisco Symphony, was a student at the Shanghai Conservatory when Mr. Pontzious was there. He recalls how ‘this crazy foreigner came in and turned our Orchestra upside down, playing not only Beethoven, but music we had never heard before, such as Bernstein, Copland, and Prokofiev.’

I’m probably crazy to write about my boss, but after 16 years of working with Richard Pontzious, I’m determined to share some of the behind-the-scenes stories of the AYO and its passionate founder.

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AYO

Keith LauGeneral Manager Asian Youth Orchestra


FINE MUSIC | July 201410

▲ James Judd, AYO’s Principal Conductor

Cellist Jian Wang, 14 years old in 1983, was a student in the Conservatory middle school orchestra when Mr. Pontzious arrived. ‘His hard work to get us to play Dvořák’s New World Symphony with understanding made such an impression that I still remember everything and play it from memory today.’

Showcasing Asian Youth

It is the sum of his experiences in Taipei, Tokyo, and Shanghai that led Mr. Pontzious to put forward the idea for the creation of an Asian Youth Orchestra. As he tells it: ‘Our ambition was to showcase Asian talent and encourage youngsters to stay in Asia to help build the arts here, when so many dream of studying and going professional in the West. Of course to do that - at the level I envisioned - we had to cross many borders deeply scarred by years of civil war, military occupation, and domination.’

‘This was something that my colleague and friend, the late Yehudi Menuhin, understood. Yehudi had used music as a bridge after World War II, travelling to Germany when few of his colleagues would dare do so, to Japan, where he was the first international artist after WWII to perform in Tokyo, and, eventually, to China, immediately after the Cultural Revolution.’

Chinese Pioneers

Like Menuhin, Mr. Pontzious was a pioneer. Keep in mind this was 1983. Travel to the China mainland was still a relatively new idea. China and Taiwan were at loggerheads and relations between the mainland and Hong Kong would soon deteriorate over reunification controversies and the Basic Law. China and Vietnam were engaged in a border war, while ‘boat people’ from Vietnam were washing up on Hong Kong’s shores and being held in camps in the New Territory.

The Asian Youth Orchestra will appear in two concerts on 15 and 16 August at the Hong Kong Cultural Centre Concert Hall. Programme details will be given in next month’s FM magazine. AYO will also present a chamber recital on 3 August at the Jockey Club Amphitheatre, The Hong Kong Academy for Performing Arts, which features its artist-faculty. For programme information and ticket requests, please visit www.asianyouthorchestra.com.

亞洲青年管弦樂團將於8月15及16日在香港文化中心演出兩場，節目詳情請留意8月份《美樂集》。另外，樂團將於8月3日在香港演藝學院賽馬會演藝劇院，舉辦一場由樂團�職員演出的室樂音樂會。有關節目詳情及索取免費門券，請登入www.asianyouthorchestra.com。

Through it all, Mr. Pontzious never lost sight of his goals. His intense approach can be frightening. But he gets things done, says AYO’s Principal Conductor James Judd, ‘by encouraging, inspiring and convincing the people around him. It’s like we’re all in this together, and if we don’t do our part it’s unthinkable. You wouldn’t dare let him down.’

‘Looking back,’ reflects Mr. Pontzious, ‘It was probably not very smart to head off to a Hong Kong I didn’t know with little more than a ‘this looks interesting’ from potential sponsors. But at the end of the day I consider myself extremely fortunate. We’ve auditioned more than 20,000 youngsters over the years. Some 2,000 have made the cut, and most of those have gone on to be professional musicians. It’s a wonderful legacy.’

My boss. He can drive me crazy at times, but in the end he has helped to define the excellence of young musicians in Asia.



「駐台演奏家」李嘉齡

COVER STORY 封面故事

‘Artist-in-Residence’ Colleen Lee


Colleen’s remarkable record has yet to be matched, but she has already been moving forward since then, performing frequently in Hong Kong and internationally in recitals and with renowned orchestras, taking up the role of Artist Associate of the Hong Kong Sinfonietta in its 2010/11 season, and participating actively in chamber music performances in the ‘Hong Kong International Chamber Music Festival’, ‘Musicus Fest’, and with the RTHK Quartet.

When asked about her current music goals, she jokes that she is quite ‘greedy’, as she not only wants to continue to be a performing artist, in multiple roles as recitalist, chamber musician and concerto soloist, but also wants to give the premiere of new musical works, as well as teaching. ‘The first priority, though, is always to be a performing artist.’ Despite starting to learn and play the piano at 4 years old and receiving intensive training at The Hong Kong Academy for Performing Arts since 7, Colleen still loves performing so much that she thinks it is simply ‘never enough’. For her, music is a journey that has no end.

In this month’s two ‘Artist-in-Residence’ concerts, Colleen will share her music journey with Radio 4 listeners, playing all of Chopin’s four Ballades in a row, which she learnt separately at different time, in a reverse order — from the last to the first one.

Schumann’s Arabesque in C, which she started to play around 8 or 9 years old, is a piece she is going to revisit. ‘At that time I didn’t really understand what the work wants to express and I didn’t know much about Schumann. My only thought was: Schumann’s works are not easy to play! In fact, even now, I still don’t think Schumann’s music is easy to understand and maybe that’s why he is so special.’ The programme also includes Chopin’s Etudes, representing ‘the stage which every pianist has to go through’.

Colleen spoke of the subtle relationships between each piece on the programme. ‘Once from reading a book, I discovered that the key and structure of Beethoven’s Moonlight Sonata had considerable influence on Chopin on writing some of his compositions, including the Fantasie-Impromptu, which shares the same key and seems to model on Moonlight Sonata in its modulations.’ For this reason, even though Fantasie-Impromptu is rather over-performed and Colleen generally avoids it in her performances, she still decided to have both works in a single programme. She wants to reveal to listeners that music can achieve profound influence between people. This is to parallel to our lives, in which there are always people, such as family or teacher, who influence us deeply.

To me, Colleen is not ‘greedy’ at all in setting numerous music goals. It is just that she devotes herself to music with all her heart.

▼ Performing with the Hong Kong Sinfonietta

與香港小交響樂團同台演出

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Pianist Colleen Lee is RTHK Radio 4’s ‘Artist-in-Residence’ in July. Colleen is no stranger to most Hong Kong audiences. Even those who

seldom pay attention to classical music in Hong Kong might have come across her name. In 2005, she won the sixth prize in the prestigious

‘International Chopin Piano Competition’, the first-ever Hong Kong pianist to be awarded a prize in this important competition. Local news

media was very excited about this and it was voted as the number one news item in ‘Top 10 Music Headlines’ of that year.

Shing Chun-hay


無止境的音樂旅程

Enjoying a round of applause in a competition in Spain 於西班牙比賽演出後，接受觀眾的掌聲。

▼


踏入7月，香港電台第四台迎接本年第二位「駐台演奏家」 — 鋼

琴家李嘉齡。「李嘉齡」這個名字，相信對香港人來說不會陌

生，就連平日甚少聽古典樂的，都應該聽過。2005年，李嘉齡晉

身被譽為音樂界最具權威的「蕭邦國際鋼琴大賽」決賽，並且贏

得第六名，成為首位在該大賽中獲獎的香港鋼琴家，傳媒爭相報

導，更榮登當年「十大樂聞」之首。

李嘉齡並沒有留戀昔日的獎項，她早已一步一步不斷向前邁進 ─

在香港和世界各地頻繁演出，舉行獨奏會，與世界知名樂團合

作，擔任香港小交響樂團2010至2011年樂季「駐團藝術家」，

又積極參與室樂演奏，在「香港國際室內樂音樂節」和「樂‧誼

國際音樂節」亮相，並聯同香港電台四重奏演出。

與李嘉齡談到未來的音樂目標，她笑言自己比較「貪心」，除了

當一位在獨奏、室樂合奏、與樂團合作等樣樣皆能的優秀演奏家

之外，還非常渴望首演新作品以及�琴。「不過，首要的，仍是

要當一位演奏家。」四歲開始學琴，七歲已於香港演藝學院受訓

的她，依然那麼熱愛演出，表演是「永遠不會覺得足夠的」。對

她而言，音樂是一趟永遠可以走下去的旅程。

在旅程中，李嘉齡從不間斷地發掘，並會在本月兩場「駐台演奏

家」音樂會中，毫不吝嗇跟樂迷分享。例如，蕭邦的四首敘事

曲，是李嘉齡於不同時期，從第四首學到第一首的作品，今次她

在節目中把四首完整送上。舒曼的C大調阿拉伯風，是她差不多

八、九歲時練習的樂曲。「當時不太明白作品想表達甚麼，也

不太認識舒曼這位作曲家，只感到舒曼的作品真不好彈。直至現

在，仍然覺得舒曼很難明白（笑），也許就是他的特別之處吧!」

蕭邦的練習曲，則是「每位彈琴的人必學的曲目」。

李嘉齡提及樂曲與樂曲之間的微妙關係：「有一次看書，偶然發

現貝多芬的『月光』鋼琴奏鳴曲的音調和結構，對蕭邦所寫的某

些作品有一定的影響，其中一首就是『幻想即興曲』，不僅音調

相同，轉調方面都好像以『月光』鋼琴奏鳴曲為藍本。」因此，

即使「幻想即興曲」演出氾濫，李嘉齡一向避免在公開場合彈

奏，仍然決定同場演奏這兩首樂曲。她希望向觀眾展示，音樂可

以在人與人之間有很密切的影響，就像每個人的生命裡，總有一

些人，例如家人、老師，對自己有很深遠的影響一樣。

我發現，李嘉齡並不如她所言的太「貪心」。再多的音樂目標，

都純粹源自她對待音樂的真心、用心。

成俊曦


‘Artist-in-Residence’ Colleen Lee Piano Recital Concert Ticket Request Form

「駐台演奏家」李嘉齡鋼琴獨奏會

門票索取表格

Date 日期：24/7/2014(Thu 星期四)Time 時間：8:00pm Venue 地點：Studio One, RTHK, 30 Broadcast Drive, Kowloon Tong 九龍塘廣播道30號香港電台一號錄播室

Programme 曲目：

Beethoven : Piano Sonata No. 14 in C sharp minor, Op, 27, No. 2, ‘Moonlight’Debussy : Clair de lune L’isle joyeuseChopin : Fantasie-Impromptu in C sharp minor, Op. 66 Etudes (Selections)Liszt : Après une lecture du Dante 貝多芬：升C小調第十四鋼琴奏鳴曲，作品27，第二首，「月光」德布西：月光

　　　　歡樂島

蕭邦：升C小調幻想即興曲，作品66 練習曲（選段）

李斯特：但丁詩篇讀後感

Name 姓名：

Address 地址：

E-mail 電郵地址：

Tel. 電話　（Day 日間）　（Evening 夜間）

FOR4 Membership No. 第四台之友會員編號 (if applicable 如適用)：

Number of Tickets 門票數量

(Please specify the no. of tickets, maximum 2) (請列明數量，最多兩張)

Please return the completed form to:Radio 4, P.O. Box 70200 Kowloon Central Post Office請郵寄至九龍中央郵箱70200號，香港電台第四台

Fax傳真：23396427 Enquiries查詢：23396425

▲ Colleen with her teacher Eleanor Wong李嘉齡與鋼琴老師黃懿倫

▲ Colleen with her teacher Arie Vardi 李嘉齡與鋼琴老師瓦里瓦德

Colleen Lee will give a piano recital at RTHK Studio One on 24 July (Thu) at 8pm.

Reserve your tickets now by completing the form below or by online request at Radio 4’s 40th anniversary

website (www.rthk.hk/r440). You can also get a foretaste of Colleen’s performance

on the radio in a recorded concert programme on 17 July (Thu) at 8pm.

李嘉齡在7月24日(星期四)晚上8時，於香港電台一號錄播室舉行鋼琴獨奏會。

請填妥下列表格，或於第四台四十週年網站 (www.rthk.hk/r440) 登記索取門票。

另一場李嘉齡的錄音音樂會，則安排於7月17日(星期四)晚上8時播出。



Arts Happenings 藝壇快訊

Hong Kong composer Alfred Wong and the Music Office Youth Choir of the Leisure

and Cultural Services Department have been awarded the ‘Xinyi Cup’ and Gold Diploma

award in Vienna Choir Festival respectively.

Renowned Hong Kong composer Alfred Wong was awarded Bronze in the ‘Xinyi Cup’

in June with his Chinese orchestral work Nocturne for Victoria Harbour. The ‘Xinyi Cup’

is granted by the China Nationalities Orchestra Society and it comments on distinctive

Chinese compositions. This year, submissions from composers from China, Hong Kong,

and Taiwan were received, and Alfred Wong is the only recipient from Hong Kong to

receive the honour.

A graduate of The Chinese University of Hong Kong, Alfred Wong studied composition

with Chan Wing-wah. Being one of the foremost composers of his generation in Hong

Kong, Wong’s Flame was selected in ‘International Society for Contemporary Music 2009’.

Songs from China was published by the Hong Kong Children’s Choir, while Mountain and

Flowing River was recorded and released on CD. In recent years, he has been active in

writing Chinese instrumental music, and he collaborates closely with the Hong Kong

Chinese Orchestra. His recent theatre music includes The Eight Immortals’ Adventures

and The Eight Immortals’ Adventures Prequel. He is currently teaching courses at the

School of Professional and Continuing Education of The University of Hong Kong.

The Music Office Youth Choir of the Leisure and Cultural Services Department was

awarded a Gold Diploma and presented with the Category Winner Award in the Mixed

Youth Choirs Competition in the Sing’n’joy Vienna 2014 - 29th International Franz

Schubert Choir Competition and Festival held in Vienna from 5 to 9 June . The Choir was

also awarded another Gold Diploma in the Sacred Choral Music Competition.

Sing’n’joy Vienna 2014, which included a large-scale choral competition divided into

eight categories and friendship concerts, drew participants from 18 choirs from 14

Hong Kong Musicians Triumph on International Platform

本地音樂創作合唱表演揚威海外

香港青年作曲家黃學揚和康樂及文化事務署音樂事

務處轄下的青年合唱團，最近分別在海外的音樂論

壇和比賽中，皆獲得卓越的成績。

作曲家黃學揚以《維港夜曲》榮獲中華人民共和國

文化部藝術司與中國民族管弦樂學會聯合主辦的

「新繹盃」青年作曲家民族管弦樂作品評獎銅獎，

並於6月12日晚上在北京中山公園音樂堂舉行的頒

獎音樂會上領取獲獎證書。這次評獎有來自中、

港、台等地的數十位作曲家提交作品，黃學揚是唯

一獲獎的香港代表。

黃學揚畢業於香港中文大學音樂系，獲文學士及音

樂碩士學位，隨陳永華學習作曲。他的作品包括入

選「國際現代音樂節2009」的管風琴曲《焰》、

樂譜由「香港兒童合唱團」出版的合唱曲《中國之

歌》及灌錄成唱片的箏四重奏《山河流水》。他近

年活躍於中樂創作，劇樂《八仙過海》及《八仙過

海前傳》由香港中樂團及香港話劇團聯合演出。黃

學揚現時任�於香港大學專業進修學院。

另外，康樂及文化事務署音樂事務處轄下的青年合

唱團，於6月參加在維也納舉行的「第二屆維也納

『歡樂之聲』合唱節2014暨第二十九屆舒伯特國際

合唱比賽」，榮獲青年混聲合唱組金獎，並以最高

評分奪得組別優勝者的殊榮。此外，青年合唱團亦

在聖樂合唱組再奪金獎。

合唱節共分八個組別，包括大型合唱比賽和友誼演

唱會。今年有來自十四個國家，包括奧地利、挪

威、瑞典、芬蘭、俄羅斯、意大利和菲律賓共十八

個合唱團參賽。是次活動為音樂事務處國際青年音

樂交流活動之一，由高級音樂主任（音樂通識及訓

練支援）區雁珠擔任指揮，率領轄下六十名青年合

唱團團員到訪「音樂之都」維也納，並參與這項於

1984年首次舉辦，在業界享負盛名的「舒伯特國際

合唱比賽」。

© M

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countries, including Austria, Norway,

Sweden, Finland, Russia, Italy, and the

Philippines. Besides singing for the Festival,

the Choir also visited the world famous

training school of the Vienna Boys’ Choir

and the Vienna State Opera House.

As part of the Music Office’s International

Youth Music Exchange Programme, the

60-member Youth Choir, led by conductor

and Senior Music Officer (Musicianship &

Training Support) Angelina Au, went on

a tour to Vienna to participate in various

activities of Sing’n’joy Vienna 2014, among

which was the reputable International Franz

Schubert Choir Competition which was first

held in 1984. ▲ Alfred Wong, composer 作曲家黃學揚

▲ The Music Office Youth Choir 音樂事務處青年合唱團


13 July : Prokofiev’s The Gambler

Encouraged by the Russian-born English conductor, Albert Coates, of the Mariinsky Theatre of St. Petersburg, promising a production at that theatre,

Sergei Prokofiev (1891 - 1953) composed The Gambler, his third opera, based on the story of the same name by Fyodor Dostoyevsky. The composer

also wrote the Russian libretto. He completed the piano score in six months and spent a further ten months on the orchestration. The whole work

was finished in January 1917, a month before the outbreak of the great Russian Revolution that overthrew the Tsarist regime. Prokofiev was 26 years

old. He soon left his country and spent the next nineteen years abroad, mainly in the United States and Paris, leading the life of a virtuoso pianist and

avant-garde composer of considerable fame. His sudden return to Soviet Russia in 1936 was a great surprise to the musical world.

The Gambler tells the story how Alexei, tutor to a General’s family earning a modest salary but driven by greed, loses all the money entrusted to him

by Paulina, a young woman he loves, at the gambling table. Paulina is frustrated and challenges Alexei to prove his love. The General is enamoured

with a much younger socialite named Blanche and hopes for the early death of his Aunt Babulenka so that he can inherit her money and marry

Blanche. Babulenka has a sudden urge to gamble and loses her large fortune at the casino. Alexei, however, has a run of good luck and wins back

all Paulina’s and his own money. Paulina realize that Alexei loves gambling far more than he loves her. She walks out on him.

Sundays 2:00pm

Lo King-man

Sunday Opera’s July listing consists of works by two of the greatest Russian composers of the twentieth century, Stravinsky and Prokofiev; an early success of the Italian genius Giuseppe Verdi; and a unique German rescue drama that is Beethoven’s only composition for the operatic stage.

SUNDAY OPERA

6 July : Stravinsky’s The Rake’s Progress

This is the only full-length, large scale opera composed by Igor Stravinsky (1882 - 1973). It was inspired by a series of paintings and engravings by

the important 18th-century English painter William Hogarth entitled A Rake’s Progress, from which the composer and his librettists derived the story

of a rake’s adventures, his encounter with the devil, his rejection of true love, his decadent life among whores in a London brothel, his marriage with

a bearded lady from the circus, his misfortunes and death in a madhouse.

Stravinsky’s music is set to an English libretto by the poet W.H. Auden with the collaboration of Chester Kallman. Following the theme of Hogarth’s

narrative told in pictures, The Rake’s Progress is one of the composer’s more pronounced satirical and moralizing works. The opera was first

▲ Igor Stravinsky ▲ W. H. Auden ▲ Philip Langridge

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performed in 1951 at the Venice Biennale. It represented yet another new

direction of Stravinsky’s music towards a more restrained and restricted neo-

classical idiom.

Our recording features tenor Philip Langridge in the role of Tom Rakewell,

the protagonist. Bass Samuel Ramey portrays the devilish character of Nick

Shadow. Soprano Cathryn Pope sings the part of Anne Trulove, the rake’s

fiancée. Dramatic soprano Astrid Varney plays Mother Goose the brothel

operator, and mezzo-soprano Sarah Walker is Baba the Turk, the bearded

lady. The London Sinfonietta and Chorus are conducted by Riccardo Chailly.

▲ Sergei Prokofiev ▲ Vladimir Galouzine

The opera did not receive its first performance until 1929, when an extensively revised version was

staged at the Théâtre Royal de la Monnaie, Brussels. The Bolshoi Opera of Moscow performed the

work in 1975 and the Metropolitan Opera of New York mounted a production in 2001.

We will hear a recording featuring tenor Vladimir Galuzin as Alexei, soprano Liubov Kazarnovskaya

as Paulina, bass Sergei Alexashkin as the General, mezzo-soprano Marianna Tarassova as Blanche,

and mezzo-soprano Elena Obraztsova as Babulenka. Valery Gergiev conducts the Kirov Chorus

and Orchestra of St. Petersburg.


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

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▲ Oil painting ‘The Last Meeting between Jacopo Foscari and His Family before being Sent into Exile’ by Francesco Hayez, was commissioned by Emperor Ferdinand I in 1838.

▲ Brigit Nilsson ▲ James McCracken

20 July : Verdi’s I due foscari

In 1843, Giuseppe Verdi (1813 - 1901) was commissioned by the Phoenix Theatre

(La Fenice) of Venice as well as the Teatro Argentina of Rome for a new work for

each opera house for the following season. The thirty-year old composer proposed

to adapt Lord Byron’s historical play The Two Foscari, a subject concerned with the

Venetian Republic in the late 15th century, for the theatre in Venice. The proposal

was rejected by La Fenice as unsuitable because the story included criticism of the

Republic’s Council of Ten, which may be offensive to the great families of Venice,

including the descendants of the house of Foscari itself. So, Verdi quickly transferred

the project to fulfil the commission from Rome, where the premiere performance took

place in November 1844 with considerable success.

I due foscari, Verdi’s sixth work for the opera stage was set to a libretto by Francesco

Maria Piave. Verdi himself considered it a fine subject, delicate and full of pathos,

concentrating on personal confrontations rather than grand scenic effects. The plot

focuses on the inner conflict of Francesco Foscari, Doge of Venice during the 1450s,

who is faced with the duty to carry out the decision of the powerful Council of Ten to banish his own son Jacopo into exile for suspected murder.

Despite the seeming innocence of his son and the tearful pleading of his daughter-in-law, he is powerless to overturn the edict of the Council.

Towards the end of the opera, Francesco receives news of his son’s death and at the same time the Council’s decision that his position as Doge shall

be replaced. As the bell of San Marco tolls, he dies of grief.

Francesco Foscari, the Doge, is sung by baritone Piero Cappuccilli, a famous interpreter of the role. His son Jacopo is sung by tenor José Carreras.

Lucrezia, his daughter-in-law, is sung by soprano Katia Ricciarelli. The role of Loredano, the Doge’s enemy in the Council of Ten, is assumed by bass

Samuel Ramey. The ORF Symphony Orchestra and Chorus of Vienna perform under the baton of Lamberto Gardelli.

27 July : Beethoven’s Fidelio In the last programme of this month, the only opera by Ludwig van Beethoven (1770 - 1827), Fidelio, will be presented.

The recording to be played on this occasion features dramatic soprano Birgit Nilsson in the role of Leonore, heroic tenor James McCracken as

Florestan, bass Kurt Böhme as Rocco the jailer, and baritone Tom Krause as the Tyrant Pizarro. The Vienna State Opera Chorus and the Vienna

Philharmonic perform under the baton of Lorin Maazel.

Fidelio is a ‘rescue’ opera composed in the form of a Singspiel, in which set numbers of arias,

duets, and ensembles are linked by spoken dialogue. Fidelio is the name by which the heroine

Leonore disguises herself as a young man and obtains employment as assistant to the jailer in Don

Pizarro’s fortress, where her husband, Florestan, is imprisoned. At the climax of the opera, when

Pizarro is about to murder Florestan, Leonore reveals her true identity with a pistol pointing at the

villain’s heart.

The work is an ode to nobility of the human spirit and a hymn to courage, steadfastness and the

triumph of love and justice over evil - a unique example of its kind in the established repertoire.


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As with the two previous sets, this is not so much a carefully considered selection as a delightful recollection - ten wonderfully

memorable encounters that came to mind as I was thinking about the interviews I liked best. I’m branching out this time into

theatre and film with four great names from stage and screen. I also include two of the greatest singers of our time, a pioneering

composer (America’s greatest living composer, according to one critic), a violinist, a pianist and an organist/choral conductor.

Jonathan Douglas

Talking of Silence

Some years ago, the poet Andrew Motion said to me during an interview that it was of the utmost importance

never to underestimate the mystery of a person. I always remember this comment when I look back to my meeting

with legendary mime artist, Marcel Marceau, a meeting I feel was a particular honour. In addition to his iconic

status as an artist, I was in awe of his courage. When he was still just a teenager, Marceau risked his life saving

many children from the clutches of the Nazis as a member of the French resistance. His father was murdered

in Auschwitz. I met Marceau in 1999 when he was performing and doing masterclasses here in Hong Kong.

It’s hard, of course, not to miss the irony inherent in the idea of the world’s greatest mime artist appearing on

radio. However, for those few fortunate enough to hear him speak, it is not something you will quickly forget.

In conversation, he is afire with intellectual energy and he comes across as intensely cultured - for when you

understand the value of silence you break this silence with due respect, also, for the value of the spoken word.

Striking Chords 3©

Sam

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▲ Marcel Marceau 馬塞‧馬素

▲ Ian Richardson 李察臣

▲ Baz Luhrman 盧爾曼

Tears and Laughter

Marcel Marceau died in 2007 and he is one of three from this set who are no

longer with us. The actor, Ian Richardson, who died in the same year, is someone

I have long admired. He became a household name as the Machiavellian Francis

Urquhart in the BBC’s House of Cards, but I knew him also as a wonderful

Shakespearian actor. He was in Hong Kong working with The Academy for

Performing Arts’ students and laying the groundwork for a production of the

Hollow Crown that, sadly, never materialised due to the SARS epidemic. The

comedy actor Derek Nimmo is a personal choice. My parents’ love of the BBC sitcom All Gas and Gaiters is an

unforgettable part of my childhood and when the show’s star actor was in Hong Kong with a touring production in

the early 1990s, I was delighted to have the opportunity to meet him.

The Dazzling Baz Luhrman

From the movie world, acclaimed film director Baz Luhrmann was in Hong Kong in 2010 to exhibit a multimedia

installation for the Hong Kong Art Fair. He is a flamboyant talent with film star looks who discovered that his forte

was actually behind the camera. It was a treat to have him in the ‘Morning Call’ studio in person to talk about

Moulin Rouge, Romeo and Juliet, etc. and the great actors he enjoys working with such as Leonardo Di Caprio. I

was struck by his easygoing approachability.

This was something that impressed me, also, about the singers Renée Fleming and José Carreras. They are, of

course, living legends, but, at the same time, very down to earth. They were both at pains to be helpful to the many

journalists and photographers who came to their press events. Renée Fleming came across as a devoted mother,

José Carerras as someone close to his Catalan roots (he is a passionate supporter of Barcelona). Professionally

though, they are both uncompromising, and this came across, too, in different ways.

Eva

Rin

aldi


A Man of Rhythm

The composer Steve Reich was in Hong Kong for the 2003 Hong Kong Arts Festival performance of his Three Tales. The way Reich speaks reflects a personality full of energy. It has a kind of rhythmic quality, punctuated occasionally by a rare pause. He is immensely bright and articulate, and, in a way, represents a lot about what is best in America. He is warm and personable, immediately taking an interest in you. One of the most influential composers of his generation is also a regular guy and I liked him a lot.

I have spoken to violinist Gidon Kremer a few times. This excerpt is taken from the first encounter when he was here for the 1999 Hong Kong Arts Festival with his Kremerata Baltica. It was a privilege to hear him on a range of issues, including the musical traditions of the Baltic States. He’s a quiet person, his manner subdued, but this in no way reflects a lack of energy, passion or authority. On the contrary, he is a reminder that these things are not measured in decibels. When Kremer talks to his orchestra I imagine you’d be able to hear a pin drop.

Two Likable Keyboard-playing Brits

My two other guests, both English keyboards artists, are very different in

personality but they are both exceptionally nice people. John Lill was once described as a bit of a rough diamond. I think he may have been brought up in the East End of London (which can, or could, now that it has become more gentrified, be a bit rough). As a teenager he played the piano in pubs – and he says it helped his left hand technique! He had caused a stir by talking about his being inspired by the spirit of Beethoven when he played that composer’s music in public. Being open to the idea of psychic phenomena myself, we got on well and went on to share experiences after the interview over tea!

Although less of a rough diamond than John Lill, the organist/choral

conductor Simon Preston is more down to earth. Warm-hearted, effusive and immensely likable, Simon Preston is also one of the greatest organists of his generation and one of the most illustrious musicians in the history of English cathedral music. We talked by a pool at some hotel with the wind so strong we sometimes had to shout to be heard.

To celebrate our 40th anniversary, 30 of my unforgettable encounters are

now available for Podcast (www.rthk.hk/r440). Don’t miss revisiting these

great performers! The final 10 will come in October.

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▲ Steve Reich 萊爾

▲ Gidon Kremer 基利麻 ▲ John Lill 利爾

▲ Simon Preston 柏爾斯頓


深受感動的訪談

今次再三選來的十段難忘訪談，實在不用太費神，因為

在我腦海中，總能一一找到他們攝人的句子。在這一

輯，就讓劇場及電影界的大師與我們分享吧！還有歌唱

家、作曲家、小提琴家、鋼琴家及管風琴家等等，從舞

台到銀幕，盡是魅力四射的人物。

數年前，詩人慕遜告訴我，永遠不可低估自我潛在的力

量。當遇上馬塞‧馬素，我就知道此話非虛，單單看著這

一位經歷過納粹迫害的默劇大師，就使我深受感動。年輕

的時候，父親在奥斯威辛被殺害，他幸存了，卻加入了法

國抗軍，冒死營救了許多猶太兒童。1999年，馬塞‧馬素

接受我的訪問，是罕有能聽到他說話的機會。他的談吐、

才智和文化視野，每是言之有物，無不壓倒在場的所有

人。也許，人慣常處於沉默之中，就更明白言詞的重要。

發人深省的一席話

其他訪談的嘉賓，有在2007年去世的著名演員李察臣，

他在英國廣播公司的電視連續劇《紙牌屋》的一角，深

入民心；喜劇演員尼姆，是六十年代廣為人知的劇壇奇

才；有為人隨和的電影導演盧爾曼，在2010年他跟我分

析《紅磨坊》、《羅密歐與茱麗葉》等作品，還說他很

享受與大名星如狄卡比奧等合作；還有女高音費林明與

男高音卡里拉斯，他們不擺架子的性情讓我深深佩服；

更難忘是作曲家萊爾，我相信他那充滿能量的性格，很

容易與別人共處；還有沉靜的小提琴家基利麻，堅持信

念的鋼琴家利爾以及和藹可親的管風琴家兼合唱指揮柏

爾斯頓，他們有趣又發人深省的話都值得一聽、再聽。

藝人藝談文：杜格尊翻譯及整理：鍾兆燊

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▲ José Carreras 卡里拉斯

▲ Renée Fleming 費林明

三十節精選訪談，包括以上所提及的藝術家現已上架，你可以登入www.rthk.hk/r440的Podcast收聽及下載。

作為第四台四十週年誌慶活動之一，最後十位「藝人藝談」的名人專訪將於10月登場，敬請留意。

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▲ Derek Nimmo 尼姆


Have you ever wondered how composers actually compose? How they get an idea, write it down and develop it, then get other musicians to

perform it? In this modern age of YouTube and iPods it’s easy to overlook how older musicians had to cope with such mundane chores as ruling up

their own manuscript paper and sharpening their feather quill-pens. The series Quills and Skills examines some of the physical obstacles composers

overcame, and looks at some of the consequences of recent technology on the art and craft of composing. This journey through the History of

Composing treads a personal path through some of the intriguing moments of musical development, considering not only the raw materials required

to note down and record music for others to see, read, perform and listen to but also the advancement of instruments and playing techniques that

have significantly inspired composers.

Colin TouchinSundays 10:00am

The Sound of the Past

For a first step on the journey, a good place might be: what did old music

sound like? What did it look like? Researchers have made convincing

deductions as to tuning systems employed on surviving early stringed

and wind instruments and cave drawings and hieroglyphics have

added visual indications of the manner and occasions for performance.

From these, we can estimate the role of early composers in creating

melodies, arranging instrumental and vocal combinations, and

developing texture and variety in their ‘scores’.

▲ Medieval musical score

Writing it all Down

The starting point for music notation as we know it today is usually

regarded as occurring about a thousand years ago, but we have some

much older examples. It used to be believed that the oldest piece of

any written music was to be sung by a choir in the ancient Greek play

Orestes by Euripides. However, in the early 1950s, clay tablets dating

back nearly 3,500 years to approximately 1225 BCE were excavated in

the ancient Syrian city of Ugarit. Containing the cuneiform signs of the

Hurrian language (from modern-day Anatolia) it was realised that these

texts related to music, including some almost complete hymns with

both words and music: currently, this is the oldest known preserved

music notation in the world. We hear some of this very early music

in Programme 1.

Music from King Tut to the 1930s

About 75 years ago, the BBC managed to persuade an army musician

to play the trumpets discovered in Tutankhamun’s tomb by Carter’s

Egyptian expedition to the Valley of the Kings and recorded it. This

example is included as an entertaining and thought-provoking

opportunity to assess how closely our imagination and scholarly

research must inevitably fall short of genuine knowledge of what

musical scales and rhythms were adopted in the past. The trumpeter

had no choice in the 1930s but to use his standard fanfare patterns:

on a brass instrument the natural harmonic series would be a unifying

factor between past and present for playing technique and composition

alike, but the choices of interval and rhythms of long and short notes

will remain only close approximations.

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Scales and Rules

From this interpretational dilemma we can trace the introduction of scales, musical logic, and sound organisation. Humans around the world have been drawn to certain sequences and relationships of notes in what we call scales, and created formulae for phrase-endings and balanced phrase-structures that often match observed patterns in poetry, sculpture, and architecture. Once scientists and theorists began to examine the sounds of music sung and played in popular, dramatic, ceremonial, and religious events, rules and laws for creating music could be deduced and then handed down to later generations as accepted practice. Although music was originally only passed down through aural memories, forms of notation gradually evolved which enabled composers to be more exact in telling their performers not only what notes to play when but also how to play them in terms of dynamics and expression.

Different cultures adopted different scales, favoured shorter or longer phrase-lengths, and accumulated few-or multiple-note rhythmic groupings. Composers would often write more complex music to stretch the technique of the serious performers, and to provide entertainment and enlightenment, even education through music for their audiences. From early feather-nibs scratching in ink on papyrus and vellum, to printed music from the 16th century onwards, many advances were made in specifying pitch, duration, and instrumentation so the composers would be able to communicate more accurately their imagined sounds to performers in different countries and later ages.

Of course, radio is hardly the ideal medium to demonstrate notation, but if you follow the talks and recorded extracts I think you will pick up some of these developments as the series explores this fascinating journey of invention and discovery. Widespread distribution was enabled by the growth of the printing-press and publishing houses, so composers in different countries began to emulate each other, gaining inspiration from new music from different continents, writing variations upon tunes from distant fellow composers, and developing harmonic experiments alongside new uses for scales and modes of pitch and rhythm.

The New Life of the Composer

As a composer, conductor, and wind player, I only recently made the switch from creating my own scores with paper and pencil to using one of the fairly recent computer programmes developed to help composers and arrangers produce smarter-looking scores and neatly-organised parts for the musicians. Many students and professionals have learned to use these systems over the last two decades and we have seen a revolution in access to the world of composing that’s becoming the biggest world-wide shift in the creative process in the history of music-making.

▲ A film studio

Nib pen for drawing 5-line staff ▲

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Stay tuned every Sunday at 10am with Colin Touchin to tell you more about Quills and Skills.

在未有電腦以先，作曲家是如何創作呢？不同時期的作曲家，又會遇上怎樣的難題？科技進步和樂器改良後又如何影響作曲家創作？逢星期日上午十時，杜程會以作曲家的身份，在一連九集的作曲漫談(英語節目)中，為大家娓娓道來這段作曲的歷史。

This development also coincides with an increase in music written for the cinema, where, for most people, ‘serious’ music is at its height of popularity and availability. Not only have composers responded to these increased opportunities for their work to be appreciated but also the public has changed in its awareness of classical music, tolerating evermore complex, original, and dissonant sounds.

One piece of music recurring in the series is the Signature Tune. I chose the brilliant Toccata from Monteverdi’s opera Orfeo, which I’d been fortunate to play in as a university student in the early 70s. The dramatic impact of this bold fanfare has retained for over 400 years its capacity to uplift, excite, and inspire, and perfectly demonstrates the art of the great composer; if only we could play the whole opera we’d also hear some of the most wonderful and startling uses of harmony and orchestration which similarly have never lost their power to surprise. We are so fortunate to live in this age of artistic and technological accomplishment – great music broadcast for all

to share!


Ludo

vic

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tron

Saturdays 5:00pm

What’s a Musical? What’s an Opera?

Before we talk about some of the classic musicals that we know

and love today, we need to look at one of the most discussed issues

regarding this kind of theatre: the difference between an opera and

a musical. It’s very easy to give a textbook answer to this question;

‘opera is sung through and musicals have dialogue’. The thing is,

it’s not that simple. French Opera comique, German Singspiel, and

Austrian and English Operetta are supposed to have spoken word,

too. So, let’s just leave the textbook on the shelf at this point and

maybe look in a more social context at ‘The Musical’, after all, it isn’t

the fact that we have some hard-wired need to categorise things in life

that really matters here, it’s the magical effect these great stage works

have on us. Perhaps this all really comes down to the terminology

of ‘the day’. To quote one of the greatest teams ever in the world

of musical theatre (or…was it opera), the Gershwin Brothers ‘Potato,

potahto, Tomato, tomahto…Let’s call the whole thing off.’

▼ Phantom of the Opera is a popular musical on Broadway and in the West End

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Murder and Music

Since that first opera in 1597, via the operettas and musicals of the

nineteenth century, until now, there is no doubt that what Signor Peri

may well have started by accident has never ceased to make us laugh,

cry, and experience the whole gamut of emotions in between. Let’s

look at the basic make-up of the ‘classic’ musical, of the kind written

in the 1940s and 50s by the likes of Rodgers and Hammerstein (or

Hart). As a rule, musicals tend to tell a simple, moving and sometimes

funny story. The ending is usually a happy one, where the underdog

or protagonist triumphs against some kind of struggle, and often falls

in love, to boot. There are, however, a handful of very well-known

shows that deal with a darker topic and have rather sad, or open

endings. If you’ve ever watched Fiddler on the Roof, Cabaret, or even

Carousel you will know what I mean about leaving the theatre with

an odd sense of longing. Incidentally Carousel (1945), a very intense

musical was apparently Richard Rodgers’ favourite of all his work, yet,

Phil Whelan, presenter of ‘Morning Brew’ on RTHK Radio 3

If you think about it, the notion of a room full of people, or a whole town, or even an entire civilization ‘singing’ their way through life, is totally bizarre. Yet, this is what has been fascinating and enchanting audiences for hundreds of years. One of the greatest abilities we humans have is that of ‘imagination’, which is powered by a thing that the famous poet Samuel Taylor Coleridge called the ‘willing suspension of disbelief’. Put simply, we fully accept that what we are experiencing isn’t real…and we love it. This is what has been driving people in their millions to operas (the first one that we know of was performed in Italy in 1597. It was called Dafne, and was written by Jacopo Peri), operettas, and musicals, in their millions.

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FINE MUSIC | July 201432

Arts Happenings 藝壇快訊

Launching the First Hong Kong Classical Music Yearbook ©

IATC

-HK

The International Association of Theatre Critics (Hong Kong), also known as IATC-HK, is launching the first ever Classical Music Yearbook. With the funding of Hong Kong Arts Development Council (HKADC), the Yearbook is a comprehensive record of performance information of classical music concerts that were held in 2014.

In 2000, HKADC funded a publication of the Hong Kong Visual Arts Yearbook, documenting visual arts events happened in Hong Kong. Throughout the years, the series of yearbooks has expanded to other arts, including drama, xiqu (Chinese operas), and dance. Classical music, with a vigorous schedule of concerts in town, lacks its own yearbook until now.

The HKADC approved funding to publish this classical music yearbook starting in 2014. IATC-HK, with its experience on drama and xiqu yearbooks, will extend the documentation to classical music.

IATC-HK is inviting concert presenters and musicians to submit concert information. The concert has to be held within the calendar year of 2014. Information can consist of items such as concert programmes, booklets or promotional leaflets. The Yearbook is scheduled to be released in mid-2015. For details, please contact IATC-HK or email to [email protected].

首本《香港古典音樂年鑑》將於2015年中出版演出及活動資料徵集即日開展

國際演藝評論家協會(香港分會)獲香港藝術發展局資助，籌備首本《香港古典音樂年鑑2014》(下稱《年鑑》)。

香港藝術發展局由2000年起，提供資源供業界出版藝術年鑑。自香港中文大學藝術系首先出版《香港視覺藝術年鑑》，隨後其他表演藝術的年鑑亦陸續推出，分別有由國際演藝評論家協會(香港分會)負責編彙和出版的《香港戲劇年鑑》、《香港戲曲年鑑》，及由香港舞蹈界聯席會議出版的《香港舞蹈年鑑》。唯古典音樂一直沒有出版過能記錄音樂界各項演出之年鑑。

今年，香港藝術發展局批出資助，以出版《香港古典音樂年鑑》。國際演藝評論家協會(香港分會)將沿用過往出版戲劇年鑑和戲曲年鑑的經驗，以出版記錄古典音樂演出資訊的文獻。

《年鑑》會收錄2014年於香港舉行的古典音樂會，包括西洋古典音樂、歌劇、中國音樂、現代嚴肅音樂等演出資料。將於2015年中推出的《香港古典音樂年鑑》，除演出資訊表外，亦包括專題文章，深入探討音樂界一年間的現象，亦設有網上資料庫，讓公眾搜尋詳細的表演資料。

國際演藝評論家協會(香港分會)邀請所有音樂會主辦者及表演團體，把在2014年1月1日至12月31日期間舉行的音樂會資料如場刊及宣傳單張等，郵寄至國際演藝評論家協會(香港分會)的辦事處，或電郵至[email protected]，以作記錄及跟進。

due to its content, critics still call it the ‘wife-beating musical’.

As with every show penned by this great team, the words and

music are truly stunning, and ironically Carousel contains two

of the most beautiful songs ever written by Rodgers: ‘If I loved

you’ and ‘You’ll never walk alone.’ I guess it’s worth pointing out

one more major difference between opera and musical theatre

at this point…there are far fewer executions in musicals!

The Job of Joy and Nightmares

Although I am a presenter and producer for RTHK Radio 3

these days, in a previous life, I was a clarinet player (I’m now

just a clarinet owner) and I was lucky enough to spend many

a happy (and often very scary) hour in the orchestra pits of

England, Australia and indeed Hong Kong. I remember very,

very clearly the first time I was invited to ‘sit in’, which means

just watch and not play, with the orchestra of the Phantom of

the Opera in London, in 1991. That in itself was both terrifying

and awe inspiring. The best was yet to come, as after that

exploratory night I would play in this orchestra for the next

year, three or four nights a week, to give the regular guy a rest.

As I write this, my stomach feels tight and my palms damp. We

all have these moments in life we will never forget, no, that

our bodies will not let us forget. Of course, like anything, a

little experience and some time makes things easier, but to this

day I always tense up when in a theatre I smell the ‘strawberry

scent’ of dry ice wafting into the auditorium, as it did around

Sarah Brightman and Michael Crawford, and then on into

the orchestra pit of Her Majesty’s Theatre. Much happier

experiences ensued including a wonderful time playing in the

Orchestra of the Australian National Tour of South Pacific, which

was for me, an emotional game changer. So, in conclusion, if I

can give you anything here, it’s simply the advice to experience,

in any way you can, this absolute ‘magnum opus’ masterpiece,

by Richard Rodgers and Oscar Hammerstein.

Join Tina Ma and Ben Pelletier on Radio 4’s All or Nothing for more greatest hits of musicals on Broadway and in the West End.

從四、五十年代羅查斯與漢馬思坦的《天上人間》、《南太平洋》及《國王與我》，至今天仍在倫敦西區女王陛下劇院和美國紐約百老匯上演的《歌聲魅影》、《孤星淚》、《獅子王》等，都是紅極一時的音樂劇。7月份逢星期六下午5時的情有獨鍾，馬盈盈和彭禮傑會為你帶來連串音樂劇經典名曲。


西貝流士在艾諾拉(Ainola)的故居

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阮慧玲芬蘭「國際作曲家交流會議」之旅

5月 5日早上6時30分，我踏出芬蘭赫爾辛基機場，帶著既興奮又有點憂慮的心情，開始北歐之行。我

代表香港電台第四台和香港作曲家及作詞家協會，出席第六十一屆「國際作曲家交流會議」(International

Rostrum of Composers)。一如以往，在二十七個國家的代表中，只有中國香港和台灣是來自亞洲，其他

代表從歐洲、南美及大西洋而來。除我以外，還有澳洲、冰島、墨西哥和阿根廷的代表亦是第一次出席論

壇，其他與會者都是資深會員。他們都是從事電台工作，而當中不乏有作曲家或演奏家。在這短短的四天

論壇中，令我難忘的是每位代表對推動當代音樂發展和音樂推廣都充滿熱忱。

作為香港的代表，最令我興奮的是可以在短短數日內跟作曲家、演奏家和專業的電台工作人員交流，並可

以欣賞到每位代表所帶來最優秀的作品錄音、創作資料和樂譜。今年的參與作品較多樣化，就如在十多首

大型合奏作品中，也可分為傳統管弦樂結構、配以電子聲效、配以人聲和混雜不同民族樂器等類型。無論

是那一種配搭，又或是運用了那一種音樂語言和創作技巧，大部份作品都保存了各地的民族色彩和風格。

在四天的聆聽過程中，印象最深的是每一首作品的錄音質素非常高，讓我仿如置身於一個小型音樂廳，被

眾樂手包圍着演奏，這絕對是最高的享受！此外，大會亦安排了其他活動，包括參觀當地一個推廣當代音

樂的組織「音樂芬蘭」(Music Finland)，藉以了解他們的工作情況。其後，又到過赫爾辛基音樂中心欣賞

了一場由芬蘭電台愛樂樂團演出的音樂會。各國代表最期待的其中一項行程，是由大會安排專車接送各人

前往參觀芬蘭作曲家西貝流士的故居。

國際作曲家交流會議於7月11日起逢星期五晚上8時在第四台音樂會播出。在節目中，我與鍾子豪為

你介紹今年多首由大會代表挑選的推介創作，也有讓我一聽難忘的當代聲音。誠意邀請你一同

欣賞當代最新的音樂作品。

The 61st International Rostrum of Composers was held in Finland, Helsinki, in May, and

gathered together representatives from 27 national radio networks from four continents. 50

newly-composed works were presented at the Rostrum. In Live on 4 on 11, 18, and 25 July,

Fridays at 8pm, Viola Yuen will join Raymond Chung to introduce some selected works. The

programme is conducted in Cantonese.

International Rostrum of Composers

▲ 阮慧玲(左七)出席今年的「國際作曲家交流會議」


COLUMNS 專欄

正值「世界杯」，大家對於阿根廷的印象，都不約而同會想起足球，還有

它惡名昭彰的治安、政治上的貪污、貧窮等。其實早在二十世紀初，南美

的經濟及文化發展盛極一時。布市更獲稱為「南美洲的巴黎」，探戈就是

在這個時期興盛起來。探戈源於低微，原本是低下階層在酒館及妓院中即

興而跳的舞蹈。除了在舞台或特定表演外，探戈的舞步是即興發揮，故此

極受音樂所影響。好的探戈舞者能展現音樂中的種種細節，無論是憂怨的

旋律，還是跳躍的音符，都能續一以舞步呈現。

探戈音樂的起源至今仍沒有確切的答案。一開始是隨意即興的舞蹈陪襯，

之後在許多音樂家的努力下，逐步發展成特別為舞蹈創作的音樂。在三十

至四十年代前後達至黃金時代，後來出現專為聆聽所寫的音樂，以及帶來

「新探戈」的出現。在這過程中，有無數音樂家為探戈音樂的發展付出心

思及努力，其中一位是賽羅(Aníbal Troilo)。

賽羅被視為史上最優秀的班多紐手風琴(Bandoneón)樂師，他九歲開始學習

班多紐手風琴。跟一般常見的手風琴不同，班多紐手風琴是方型的，沒有

鍵盤，左右兩邊各有三十三和三十八個按鈕。賽羅擁有自己的探戈樂隊，

亦有寫作探戈音樂，當中更有不少成為經典作品。另外，他在探戈音樂的

發展上最為人津津樂道的，就是讓歌手的重要性得以大大提升。

探戈是阿根廷首都獨有的都市文化，只此一家，別無分號。雖然探戈的歷

史至今只不過是短短一百多年，但布市的人普遍認同探戈為他們的傳統文

化。探戈舞蹈、音樂及歌詞正是表現出他們的所思所想，讓我們從中窺見

阿根廷文化。

適逢今年7月11日是賽羅誕生一百年的紀念日，布市亦已將今年命名為「賽

羅年」，我會在逢星期日中午12時的大地之歌以賽羅的音樂作切入點，分

別介紹探戈於四十、五十年代及其最新的發展。此外，民歌亦是阿根廷音

樂文化重要的一環，當中的表表者梅西狄‧索莎 (Mercedes Sosa) 以音樂

向當年的政府抗爭，並因此流亡海外。我們會看看她如何以民歌唱出當地

人的心聲。

游慧姿

星期日中午12時正

大地之歌

─ 阿根廷布宜諾斯艾利斯的美麗與哀愁

在阿根廷首都布宜諾斯艾利斯以「賽羅」命名的街道

▲

▼ 在瑪甘別墅俱樂部 (Club Villa Malcolm) 每晚都舉行舞會，牆上寫有眾多探戈音樂大師的名字。

▲ 在埃爾皮塔爾沙龍 (Salón El Pial) 的牆上有賽羅(右)及歌唱家高些尼卓 (Roberto Goyeneche)的照片。

▲

賽羅(11.7.1914 – 18.5.1975)為探戈音樂的發展付出不少努力

The Argentine tango thought to have originated in the working-class neighborhoods of Buenos Aires in the late 19th century. Its lyrics and music are accompanied by the accordion-like bandoneón in a nostalgic mood. We are marking the ‘Aníbal Troilo Centennial’ on 11 July to celebrate the 100th birthday of Aníbal Troilo, a great bandoneón player, composer, arranger, and bandleader in Argentina. Join Janet Yau in Songs of the Earth (in Cantonese) every Sunday at 12pm to listen and dance to the Argentine tango.

播出日期節目內容

5 / 7 賽羅的音樂 ─ 四十年代 (探戈的黃金時期)

1 2 / 7 賽羅的音樂 ─ 五十年代 (黃金時期之後)

1 9 / 7 新探戈 (Tango Nuevo) 及現代探戈樂隊

2 6 / 7 民歌歌手梅西狄‧索莎 (Mercedes Sosa)

─ 阿根廷人民的抗爭


主持 : 陳永華星期一晚上8時正

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談天論樂談天論樂

7/7 音樂創作的苦與樂

創作樂曲是要嘔心瀝血，抑或是黃昏漫步沙灘就有靈感？年青作曲家黃學

揚在香港中文大學音樂系完成學士及碩士課程，其作品曾於十多個國家演

出，亦是最受歡迎的編曲人之一。較年青的吳冠青先後就讀於廣州星海音

樂學院、上海音樂學院、美國密蘇里大學及哥倫比亞大學，並已在香港中

文大學音樂系完成博士論文。兩位年青人對音樂的看法肯定充滿創意。▲ 黃學揚

▲ 麥家樂

▲ 鄭學仁

▲ 盧思泓

▲ 吳冠青

▲ 易有伍

▲ 關燕兒

▲ 黃𦏸維

14/7 音樂的傳承

文化得以保存有賴完整的記錄以至考古，音樂的傳承則涉及樂譜、文獻、

音像、樂器和考察等，十分專業。中央圖書館高級館長鄭學仁曾任香港中

樂團樂手，既會演奏笙、笛、簫等，亦會作曲。他早年修讀新聞及傳播，

隨後在英、美大學修讀圖書館管理。另外，香港大學音樂圖書館館長關燕

兒於香港中文大學音樂系畢業後，在夏威夷大學修讀音樂碩士、圖書館及

科技資訊碩士。兩位有心人又會否以傳承的使命去欣賞音樂？

21/7 俄羅斯的魅力

指揮家麥家樂曾為香港管弦樂團小提琴手，其後遠赴維也納當指揮，更有

多年時間在俄羅斯指揮樂隊，擁有不少俄羅斯及中國管弦樂作品的「爆

棚」錄音，現時在港創辦青少年樂團。曾多次到俄羅斯錄音的監製易有伍

原為二胡演奏家，由他創辦的唱片公司更成為錄音界的神話。兩位嘉賓對

俄羅斯音樂肯定見解獨特。

28/7 中西並蓄的香港特色

笙演奏家盧思泓畢業於香港中文大學及香港演藝學院，其演奏足跡遍及

十多個國家，尤其擅長演繹現代音樂作品，並致力推廣本地創作至國際

舞台。身為會計師及大律師的黃維則擅長揚琴，中學時已參與中樂隊演

奏，但同時亦愛聽馬勒交響曲、歌劇、室樂等，閒時更喜愛在中、西樂團

演出。他們正好代表著兼善中西的「香港優勢」。

每週由客席主持陳永華聯同兩位嘉賓環繞特定主題，與樂迷聽聽音樂，談談音樂。在音符之間，悠然增值。

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Mic

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星期一至五晚上6時15分

不太古典不太古典

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記得唸大學時迷上了一齣警匪片，劇情除了峰迴路轉、引人入勝外，男女主角還有一條充滿波折的感情線。每當兩人情海翻波情感失意時，畫面背後就會襯托出一段非常動人的音樂：優美的旋律、澎湃的弦樂、扣人心弦的編曲，加上哀慟的琴音，每次都聽得我流下淚來。可惜該劇的片尾並沒有列明播放過的

樂曲資料，因此我展開了長達五年的「尋樂之旅」。

眾裏尋他自此，我一有空便到唱片店裏鑽，每次捧著一大堆唱片叫店員拆開給我試聽。因我對樂曲或作曲的毫無頭緒，所以不論是純器樂、純鋼琴、新紀元、獨立音樂、輕音樂或耳熟能詳的古典樂，我都逐一細聽。但要在萬千張唱片中尋找一首不知名的樂曲，實在是大海撈針。在尋遍香港的大小唱片店，亦買過不少「錯」的專輯後，我開始對這「尋找唱片的故事」絕望。但就在那個時候，奇蹟出現了。

那年夏天我到多倫多探親，在街上走著走著，便步入一間大型連鎖唱片店。在貨架上我見到一些陌生的加拿大作曲家的名字，在不妨一試的心態下，我又拿著十多張唱片去試聽。我隨手拿起一張，當按下播放鍵的時候，雙腿即時軟了下來、跪在地上。我找了多年的旋律，不正是我手上拿著的一張唱片嗎？聽著耳筒傳來那熟悉又動人的音樂，我的雙眼頓時紅了起來，流下喜悅和滿足的眼淚。自那時起，這位名為加儂 (André Gagnon) 的作曲家兼鋼琴家，便成為了我最喜愛的作曲家之一。

記得在2000年時，我負責主持逢週五的「夜心曲」。當時我在節目最後一小時播放音樂劇、耳熟能詳的古典樂、純音樂、日韓劇和電影原聲大碟中的作品。想不到這六十分鐘的節目，帶來聽眾很大的迴響。在短短幾個月，我收到數十封聽眾來信，說他們很喜愛我的音樂選擇，而那些作品亦為他們打開了收聽第四台和古典音樂之門。可惜後來我離職往外地進修，這個「非古典」的一小時亦隨之而結束。多年後一位聽眾給我來信，說她把我的節目錄起來，還每晚收聽了好幾年呢！雖然我不贊成這做法，但她的熱誠，確令我感動。

不是新紀元曾經有一段時間，我以為我喜愛的那種音樂就是新紀元(New Age)。原來，事實並非如此。新紀元作品雖然跟耳熟能詳的古典樂，又或是與加儂所作的音樂一樣有著優美的旋律，但其本質和新紀元運動有關，會在人的意志、身體和心靈上起作用。得悉後，我亦少聽和播放新紀元音樂了，因宣傳音樂以外的訊息，不是我想要做的。

很高興多年以後，再有機會在第四台跟你分享這類我所喜愛的「不太古典」的樂曲。誠意邀請你逢星期一至五黃昏6時15分至8時，收聽這個重新命名為不太古典的節目；第一小時，你會聽到我為你帶來的爵士樂，至於第二小時，就有我的精心挑選，古典與「非古典」之作；為你的歸家路上添上色彩！

Musicals, soundtracks from movies, Japanese and

Korean dramas, and jazz, as well as other light

classical works have always been my favourite kinds of

music. Some 14 years ago, I was the host for the radio

programme Nocturne on Friday nights. I picked music

from those genres that I loved and it didn’t take long

for me to receive some very positive comments from

listeners. That programme gave music of many different

types a channel to be heard and appreciated by many.

Starting in July from 6:15 to 8pm, I am delighted to play

you some of my favourite selections of jazz, original

soundtracks, and other light classical works, and give

you an evening groove after a hard day’s work. The first

hour is a jazz hour, and from 7pm, it’s my own eclectic

mix. That’s Jazz and more.... I hope you will like my

choices as much as I do.

Jazz and more...林家琦


July

7-11

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Eunice Chow 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: radio4.rthk.hk

周琬婷和多位樂評人在「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：radio4.rthk.hk

Eunice Chow 周琬婷New Releases 逢星期一至五下午5時30分Monday to Friday 5:30pm

碟碟不休

July

1-4


Android 用戶下載： iPad 用戶下載：

http://bit.ly/NmFz7B http://bit.ly/RF1vCc

《美樂集》正式推出Android 及 iPad 應用程式

下載《美樂集》的應用程式，雜誌上架後可免費下載閱讀，

讓您隨時隨地與美樂資訊保持聯繫，更可重溫各集精選專輯！

Download the FINE MUSIC Magazine App on Android or iPad for free.

You may also save past magazines for your later enjoyment.

FINE MUSIC APP IS NOW AVAILABLE!


New Releases 碟碟不休

COLUMNS 專欄COLUMNS 專欄

July

14-18

July

21-25

July

28-31


Date 日期 Highlights 重點推介

5/7 (Sat 六)8:00pm

10/7(Thu 四) 2:00pm

Repeat 重播

Cellomania – Daniel Müller-Schott plays DvořákDaniel Müller-Schott plays his cello with ‘the winning freshness of rediscovery’ (Sunday Times), a ‘gorgeous, plush tone’ and ‘meticulous attention to expression’ (New York Times). In 1992, at the age of fifteen, he shot to fame by winning first prize at the ‘Moscow International Tchaikovsky Competition for Young Musicians’. In this concer t, he teams up with the Hong Kong Sinfonietta in Dvořák’s Cello Concer to, the same piece he per formed under conductor Alan Gilber t in his Berlin Philharmonic debut earlier this year. The Sinfonietta, conducted by Yip Wing-sie, also per forms Taiwanese composer Yang Tsung-hsien’s Grieving the Evanescing and Sibelius’s Symphony No. 3.

26/7 (Sat 六)8:00pm

Live 現場直播

31/7(Thu 四) 2:00pm

Repeat 重播

Mozart’s RequiemMozar t did not finish his Requiem before he died in 1791. Mysteries and rumours have surrounded this work ever since. We might never be able to tell which story is true, but one thing is cer tain: the Requiem is one of the most power fully affective works among Mozar t’s compositions. An exper t of the choral reper toire, Rolf Beck conducts the SingFest 2014 Youth Chorus and Hong Kong Sinfonietta, along with four of Hong Kong’s leading vocal soloists, soprano Yuki Ip, mezzo-soprano Carol Lin, tenor Alex Tam, and bass Apollo Wong, in Mozar t’s last work. In the concer t, you can also hear Three Psalms for choir a cappella by Mendelssohn.

音樂會轉播精選 HIGHLIGHTS OF CONCERT BROADCASTS

Daniel Müller-Schott, cello 大提琴：梅勒－索特

Rolf Beck, conductor 指揮：貝克

Yuki Ip, soprano; Carol Lin, mezzo-soprano; Alex Tam, tenor; Apollo Wong, bass 女高音：葉葆菁；女中音：連皓忻；男高音：譚天樂；男低音：黃日珩

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最愛大提琴 ─ 德伏扎克大提琴協奏曲

大提琴家梅勒－索特的演奏，《星期日泰晤士報》讚揚他為樂曲「注入引人入勝的嶄新感受」，《紐約時報》則評論為「音色美麗、豐厚，情感表達一絲不苟」。1992年，十五歲的梅勒－索特曾贏得「莫斯科國際柴可夫斯基青年音樂家大賽」第一名，一炮而紅。他會聯同香港小交響樂團演奏德伏扎克的大提琴協奏曲，這首樂曲正是他在年初首度與基爾拔領導柏林愛樂演出的作品。是次音樂會由葉詠詩指揮，亦會送上台灣作曲家楊聰賢的《傷逝》，以及西貝流士的第三交響曲。

莫扎特安魂曲

莫扎特於1791年去世前尚未完成

《安魂曲》，引來後世重重謎團。似

是而非的傳聞，無從得知是否屬實。

然而，《安魂曲》肯定是莫扎特最扣

人心弦的作品之一。合唱音樂權威兼

指揮家貝克，會領導聲蜚2014青年

合唱團及香港小交響樂團，以及由四

位本地演唱家，包括女高音葉葆菁、

女中音連皓忻、男高音譚天樂和男

低音黃日珩擔任獨唱，演出莫扎特的

《安魂曲》，同場還有三首由孟德爾

遜為無伴奏合唱團而寫的詩篇。

COLUMNS 專欄


Date 日期 Highlights 重點推介

1/8 (Fri 五) 8:00pm

6/8(Wed 三) 2:00pm

Repeat 重播

Chinese Music with All That JazzEver imagined how jazz might blend with Chinese music? Experience the magic of these two distinctive music idioms, beautifully fused, in this concer t where the multi-talented, Grammy Award–nominated singer, songwriter and pianist Howard McCrary per forms with the Hong Kong Chinese Orchestra, led by conductor Chew Hee-chiat, in two compositions written by McCrary himself. Veteran jazz pianist Ted Lo joins in Summertime and You and I Are One, while sanxian soloist Zhao Taisheng plays his instrument and per forms Chinese narrative singing in Song of the Black Ear th.

當中樂遇上爵士樂

中樂與爵士樂混合，如何擦出火花？在是次音樂會

中，你將體驗由這兩種音樂結合所迸發的魅力。麥格

尼曾獲格林美獎提名，多才多藝，唱歌、創作、彈琴

樣樣皆精，他會聯同周熙杰指揮的香港中樂團，演奏

兩首由他創作的樂曲。資深爵士鋼琴手羅尚正亦會亮

相為麥格尼伴奏。三弦獨奏家趙太生更大開金口，彈

唱《黑土歌》。

Chew Hee-chiat, conductor 指揮：周熙杰

Ted Lo, jazz piano 爵士鋼琴：羅尚正

Howard McCrary, vocal & piano 演唱及鋼琴：麥格尼

Zhao Taisheng, sanxian 三弦：趙太生

Mon - Fri 星期一至五 : 7:55am, 12:55pm, 5:55pm, 10:55pmWeekends 週末 : 9:55am, 4:55pm, 10:55pm

– be in touch in 3 minutes —三分鐘錦囊

Topic 內容 Host 主持

Mon : Quills and Skills Colin Touchin

星期二 : 大地之歌游慧姿

Wed : Zooming In Eunice Chow

Thu : Arts News Jonathan Douglas

Fri : The Golden Voices Lo King-man

星期六 : 今日話當年馬盈盈

星期日 : New Releases / 碟碟不休 Eunice Chow / 周琬婷

COLUMNS 專欄


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

Aubade 晨曲

Morning Call with Jonathan Douglas 清晨妙韻杜格尊

Music Infusion 樂樂無窮Ben Pelletier

彭禮傑

Sunday Morningon 4

週日早晨 Stacey Rodda

盧迪思

Minutes That Matter

Non-stop Classics美樂無休

Synthia Ko / Helen Cha / Stacey Rodda 高德儀 / 查海倫 / 盧迪思

Play by Ear 週末隨想Synthia Ko

高德儀

Quills and Skills 作曲漫談

Colin Touchin 杜程

Church Service 主日崇拜

Artbeat Jonathan Douglas 杜格尊

Songs of the Earth 大地之歌

Janet Yau 游慧姿

News at One

Music à la Carte (Tue, Thu : Chinese Music) 午間精點 (星期二及四：中樂篇) Kathy Lam / Shing Chun-hay / Daphne Lee / Tina Ma 林家琦 / 成俊曦 / 李德芬 / 馬盈盈

Piano Exams 2014 鋼琴考試講座

Shirley Gwilt 紀莫樹鈴

Piano Exams 2014 鋼琴考試講座David Gwilt 紀大衛

Live on 4 第四台音樂會

(Repeat 重播)

The Voices of Youth青年之聲 (Repeat 重播)

R4 Buddies四台插班生

Raymond Chung鍾子豪

Sunday Opera歌劇世界Lo King-man

盧景文

Rupert Chan 陳鈞潤

(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

Daphne Lee 李德芬

Four for Classics with Eunice Chow 四時行樂周琬婷

Collage點指美樂

All or Nothing情有獨鍾

Ben Pelletier / Tina Ma 彭禮傑 / 馬盈盈

Children’s Corner 親親童樂日

Nancy Loo 羅乃新New Releases 碟碟不休 News at Six

Arts News 藝壇快訊Tunes to

Remember人約黄昏後

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 Chan Wing-wah

陳永華

Live on 4 第四台音樂會

The Voices of Youth 青年之聲

Sunday Divertimento

星夜樂逍遙Wendy Ng

伍穎文

Nocturne with Tina Ma夜心曲馬盈盈

Chamber Fragrance

寫意室樂Ben Pelletier / Rebecca Siu

彭禮傑 / 蕭程佳明 Jazzing Up

爵士靈感 Allen Youngblood

Bilingual 雙語B Cantonese 粵語C English 英語E

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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�育節目

Religion宗�節目

News新聞

* Reflections 晚禱 Mon-Fri (星期一至五)11:57pm

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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9706 5960 觀塘區 [email protected]

Teresa Wong’s Piano Studio 黃穎妍鋼琴工作室

Master of Music (Indiana University), LRSM Now recruiting diploma students and beginners

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International prize winner provides thorough and creative theoretical training for young

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節目精華Programme Highlights

1/7/2014 (Tue 星期二)11:00am KORNGOLD 哥高迪Violin Concerto in D, Op. 35 26’ Chantal Juillet (v) Berlin Radio Sym. Orch. / John MauceriD大調小提琴協奏曲，作品35絲維耶（小提琴）柏林電台交響樂團 / 茅卓里

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Yulianna Avdeeva (p)Philomela Helsinki Cho.Finnish Radio Sym. Orch. / Vasily PetrenkoBrahms: Piano Concerto No. 1 in D minor, Op. 15 49’Holst: The Planets, Op. 32 50’

阿夫迪娃（鋼琴）赫基辛基合唱團芬蘭電台交響樂團 / 佩特連高布拉姆斯：D小調第一鋼琴協奏曲，作品15霍爾斯特：行星，作品32

8:00pm LIVE ON 4 第四台音樂會Renaud Capuçon (v)Radio France Phil. Orch. / Lionel BringuierDukas: The Sorcerer’s Apprentice 11’Saint-Saëns: Violin Concerto No. 3 in B minor, Op. 61 30’Mussorgsky (Ravel orch.): Pictures at an Exhibition 35’

卡普森（小提琴）法國電台愛樂樂團 / 卞佳雅杜卡：魔法師的弟子聖桑：B小調第三小提琴協奏曲，作品61穆索斯基（拉威爾配器）：圖畫展覽會

2/7/2014 (Wed 星期三)11:00am DVOŘÁK 德伏扎克Violin Concerto in A minor, Op. 53 32’Issac Stern (v)Philadelphia Orch. / Eugene OrmandyA小調小提琴協奏曲，作品53以撒‧史頓（小提琴）費城樂團 / 奧曼第

Lionel Bringuier 卞佳雅

迪蘭高（薩克管）香港城市室樂團 / 尚‧托勞易伯特：室樂小協奏曲米堯：創造記卡皮利：傳說皮亞蘇拉：六首探戈練習曲

香港城市室樂團主辦。2014年6月28日香港大會堂音樂廳錄音

8:00pm LIVE ON 4 第四台音樂會Daniil Trifonov (p)Finnish Radio Sym. Orch. / Hannu LintuRachmaninov: Piano Concerto No. 3 in D minor, Op. 30 46’Auerbach: Icarus 13’Scriabin: Le Poème de l’extase, Op. 54 22’

迪夫諾夫（鋼琴）芬蘭電台交響樂團 / 連圖拉赫曼尼諾夫：D小調第三鋼琴協奏曲，作品30奧爾巴赫：伊卡洛斯史嘉爾亞賓：狂喜之詩，作品54

4/7/2014 (Fri 星期五)11:00am MILHAUD 米堯Sonata for Flute, Oboe, Clarinet & Piano, Op. 47 18’ Les Vents Français為長笛、雙簧管、單簧管及鋼琴而寫的奏鳴曲，作品47法蘭西之風

2:00pm 66TH HONG KONG SCHOOLS MUSIC FESTIVAL (REPEAT) 第六十六屆香港學校音樂節（重播）Prize-winners’ Concert優勝者音樂會

8:00pm LIVE ON 4 第四台音樂會Rachel Cheung (p) Eric Yip (vc) Lee Yi-wei Angus (f) Claudia Ng (cl)Ng Hon-sun, Charles (sx) Chan Ting-yuen (bn)Die Konzertisten Mui Kwong-chiu: Twinkling Reflections 6’Chan Ming-chi: Xi Mong 8’David Gwilt: Capricious Dance for Clarinet in B flat 5’Chan Wing-wah: Divertimento 7’Lai Boon-tsing Joseph: Holy Infant in a Manger 6’Yeung Pak-lun: Because of Love 4’Doming Lam: Chinese Folk Songs B.B.Q. 10’Hui Cheung-wai: April 5’Chen Ning-chi: Cherishing Thoughts of Red Cliff 7’Victor Chan: A Dream Too Short 7’

Presented by RTHK Radio 4 and Hong Kong Composers’ Guild. Recorded at RTHK Studio One on 30/6/2014.

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Chan King-tsun (xiao)Kevin Cheng (sheng)Chan Mei-yan Melody (yangqin)Lau Wai-yan (zheng)Yiu Shek-on John (guqin)4×4 Plucked (ruan)Romar String QuartetWong Yok-yee: String Quartet 6’Joshua Chan: Hallucination in a Five-Mile Fog 10’Richard Tsang: Inter-Flow 9’Clarence Mak: Somewhere in the Clouds 9’Tse Chun-yan: Promenade on an Autumn Day: Three Short Poems 5’Law Wing-fai: Air Eleganza 6’Daniel Law: Reflects dans l’eau: A Scherzo for Yangqin 5’Ng Chun-hoi Daniel: Ru Ge 5’Lam Kin-yee: The Legend of Vega 5’

Presented by RTHK Radio 4 and Hong Kong Composers’ Guild. Recorded at RTHK Studio One on 23/6/2014. 陳敬臻（簫）鄭浩筠（笙）陳美恩（楊琴）劉惠欣（箏）姚錫安（古琴）4×4 Plucked（阮）羅曼四重奏黃育義：弦樂四重奏陳錦標：五里霧迴尋幻夢曾葉發：流麥偉鑄：雲深不知處謝俊仁：秋日遊詩三首羅永暉：清音寫意羅炳良：水中倒影：一首揚琴詼諧曲吳俊凱：如歌林建兒：極星傳奇

香港電台第四台及香港作曲家聯會合辦。2014年6月23日香港電台一號錄播室錄音。

8:00pm LIVE ON 4 第四台音樂會Freiburg Baroque Orch. / Brian DeanKeiser: ‘Croesus’ SuiteTelemann: Concerto Grosso in D Suite in B flat, ‘La Bourse’Rameau: Chaconne from ‘Les Indes Galantes’ 夫來堡巴羅克樂團 / 布烈安‧甸恩啟沙：《克羅伊蘇斯》組曲泰利文：D大調大協奏曲降B大調組曲，「交易所」拉摩：夏康舞曲，選自《英勇的印度人》

3/7/2014 (Thu 星期四)11:00am SCHUBERT 舒伯特Three Piano Pieces, D. 946 33’ Maria João Pires (p)三首鋼琴小品，D. 946比殊（鋼琴）

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Claude Delangle (sx)City Ch. Orch. of Hong Kong / Jean Thorel Ibert: Concertino da cameraMilhaud: La Création du mondeCaplet: LégendePiazzolla: Six Tango-Etudes

Presented by City Chamber Orchestra of Hong Kong. Recorded at Hong Kong City Hall Concert Hall on 28/6/2014.

Daniil Trifonov 迪夫諾夫

PROGRAMME HIGHLIGHTS 節目精華


張緯晴（鋼琴）葉俊禧（大提琴）李一葦（長笛）吳倩嵐（單簧管）吳漢紳（薩克管）陳定遠（巴松管）Die Konzertisten梅廣釗：銀海星閃陳明志：戲夢紀大衛：為單簧管而寫之降B大調隨想舞曲陳永華：嬉遊曲黎本正：神聖嬰孩誕於馬槽楊伯倫：是因著愛林樂培：中國民歌串燒十首許翔威：四月陳能濟：赤壁懷古陳偉光：夢猶未已

香港電台第四台及香港作曲家聯會合辦。2014年6月30日香港電台一號錄播室錄音。

5/7/2014 (Sat 星期六)8:00pm LIVE ON 4 第四台音樂會Daniel Müller-Schott (vc)Hong Kong Sinfonietta / Yip Wing-sieYang Tsung-hsien: Grieving the Evanescing Dvořák: Cello Concerto in B minor, Op. 104Sibelius: Symphony No. 3 in C, Op. 52

Presented by the Hong Kong Sinfonietta. Recorded at Hong Kong City Hall Concert Hall on 27/6/2014.

梅勒—索特（大提琴）香港小交響樂團 / 葉詠詩楊聰賢：傷逝德伏扎克：B小調大提琴協奏曲，作品104 西貝遼士：C大調第三交響曲，作品52

香港小交響樂團主辦。2014年6月27日香港大會堂音樂廳錄音。

6/7/2014 (Sun 星期日)2:00pm SUNDAY OPERA 歌劇世界Stravinsky: The Rake’s Progress 135’Tom Rakewell: Philip Langridge (t)Anne Trulove: Cathryn Pope (s)Nick Shadow: Samuel Ramey (b)London Sinfonietta Cho. London Sinfonietta / Riccardo Chailly

史達拉汶斯基：浪子的歷程勒基華：蘭域治（男高音）安妮‧杜魯勒夫：嘉芙蓮‧卜比（女高音）薩杜爾：雷美（男低音）倫敦小交響樂團合唱團倫敦小交響樂團 /沙爾

8:00pm 66TH HONG KONG SCHOOLS MUSIC FESTIVAL 第六十六屆香港學校音樂節 Prize-winners’ Concert優勝者音樂會

7/7/2014 (Mon 星期一)11:00am GIULIANI 紀利亞尼Guitar Concerto No. 1 in A, Op. 30 23’ Narciso Yepes (g)English Ch. Orch. / Luis-Antonio Garcia NavarroA大調第一結他協奏曲，作品30奕柏斯（結他）英國室樂團 / 嘉斯亞那法路


2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 2/7/2014, 8pm節目與2014年7月2日晚上8時相同

8/7/2014 (Tue 星期二)11:00am GROVEN 告魯芬Symphony No. 1, Op. 26, ‘Towards the Mountains’ 28’ Stavanger Sym. Orch. / Eivind Aadland第一交響曲，作品26，「朝向山區」斯塔萬格交響樂團 / 艾德蘭


8:00pm LIVE ON 4 第四台音樂會Philippe Cassard (p)Nat. Orch. France / Fabien GabelRavel: Le Tombeau de Couperin 17’Fauré: Ballade in F sharp for Piano and Orchestra, Op. 19 15’ Fantasy in G for Piano and Orchestra, Op. 111 18’Poulenc: Sinfonietta 28’

卡薩（鋼琴）法國國家樂團 / 加保拉威爾：庫普蘭之墓佛瑞：升F大調鋼琴與樂團敘事曲，作品19 G大調鋼琴與樂團幻想曲，作品111浦朗克：小交響曲

9/7/2014 (Wed 星期三)11:00am WEBER 韋伯Piano Sonata No. 3 in D minor, Op. 49 24’ Sviatoslav Richter (p)D小調第三鋼琴奏鳴曲，作品49力克特（鋼琴）


8:00pm LIVE ON 4 第四台音樂會Katia and Marielle Labeque (p)Bergen Phil. Orch. / Juanjo MenaArriaga: Symphony in D minor 27’Mozart: Concerto in E flat for Two Pianos, K. 365 24’Beethoven: Symphony No. 4 in B flat, Op. 60 34’

Philippe Cassard 卡薩

拉伯克姊妹（鋼琴）貝根愛樂樂團 / 敏娜阿里亞加：D小調交響曲莫扎特：降E大調雙鋼琴協奏曲，K. 365貝多芬：降B大調第四交響曲，作品60

10/7/2014 (Thu 星期四)11:00am BRITTEN 布烈頓Cello Suite No. 1, Op. 72 28’ William Butt (vc)第一大提琴組曲，作品72畢特（大提琴）


8:00pm LIVE ON 4 第四台音樂會Finnish Radio Sym. Orch. / Manfred HoneckSchnittke: (K)ein Sommernachtstraum 10’Haydn: Symphony No. 93 in D, ‘London’ 26’Tchaikovsky: Symphony No. 5 in E minor, Op. 64 52’

芬蘭電台交響樂團 / 漢力克舒尼格：（非）仲夏夜之夢海頓：D大調第九十三交響曲，「倫敦」柴可夫斯基：E小調第五交響曲，作品64

11/7/2014 (Fri 星期五)11:00am VILLA-LOBOS 魏拉－羅伯士Bachianas Brasileiras No. 7 26’Sao Paulo Sym. Orch. / Roberto Minczuk第七巴西的巴赫風格聖保羅交響樂團 / 明蘇克

2:00pm 66TH HONG KONG SCHOOLS MUSIC FESTIVAL (REPEAT) 第六十六屆香港學校音樂節（重播）Prog. as 6/7/2014, 8pm節目與2014年7月6日晚上8時相同

8:00pm LIVE ON 4 第四台音樂會INTERNATIONAL ROSTRUM OF COMPOSERSAtlas Ensemble / Artjom KimAuvinen (Finland) : Orior 18’

Larissa Groeneveld (vc)Kyriakides (Netherlands): Words and Song Without Words 10’

國際作曲家交流會議地圖合奏團 / 雅庸‧金奧維能（芬蘭）：奧利奧

告維爾佛（大提琴）奇利亞基德（荷蘭）：詞與無詞歌


12/7/2014 (Sat 星期六)8:00pm LIVE ON 4 第四台音樂會Joshua Bell (v)Zoltán Kocsis (p)Beethoven: Violin Sonata in C minor, Op. 30, No. 2 24’Brahms: Violin Sonata No. 2 in A, Op. 100 18’Bartók: Rhapsody No.1 for Violin & Piano, Op. 86 10’ Romanian Folk Dances 5’

貝爾（小提琴）高式殊（鋼琴）貝多芬：C小調小提琴奏鳴曲，作品30，第二首布拉姆斯：A大調第二小提琴奏鳴曲，作品100巴托：第一小提琴與鋼琴狂想曲，作品86 羅馬尼亞民謠舞曲

13/7/2014 (Sun 星期日)2:00pm SUNDAY OPERA 歌劇世界Prokofiev: The Gambler 114’Alexei: Vladimir Galuzin (t)Paulina: Liubov Kazarnovskaya (s)General: Sergei Alexashkin (b) Blanche: Marianna Tarassova (ms) Kirov Cho. & Orch., St. Petersburg / Valery Gergiev

浦羅歌菲夫：賭徒阿歷士：嘉魯先（男高音）布妮娜：卡撒諾夫絲卡也（女高音）將軍：阿歷沙舒健（男低音）布朗克：泰拉蘇娃（女中音）聖彼得堡基洛夫樂團及合唱團 / 斐拉利‧葛濟夫

8:00pm THE VOICES OF YOUTH 青年之聲Fountain Valley High School Cho. / Kevin TisonFolk (Doc Taylor arr.): Camptown Races / Ring the BanjoFolk (Erb arr.): ShenandoahSpiritual (Kirchner arr.): I’ll Be On My WaySpiritual (Hogan arr.): I Can Tell the WorldHyme Tune (Forrest arr.): How Great Thou Artand more

Recorded at RTHK Studio Two on 24/6/2014.

噴泉谷高校合唱團 / 堤遜民謠（泰勒編曲）：卡城賽馬 / 班祖琴聲民謠（艾伯編曲）：仙納度靈歌（卻殊納編曲）：我會堅持我路靈歌（荷根編曲）：我可以告訴全世界詩歌（霍雷斯編曲）：你真偉大及其他樂曲

2014年6月24日香港電台二號錄播室錄音。

Fountain Valley High School Choir 噴泉谷高校

14/7/2014 (Mon 星期一)11:00am BEETHOVEN 貝多芬String Quartet No. 14 in C sharp minor, Op. 131 39’ Takács Quartet升C小調第十四弦樂四重奏，作品131塔克斯四重奏


15/7/2014 (Tue 星期二)11:00am RAVEL 拉威爾Piano Trio in A minor 27’ Ian Brown (p) Marcia Crayford (v) Christopher van Kampen (vc)A小調鋼琴三重奏布朗（鋼琴）克雷福德（小提琴）范康朋（大提琴）


8:00pm LIVE ON 4 第四台音樂會Jonathan Biss (p)Radio France Phil. Orch. / Thomas DausgaardSchubert: Symphony No. 8 in B minor, ‘Unfinished’ 26’Mozart: Piano Concerto No. 22 in E flat, K. 482 35’Sibelius: Symphony No. 6 in D minor, Op. 104 28’

比斯（鋼琴）法國電台愛樂樂團 / 多斯格舒伯特：B小調第八交響曲，「未完成」莫扎特：降E大調第二十二鋼琴協奏曲， K. 482西貝流士：D小調第六交響曲，作品104

16/7/2014 (Wed 星期三)11:00am HOFFMEISTER 賀夫米士特Flute Concerto in D 26’Ingrid Dingfelder (f) English Ch. Orch. / Charles MackerrasD大調長笛協奏曲丁菲特（長笛）英國室樂團 / 麥嘉理斯


8:00pm LIVE ON 4 第四台音樂會William Wolfram (p)Bergen Phil. Orch. / Andrew LittonHonegger: Pacific 231 6’Bernstein: Symphony No. 2 for Piano and Orchestra, ‘The Age of Anxiety’ 34’ Prokofiev: Symphony No. 4 in C, Op. 47 38’


禾夫姆（鋼琴）貝根愛樂樂團 / 李頓奧涅格：太平洋231號伯恩斯坦：為鋼琴及樂團而寫的第二交響曲，「焦慮的年代」浦羅歌菲夫：C大調第四交響曲，作品47

17/7/2014 (Thu 星期四)11:00am KODALY 高大宜String Quartet No. 1, Op. 2 38’Kodaly Quartet第一弦樂四重奏，作品2高大宜弦樂四重奏


8:00pm LIVE ON 4 第四台音樂會RADIO 4 ARTIST-IN-RESIDENCEColleen Lee (p)Mozart: Nine Variations on a Minuet by Duport, K. 573Chopin: Four Ballades, Opp. 23, 38, 47 & 52Schumann: Arabesque in C, Op. 18Schumann (Liszt trans.): WidmungBrahms: Intermezzo in A, Op. 118, No. 2Kapustin: Variations, Op. 41

第四台駐台演奏家李嘉齡（鋼琴）莫扎特：根據杜樸小步舞曲而寫的九首變奏曲， K. 573蕭邦：四首敘事曲，作品23、38、47及52舒曼：C大調阿拉伯風，作品18舒曼（李斯特改編）：奉獻布拉姆斯：A大調間奏曲，作品118，第二首卡普斯丁：變奏曲，作品41

18/7/2014 (Fri 星期五)11:00am TIPPETT 狄伯特Concerto for Double String Orchestra 33’Bournemouth Sym. Orch. / Richard Hickox雙弦樂團協奏曲伯恩茅斯交響樂團 / 希覺斯

2:00pm THE VOICES OF YOUTH (REPEAT) 青年之聲（重播）Prog. as 13/7/2014, 8pm節目與2014年7月13日晚上8時相同

William Wolfram 禾夫姆


8:00pm LIVE ON 4 第四台音樂會INTERNATIONAL ROSTRUM OF COMPOSERSAsko Schoenberg & Slagwerk Den Haag (programming & synthesizers)Roukens (Netherlands): Scenes from an Old Memory Box 21’

Orch. Sinfonia Nazionale della RAI / Pietro MianitiGardella(Italy): Mano d’erba 10’

國際作曲家交流會議阿斯高‧荀伯克及丹‧克（程序設計及電子合成器）諾更斯（荷蘭）：古舊音樂盒場景

意大利電台國家交響樂團 / 米安烈堤賈特拿（意大利）：草地的手

19/7/2014 (Sat 星期六)8:00pm LIVE ON 4 第四台音樂會Škampa QuartetBeethoven: String Quartet in F, Op. 135 22’Suk: Meditation on an old Bohemian Chorale ‘St. Wenceslas’, Op. 35 7’Janácek: String Quartet No. 2, ‘Intimate Letters’ 25’

舒其柏四重奏貝多芬：F大調弦樂四重奏，作品135蘇克：源自古波希米亞聖詠曲「聖溫塞斯拉斯」沉思曲，作品35楊納傑克：第二弦樂四重奏，「心言」

20/7/2014 (Sun 星期日)2:00pm SUNDAY OPERA 歌劇世界Verdi: I due foscari 100’The Doge: Piero Cappuccilli (br)Jacopo: José Carreras (t)Lucrezia: Katia Ricciarelli (s)ORF Sym. Orch. & Cho., Vienna / Lamberto Gardelli

威爾第：兩個弗斯卡利公爵：卡貝茲里（男中音）賈高普：卡里拉斯（男高音）魯卡絲亞：力卓韋莉（女高音）奧地利電台交響樂團及合唱團 / 嘉狄利

8:00pm THE VOICES OF YOUTH 青年之聲The Chinese University of Hong Kong Cho. / Leon ChuAlbert Lim (br)Amy Lam, Adrian Chan, Alexander Wong (p)Yao Min (Jan Tien-hao arr.): Spring Breeze Kisses My Face & Lover’s TearsWong Fook-ling (Jan Tien-hao arr.):

Treasure More Tonight & Love without End Chou Lan-ping (Jan Tien-hao arr.): Green Island Serenade Chen Ge-xin (Jan Tien-hao arr.): Rose, Rose, I Love Youand more

Presented by CU Chorus Association Limited Company. Recorded at Hong Kong Cultural Centre Concert Hall on 8/6/2014.

香港中文大學合唱團 / 朱振威林俊（男中音）林淑敏、陳演日、黃歷琛（鋼琴）姚敏（冉天豪編曲）：春風吻上我的臉及情人的眼淚王福齡（冉天豪編曲）：今宵多珍重及不了情周藍萍（冉天豪編曲）：綠島小夜曲陳歌辛（冉天豪編曲）：玫瑰玫瑰我愛你及其他歌曲 / 合唱曲

中大合唱協會有限公司主辦。2014年6月8日香港文化中心音樂廳錄音。

21/7/2014 (Mon 星期一)11:00am ELGAR 艾爾加String Quartet in E minor, Op. 83 27’Gabrieli QuartetE小調弦樂四重奏，作品83加比埃利四重奏


22/7/2014 (Tue 星期二)11:00am MOZART 莫扎特String Quartet No. 15 in D minor, K. 421 31’Klenke QuartetD小調第十五弦樂四重奏，K. 421克連可四重奏


8:00pm LIVE ON 4 第四台音樂會Frank Peter Zimmermann (v)Radio France Phil. Orch. / Jakub HrusaJanáček (Mackerras arr.): Orchestral Suite from ‘The Cunning Little Vixen’ 19’Dvorák: Violin Concerto in A minor, Op. 53 32’ The Golden Spinning Wheel, Op. 109 28’Janáček: Interludes from ‘The Cunning Little Vixen’ 18’

法蘭‧冼米文（小提琴）法國電台愛樂樂團 / 夏魯沙楊納傑克（麥嘉理斯編曲）：樂團組曲，選自「狡猾的小狐狸」德伏扎克：A小調小提琴協奏曲，作品53 金紡車，作品109楊納傑克：間奏曲，選自「狡猾的小狐狸」

23/7/2014 (Wed 星期三)11:00am TVEITT 泰維茲Piano Concerto No.5, Op. 156 32’Håvard Gimse (p)Royal Scottish Nat. Orch. / Bjarte Engeset第五鋼琴協奏曲，作品156金沙（鋼琴）皇家蘇格蘭國家樂團 / 恩格澤特


8:00pm LIVE ON 4 第四台音樂會Bergen Boys’ Cho., Bergen Girls’ Cho.Bergen Phil. Orch. / Neeme JärviTchaikovsky: The Nutcracker, Op. 71 88’

貝根男童合唱團，貝根女童合唱團貝根愛樂樂團 / 約菲柴可夫斯基：胡桃夾子，作品71

24/7/2014 (Thu 星期四)11:00am FALLA 法雅The Three-Cornered Hat 39’Jan DeGaetani (ms)New York Phil. / Pierre Boulez三角帽迪嘉坦妮（女中音）紐約愛樂 / 布萊茲


8:00pm LIVE ON 4 第四台音樂會RADIO 4 ARTIST-IN-RESIDENCEColleen Lee (p)Beethoven: Piano Sonata No. 14 in C sharp minor, Op, 27, No. 2, ‘Moonlight’Debussy: Clair de lune L’isle joyeuseChopin: Fantasie-Impromptu in C sharp minor, Op. 66 Etudes (Selections)Liszt: Après une lecture du Dante

Presented by RTHK Radio 4. Live from RTHK Studio One.

第四台駐台演奏家李嘉齡（鋼琴）貝多芬：升C小調第十四鋼琴奏鳴曲，作品27，第二首，「月光」德布西：月光　　　　歡樂島蕭邦：升C小調幻想即興曲，作品66 練習曲（選段）李斯特：但丁詩篇讀後感

香港電台第四台主辦。香港電台一號錄播室現場直播。

The Chinese University of Hong Kong Chorus 香港中文大學合唱團



25/7/2014 (Fri 星期五)11:00am BRITTEN 布烈頓Symphony for Cello and Orchestra, Op. 68 35’Yo-Yo Ma (vc)Baltimore Sym. Orch. / David Zinman大提琴與樂團交響曲，作品68馬友友（大提琴）波爾的摩交響樂團 / 冼文


8:00pm LIVE ON 4 第四台音樂會INTERNATIONAL ROSTRUM OF COMPOSERSBulgarian Nat. Radio Sym. Orch./ Emil TabakovTabakova (Bulgaria) : Fantasie Homage to Schubert 13’

Antares QuartetPang Chun-ting (Hong Kong): As Snow 10’

國際作曲家交流會議保加利亞國家電台交響樂團 / 塔巴歌夫塔巴歌夫（保加利亞）：向舒伯特致敬的幻想曲

安塔斯四重奏彭振町（香港）：如雪

26/7/2014 (Sat 星期六)8:00pm LIVE ON 4 第四台音樂會Yuki Ip (s) Carol Lin (ms) Alex Tam (t) Apollo Wong (b)Hong Kong Sinfonietta / Rolf BeckMendelssohn: Three Psalms, Op. 78 Mendelssohn: Hör mein Bitten Mozart: Requiem, K. 626

Presented by Hong Kong Sinfonietta. Live from Hong Kong City Hall Concert Hall.

葉葆菁（女高音）連皓忻（女中音）譚天樂（男高音）黃日珩（男低音）香港小交響樂團 / 貝克孟德爾遜：三首詩篇，作品78 孟德爾遜：垂聽我禱告莫扎特：安魂曲，K. 626

香港小交響樂團主辦。香港大會堂音樂廳現場直播。

27/7/2014 (Sun 星期日)2:00pm SUNDAY OPERA 歌劇世界Beethoven: Fidelio 119’Leonore: Brigit Nilsson (s)Florestan: James McCracken (t)Rocco: Kurt Böhme (b)Vienna State Opera Cho.Vienna Phil. / Lorin Maazel

貝多芬：費黛里奧利奧諾：比婕．尼爾遜（女高音）佛羅斯坦：麥基里根（男高音）洛高：布馬（男低音）維也納國家歌劇院合唱團維也納愛樂 / 馬錫爾

8:00pm THE VOICES OF YOUTH 青年之聲The Chinese University of Hong Kong Cho. / Leon ChuAmy Lam, Alexander Wong (p)Jan Tien-hao: Love Tree ‘Wind, Snow, Love, Star’ Suite Dream Catcherand more

Presented by CU Chorus Association Ltd. Recorded at the Hong Kong Cultural Centre Concert Hall on 8/6/2014.

香港中文大學合唱團 / 朱振威林淑敏、黃歷琛（鋼琴）冉天豪：愛情樹「風雪戀星」組曲尋夢者及其他歌曲 / 合唱曲

中大合唱協會有限公司主辦。2014年6月8日香港文化中心音樂廳錄音。

28/7/2014 (Mon 星期一)11:00am WAGNER 華格納Venusberg Music from ‘Tannhauser’ 13’Slovak Phil. Orch. / Václav Smetáček維納斯堡音樂，選自《湯豪舍》斯洛伐克愛樂樂團 / 史麥塔錫克


29/7/2014 (Tue 星期二)11:00am HUMMEL 亨密爾 Trumpet Concerto in E 18’ Håkan Hardenberger (tr) Academy of St. Martin in the Fields / Neville MarrinerE大調小號協奏曲哈根‧哈登伯格（小號）聖馬田室樂團 / 馬連拿


8:00pm LIVE ON 4 第四台音樂會Natalia Gutman (vc)Radio France Phil. Orch. / Jukka-Pekka SarasteRachmaninov: Isle of the Dead, Op. 29 20’Shostakovich: Cello Concerto No. 1 in E flat, Op. 107 28’Prokofiev: Symphony No. 3 in C minor, Op. 44, ‘The Fiery Angel’ 38’ 顧文（大提琴）法國電台愛樂樂團 / 沙華斯達拉赫曼尼諾夫：死之島，作品29蕭斯達高維契：降E大調第一大提琴協奏曲，作品107浦羅歌菲夫：C小調第三交響曲，作品44，「熾熱天使」

30/7/2014 (Wed 星期三)11:00am KODÁLY 高大宜 Háry János Suite 24’ Hungarian State Orch. / Mátyás Antál哈利亞諾斯組曲匈牙利國家樂團 / 安圖 2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 25/7/2014, 8pm節目與2014年7月25日晚上8時相同

8:00pm LIVE ON 4 第四台音樂會Nicola Benedetti (v)Bergen Phil. Orch. / Andrew LittonSvendsen: Carnival in Paris, Op. 9 13’Bruch: Violin Concerto No. 1 in G minor, Op. 26 26’Prokofiev: Symphony No. 5 in B flat minor, Op. 100 46’

賓納迪蒂（小提琴）貝根愛樂樂團 / 李頓史雲遜：巴黎狂歡節，作品9布魯克：G小調第一小提琴協奏曲，作品26浦羅歌菲夫：降B小調第五交響曲，作品100

31/7/2014 (Thu 星期四)11:00am JANÁČEK / JILEK 楊納傑克 / 伊力Concert Suite from ‘The House of the Dead’ 21’ Prague Sym. Orch. / Jiří Bělohlávek《死屋手記》之音樂會組曲布拉格交響樂團 / 貝勞拿域


8:00pm LIVE ON 4 第四台音樂會Alexander Rudin (vc)Finnish Radio Sym. Orch. / Roger NorringtonSchumann: Overture to Genoveva, Op. 81 10’ Cello Concerto In A minor, Op. 129 25’ Symphony No. 3 in E flat, Op. 97, ‘Rhenish’ 30’

阿力山大‧魯甸（大提琴）芬蘭電台交響樂團 / 諾寧頓舒曼：「格諾費娃」序曲，作品81 A小調大提琴協奏曲，作品129 降E大調第三交響曲，作品97，「萊茵」

1/8/2014 (Fri 星期五)11:00am HONEGGER 奧涅格Symphony No. 2 23’Oslo Phil. Orch. / Mariss Jansons第二交響曲奧斯陸愛樂樂團 / 楊遜斯


8:00pm LIVE ON 4 第四台音樂會Howard McCrary (vocal & instrument) Ted Lo (jazz p)Zhao Taisheng (sanxian)Hong Kong Chinese Orch. / Chew Hee-chiatMcCrary (Ng Cheuk-yin.): Stranger Consuelo Velázquez (Tan Kah Yong arr.):

Besame Mucho Samuel Hui (Ng Cheuk-yin arr.): Lang Zi Xin Sheng Sammy Fain (Mui Kwong-chiu arr.): Love is a Many Splendored Thing and more

Presented by Hong Kong Chinese Orchestra. Recorded at Kwai Tsing Theatre Auditorium on 21/3/2014.

侯活‧麥格尼（演唱及演奏）羅尚正（爵士鋼琴）趙太生（三弦）香港中樂團 / 周熙杰候活‧麥格尼（伍卓賢編）：Stranger 維拉斯基絲（陳家榮編）：深深吻我許冠傑（伍卓賢編）：浪子心聲菲恩（梅廣釗編）：愛情是多麼輝煌華麗及其他樂曲

香港中樂團主辦。2014年3月21日葵青劇院演藝廳錄音。

2/8/2014 (Sat 星期六)8:00pm LIVE ON 4 第四台音樂會Cécile Ousset (p)Chopin: Ballad No. 4 in F minor, Op. 52 11’ Two Nocturnes, Op. 15, No. 1 & No. 2 10’Fauré: Theme & Variations, Op. 73 16’Debussy: Image, Book 1 15’

奧西（鋼琴）蕭邦：F小調第四敘事曲，作品52 兩首夜曲，作品15，第一及第二首佛瑞：主題及變奏曲，作品73德布西：意象，第一冊

Jan Tien-hao 冉天豪



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愛樂者合奏團馬思奈：沉思曲，選自「泰伊絲」基路爾（羅汶‧雅諾斯嘉及法蘭迪瑟‧雅諾斯嘉編曲）：班雍提琴廖原：蝴蝶圓舞曲巴仙尼：小精靈舞曲雅諾斯嘉：誘惑舞蹈

2012年4月20日香港電台二號錄播室錄音。

3/8/2014 (Sun 星期日)2:00pm SUNDAY OPERA 歌劇世界Bellini: Norma 149’Norma: Joan Sutherland (s)Pollione: Luciano Pavarotti (t)Adalgisa: Montserrat Caballé (s)Cho. & Orch. of the Welsh Nat. Opera / Richard Bonynge

貝里尼：諾瑪諾瑪：修德蘭（女高音）波利昂：巴筏諾堤（男高音）亞達茱莎：卡芭兒（女高音）威爾斯國家歌劇院樂團及合唱團 / 邦寧

8:00pm MUSIC OF FRIENDS 室樂雅聚The PhilharmonicsMassenet: Meditation from Thaïs 5’Kroll (Roman Jánoška & František Jánoška arr.) :

Banjound Fiddle 3’Vicent Liauw: Butterfly Waltz 2’Bazzini: La ronde ronde 5’František Jánoška: Fascination Dance 4’

Recorded at RTHK Studio Two on 20/4/2012.

The Philharmonics 愛樂者合奏團

BBC RADIOINTERNATIONAL

RTHK Radio 4Artist-in-Residence


The ‘Friends of Radio 4 Society’ (FOR4) is made up of a group of fervent music lovers. In addition to publishing FM magazine and organising music activities like hosting Friends’ visits to RTHK recently, they donate a prize for the ‘Top 10 Music Headlines’ Polling every year. To celebrate the 40th anniversary of the fine music channel this year, FOR4 has also commissioned Richard Tsang to write a new work to be given its world premiere by the HK Phil in December. What else do the ‘Friends’ do?

The ‘Friends’ will host a concert on 3 September at RTHK’s Studio One to celebrate the Mid-Autumn Festival. The concert belongs to the activities celebrating Radio 4’s 40th anniversary.

As the concert organiser and the Chairman of FOR4 Dennis Wu said, this would not be a ‘serious’ concert but a casual gathering. In the first half of the concert, musicians will play several small but delicate pieces. And in the second half, audience members are encouraged to ask performers questions about music and their everyday lives. ‘The interaction between players and the audience is what we would like.’ said Dennis.

Usually concerts or gatherings arranged by FOR4 happen during holidays. During Christmas, Chinese New Year, or Lantern Festival, music lovers were invited by Dennis and his colleagues to attend gatherings, listening to good music and sharing holiday wishes with each other. In 2006’s summer gathering, Lung Heung-wing and his son Mark teamed up for a percussion treat, 10-year old prodigy Aristo Sham talked to the pianist Nancy Loo about how he practised and composed piano pieces. And in the Christmas holiday of 2011, another pianist, Wong Chi-yan, was invited by FOR4 to create a Liszt Salon. He played and introduced Liszt’s piano pieces to the listeners, commemorating the 200th anniversary of the Hungarian talent.

The topic of the concert in September is ‘reunion’, partly due to Mid-Autumn Festival and partly due to the 40th anniversary of Radio 4. According to Dennis, musician couples will be invited to join the gathering. Elvis Chan, Hong Kong Sinfonietta Viola Principal, and his wife, the local pianist Eunice Chow, will play several duet pieces and talk to listeners about their music careers and love stories. All Radio 4 listeners are welcome. Please refer to the August FM magazine for more details about this upcoming September concert. We look forward to seeing you.

箬笠「第四台之友協會」(下稱協會)由一群音樂愛好者組成，除了每月出版《美樂集》及舉辦音樂活動例如參觀香港電台外，每年協會都會為「十大樂聞齊齊選」贊助獎品。今年，為慶祝第四台成立四十週年，協會委約曾葉發譜寫新曲，由香港管弦樂團在12月的音樂會作世界首演。除此之外，協會還有其他「搞作」嗎？

9月金秋，逢中秋團圓，協會將於9月3日在香港電台舉行音樂會。其實這不算是一場「嚴肅」的音樂會，用策劃人兼協會主席胡銘堯的話說，「一半演出，另一半跟大家互動玩一玩。」

早前，協會曾與第四台合辦過若干相似性質的音樂會，不是台上台下西裝革履正襟危坐的那種，而是分享音樂和彼此的生命經歷。2006年6月，協會請來龍向榮和龍一脈父子帶來充滿勁力的敲擊樂合奏，更有當時只有十歲的「鋼琴神童」沈靖韜與鋼琴家羅乃新跟現場觀眾分享他的作曲經驗。2011年適逢李斯特誕辰二百週年，協會又與第四台合辦聖誕音樂沙龍，邀約鋼琴家王致仁演奏並介紹李斯特的創作。類似的音樂會總是選在節日期間舉辦，聖誕、農曆年或元宵，一來應景，二來也方便醞釀主題。

胡銘堯說，9月音樂會的主題是「團圓」。人月兩圓的時候，他們會請來幾對音樂家夫婦或情侶，包括香港小交響樂團中提琴首席陳子信和本地鋼琴家周婉婷夫婦等，現場演出多首活潑親切的小曲，然後跟台下觀眾聊聊天。聊的大多是油鹽柴米的題目，譬如兩人如何透過音樂相知相識，買菜煮飯時的音樂人通常是什麽樣，諸如此類。觀眾也不再只是聆聽和拍掌，而是參與其中，回憶、分享，一起過節。

這類交談分享，是胡銘堯希望「第四台之友」音樂會能達到的形式。協會的成員大多不是專業音樂家，而是來自不同行業，卻無一例外對音樂著迷的愛好者。類似「以音樂之名」的聚會，一來有美樂美食，二來可拉近愛樂人彼此間的距離，何樂而不為？

有關「團圓」音樂會的詳情，請留意8月份《美樂集》。

Daisy Li

One of FOR4’s activities - Sunday ‘Tea & Intermezzo’ (2006)由「第四台之友協會」舉辦的活動之一 ─ 雙龍迎夏日 (2006)

10-year old prodigy Aristo Sham十歲的「鋼琴神童」沈靖韜

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Percussionists Lung Heung-wing and his

son Mark敲擊樂父子組合龍向榮和龍一脈

COLUMNS 專欄


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

www.finemusic.org.hk

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

（只供學生、65歲或以上長者及殘疾人士）(Only for students, senior citizens aged 65 or above, and people with disabilities)

亞斯頓�育．Aston Education

伯樂音樂學院．Baron School of Music

嘉林琴行．Collin Music Co. Ltd.

琴之屋．Eddie’s House of Strings

偉樂琴行．Eddy Music Co. Ltd.

香港鋼琴�育專業學院．HK Prof. Piano Education Academy

繆斯琴行．Muse Music Company

向日葵文化良品．Sole Cultural Goods

華偉音樂藝術中心．S T Music & Art Centre

通利琴行．Tom Lee Music Co. Ltd.

Friends’ Discounts

Friends’ Exclusive Benefits

• 《美樂集》郵寄至府上• 各大琴行、唱片公司及種種不同的優惠• 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

• Fine Music delivery to your home• Purchasing discount from major piano companies, music shops and other institutes• Priority in getting designated Radio 4 recital tickets • Exclusive activities and programmes

Friends of Radio 4 Membership Application Form第四台之友協會會員申請表

Name 姓名：

Tel. 電話（Office 日間）：（Home 晚間）：

Mobile 手提電話：

Address 地址：

E-mail 電郵地址：(Please use English block letters 請以正楷填寫)

Membership 會籍：

Individual 個人會員 HK$120

Family 家庭會員 HK$150

* Concession Member 半費會員 HK$60

* 請附上學生證、長者咭或殘疾人士登記證影印本。

* Please enclose photocopy of student ID, senior citizen card or registration cardfor people with disabilities.

Enquiry 查詢電話：9073 3474

Some more about you其他資料：

Sex 性別：

Age 年齡：

Occupation 職業：

(This part is optional 可選擇不填此部分)

請將表格連同劃線支票寄往：九龍尖沙嘴郵政局郵箱97497號，第四台之友協會收（抬頭請填「第四台之友協會有限公司」）

Please send your application form and cheque to: Friends of Radio 4 Society P.O. Box No. 97497 at Tsim Sha Tsui Post Office (payable to “Friends of Radio 4 Society Limited”)

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。


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