Aristo Sham
Piano Recital
沈靖韜
鋼琴獨奏會
特首獻辭 Chief Executive ’ s Message
二零二六年香港藝術節隆重 舉 行，謹此致賀。
今年藝術節邁進第五十四屆，約 180 場演出涵蓋 音樂、戲曲、歌劇、戲劇、舞蹈、藝術科技及 其他表演藝術創作，精彩多元，引人矚目。
藝術節在二月二十七日以西班牙國家舞劇院著 名舞劇《美麗的奧蒂羅》揭開序幕，在舞台重 現巴黎黃金時代的歌舞昇平，別出心裁。三月 二十七日藝術節閉幕以大型舞劇《牡丹亭》為 壓軸演出，呈獻導演兼編舞黎星對經典愛情劇 目的嶄新演繹。今年的音樂節目陣容強大，匯 聚各傑出鋼琴家獻技，有年輕韓國天才鋼琴家 任奫燦，也有榮獲二零二五年范．克萊本國際 大賽金獎及觀 眾 大獎的本地鋼琴家沈靖韜，實 在不容錯過。
一如既往，藝術節包羅繽紛多彩的外展及教育 活動。今年的「加料節目」着重豐富藝術愛好 者的文化體驗，加深對世界級藝術家的認識， 對於啓發更多人參與藝術活動，以至鞏固香港 作為中外文化藝術交流中心的定位，極為重要。
感謝眾多贊助商及捐款者慷慨支持香港藝術節。
我亦感謝藝術節團隊再接再厲，為本港以至全
球各地觀 眾 呈獻異彩生輝，令人讚嘆的文化藝 術與娛樂盛會。
香港特別行政區行政長官 李家超
I am pleased to congratulate the Hong Kong Arts Festival on the organisation of its 2026 season. This year’s Festival, the 54th edition, features some 180 performances, encompassing music, Chinese and Western opera, theatre, dance, arts technology and a dazzling variety of performing arts productions.
The Festival opens on 27 February with Ballet Nacional de España’s acclaimed operatic ballet La Bella Otero , recreating the glamour of Paris’ golden era on stage. The Festival concludes on 27 March with the large-scale dance theatre production DreaminThePeonyPavilion , directed and choreographed by Li Xing, injecting fresh life into the timeless love classic. This year’s music performances present a number of brilliant pianists, including young Korean piano sensation Yunchan Lim, and Hong Kong-born Aristo Sham, the gold medallist and audience award winner at the 2025 Van Cliburn International Piano Competition.
As ever, the Festival features a diverse range of outreach and educational activities. This year’s PLUS programme focuses on a wide cultural experience for arts lovers and deeper understanding of world-class artists, contributing to promoting engagement in cultural events and consolidating Hong Kong’s positioning as the East-meets-West centre for international cultural exchange.
I am grateful to our many sponsors and donors for their generous support. My thanks also, as always, go to the Hong Kong Arts Festival for once again bringing Hong Kong, and the world, a shining season of arts and culture, entertainment and wonder.
John KC LEE Chief Executive Hong Kong Special Administrative Region
主席獻辭 Chairman ’ s Message
誠摯歡迎閣下蒞臨第 54 屆香港藝術節。作為國際 藝壇中重要的表演藝術盛事，藝術節一直秉持使 命，致力豐富香港的文化生活，並向社會各界推 廣最優質的表演藝術。今年，藝術節匯聚逾 1,100 位本地及國際的頂尖藝術家，為觀眾呈獻超過 45 個涵蓋不同藝術領域的多元化節目，合共逾 180 場精釆演出，並 舉 辦約 300 項「加料節目」、外 展及教育活動，為香港注入充沛的文化活力。
我由衷感謝香港特別行政區政府透過康樂及文化事 務署，提供年度恆常撥款及配對資助；感謝香港 賽馬會慈善信託基金、一眾企業贊助機構、慈善基 金會及捐助者的慷慨支持；還有感謝在藝術節舞台 上盡顯才華及創意的享譽國際藝術家，以及在所有
節目背後努力耕耘的香港藝術節團隊——你們每 一分的寶貴捐獻、每一位的投入參與和支持，讓 香港藝術節得以順利舉行，並且成為我們的龐大 動力，使我們能夠持續透過表演藝術回饋社會。
今後，香港藝術節將繼續為觀 眾呈獻目不暇給的 演出、委約創意無限的新作品，以及致力培育才 華洋溢的本地藝術人才。最後，我要向所有前來
觀賞演出的觀 眾 致以萬分謝意。希望您享受這趟 我們為您精心策劃的藝術之旅，並從中獲得喜 悅、共鳴與啟發。
香港藝術節主席
盧景文
A warm welcome to the 54th Hong Kong Arts Festival. As a leading international performing arts event, the Festival continues to uphold its mission of enriching our city’s cultural life and promoting the best of the performing arts to different sectors of our community. This year, the Festival brings to Hong Kong more than 1,100 distinguished local and international artists from a wide range of artistic disciplines in over 180 performances of more than 45 programmes, as well as about 300 “PLUS”, outreach and education events.
I would like to express my sincere gratitude to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention and matching grant. My heartfelt thanks also go out to The Hong Kong Jockey Club Charities Trust, our corporate sponsors, charitable foundations and donors for their generous support. Their invaluable contributions empower us to actively advance the community through the performing arts.
My genuine appreciation goes to all our internationally renowned and most talented artists for their creativity and outstanding performances on stage. Their dedication profoundly motivates us to continue showcasing exceptional productions, commissioning new works and nurturing local talent. I am also deeply grateful to the HKAF team for its commitment and efforts to bring this Festival to life. Finally, I extend my warmest thanks to all audience members. We truly hope you enjoy this artistic journey and discover moments of delight, resonance and inspiration throughout the programmes being presented this year.
Lo Kingman Chairman Hong Kong Arts Festival
支持機構：
Supporting Organisation:
前言 Foreword
第 54 屆香港藝術節雲集眾多大師級藝術家與傑 出團隊，帶來超過 180 場的音樂、舞蹈、戲劇、 歌劇、戲曲、藝術科技與跨界創作節目，展示藝 術家的精湛造詣。
今年的其中一個主題，是對「勇氣與和平」的探 索。當全球都因為戰亂、流離、經濟下行等苦難 感到焦躁不安，藝術家以獨特的視角與語言，在 舞台上交織出對世界的回應，提醒我們抱持堅毅 與希望。
此外，今屆藝術節部分作品採用了簡約的戲劇手 法，讓我們擺脫地域與資源的限制。我們亦繼續 擁抱藝術科技，利用混合實景技術，開拓新的表 演效果。
一如既往，藝術節今年帶來超過 300 項的外展與 教育活動。「加料節目」準備了一系列講座、大師 班、後台參觀、文化深度遊等活動。我們為大、
中、小學生設計的全方位外展及教育活動，則會 帶領數以萬計的年輕觀眾理解作品背後的故事。
衷心感謝您出席這一場演出，願您從中找到愉悅 與共鳴。
The 54th Hong Kong Arts Festival once again brings together great masters and outstanding artists, presenting more than 180 performances across music, dance, theatre, opera, Chinese opera, arts-tech and interdisciplinary creations—showcasing the exceptional craft of leading local and international talent.
One of this year’s themes is an exploration of “Courage and Peace”. At a time when the world is troubled by war, displacement, economic downturns and other hardships, artists respond from their own distinctive perspectives and in their own languages on stage, reminding us of the need to be resilient and hopeful.
Some works in this year’s Festival adopt a minimalistic theatrical approach, enabling us to transcend the constraints of geography and resources. We also continue to embrace arts-tech, using mixed-reality technologies to open up new performance possibilities.
As always, the Festival presents more than 300 outreach and education activities. Our PLUS events feature a curated series of talks, masterclasses, backstage tours and guided cultural walks. Our comprehensive education initiatives tailored for primary, secondary and tertiary students are aimed at enabling students to gain a more in-depth understanding and appreciation of the works we present.
I sincerely thank you for joining us at this performance, and we hope that you find joy and resonance in the experience.
香港藝術節行政總監 余潔儀
香港藝術節的資助來自：
The Hong Kong Arts Festival is made possible with the funding support of:
Flora Yu Executive Director Hong Kong Arts Festival
港藝術節收入目標（包括第 54 屆香港藝術節及 2026 年「無限亮」）約港幣一億五千九百萬，當中香港特 區政府的年度恆常撥款佔總收入約 12%，另外約 24% 需來自票房收入，約 44% 則需依賴來自各大企業、 熱心人士和慈善基金會的贊助和捐款。預計餘下的 約 20% 則來自其他收入，包括政府針對捐款和贊助 收入而提供的配對資助。
香港藝術節 每年呈獻眾多 國際演藝名家 精采多元的 演出，例如 *：
• 歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫 斯科大劇院、聖彼得堡馬林斯基劇院、三藩市歌 劇院、薩翁林納歌劇節
• 中國戲曲： 中國國家京劇院、河北梆子劇院、上 海崑劇團、上海張軍崑曲藝術中心、江蘇省蘇州 崑劇院、浙江小百花越劇團、上海越劇院
• 古典音樂：塞西莉亞．芭托莉、列卡杜 沙爾、趙 成珍、古斯塔沃・杜達美、菲力普・格拉斯、劉曉 禹、馬友友、丹尼斯．馬祖耶夫、安娜 涅翠柯、 詹安德列亞．諾斯達、小澤征爾、湯瑪士 夸斯托 夫、甘拿迪．羅傑斯特汶斯基、譚盾、湯沐海、克 里斯蒂安．泰利曼、安德拉斯．席夫爵士、班貝格 交響樂團、倫敦交響樂團、NHK 交響樂團、皇家阿 姆斯特丹音樂廳樂團、柏林廣播電台合唱團、萊比 錫聖多馬合唱團、維也納愛樂樂團
• 爵士樂及世界音樂：波比．麥非年、尤蘇・ 恩多 爾、艾斯佩蘭薩．斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼
• 舞蹈：米高・巴里殊尼哥夫、蕭菲・紀蓮、艾甘． 漢、娜塔麗亞 奧斯波娃、美國芭蕾舞劇院、雲 門舞集、漢堡芭蕾舞團—約翰．紐邁亞、紐約市 芭蕾舞團、巴黎歌劇院芭蕾舞團、翩娜．包殊烏 珀塔爾舞蹈劇場、米蘭史卡拉歌劇院芭蕾舞團
• 戲劇：彼得・ 布祿克、羅伯特．利柏殊、蜷川幸 雄、羅柏特 威爾遜、柏林劇團、中國國家話劇 院、皇家莎士比亞劇團、英國國家劇院
• 大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝坊
• 戶外節目：《聲光園》、《幻光動感池》、《聲光頌》
• 音樂劇：《日新》、《雄獅少年》、《咆哮山莊》
• 藝術科技：《超真實》裝置音樂會、《真．幻境 界》、《巴黎舞會》
, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the as well as a diverse range of “PLUS” and in February and March each year.
non-profit organisation. The total income target for FY2025/26 (including the 54th Hong Kong Arts Festival and 2026 “No Limits”) is approximately HK$159 million. Current Government annual baseline funding accounts for around 12% of the Festival's total income. Around 24% of the Festival’s income needs to be generated from the box office, and around 44% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 20% is expected to come from other revenue sources including the Government’s matching grant scheme, which matches income generated through private sector sponsorship and donations. The HKAF has presented top international artists and ensembles across multiple genres, such as*:
• Western opera: Bayerische Staatsoper, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre, San Francisco Opera, Savonlinna Opera Festival
• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Kunqu Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe, Shanghai Yue Opera House
• Classical music: Cecilia Bartoli, Riccardo Chailly, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Bruce Liu, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, Sir András Schiff, Bamberg Symphony, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra
• Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini
• Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, Natalia Osipova, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet – John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch, Teatro alla Scala Ballet Company
• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company, National Theatre of Great Britain
• Large-scale special events: World of WearableArt, Zingaro
• Outdoor events: Power Plant, Super Pool, Chorus
• Musicals: Yat-sen, I Am What I Am the Musical, Wuthering Heights
• Arts-Tech: Hyperreality—An Installation Concert, Norealitynow , VR Interactive Dance—Le Bal de Paris
The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, the HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas.
香港藝術節 積極與 本地演藝人才 合作，並致力為 新
進藝術家 提供展示才華的平台。藝術節至今委約及
製作逾 250 套本地全新創作，包括粵劇、戲劇、室內 歌劇、音樂和舞蹈作品，不少製作更已在香港及海 外多度重演。
香港藝術節多年來與知名國際藝術家及團體聯合製作 不少優秀作品，當中包括由香港藝術節聯同香港歌德 學院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹 窗人》；作為聯合委約機構之一並聯同倫敦老域劇 院、布魯克林音樂學院與尼爾街製作公司製作的「橫 貫計劃」之《暴風雨》及《李察三世》；與上海國際 藝術節聯合委約的《青蛇》；與三藩市歌劇院聯合製 作的《紅樓夢》；與芬蘭國家歌劇院及芭蕾舞團聯合 製作的《拉娜》，以及與中央戲劇學院及 Compagnie Point Fixe 聯合製作的《海底兩萬里》等。
香港藝術節 一直大力投資 下一代的藝術教育。「青 少年之友」成立 33 年來，已為約 849,000 位本地中 學生及大專生提供藝術體驗活動。藝術節近年亦開 展多項針對大、中、小學生的藝術教育活動，包括 由國際及本地藝術家主持的示範講座及工作坊、學 生展演、演前講座、公開彩排、以及欣賞藝術節演 出。同時，通過「學生票捐助計劃」，藝術節每年提 供約 10,000 張半價學生票。
香港藝術節 每年主辦一系列多元化並深入社區的 「加料節目」，例如電影放映、示範講座、大師班、 工作坊、座談會、後台參觀、展覽、藝人談、文化 導賞團等，鼓勵觀眾與藝術家互動接觸。
香港藝術節 亦銳意將共融藝術理念拓展到社區每一 角落。由藝術節與香港賽馬會慈善信託基金聯合呈 獻的「無限亮」計劃於 2019 年正式開展，透過一系 列的演出及多元的教育及社區外展節目，「無限亮」
致力創造共融空間，讓不同能力人士均可以一同欣 賞、參與、擁抱藝術。
香港藝術節協會 2025/26 年度收入目標：
Estimated Target Income for the HKAF in FY2025/26:
港幣一億五千九百萬
The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced with GoetheInstitut Hong Kong and Tanztheater Wuppertal Pina Bausch; Richard III and TheTempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with the HKAF as a co-commissioning institution; Green Snake co-commissioned with Shanghai International Arts Festival; Dream of the Red Chamber coproduced with San Francisco Opera; Laila , a co-production with Finnish National Opera and Ballet, and 20,000LeaguesUndertheSea , co-produced with The Central Academy of Drama, China, and Compagnie Point Fixe.
The HKAF invests heavily in arts education for young people. Over the past 33 years, our “Young Friends” scheme has reached around 849,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 halfprice student tickets each year.
The HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meetthe-artist sessions and guided cultural tours.
The HKAF actively promotes inclusion via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019. Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together.
政府的年度恒常撥款 Current Government annual baseline funding
HK$159 million 約 Around 44% 約 Around 12% 約 Around 20% 約 Around 24%
其他收入 Other Revenues
（包括按捐款和贊助收入 可望獲得的政府配對資助 including possible Government Matching Grant for Sponsorship and Donation income）
票房收入 Box Office
誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。
To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.
電郵 Email: dev@hkaf.org
直綫 Direct lines: (852) 2828 4911/12
網頁 Website: http://go.hkaf.org/give
贊助和捐款 Sponsorship & Donations
*有關香港藝術節的過往節目 Details of past HKAF programmes
沈靖韜鋼琴獨奏會
Aristo Sham Piano Recital
20.03.2026 / 8:00pm
香港文化中心音樂廳
Concert Hall, Hong Kong Cultural Centre
演出長約 2 小時 5 分鐘，包括一節中場休息
Approximately two hours and 5 minutes including one interval
21.03.2026 / 8:00pm
香港文化中心音樂廳
Concert Hall, Hong Kong Cultural Centre
演出長約 2 小時 10 分鐘，包括一節中場休息
Approximately two hours and 10 minutes including one interval
封面照片Cover Photograph
© Ralph Lauer
※ 演出期間敬請關掉手提電話及其他電子產品，以免發出聲響或產生光線，影 響表演者及其他觀眾。
Please switch off mobile phones and all electronic devices so they will not emit sound or light during the performance, disturbing the performers and other audience members.
※ 請勿擅自攝影、錄音或錄影。
Unauthorised photography or recording of any kind is strictly prohibited.
※ 演出期間請保持安靜。
Please keep noise to a minimum during the performance.
※ 本場刊採用環保紙張印刷。
This programme is printed on environmentally friendly paper.
※ 如不欲保留本場刊，請於完場後放回演出場地入口。
If you don’t wish to keep this booklet, please return it to the admission point.
所有作品內容均由創作團隊獨立製作，並不代表贊助機構之立場或意見。
The content of all works is independently produced by the creative team, and does not reflect the views or opinions of the Sponsor.
本節目內容及本刊物所載之藝術家／客席撰文者言論屬於個人觀點，並不 代表香港藝術節（「本會」）之立場或意見。
The content of this programme and the opinions featured in this publication are solely those of the artists/guest writers and do not represent the views or opinions of the Hong Kong Arts Festival (“HKAF”).
為免影響演出，持票人士務請準時入場。本會有權不讓於演出開始後或中 場休息後遲到和在演出期間中途離場的觀 眾重新入場。
Ticket holders are strongly advised to arrive punctually. The HKAF reserves the right to refuse the (a) admission of latecomers (whether at the beginning of the performance or after the intermission) and (b) re-admission of audience members who leave the auditorium during the performance.
本會有權決定觀 眾（包括遲到和中途離場的觀 眾）入場和重新入場的可能性 及方式。
The HKAF also reserves the right to determine the possibility of admission and re-admission of audience members (which includes latecomers and audience members who have left the auditorium and are seeking re-admission), as well as the manner in which they are admitted.
在任何情況下，若本會允許遲到者入場，該等遲到者只能在指定的遲到點 入場。持票人士如因遲到而不獲安排入場，本會恕不退票或換票。如有任 何爭議，本會保留最終決定權。
In any case, should the HKAF permit the admission of latecomers, such latecomers shall only be admitted at designated latecomer point(s). No refunds or changes will be offered if ticket holders are refused admission due to late arrival. In the event of any dispute, the HKAF reserves all rights to make the final decision.
© Brandon Wade
© Lisa-Marie Mazzucco
鋼琴 沈靖韜
鋼琴家沈靖韜擁有非凡的藝術知性、深刻的 情感詮釋與扣人心弦的舞台魅力。在演繹經 典鋼琴作品時，他往往展現出渾然天成的氣 度，並將深厚的文化修養與對世界不同文化 的熱情完美融合，因而廣為人知。他現時活 躍於三大洲並持續拓展其音樂視野。
他在2025年的范．克萊本國際鋼琴大賽迎 來其音樂生涯的突破——這項賽事是全球
最頂尖的古典音樂盛事之一，而沈靖韜更 同時囊括金獎與觀眾大獎雙重殊榮。樂評 對他的評語包括「奇蹟般的靈巧刻劃」、具 備「權威」、「冒險家」，並稱之為「值得
再次聆聽的鋼琴家」（《達拉斯晨報》、《留 聲機》雜誌、《德薩斯經典之聲》）。他在 范．克萊本大賽的演出片段已在一百二十五 個國家錄得逾二百萬次播放。
沈靖韜早期於香港演藝學院師從黃懿倫，在 其指導下開展音樂訓練並嶄露頭角，更獲紀 錄片《世界頂尖音樂神童》（2009）訪問。
其演出足跡遍佈世界各地，合作過的重要樂 團包括由西蒙．歷圖爵士執棒的倫敦交響樂 團、艾度．迪華特指揮的香港管弦樂團，還 有明尼蘇達樂團。《紐約時報》（2020）盛 讚其演奏「俐落優雅、技藝超群」。沈靖韜 更曾獲邀為英王查理斯三世等王室成員演 出。
2025 / 26樂季，他首次以范．克萊本國際
鋼琴大賽冠軍身份進行亞洲巡演，包括香 港藝術節的演出；並於美國舉行一系列獨 奏會，包括艾斯本音樂節、拉荷亞音樂協會 及西北大學Skyline鋼琴家系列舉辦的獨奏 會。近期，他為香港電台第四台灌錄了布拉 姆斯全套鋼琴獨奏作品。
沈靖韜在香港出生及成長，自幼隨母親學 習鋼琴，十歲起便活躍於國際比賽與舞 台。其學術成就亦同樣矚目：2019年獲哈 佛大學文學士學位；2020年取得新英格蘭 音樂學院碩士學位，並曾赴瑞典英格遜音 樂學院及美國茱莉亞音樂學院深造。他在 多項國際大賽贏得大獎，包括國際青年音 樂會演奏家選拔賽、埃特林根國際青少年 鋼琴比賽、珍娜芭侯雅國際鋼琴比賽及蒙 地卡羅音樂大師賽等。
沈靖韜是次演出由The Cliburn安排
Piano Aristo Sham
With a remarkable intellect, emotional depth and an engaging stage presence, pianist Aristo Sham is known for tackling great piano masterpieces with natural spontaneity and combining cultivated sophistication with a fascination for global cultures. A true international prodigy, Sham splits his time across three continents, continually broadening his musical horizons.
His breakthrough came at the 2025 Van Cliburn International Piano Competition, one of the world’s most prestigious classical music events, where he won both the gold medal and the audience award. Critics have praised him as “a marvel of deft characterisation”, “authoritative”, “a risk taker” and “a pianist I look forward to hearing again” (TheDallas MorningNews, Gramophone, TexasClassicalVoice).
His Cliburn performance videos have been streamed more than two million times across 125 countries.
Sham began his formal training with Eleanor Wong at The Hong Kong Academy for Performing Arts, where he found early recognition. He was featured in the 2009 documentary TheWorld’sGreatestMusical Prodigies. Sham has performed globally, including concerts with major orchestras such as the London Symphony under Sir Simon Rattle, the Hong Kong Philharmonic under Edo de Waart and the Minnesota Orchestra. TheNewYorkTimes (2020) praised Sham’s playing for its “clarity, elegance, and abundant technique”. He has also performed for royalty, including King Charles III.
His 2025/26 debut season as the Cliburn winner features a major Asian tour, including a stop at the Hong Kong Arts Festival, and USA recitals at venues such as the Aspen Music Festival, La Jolla Music Society and Northwestern University’s Skyline Piano Series. In 2024, he recorded Brahms’ complete solo piano works for RTHK4 in Hong Kong.
Born and raised in Hong Kong, Sham learnt piano from his mother from a young age. He began competing and performing internationally at age 10. He earned a Bachelor’s degree from Harvard in 2019, a Master’s from The New England Conservatory of Music in 2020, and studied at the Ingesund School of Music in Sweden and Juilliard School of Music in the USA. A laureate of numerous international competitions, he has won top prizes at Young Concert Artists, Ettlingen, Gina Bachauer and Monte-Carlo Music Masters.
Aristo Sham appears by arrangement with The Cliburn
專訪沈靖韜：
生於斯 樂於斯 Shaped by Hong Kong, Playing for the World
香港鋼琴家沈靖韜在香港成長，繼而負笈 海外並在國際舞台上闖出一片天。本地指 揮劉卓熙與沈靖韜對談，了解他在音樂上 的成長點滴及洞見。
年幼時在香港接受音樂訓練， 如何為你在 國際發展奠定基礎？
我七歲至十四歲於香港演藝學院隨黃懿倫教 授學習。黃教授是世界頂尖的鋼琴啟蒙老 師，她的栽培對我至關重要。在香港，我們 常有機會欣賞世界名家，如慕里治奧．波里 尼、克里斯蒂安．齊默曼和葉夫根尼．祈辛 等大師的現場演出，我至今仍記憶猶新。另 一方面，音樂是語言的延伸，而我們演奏的 大部分曲目來自歐洲傳統，因此必須深入了 解當地的文化與語言，才能心領神會，這方 面在香港相對困難。
Pianist Aristo Sham spent his formative years in Hong Kong before pursuing studies and rising to fame abroad. Sham opens up about his musical upbringing and artistry in a conversation with local conductor Sanders Lau.
How did your early training in Hong Kong prepare you for your international career?
My education at The Hong Kong Academy for Performing Arts played a very important role. I studied with Professor Eleanor Wong from the age of seven to 14. She is one of the best teachers in the world for young pianists. In Hong Kong, we also had access to world-class concerts by great artists such as Maurizio Pollini, Krystian Zimerman and Evgeny Kissin; I remember their performances vividly. On the other hand, since music is an extension of language and much of the repertoire we play is European, it’s essential to immerse yourself in the spirit and languages of those cultures to develop a more holistic understanding. This wasn’t something that could be easily done in Hong Kong.
© Lisa-Marie Mazzucco
歷年來，不少香港鋼琴家在國際比賽中表 現亮眼，你認為關鍵是甚麼？
演奏鋼琴須具備很強的理解力及分析能 力，畢竟你要以一件樂器承載整個樂團的 織體與聲音。而香港人強調多線並行與高 效率的思維模式及心態，正好為這種挑戰 作好準備。
這次你的曲目將以布拉姆斯為主。布拉姆 斯的音樂對你有何意義？
我特別沉迷那些既流露強烈情感，又具嚴 謹和完美結構的音樂，而布拉姆斯的音樂 正是當中的典範。在他許多作品中，例如 作品76，你能感覺到宇宙正以自然而然、 分毫不差的節奏運行。那種磅礴與深邃， 彷彿被整個世界溫暖地擁抱。我希望透過 選曲傳達一個訊息：無論經歷多少衝突與 困難，世界依然充滿善意，而一切終必好 轉。我希望觀眾能深刻感受到這份力量。
撰文：劉卓熙
原文刊載於2025年12月香港藝術節之線上雜誌 《News & Features》，經編纂後重新刊載
Pianists from Hong Kong have become highly visible on the international competition stage. What do you think drives this prominence?
Playing the piano is a highly intellectual endeavour. You’re essentially the entire orchestra by yourself. I think the Hong Kong mentality, with its emphasis on multitasking and operating on multiple levels, prepares us for that challenge.
Your programme is centred around the work of Brahms. What does the composer’s music mean to you?
I’m particularly drawn to music that is expressively compelling and meticulously constructed. To me, Brahms is one of the few composers who exemplifies this balance. In much of his music, for instance his Op 76, it feels as though the rhythm of the universe is just running the way it should. And in all its greatness, in all its experiences, it feels like a warm embrace. I think the repertoire I play conveys the message that despite all the strife, conflict, difficulty or obstacles in life, the world is full of goodness and everything will be alright. I hope we can feel this in a profound way.
Text: Sanders Lau
This is a revised version of an article originally published on the HKAF’s News & Features website in December 2025
© Ron Jenkins
巴赫 / 布梭尼 編
夏康舞曲，選自D小調第二小提琴
組曲，BWV1004
布拉姆斯 / 布梭尼 編
六首聖詠前奏曲
- 〈我衷心喜悅〉，作品122，第四首
- 〈裝飾自己吧，親愛的靈魂〉，作品122， 第五首
- 〈一朵玫瑰綻放〉，作品122，第八首
- 〈我衷心渴望〉，作品122，第九首
- 〈我衷心渴望〉，作品122，第十首
- 〈哦，世界，我必須離你而去〉，作品122， 第十一首
蕭邦 / 布梭尼 編
蕭邦 C 小調前奏曲十首變奏，
BV213a
布拉姆斯
- 升F小調隨想曲，作品76，第一首
- B小調隨想曲，作品76，第二首
- G小調隨想曲，作品116，第三首
- C大調間奏曲，作品119，第三首
- A大調間奏曲，作品118，第二首
- C大調隨想曲，作品76，第八首
布拉姆斯
C大調第一鋼琴奏鳴曲，作品1
I. 快板
II. 行板（根據古老德意志情歌寫成）
III. 諧謔曲：甚快板及火熱地
IV. 終曲：火熱的快板
20.03.2026
Johann Sebastian Bach (1685-1750) / arr. Ferruccio Busoni (1866-1924)
Chaconne from Violin Partita No 2 in D minor, BWV1004
Johannes Brahms (1833-97) / arr. Ferruccio Busoni
Six Chorale Preludes
- “Her zlich tut mich erfreuen”, Op 122, No 4
- “Schmücke Dich, o liebe Seele”, Op 122, No 5
- “Es ist ein Ros entsprungen”, Op122, No 8
- “Herzlich tut mich verlangen”, Op 122, No 9
- “Herzlich tut mich verlangen”, Op 122, No 10
- “O Welt, ich muss dich lassen”, Op 122, No 11
Frédéric Chopin (1810-49) / arr. Ferruccio Busoni
10 Variations on Chopin Prelude in C minor, BV213a
中場休息 INTERVAL
Johannes Brahms
- Capriccio in F-sharp minor, Op 76, No 1
- Capriccio in B minor, Op 76, No 2
- Capriccio in G minor, Op 116, No 3
- Intermezzo in C Major, Op 119, No 3
- Intermezzo in A Major, Op 118, No 2
- Capriccio in C Major, Op 76, No 8
Johannes Brahms
Piano Sonata No 1 in C Major, Op 1
I. Allegro
II. Andante (Nach einer altdeutschen Minnelied)
III. Scherzo: Allegro molto e con fuoco
IV. Finale: Allegro con fuoco
曲目介紹 Programme Notes
巴赫
Johann Sebastian Bach (1685-1750)
巴赫於1720年出版的六首小提琴獨奏曲， 可說是完美體現了如何以有限材料創造出
偉大音樂。其中，D小調第二無伴奏小提 琴組曲裏面最後的樂章—— 夏康舞曲 尤為 精采：憑着種種指法和弓法，巴赫以僅有 四條弦線的小提琴，便在不斷重覆的四小
節低音聲部線條上編織出六十四段變奏。
開端是一連串剛勁的和弦，往後的變奏則 呈現了多種情感和織體，並在優美的大調 樂段過後推進至澎湃的尾聲。據說，此曲 正是作曲家為悼念亡妻而作。
鋼琴大師暨作曲家布梭尼花了約三十年時 間，將巴赫的一系列古鍵琴曲改編成鋼琴 曲。除古鍵琴曲外，他亦有將巴赫的聖詠 前奏曲、D小調觸技曲與賦格曲等管風琴 曲進行改編。他改編夏康舞曲時也將原作 的炫技性質轉移到鋼琴上，一邊緊隨原 作，一邊營造出情感鮮明、巍峨壯麗的效 果。與布梭尼素有淵源的布拉姆斯，也曾 將夏康舞曲改編成左手鋼琴獨奏曲，並如 此評價樂曲：「它的內裏是一個思想最深 刻、情感最強烈的世界。」
The six works for solo violin which Bach published in 1720 are masterpieces of the art of creating great music with small resources. The Chaconne is the last movement of the D minor Partita No 2 for unaccompanied violin, and it is the most extraordinary movement of all. Using only the resources available to the four strings of one violin, and the fingering and bowing possibilities, he created 64 variations on a repeating four-bar bass line. Beginning with a bold chordal statement, the 64 variations within the Chaconne encompass a wide range of expressions and textures. A beautiful section in the major is included before the movement moves towards a strong conclusion. Some say Bach wrote this in memory of his wife.
The virtuoso pianist and composer Ferruccio Busoni spent around 30 years producing an edition of Bach’s harpsichord works for the piano, while also transcribing organ works such as the Chorale Preludes and the Toccata and Fugue in D minor. His transcription of Bach’s Chaconne transfers the virtuosity of the original to the piano, creating a towering and highly expressive effect in keeping with the original. Brahms, who himself made a transcription of the Chaconne for the left hand at the piano, said of the movement that it contained “a whole world of the deepest thoughts and most powerful feelings”.
巴赫的夏康舞曲原為無伴奏小提琴而作，是次演出是由意大 利作曲家布梭尼改編而成的鋼琴版本 Ferruccio Busoni (1866-1924) transcribed Bach’s Chaconne, originally for unaccompanied violin, for piano
布拉姆斯的管風琴聖詠前奏曲，由布梭尼（右）為鋼琴改編 Johannes Brahms’ (1833-97) chorale preludes were transcribed for piano by Busoni (right)
布拉姆斯的絕筆之作——一套共十一首的 管風琴 聖詠前奏曲 ，無論在風格還是作曲 手法上，都明顯有向巴赫借鏡。事實上， 巴赫時代之後，新教教會已不再使用聖詠 前奏曲，所以布拉姆斯的創作無疑是復興 了一項古老的傳統。從作曲家選用的聖詠 曲旋律看來，這部作品似乎也含有布拉姆 斯對人世的道別之意。布梭尼將管風琴的 踏板聲部融入鋼琴改編版，但除此以外， 幾乎沒怎麼改動原作的織體。一如傳統， 布拉姆斯的伴奏與寫作靈感都源自旋律本 身；每個旋律都充滿深刻的情感，而表達
方式更是優美動人。今晚的選曲包括第四 首，〈我衷心喜悅〉、第五首，〈裝飾自己 吧，親愛的靈魂〉、第八首，〈一朵玫瑰綻 放〉、兩個版本的〈我衷心渴望〉，以及第 十一首，〈哦，世界，我必須離你而去〉。
布梭尼以蕭邦 C小調前奏曲 為主題，並在 主題前面加上幾個迷人的小節引子；主題 之後則是十段變奏。是晚演出的是1922年 的版本。熟悉巴赫變奏曲的樂迷，定會在 布梭尼這首變奏曲裏認出許多巴赫用過的 手法，還有一些較現代的作曲家手法。樂
曲的織體和速度均變化多端，最後以圓舞 曲以及活潑的6/8拍子作結。今時今日，布 梭尼的名氣也許不算響亮，但他在運用和
聲方面，卻能將新舊風格共冶一爐，而且 手法獨步同儕，令其音樂獨具個人色彩。
這首樂曲亦絕對值得讓更多樂迷認識。
Brahms’ final composition was a set of 11 chorale preludes for the organ, harking back in style and manner to those of Bach. In fact, the chorale prelude had not been used in the Protestant Church since Bach’s time, so Brahms was resurrecting an old tradition. From the chorale melodies set, they also seem to have been Brahms’ farewell to the world. Busoni’s transcriptions incorporate the pedal part, but otherwise do not do a great deal with the original textures. Following tradition, Brahms builds the accompaniments and musings from the melodies themselves. Each is suffused with deep feeling beautifully expressed. This selection contains No 4 “Her zlich tut mich erfreuen”, No 5 “Schmücke Dich, o liebe Seele”, No 8 “Es ist ein Ros entsprungen”, two versions of “Herzlich tut mich verlangen” and finally, No 11 “O Welt, ich muss dich lassen”.
Busoni introduces Chopin’s Prelude in C minor with a few intriguing bars and then follows it with ten variations. The performance this evening features the 1922 version. Anyone who knows the sets of variations written by Bach will recognise many of the procedures used by Busoni here, as well as more modern ones, which present a great variety of textures and speeds, ending with a waltz and final exciting finish in 6/8. Busoni’s music may not be that well known these days, but his harmonies contain an interesting blend of old and new in a manner not adopted by any of his contemporaries, giving a special colour to his music. This work certainly deserves to be better known.
蕭邦與布梭尼（右）
Frédéric Chopin (1810-49) and Busoni (right)
1879 至 1893 年間，布拉姆斯出版了二十八
首鋼琴曲，以及作品 79 的兩首《狂想曲》。
其實這些短曲是在不同年份創作，到了後 來才湊成一套出版。布拉姆斯在出版前， 通常會先讓克拉娜．舒曼和伊莉莎白． 凡．賀祖根貝格過目，問過她們的意見才 正式出版。整套 作品 76 當中，賀祖根貝格 最喜歡的是第一首 升 F 小調隨想曲 ，愛其 沉鬱頓挫；克拉娜．舒曼則鍾情第八首 雖然布拉姆斯差點就將這一首刪掉了。幸 而，他最後還是選擇把樂曲留下，這也是 布拉姆斯「從善如流」的例證之一。
B 小調隨想曲 是首多變的輪旋曲，並頻頻 採用切分音；G 小調隨想曲 則如同暴風雨 一般，中間段落的降 E 大調宏偉磅礴，將 全曲推進至優美的高潮。 C 大調間奏曲（ 選 自作品 119）是 6/8 拍子的歡快舞曲，當中 的獨特節奏呈現出典型的布拉姆斯風格； A 大調間奏曲 則帶來藝術歌曲似的氛圍， 中段以升 F 小 / 大調寫成，情感豐富。作 品 76 中最後一首樂曲是一支迷人的 C 大調 隨想曲 ，旋律在充滿魅力的織體中漸漸浮 現，明晰的原位 C 大調和弦卻直到最後才 出現。這可說是典型的布拉姆斯作風—— 難怪克拉娜．舒曼會如此欣賞。
C 大調第一鋼琴奏鳴曲 寫於 1853 年。這一 年，布拉姆斯首先拜訪了李斯特；之後李 斯特便向舒曼大力推薦布拉姆斯；後來
Between 1879–93, Brahms published 28 shorter piano pieces, as well as the two Rhapsodies of Op 79. The shorter ones were composed at various times and collected into sets for publication. but often only after they had been shown to Clara Schumann and Elisabeth von Herzogenberg for their comments. The latter’s favourite of the Op 76 set was the first, Capriccio in F-sharp minor , a piece infused with a brooding melancholy, while Clara Schumann found Op 76, No 8 to be her favourite, but apparently Brahms was thinking of leaving it out. Brahms eventually chose to preserve it—one of the rare occasions on which he deferred to someone’s counsel.
The Capriccio in B minor is a quirky rondo, often involving syncopations, while the one in G minor is a storm with a middle section containing a grand tune in E-flat Major rising to a fine climax. The Intermezzo in C Major from Op 119 is a happy dance in 6/8 with rhythmic ingenuities of a typically Brahmsian nature, while the Intermezzo in A Major brings the atmosphere of an art song, with a highly expressive section in F-sharp minor/Major in the middle. The last piece from Op 76—the Capriccio in C Major —is beautifully set out for the piano with the melody emerging from the intriguing texture, and with the outright root position chord of C Major nowhere to be heard until the very end. This is quintessential Brahms. No wonder Clara Schumann liked it so much.
Written in 1853, Sonata No 1 in C Major is presumably one of the “veiled symphonies” that Schumann spoke of after Brahms visited him that year,
布拉姆斯親自拜訪舒曼——後者口中那 些「蒙着面紗的交響曲」，大概也包括了 C 大調這一首。布拉姆斯創作此曲時年紀尚
輕，但已在每個樂章中展現了宏大的器量 和規模，同時需要高超的演奏技巧——想 必他為舒曼夫婦演奏時，也是游刃有餘。
第一樂章以奏鳴曲式寫成，開端動機的 節奏取自貝多芬的「槌子」鋼琴奏鳴曲開 頭，反映出這位年輕作曲家的鴻鵠之志。
樂譜的第一頁都充斥着這個節奏，直到被 第二主題——A 小調的一段哀傷旋律取而 代之。幾個註上「輝煌地」字樣的小節將 音樂帶回開端；呈示部第二次完結時引入
C 小調，而音樂則在第二主題帶領下進入 發展部。不久，第一主題的素材堂堂回歸 並將樂曲引入華麗的極強音。再現部到來 時，似乎是在 F 大調中開展，不過結尾處
的旋律音高則與第一主題相同。熱鬧璀璨 的尾聲，需要演奏者彈出分毫不差的準繩 度，以達到宏偉的結束。
第二樂章是一首溫柔而舒徐的 C 小調變奏 曲，並根據一首古老的德意志情歌寫成。
隨後的樂章是一首 E 小調諧謔曲，其首尾 兩段充滿活力、節奏強勁，中段則是一段 典型的 C 大調綿長旋律。〈終曲〉是一支 9/8 拍子的華麗舞曲，其旋律乃衍生自第 一樂章的旋律型態。布拉姆斯最後以宏偉
飽滿的和弦為這首樂曲畫上句號——其威 力之驚人、情致之豐富，對一部作品 1 來說 實屬少見。
撰文：紀大衛
中文翻譯：鄭曉彤
preceded by an enthusiastic introduction from Liszt, who Brahms had visited before that. It is a young man’s work, but already magnificently proportioned in every movement, and requires a virtuoso performance, which is no doubt what Brahms gave when he played to the Schumanns.
The first movement is in sonata form and begins with a motif which borrows its rhythm from the opening to Beethoven’s “Hammerklavier” sonata, an indication of how high the young composer intended to climb. This rhythm pervades the first page, until the second subject—a plaintive melody in A minor—takes over. A couple of bars marked brillante lead back to the beginning, and the second time onwards into C minor as the second subject leads the way in the development. The first subject material soon arrives, leading to splendid fortissimo moments. The recapitulation appears, seemingly in F Major, although with the same melodic pitches as at the beginning. The boisterous coda demands split-second accuracy from the performer for a grand conclusion.
The slow movement, after an old German love song, is a gentle set of variations on the tune in C minor and this is followed by the Scherzo, in E minor, a movement of great energy and rhythmic power in the outer sections, enclosing a typical long-breathed melody in C Major. The Finale, an often spectacular dance in 9/8, grows out of the opening movement’s melodic curve. At the very end, grand chords with many notes conclude a work of astonishing power and emotional variety, especially for an Op 1.
Text: David Gwilt Chinese translation: Eos Cheung
The Schumanns were likely among the first listeners of Brahms’ Piano Sonata No 1
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2828 4911/12
巴赫
C大調第一前奏曲，選自《平均律 鋼琴曲集》第一冊
21.03.2026
Johann Sebastian Bach (1685-1750)
Prelude No 1 in C Major, from The WellTemperedClavier Book I
布拉姆斯 Johannes Brahms (1833-97)
C大調第一鋼琴奏鳴曲，作品1
I. 快板
II. 行板（根據古老德意志情歌寫成）
III. 諧謔曲：甚快板及熱烈地
IV. 終曲：熱烈的快板
Piano Sonata No 1 in C Major, Op 1
I. Allegro
II. Andante (Nach einer altdeutschen Minnelied)
III. Scherzo: Allegro molto e con fuoco
IV. Finale: Allegro con fuoco
蕭邦 Frédéric Chopin (1810-49)
升F大調前奏曲，作品28，第十三首 Prelude in F-sharp Major, Op 28, No 13
布拉姆斯
升F小調第二鋼琴奏鳴曲，作品2
I. 不太快的快板，但有活力
II. 感情豐富的行板
III. 諧謔曲：快板
IV. 終曲：引子，持續地——不太快的快板
及採用彈性速度
Johannes Brahms
Piano Sonata No 2 in F-sharp minor, Op 2
I. Allegro non troppo, ma energico
II. Andante con espressione
III. Scherzo: Allegro
IV. Finale: Introduzione, sostenuto— Allegro non troppo e rubato
中場休息 INTERVAL
舒曼
〈夢幻曲〉，選自《兒時情景》，作品15， 第七首
布拉姆斯
F小調第三鋼琴奏鳴曲，作品5
I. 宏偉的快板
II. 感情豐富的行板
III. 諧謔曲：活力充沛的快板
IV. 間奏曲（回眸一看）：稍慢的行板
V. 終曲：中庸的快板但採用彈性速度
Robert Schumann (1810-56)
“Träumerei” from Kinderszenen , Op 15, No 7
Johannes Brahms
Piano Sonata No 3 in F minor, Op 5
I. Allegro maestoso
II. Andante espressivo
III. Scherzo: Allegro energico
IV. Intermezzo (Rückblick): Andante molto
V. Finale: Allegro moderato ma rubato
曲目介紹 Programme Notes
巴赫
Johann Sebastian Bach (1685-1750)
巴赫將四十八首前奏曲與賦格曲分為兩 冊，並分別於1722及1744年出版；其中
第一冊的第一首 C大調第一前奏曲 看似簡 單，實則不然：前奏曲以一組和弦進行為 基礎，再將和弦寫成琶音型；和弦進行本
身藏有很多有趣之處，包括和聲走向，以 及從C大調先後轉向G和F大調時偶然閃 現的半音變化，最後由一個裝飾華美的終
止式作結。在短短幾分鐘內，這首作品便 將聽眾帶入一種特別的境界，作為下一首 樂曲——布拉姆斯那激情的C大調奏鳴曲 的引子，可說是非常有趣的選擇。
布拉姆斯 C大調第一鋼琴奏鳴曲，作品1 之曲目介紹詳見第25-26頁。
受到巴赫的四十八首前奏曲與賦格曲啟 發，蕭邦在1838和1839年也寫作了一套 前奏曲，合共二十四首。今晚演出的蕭邦 升F大調前奏曲 ，與方才演出過的巴赫
The first in the series of 48 Preludes and Fugues which Bach published in 1722 and 1744, the Prelude No 1 in C Major is a deceptively simple piece of music. The Prelude consists of a progression of arpeggiated chords which contain a wealth of interest through the harmonic moves and occasional chromaticisms as it moves first towards G Major and then F Major before the final, beautifully decorated cadence. In its short duration it draws the listener into a special world, and makes an interesting introduction to the stormy dramatics to come in Brahms’ Sonata in the same key.
See the Programme Notes for Johannes Brahms’ Piano Sonata No 1 in C Major, Op 1 on P25-26.
Inspired by the TheWell-TemperedClavier by J.S. Bach, Chopin composed his set of 24 Preludes in 1838 and 1839. The Prelude in F-sharp Major shares some of the characteristics of Bach’s first Prelude in C Major. Underpinning the entire piece is the pattern in the left hand, which outlines the chords in much the same way as the arpeggiations do in Bach’s piece. This left hand supports a long, sustained melody in the right hand. An eight-bar Più lento brings a contrast, beginning in D-sharp minor, before Chopin approaches the final cadence, as does Bach, from the subdominant, in this case, B Major.
蕭邦
Frédéric Chopin (1810-49)
C大調前奏曲也有異曲同工之妙：蕭邦這 首前奏曲共有三十八小節，以左手音型勾 劃和弦，支撐全曲，寫法與巴赫C大調前 奏曲的琶音類近，但妙在以左手承托右手 奏出的綿長旋律；接下來八小節「更舒緩 的」樂段，則與前段形成鮮明對比；之後
樂曲先轉至升D小調，然後轉為下屬調（B
大調），準備推進至最後的終止式——這 種鋪排也跟巴赫如出一轍；最後兩小節則 重拾初心，讓「更舒緩」的片段重現。將
這首升F大調前奏曲安排在布拉姆斯的第 一、二首鋼琴奏鳴曲之間，正好為觀眾提 供了一片寧靜的喘息空間。
布拉姆斯在拜訪舒曼夫婦時，對克拉娜． 舒曼的鋼琴造詣與音樂修養留下深刻印 象，於是在徵求羅伯特同意後，將 升F小 調第二鋼琴奏鳴曲 題獻給了克拉娜。第一 樂章以宏偉跌宕的華麗寫法掀開序幕，頗 有即興演奏的效果。主題以柔和的基調開 展，左手是有着半音變化的上行三和弦， 稍後又與開端的節奏型結合。第二主題的 開端實際上是第一主題的「加速版」，令 氣氛轉趨熱烈。發展部將這些元素合而 為一，推向「激情的極強音量」並引出再 現部。雖然樂章的最後一頁仍然保持「極 強」，但作曲家卻選擇以兩個輕柔的和弦 收束，同時配合柔音踏板，營造被壓制似 的效果。
接下來的行板樂章以B小調寫成。布拉姆 斯自言，這個樂章是以一個民歌曲調為 基礎。樂章蘊含一系列變奏，當中採用 的鋼琴織體饒富趣味，而且隨着樂曲開展 更顯細膩和創意。最後的變奏以B大調寫 成，並緊接進入後面的第三樂章B小調諧 謔曲；諧謔曲開端的幾個音符不但與先前 行板樂章的開端相同，更是整個樂章的基 礎。諧謔曲本身篇幅很短，但D大調的中 段部分則寬廣緩長，頗有德意志蘭特勒舞 曲的影子。之後諧謔曲重現，而末段更加 上一些難度頗高、類似震音的效果，並在 中段素材閃現之後戛然而止。
The last two of the 38 bars refer back to the earlier Piùlento section. This is an area of calm between Brahms’s first two sonatas.
With Robert Schumann’s permission, Brahms dedicated the Piano Sonata No 2 in F-sharp minor to Clara Schumann, whose pianism and musicianship had impressed him during his visit. The first movement begins with a grand, dramatic flourish, giving a somewhat improvisatory effect. The main subject, starting softly, is based on a rising triad in the left hand incorporating a chromaticism, and this is combined with the rhythms of the opening bars. The second subject is propelled into passionate life by a quick version of the main subject. The development combines all these elements and leads to a fortissimofurioso which brings the recapitulation. Although the last page is fortissimo, the movement ends with two muffled chords, piano and with the unacorda
The Andante, in B minor, is based on a folk tune, according to the composer. It consists of a set of variations with an increasingly subtle and inventive use of interesting piano textures. The final variation is in B Major and leads straight into the third movementScherzo, also in B minor. This begins with the same notes as the Andante and builds out of them. The Scherzo itself is brief, but encloses a slower, more expansive Trio section, rather in the manner of a German Ländler. This is in D Major. The Scherzo returns, and ends with the addition of some technically challenging quasi trills, and a short reference to the Trio before its abrupt close.
布拉姆斯將第二鋼琴奏鳴曲獻給克拉娜．舒曼 Piana Sonata No 2 was dedicated to Clara Schumann (1819-96)
終樂章的首尾兩段都以即興演奏似的方式 展開——第一至二十四小節被稱為「引
子」；樂章正文正是以引子的頭五個音符 作為主要動機。一個採用模仿法的活潑樂 段過後，A小調第二主題隨之舞動登場，
最終與第一主題結合。到了呈示部結尾， 貝多芬第五交響曲開端的節奏型響起，並 以綿長的和弦作結。呈示部重複後，發展
部將兩個主題加以發揮，又引用了貝多芬 「槌子」奏鳴曲的片段。再現部則是依循 常規寫成，直到最後一頁才展現出即興特
性，最後在大調之中落幕。
舒曼的鋼琴曲集《兒時情景》寫於1838年 ——這年亦正好是蕭邦開始寫作其二十四 首前奏曲的那一年。〈夢幻曲〉以F大調寫 成，是鋼琴曲集的第七首，而且跟巴赫和 蕭邦的前奏曲有一個共通點：這幾首作品
都是衍生自開端音型，發展方式彷彿完全 自然而不費力，營造出一個如夢似幻的心 境——在布拉姆斯的第三奏鳴曲風暴來臨
前，這又是片刻的寧靜。
F小調第三鋼琴奏鳴曲，作品5 是布拉姆 斯的最後一首鋼琴奏鳴曲，約在1850年 動筆，但至少到1853年才終於完成。 1853年11月3日是布拉姆斯與舒曼夫婦 共度的最後一天，而當時他大概是「憑記 憶」為舒曼夫婦演奏這首樂曲——也就是 說，連樂譜都還沒有。布拉姆斯曾說過， 他的早期鋼琴曲均屬「興之所至，一揮而 就」之作。這些樂曲無庸置疑都需要有強 勁而扎實的彈奏技巧，才能充分展現其深 度和廣度。第三鋼琴奏鳴曲雖以跌宕而熾
熱的第一主題開始，但隨後也有一個平靜 的樂段（底下是貝多芬第五交響曲的節奏 型）；第二主題以降A大調寫成，分為兩
部分：一個大膽，一個抒情。發展部根據 這兩個主題來開展，最終樂章在F大調盛 大結束。
The last movement begins and ends in an improvisatory manner—the first 24 bars are called Introduzione—and the movement proper makes use of the first five notes of this as its main motivic force. The second subject dances along in A minor, itself introduced by vigorous imitative passages. Eventually these both combine. At the end of the exposition the rhythm of the opening to Beethoven’s Fifth Symphony appears. It ends with long, sustained chords. After a repeat the development makes use of both subjects, and includes allusions to the “Hammerklavier” of Beethoven. The recapitulation proceeds as expected before the final, improvisatory page, bringing all to a close in the major.
舒曼
Robert Schumann (1810-56)
Schumann’s Kinderszenen were written in 1838, the same year as Chopin began his collection of 24 Preludes . “Träumerei” (“Dreams”), in F Major and the seventh in the set, is like both the Bach and Chopin Preludes, growing out of the opening so that
1853年，年僅二十歲的布拉姆斯
A 20-year-old Johannes Brahms
第二樂章前面有段詩文，描繪月夜中一對 心心相印的戀人，音樂本身也有民歌的感
覺。樂章本身看似輪旋曲，但第二插段卻 不斷擴充，規模也愈來愈大，以致輪旋曲 主題不再重現。F小調的〈諧謔曲〉一開始
充滿活力，但中段卻平靜下來，迎來開揚
的降D大調旋律。間奏曲標題中「回眸一 看」的對象是慢速的第二樂章，但這次卻打 着葬禮的幌子，並引入〈終曲〉——一首F
小調的6/8拍子舞曲，但漸漸為陽光充沛的 大調調性所取代，最後畫上璀璨的句點。
撰文：紀大衛
中文翻譯：鄭曉彤
the music unfolds in a seemingly natural manner, producing the effect of a dreamy state of mind, in this case another moment of calm before the storm of Brahms’ third sonata.
Piano Sonata No 3 in F minor, Op 5 , Brahms’ third and last sonata for the piano, was possibly begun in 1850, but certainly not completed until 1853. On 3 November that year Brahms spent his last day with the Schumanns, and apparently played this work to them “out of his head”. In other words, the music was not written down yet. When talking of his early piano works Brahms once said that he “stormed away” in them. Certainly, each demands a powerful and decisive technique to bring out their full range. The sonata begins with a fiery and dramatic first subject, but with a quiet section above the Beethoven Fifth Symphony rhythm. The second subject, in A-flat Major, is in two parts, one bold and the other lyrical. The development section makes use of both subjects and the movement ends in a grand manner, in F Major.
The quotation above the second movement refers to two lovers whose hearts are entwined under the moonlight, and the music has the feeling of folksong. This appears to be in rondo form, but the second episode grows to such proportions that the rondo subject never returns. The Scherzo, in F minor, dances with great energy, but calms for the middle section, a broad melody in D-flat Major. The “Backward glance” of the Intermezzo refers to the slow movement, but this time in funereal guise, and it introduces the last movement, a dance in 6/8 back in F minor, but gradually giving way to the bright sunshine of the major key and finally ending in a blaze of light.
Text: David Gwilt Chinese translation: Eos Cheung
Acknowledgements
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Cathy Cheng*, Sophie Liao*, Katie Ma*, Neva Wong*
Li Long-hin*
Alice Chan*, Nicole Chow*, Dorothy Chung*, Ryan Yung*
Melissa Wong#
Elvis King*
Shirley Leung*
Jacob Chan*
Eugene Chan*
Adam Wright*
Shao yi Chan*
Lindsey Gan*
Carman Lam*
Olivia Chan*, Giselle Li*, Tina Tang*, Ariel Wong*
Raven Chiu*, Angel Kwok*
Outreach Assistant Christine Chan*
MARKETING
Marketing Director
Associate Marketing Director
Marketing Managers
Project Manager – Marketing
Katy Cheng
Eugene Lo
Vicki Cheng*, Stephanie Cheung*, Effie Wong*
Hades Tam*
Deputy Project Manager - Marketing Hill Li*
Assistant Marketing Manager
Jessica Chu*
Marketing Coordinator Isaac Leung*
Marketing Officer
TICKETING
Senior Marketing Manager (Ticketing)
Ticketing Officer
DEVELOPMENT
Development Director
Nancy Wong*
Eppie Leung
Heidi Choi*
Brenda Kan
Special Development Associate Alex So*
Development Managers
Assistant Development Manager
Development Officer
Leroy Chan*, Evelyn Ip*, Janice Wong*
Evelyn Kwok*
Jeria Yip*
Temporary Development Assistant Cherry Chan*
CORPORATE SERVICES
Finance Director
ACCOUNTS
Account Manager
Accounting & Administrative Officer
HR & ADMINISTRATION
HR and Admin Manager
Teresa Kwong
Connie To*
Charmaine Mak*
Janet Yeung*
Receptionist/Junior Secretary Virginia Li
INFORMATION TECHNOLOGY
Information Technology Manager
NO LIMITS
Project Director
Derek Chan*
Eddy Zee*
Programme and Outreach Managers Becky Chung*, Tiffany Ko*, Frieda Ng*
Assistant Programme and Outreach Manager Jasmine Poon*
Programme and Outreach Coordinator
Marketing Manager
Deputy Marketing Managers
Assistant Production Manager
Taylor Cheng*
Carly Wong*
Gina Chan*, King Ng*
Dick Cheng*
Senior Accounting Officer Catherine Chung*
藝術家統籌 張晞琳*、朱芷慧*、馮碧琪*、向怡君*、何敬堯*、梁頌怡*、盧悅穎*、羅玲* 、Lucrezia Luxardo*、胡肇婷*、楊曦*、翁蒨懃*
製作主任 魏俊瑩* 技術統籌 張詠宜*、范文恩*、馮舒凝*、李浩賢*、譚學臻*、鄧煒培*、曾以德*
Artist Coordinators Haynes Cheung*, Eleanor Chu*, Betty Fung*, Cassandra Heung*, Kelvin Ho*, Kitty Leung*, Joyce Lo*, Celine Luo*, Lucrezia Luxardo*, Blanche Wu*, Adrien Yeung*, Bonnie Yung*
Production Officer Rita Ngai*
Technical Coordinators Jess Cheung*, Yan Fan*, Cherry Fung*, Lawrence Lee*, Camille Tam*, Billy Tang*, Joyi Tsang*
*合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order
# 藝術人才見習配對計劃2025/26由香港藝術發展局資助
# 2025/26 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2026年2月更新 Updated February 2026
請支持您的藝術節！
Become a Supporter of Your Festival!
香港藝術節是一所非牟利機構，單憑票房收入及政府基本資助，遠遠 未足以應付呈獻及推廣世界各地頂尖表演藝術的成本。藝術節之所以 能持續舉辦，捐助者的慷慨支持實在功不可沒。誠意邀請您捐助藝術 節捐助計劃，協助我們繼續帶來高質素國際及本地藝術家精采的演出， 以及舉辦多元化的外展及教育活動。
香港藝術節是香港特區政府的「藝術發展配對資助計劃」受惠機構， 部份籌得的捐款及贊助收入將獲一元對一元的配對資助。*
無論捐贈數額多少，我們均衷心感謝您的支持！
The Hong Kong Arts Festival is a non-profit organisation. Income from ticket sales and government baseline funding can only partially cover the Festival’s costs for presenting and promoting the best performing arts from around the world. The Festival can only continue its work thanks to the generous support of its donors. Please support the Festival Donation Scheme so we can continue to present world-class international and local artists as well as offering diverse outreach and education activities.
The Hong Kong Arts Festival is a recipient of the HKSAR Government’s Art Development Matching Grants Scheme. Part of the Festival’s sponsorship and donation income will benefit from a dollar-for-dollar match by the Government.* Donations of any amount will make a difference, and are greatly appreciated!
* 須受「藝術發展配對資助計劃」之條款及細則約束。 Subject to conditions of the Government’s Art Development Matching Grants Scheme.
網上捐款
ONLINE DONATION http://go.hkaf.org/give
其他捐款方法，請參閱刊於本 冊子尾部之捐款表格
For other donation methods, please refer to the Donation Form near the end of this booklet
查詢 Enquiries: dev@hkaf.org 2828 4911/12
is amongst the world's
Our home base most promising.
我們位於世界最具潛力的城市之一
1899.Childe Hassam - New England Headlands