Chicago Symphony Orchestra

第41屆香港藝術節隆重揭幕，謹此向舉辦機構衷心致賀。

自1973年以來，香港藝術節展現無數

藝術大師的精采演出，令市民生活更豐富多姿，也為香港注入多元創意。

藝術節同時向世界展現香港底蘊深厚、

活力充沛的文化面貌。

藝術節每年都得到國際頂尖藝術家來港獻藝，既為香港和世界藝壇擔當橋

樑角色，也非常重視本地新銳創作和藝術家，並安排他們與各地演藝精英同台演出、競放異彩，益顯這項萬眾

期待的周年盛事對香港以至世界藝壇的深遠影響和宏大貢獻。

謹祝本屆藝術節圓滿成功，各位觀眾盡享愉快難忘的藝術體驗。

I am pleased to congratulate the organisers for staging the 41st Hong Kong Arts Festival.

Since 1973, the Festival has introduced many great artists to audiences in Hong Kong, enriching the lives of our people and injecting creativity and diversity into our city. At the same time, the Festival has showcased Hong Kong’s sophistication and dynamism to the world.

The Festival continues to present top international talent, enhancing its role as a bridge between Hong Kong and the global arts community. It is also encouraging to note the significant focus on new local productions and home-grown talent. The Festival offers an important international platform to showcase Hong Kong’s creative forces alongside leading artists from around the world, adding to the impact and long term benefits of this highly anticipated annual event.

I wish this year’s Festival every success and audiences a joyous and memorable experience.

香港特別行政區行政長官

Chief Executive

歡迎蒞臨第41屆香港藝術節。感謝各界的鼎力支持，令香港藝術節成為重要的國際文化盛會。

香港藝術節有賴各界夥伴，特別是藝術及文化團體，以及香港特區政府、香港賽馬會、各贊助企業、個人資助者及觀眾的慷慨支持。我亦藉此衷心感謝學生票資助計劃及新作贊助計劃之捐獻者，致力支持未來發展，培育年青觀眾及推動香港原創新作。

感謝您蒞臨今屆藝術節，您的參與誠然是藝術節成功的重要因素。

I am delighted to join the Festival team in welcoming you to the 41st Hong Kong Arts Festival, and to acknowledge the many contributions that have made the Festival the premier event in Hong Kong’s cultural calendar.

Support of stakeholders, arts and cultural institutions in particular, the Government of Hong Kong SAR, the Hong Kong Jockey Club, sponsors, donors and audiences is critical in making this Festival possible. With a view to future developments and future audiences, I would like to add a special word of thanks for contributions to the Student Ticket Scheme and the New Works Scheme. Together, they help to nurture audiences of the future and to build up a body of work that will become our own canon.

Thank you very much for coming to this Festival. Your presence is paramount to its success and I do hope you enjoy the performances and programmes you have chosen.

Ronald Arculli, Chairman

歡迎閣下蒞臨第41屆香港藝術節。

透過欣賞一場精采演出，可領略別人如何觀看世界。今屆藝術節，我們將這種能引發共鳴的特色全面彰顯，觀眾可藉由奇幻的視覺效果、根深蒂固的偏見、語言迷宮、具爭議性的觀點，

到自我反省、重新構想經典作品，探索如何理解他人的觀點。看畢節目後，我們或會對原有的觀點存疑，亦有可能獲得更清晰的啟迪。

一如往年，藝術節網羅豐富及多元化的演藝節目。我與藝術節團隊特此向一眾出色的表演者及創作人員致謝，他們在藝術節舞台上落力獻技，發揮藝術才華。亦感謝閣下蒞臨，您的參與及觀感誠然是藝術節的關鍵支柱。

It is a pleasure and privilege to welcome you to the 41st Hong Kong Arts Festival.

Experiencing a great performance offers a unique opportunity to understand how someone else views the world. In this Festival, layering upon this special capacity for empathy, we explore ways of dealing with another person’s point of view: from visual conundrums, through entrenched prejudice, linguistic mazes and contested perspective, to selfreflection, re-envisioning of established canon. Perhaps, as a result, our own point of view may fall open to question or come into clearer focus.

As ever, the programming content is rich and diverse. With the entire team, I would like to thank the many remarkable performers and creators who bring their talent and artistry to this Festival. We would also like to thank you for being here; your role and your perspectives are pivotal in making the Festival what it is. Enjoy!

Tisa Ho, Executive Director

香港藝術節資助來自： The Hong Kong Arts Festival is made possible with the funding support of:

This programme is printed on environmentally friendly paper

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Presents

Conductor: Lorin Maazel

28.1.2013

莫扎特 C 大調第四十一交響曲，K 551，《朱庇特》

布拉姆斯 D 大調第二交響曲，作品 73

Mozart – Symphony No 41 in C, K 551, Jupiter Brahms – Symphony No 2 in D, Op 73

香港文化中心音樂廳

Concert Hall, Hong Kong Cultural Centre

演出長約 1 小時 38 分鐘，包括一節中場休息

Running time: approximately 1 hour and 38 minutes with one interval

Bank of America Merrill Lynch is the Global Sponsor of the Chicago Symphony Orchestra

The CSO receives support for its tour to Hong Kong from Mid Atlantic Arts Foundation through USArtists International in partnership with the National Endowment for the Arts and the Andrew W. Mellon Foundation.

敬請關掉所有響鬧及發光裝置，請勿擅自攝影、錄音或錄影，多謝合作。

Please switch off all sound-making and light-emitting devices. Unauthorised photography or recording of any kind is strictly prohibited. Thank you for your co-operation.

芝加哥交響樂團

享譽國際的芝加哥樂團已邁入第 122 個樂季。指揮巨匠慕迪於 2010 / 11 樂季正式加盟，成為樂團第十任音樂總監。

芝加哥交響樂團掌舵人向來聲名顯赫。1891 年創團總監為狄奧多．湯瑪士，其後繼任的有史多克、迪法、羅津斯基、庫貝利克、萊納、馬丁農、蘇提爵士及巴倫波英。2006 至 2010 年，譽滿世界的荷蘭指揮家海廷克擔任芝加哥交響樂團首席指揮，創造樂團史上第一。1995 年，獲委任為樂團首席客席指揮的布萊茲，於 2006 年起任海倫．雷根斯坦的榮休指揮。

樂團每年於芝加哥交響樂中心演出，逢夏季亦駐演拉維尼亞音樂節，合共舉行逾 150 場音樂會。樂團 1971 年由蕭提帶領下於歐洲作首次巡演，此後在海外陸續巡演了 38 次。

2012 年春季，樂團到訪意大利與俄羅斯，乃第 30 次踏足歐洲大陸及第二次走訪俄羅斯。

是次演出乃芝加哥交響樂團在亞洲的第七次巡演，在澳洲和南美洲亦曾留下足跡。在北美方面，樂團於 1892 至 1976 年間走訪加拿大共 16 次，2012 年 10 月首訪墨西哥。

1916 年至今，芝加哥交響樂團一直注重錄音工作，並於 2007 年創立自己的唱片公司 CSO Resound。唱片曾獲美國國家錄音藝術暨科學學會頒發 62 項格林美獎。最近一張由慕迪指揮的威爾第《安魂曲》榮獲 2011 年格林美最佳古典音樂唱片及最佳合唱表演兩項大獎。

樂團於 2007 年回歸廣播領域，自製音樂節目，透過樂隊官網及著名的古典音樂頻道 WFMT 在全美國逾 300 個電台網絡進行每周播放。

中譯：張熙

© Todd Rosenberg

Now in its 122nd season, the Chicago Symphony Orchestra (CSO) is known as one of today’s leading orchestras. Riccardo Muti began his tenure as CSO’s 10th music director in the 2010/2011 season.

Throughout its history, the CSO has enjoyed leadership from an illustrious list of music directors, beginning with Theodore Thomas, who founded the Orchestra in 1891, followed by Frederick Stock, Désiré Defauw, Artur Rodzinski, Rafael Kubelík, Fritz Reiner, Jean Martinon, Sir Georg Solti and Daniel Barenboim. From 2006 to 2010, Bernard Haitink led the Orchestra as Principal Conductor, the first in CSO history. Pierre Boulez, who was appointed Principal Guest Conductor in 1995, has served as Helen Regenstein Conductor Emeritus since 2006.

The CSO performs over 150 concerts each year at Symphony Center and at the Ravinia Festival, where it is in residence each summer. The ensemble has embarked on 38 overseas tours since Georg Solti led the first tour to Europe in 1971, most recently visiting Italy and Russia in spring 2012, making that trip the 30th visit to Europe and second to Russia. Currently on its seventh tour of Asia, the CSO has also travelled once each to Australia and South America. In North America, the Orchestra travelled to Canada 16 times between 1892 and 1976 and made its first trip to Mexico in October 2012.

Recording has been a significant part of the CSO’s history since 1916, and in 2007 the Orchestra launched its own record label, CSO Resound. CSO recordings have earned 62 Grammy awards from the National Academy of Recording Arts and Sciences, most recently in 2011 for Best Classical Album and Best Choral Performance for Verdi's Requiem conducted by Riccardo Muti.

In 2007, the CSO returned to the national airwaves with its self-produced weekly broadcast series, which is syndicated to more than 300 markets nationwide on the WFMT Radio Network as well as on cso.org.

馬捷爾

Lorin Maazel

指揮 Conductor

指揮大師馬捷爾是當今最頂尖的指揮家之一，他與芝加哥交響樂團的密切關係始於 1973 年。

馬捷爾與樂團 40 年來合作無間，曾帶領樂團演奏廣泛的曲目，包括布拉姆斯、白遼士、舒曼、馬勒、史特勞斯、巴托、浦羅科菲耶夫、史達拉汶斯基及西貝流士等作品。馬捷爾在 2000 年於芝加哥交響樂團首演了他的作品《別離》，作為他的 70 大壽慶典之一。

在 2011 年春季，馬捷爾完成了他作為西班牙華倫西亞蘇菲亞皇后藝術宮音樂總監的第五個樂季。此前他在 2002 至 2009 年間曾擔任紐約愛樂樂團的音樂總監，在 2012/ 13 樂季開始則擔任慕尼黑愛樂樂團的音樂總監。他亦是卡西頓音樂節的創辦人兼藝術總監，自 2009 年成立以來，這個在其維珍尼亞州家鄉農莊中舉行的音樂節贏盡全球讚譽，音樂活動漸趨頻繁。馬捷爾亦是一位活躍的作曲家，其作品豐富多元，當中包括根據奧維爾小說改編的歌劇《 1984》，此作品於 2005 年 5 月於高文花園皇家歌劇院首演。他曾指揮超過 200 個管弦樂團，演出逾 7,000 場次音樂會及歌劇，並曾灌錄超過 300 張唱片，包括貝多芬、布拉姆斯、德布西、馬勒、舒伯特、柴可夫斯基、拉赫曼尼諾夫、李察．史特勞斯等作曲家的交響曲及作品全集，更因此贏得十個法國唱片大獎。

For over five decades, American conductor Lorin Maazel has been one of the world’s most esteemed and sought-after conductors. His association with the Chicago Symphony Orchestra (CSO) dates back to his début concerts with them 40 years ago, in 1973. In the decades since, he has led the Orchestra in a wide range of repertoire from Brahms, Berlioz and Schumann to Mahler, Strauss and Bartók, as well as works by Prokofiev, Stravinsky and Sibelius. In 2000, Maazel and the CSO gave the American première of his own composition, Farewells, as part of his 70th birthday celebrations.

In spring 2011, Maestro Maazel completed his fifth and final season as the inaugural music director of the Palau de les Arts Reina Sofia in Valencia, Spain. He has been the music director of the New York Philharmonic from 2002 to 2009. He assumes the same post with the Munich Philharmonic at the start of the 2012/13 season. He is also the founder and artistic director of a new festival based on his farm property in Virginia, the Castleton Festival, launched to exceptional acclaim in 2009 and expanding its activities nationally and internationally in 2011/12 and beyond. Maestro Maazel is also a highly regarded composer, with a wide-ranging catalogue of works written primarily over the last dozen or so years. His first opera, 1984, based on George Orwell’s literary masterpiece, received its world première at the Royal Opera House, Covent Garden, in May 2005. Maestro Maazel has conducted nearly 200 orchestras in no fewer than 7,000 opera and concert performances. He has made over 300 recordings, including symphonic cycles and complete orchestral works of Beethoven, Brahms, Debussy, Mahler, Schubert, Tchaikovsky, Rachmaninov and Richard Strauss, winning ten Grands Prix du Disques.

© Andrew Garn

莫扎特

C 大調第四十一交響曲，K 551，《朱庇特》

活潑的快板

如歌的行板

小步舞曲：小快板甚快板

Wolfgang Amadeus Mozart (1756-1791)

Symphony No 41 in C, K 551, Jupiter

Allegro vivace

Andante cantabile

Menuetto: Allegretto

Molto allegro

中場休息 Interval

布拉姆斯

D 大調第二交響曲，作品 73

不太快的快板不太慢的慢板優雅的小快板（接近小行板）精神奕奕的快版

Johannes Brahms (1833-1897)

Symphony No 2 in D, Op 73

Allegro non troppo

Adagio non troppo

Allegretto grazioso (Quasi andantino)

Allegro con spirito

芝加哥交響樂團藝術節加料節目

銅管樂大師班

27.1.2013

「與頂尖文化領袖對談」香檳午餐會 — 領導者的影響力

講者：Deborah F. Rutter

29.1.2013（二）中午 12:00 ﹣下午 2:00

灣仔港灣道 1 號香港君悅酒店 11 樓沁園

費用：$800

英語主講

更多加料節目信息請參閱藝術節加料節目指南，或瀏覽網站：www.hk.artsfestivalplus.org

Chicago Symphony Orchestra Festival PLUS

Mastering Brass

27.1.2013

Champagne Luncheons with Leading International Arts CEOsLeadership and Leverage

Speaker: Deborah F. Rutter

29.1.2013 (Tue) 12:00-2:00pm

The Poolhouse, Grand Hyatt Hong Kong, 1 Harbour Road, Wanchai

Fee: $800

In English

Find out more about Festival PLUS in the Festival PLUS Booklet or at www.hk.artsfestivalplus.org

樂曲介紹 Programme Notes

莫扎特 C大調第四十一交響曲， K 551，《朱庇特》

Mozart — Symphony No 41 in C, K 551, Jupiter

莫扎特

1756 年 1 月 27 日生於奧地利薩爾茲堡 1791 年 12 月 5 日卒於奧地利維也納

寫作年份

1788 年 8 月 10 日

首演不詳

編制

長笛一支、雙簧管兩支、巴松管兩支、圓號兩支、小號兩支、定音鼓、弦樂

莫扎特從沒想過，這會是他的最後一首交響曲，也從沒想過用「朱庇特」一名。根據英國出版商文森特．諾威羅的日記所述，莫扎特兒子法蘭斯．薩弗說，是約翰．彼得．薩羅蒙（倫敦知名的音樂會主辦人）主張以法力最強的羅馬主神名字作為此曲別稱。

「朱庇特」一名首次在印刷品上出現，是 1819 年 10 月 20 日愛丁堡一場演出的相關刊物裏；克萊曼蒂改編的鋼琴版也大受歡迎，1823 年出版時封面上寫着「莫扎特的著名交響曲《朱庇特》」，還畫上朱庇特坐在翻騰的雲霧上，充滿帝王風範。

早在克萊曼蒂讓無數充滿熱誠的業餘鋼琴手認識此曲以前，這首壯麗的 C 大調交響曲早已名滿天下：海頓就對此曲大為欣賞（無獨有偶，也是因為同一位薩羅蒙先生，海頓才會有他的最後 12 首交響曲）。

Wolfgang Amadeus Mozart

Born January 27, 1756, Salzburg, Austria

Died December 5, 1791, Vienna, Austria

Composed

August 10, 1788

First Performance

Unknown

Instrumentation

Flute, two oboes, two bassoons, two horns, two trumpets, timpani, strings

Mozart didn’t expect it to be his last symphony and never called it Jupiter . According to an entry in the British publisher Vincent Novello’s diary, Mozart’s son Franz Saver reported that the London impresario Johann Peter Salomon gave the work its nickname after the most powerful of the Roman gods. The title first appeared in print for a performance in Edinburgh on 20 October 1819. When Muzio Clementi’s popular piano arrangement of the score was published in 1823, the cover announced “Mozart’s celebrated Symphony, The Jupiter”, and depicted the god himself regally sitting atop billowing clouds.

This great C major Symphony was celebrated long before Clementi introduced its splendors to countless eager amateur pianists. Joseph Haydn, who also owed the existence of his last twelve symphonies to Salomon, knew the work and admired it excessively.

Salomon’s nickname probably was suggested by the majesty and nobility of the first

薩羅蒙之所以選中「朱庇特」作為別稱，大概是因為樂曲堂皇高貴的第一樂章。第一樂章既運用了嘹亮的小號和鼓，開端幾小節又用上莊嚴的附點節奏，但這個奏鳴曲式樂章同時也輕盈佻皮：再現部在錯誤的調性（次屬音）開始，這是內行人才懂的玩笑，此外又引用了一首輕鬆愉快的詠嘆調新作。這個樂章像《唐．喬望尼》一樣，具有莫扎特「莊諧並重」的特色。

第一樂章猶如烈日當空，〈行板〉則剛好相反，弦樂加上弱音器來演奏，盡顯常常潛藏在莫扎特音樂裏的陰暗面。沉思、渴望與悲傷，如《魔笛》裏帕米娜的著名詠嘆調一般令人肝腸寸斷；以大調寫成則更顯得不落俗套。小步舞曲與中段雖然以質樸的傳統舞曲形式寫成，但無論音樂上、情感上都異常豐富多彩，毫不簡單。

第四樂章結尾的賦格曲樂段足與十八世紀所有單樂章樂曲齊名。樂章開始時十分簡單：do - re - fa - mi 主題最初其貌不揚，後來卻蛻變成古典對位法的巔峰之作。五個主題經過交代、發展、重申，最後在精采絕倫的尾聲以不同方式結合起來，完美的對位技巧令人目不暇給。憑着這個兩分鐘的樂段，莫扎特把整首交響曲的重心由開端移至結尾，為貝多芬、布拉姆斯和後世多位作曲家所仿傚（事實上，這些作曲家還在其他方面受莫扎特影響）。莫扎特固然無法料到這就是他最後一首交響曲，但要為他的成就劃上完美壯觀的句號、並為後世作曲家指出新路向，也沒有比「朱庇特」更適合的了。

movement, which includes the brilliant sound of trumpets and drums and features stately dotted rhythms in the opening measures. But the movement, cast in conventional sonata form, is also light and playful. Mozart starts the recapitulation in the wrong key (the subdominant) as an inside joke and quotes the music of a light-hearted aria he recently had written to a text presumably by Lorenzo da Ponte. Like Don Giovanni, this movement is the quintessentially Mozartean mixture of the serious and the comic.

The Andante, with muted strings to counter the noonday brilliance of the opening movement, exposes the darkness that often is at the heart of Mozart’s music. This is a world of poignant contemplation, yearning and distress. It is as heart wrenching as Pamina’s great aria from The Magic Flute and even more remarkable for being in a major key. The minuet and trio are unusually rich and complicated, both musically and emotionally, for all their plain, traditional dance forms.

The finale that includes the famous fugue at the end is as celebrated as any single movement of 18th-century music. It begins innocently enough, with an innocuous dore-fa-mi theme, and turns into a tour de force of classical counterpoint. Five themes are presented, developed and restated; then, at the end, in the great, miraculous coda, they are brought together in various combinations in a dazzling display of perfect counterpoint. With these two minutes of music, Mozart shifts the centre of gravity from the beginning of the symphony to the end, anticipating Beethoven, Brahms and countless other composers who owe him so much else in this field. Mozart cannot have known that this work would bring his own symphonic career to an end, but he could not have found a more spectacular and fitting way to crown his achievements, and, at the same time, to point the way to the future.

D大調第二交響曲，作品73

Brahms — Symphony No 2 in D, Op 73

布拉姆斯

1833 年 5 月 7 日生於德國漢堡 1897 年 4 月 3 日卒於奧地利維也納

寫作年份 1877 年夏

首演 1877 年 12 月 30 日，奧地利維也納

編制

長笛兩支、雙簧管兩支、單簧管兩支、巴松管兩支、圓號四支、小號兩支、長號三支及大號、定音鼓、弦樂

期待已久的《第一交響曲》首演後才幾個月，布拉姆斯的《第二交響曲》就脫稿了，但兩首交響曲卻南轅北轍不過這也很合理，因為《第一》醞釀經年，是作曲家掙扎了 20 個寒暑搜索枯腸的成果；《第二》卻是夏季休假時的作品。即使貝多芬的交響曲真是布拉姆斯多年來的絆腳石，這首新的 D 大調交響曲寫來卻似乎毫無羈絆，反映布拉姆斯已拋開了恐懼和憂慮。

Johannes Brahms

Born May 7, 1833, Hamburg, Germany.

Died April 3, 1897, Vienna, Austria.

Composed

1877, summer

First performance

December 30, 1877, Vienna, Austria

Instrumentation

Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, strings

Within months after the long-awaited premiere of his First Symphony, Brahms produced another one. The two were as different as night and day — logically enough, since the first had taken two decades of struggle and soul-searching and the second was written over a summer holiday. If it truly was Beethoven’s symphonic achievement that stood in Brahms’s way for all those years, nothing seems to have stopped the flow of this new symphony in D. Brahms had put his fears and worries behind him.

This music was composed at the picturepostcard village of Pörtschach, on the Worthersee, where Brahms had rented two tiny rooms for his summer holiday (and where he would write his violin concerto the next summer). The rooms apparently were ideal for composition, even though the hallway was so narrow that Brahms’s piano couldn’t be moved up the stairs. “It 布拉姆斯

布拉姆斯在沃爾特湖畔的波爾茲夏赫村度假時創作《第二交響曲》。那裏風景如畫，布拉姆斯租了兩個小房間（翌年夏季，他也在同一地方創作小提琴協奏曲）。雖然房子玄關太窄，他的鋼琴不能搬上樓梯，但在這裏作曲實在理想不過。布拉姆斯到達不久就給他的出版商法蘭茨．西姆羅克寫信提及：「這裏令人愉快。」而《第

二交響曲》則反映出他明顯的愉快心情。稍後，布拉姆斯的友人、業餘音樂家提奧多．比羅特初次把樂曲奏過一遍後，馬上給布拉姆斯寫信道：「曲中盡是涓涓溪流、蔚藍的天空、陽光和陰涼的綠蔭。波爾茲夏赫肯定是個很美麗的地方。」結果聽眾也開始把

《第二》稱為布拉姆斯的《田園交響曲》，並再次把他與貝多芬相提並論。但要是布拉姆斯《第二》真的有姊妹作，那應該是翌年夏季同樣在波爾茲夏赫創作的小提琴協奏曲。兩者同樣以 D 大調寫成，所反映的氣氛、

甚至部分主題素材也息息相關。

布拉姆斯把《第二》第一樂章樂譜交給克拉拉．舒曼。克拉拉預期觀眾反應會比那冷酷、暴烈的《第一交響曲》為佳，事實也如她所料。樂曲於 1877 年 12 月 30 日在維也納首演，由里希特指揮，大獲好評，第三樂章更馬上再奏。元旦後不久就在萊比錫重演，由布拉姆斯親自指揮，觀眾反應也同樣熱烈。但布拉姆斯真正威風的時刻卻是於 1878 年夏，《第二》在他家鄉漢堡也大獲好評之前他已經兩次在漢堡求職失敗，兩份音樂家夢寐以求的工作都相繼落空。儘管如此，他還要十年後才獲頒「漢堡榮譽巿民」銜（當地的最高榮譽)，而他此後對自己出生地一直心存矛盾的情意結。當時《第二》幾乎無論在哪裏也有知音（西奧多．湯瑪士，也就是後來創辦了芝加哥交響樂團的指揮家，1878 年 10 月 3 日在紐約一場音

樂會上演奏了《第二》。

is delightful here,” Brahms wrote to Fritz Simrock, his publisher, soon after arriving, and the new symphony bears witness to his apparent delight. Later that summer, when Brahms’s friend Theodore Billroth, an amateur musician, played through the score for the first time, he wrote to the composer at once: “It is all rippling streams, blue sky, sunshine, and cool green shadows. How beautiful it must be at Pörtschach”. Eventually listeners began to call this Brahms’s Pastoral, again raising the comparison with Beethoven. But if Brahms’s Second Symphony has a true companion, it is the violin concerto he would write the following summer in Pörtschach – cut from the same D major cloth and reflecting the mood and even some of the thematic material of the symphony. When Brahms sent the first movement of his new symphony off to Clara Schumann, she predicted that this music would fare better with the public than the tough and stormy First, and she was right. The first performance, on December 30, 1877, in Vienna under Hans Richter, was a triumph, and the third movement had to be repeated. When Brahms conducted the second performance, in Leipzig just after the beginning of the new year, the audience was again enthusiastic. But Brahms’s real moment of glory came late in the summer of 1878, when his new symphony was a great success in his native Hamburg, where he had twice failed to win a coveted musical post. Still, it would be another decade before the Honorary Freedom of Hamburg – the city’s highest honor – was given to him, and Brahms remained ambivalent about

牧歌似的圓號號聲和木管樂和弦在〈不太快的快板〉開端響起，為比羅特口中的耀眼陽光和澄明天空作鋪排；而且隨着第一小提琴奏出飛揚的樂句，美妙絕倫的田園景緻就在大家眼前展現。雖然比羅特在另一封給布拉姆斯的信中說：「快樂歡欣的氣氛瀰漫全曲」，但布拉姆斯知道即使天朗氣清的日子也會有陰霾，有時靜謐的田園風情也瀕臨變質的邊緣。就是這種潛藏的張力（甚至戲劇性），令樂曲如此卓越不凡。有幾個細節特別突出：三支長號在發展部分有兩段特別令人心曠神怡；在尾聲前不久，搖曳生姿的圓號號聲響起，既安穩又迷人；接着是一大段渾然天成的圓舞曲。最後音樂忽隱忽現，漸漸沉寂下去。

對布拉姆斯推崇備至的漢斯歷克認為〈慢板〉「主題的發展比主題本身更出色」。雖然漢斯歷克不是第一個出錯的樂評人（大家都知道這個樂章其實無甚「發展」可言），但他很少在談及布拉姆斯的音樂時會出現這麼大的錯誤。漢斯歷克倒注意到第三樂章像首舒緩鬆弛的小夜曲。第三樂章開始時雖然優雅迷人，但樂章其實有點錯綜複雜，曲中兩個歡樂的急板樂段巧妙地隱藏了主題，又充斥着錯位的強音。

終樂章歡欣而令人振奮，開端不動聲息，但雲朵稍後似乎消散了，音樂突然活躍起來，幾乎不受控制地衝到最後。雖然布拉姆斯時常要和貝多芬相

his birthplace for the rest of his life. In the meantime, the D major symphony found receptive listeners nearly everywhere it was played (Theodore Thomas, who would later found the Chicago Symphony, introduced the work to the United States on October 3, 1878, at a concert in New York City).

From the opening bars of the Allegro non troppo – with their bucolic horn calls and woodwind chords – we prepare for the radiant sunlight and pure skies that Billroth promised. And, with one soaring phrase from the first violins, Brahms’s great pastoral scene unfolds before us. Although another of Billroth’s letters to the composer suggests that “a happy, cheerful mood permeates the whole work”, Brahms knows that even a sunny day contains moments of darkness and doubt – moments when pastoral serenity threatens to turn tragic. It’s that underlying tension – even drama – that gives this music its remarkable character. A few details stand out: two particularly bracing passages for the three trombones in the development section, and much later, just before the coda, a wavering horn call that emerges, serene and magical. This is followed, as if it were the most logical thing in the world, by a jolly bit of dance-hall waltzing before the music flickers and dies.

Eduard Hanslick, one of Brahms’s champions, thought the Adagio “more conspicuous for the development of the themes than for the worth of the themes themselves”. Hanslick wasn’t the first critic to be wrong – this movement has very little to do with development as we know it – although it’s

精彩展覽

陸續有來

比，鮮有提及自己也敬佩海頓、敬佩他那妙不可言的高亢，但布拉姆斯在這裏卻與海頓有異曲同工之妙。樂曲當然不乏樂團勝利的歡呼聲，而這種寫法總令人想起貝多芬；但不少段落都是純粹的布拉姆斯，例如樂章開始

後幾分鐘，欣喜若狂的獨奏單簧管在喧鬧聲中脫穎而出；或是弦樂接着奏出主題，既溫暖又威武。最後一段光芒萬丈，如同布拉姆斯的一貫寫法，一樣無拘無束；這種手法在德伏扎克的(一位十分景仰布拉姆斯的作曲家)

《狂歡節序曲》裏也清晰可見。

註解：菲力普．胡莎

菲力普．胡莎是芝加哥交響樂團節目評註員。

中譯：鄭曉彤

unlike him to be so far off the mark when dealing with music by Brahms. Hanslick did notice that the third movement has the relaxed character of a serenade. It is, for all its initial grace and charm, a serenade of some complexity, with two frolicsome presto passages (smartly disguising the main theme) and a wealth of shifting accents.

The finale is jubilant and electrifying; the clouds seem to disappear after the hushed opening bars, and the music blazes forward, almost unchecked, to the very end. For all Brahms’s concern about measuring up to Beethoven, he seldom mentioned his admiration for Haydn and his ineffable high spirits, but that’s who Brahms most resembles here. There is, of course, the great orchestral roar of triumph that always suggests Beethoven. But many moments are pure Brahms, like the ecstatic clarinet solo that rises above the bustle only minutes into the movement, or the warm and striding theme in the strings that immediately follows. The extraordinary brilliance of the final bars as – unbridled an outburst as any in Brahms – was not lost on his great admirer Antonín Dvorˆák when he wrote his Carnival Overture.

Comments by Phillip Huscher

Phillip Huscher is the program annotator for the Chicago Symphony Orchestra.

芝加哥交響樂團

Chicago Symphony Orchestra

音樂總監：列卡度．慕迪

Music Director : Riccardo Muti

海倫．雷根斯坦榮休指揮

皮埃爾．布萊茲

創作顧問

馬友友

合唱團指揮

杜安．沃爾夫

米德駐團作曲家

美臣．彼思、安娜．克蘭尼

小提琴 Violins

Robert Chen

Concertmaster

The Louis C. Sudler Chair,

endowed by an anonymous benefactor

Stephanie Jeong

Associate Concertmaster

David Taylor

Yu Yuan-qing

Assistant Concertmasters*

Bae So-young

Cornelius Chiu

Alison Dalton

Kozue Funakoshi†

Russell Hershow

Qing Hou

Nisanne Howell

Blair Milton†

Paul Phillips, Jr.

Sando Shia

Susan Synnestvedt

Tang Rong-yan

Baird Dodge

Principal

Lei Hou

Ni Mei

Fox Fehling

Hermine Gagné

Helen Regenstein Conductor Emeritus

Pierre Boulez

Creative Consultant

Yo-Yo Ma

Chorus Director

Duain Wolfe

Mead Composers-in-Residence

Mason Bates, Anna Clyne

Rachel Goldstein

Mihaela Ionescu

Sylvia Kim Kilcullen

Melanie Kupchynsky

Wendy Koons Meir

Aiko Noda

Joyce Noh

Nancy Park

Ronald Satkiewicz

Florence Schwartz-Lee

Jennie Wagner

中提琴 Violas

Charles Pikler

Principal

Chang Li-kuo

Assistant Principal

The Louise H. Benton Wagner Chair

John Bartholomew

Catherine Brubaker†

Karen Dirks

Diane Mues

Lawrence Neuman†

Yukiko Ogura

Daniel Orbach

Max Raimi

Wang Weijing

Thomas Wright

大提琴 Cellos

John Sharp

Principal

The Eloise W. Martin Chair

Kenneth Olsen

Assistant Principal

The Adele Gidwitz Chair

Karen Basrak

Loren Brown

Richard Hirschl

Daniel Katz

Katinka Kleijn

Jonathan Pegis

David Sanders

Gary Stucka

Brant Taylor

低音大提琴 Double Basses

Alexander Hanna

Principal

The David and Mary Winton Green Principal Bass Chair

Daniel Armstrong

Roger Cline

Joseph DiBello

Michael Hovnanian

Robert Kassinger

Mark Kraemer

Stephen Lester

Bradley Opland

豎琴 Harps

Sarah Bullen

Principal

Lynne Turner

長笛 Flutes

Mathieu Dufour

Principal

The Erika and Dietrich M. Gross Chair

Richard Graef

Assistant Principal

Louise Dixon†

Jennifer Gunn

短笛 Piccolo

Jennifer Gunn

雙簧管 Oboes

Eugene Izotov Principal

The Nancy and Larry Fuller Chair

Michael Henoch

Assistant Principal Gilchrist Foundation Chair

Lora Schaefer Scott Hostetler

英國管 English Horn

Scott Hostetler

單簧管 Clarinets

Stephen Williamson Principal

John Bruce Yeh

Assistant Principal

Gregory Smith

J. Lawrie Bloom

降 E 單簧管 E-Flat Clarinet

John Bruce Yeh

低音單簧管 Bass Clarinet

J. Lawrie Bloom

巴松管 Bassoons

David McGill† Principal

William Buchman Acting Principal

Dennis Michel

圓號 Horns

Dale Clevenger Principal

Daniel Gingrich Associate Principal

James Smelser

David Grifﬁn

Oto Carrillo

Susanna Gaunt

小號 Trumpets

Christopher Martin

Principal

The Adolph Herseth Principal Trumpet Chair, endowed by ananonymous benefactor

Mark Ridenour

Assistant Principal

John Hagstrom

Tage Larsen

長號 Trombones

Jay Friedman

Principal

Michael Mulcahy

Charles Vernon

低音長號 Bass Trombone

Charles Vernon

大號 Tuba

Gene Pokorny

Principal

The Arnold Jacobs Principal Tuba Chair, endowed by Christine Querfeld

定音鼓 Timpani

Vadim Karpinos

Acting Principal

敲擊 Percussion

Cynthia Yeh

Principal

Patricia Dash

Vadim Karpinos

James Ross

鋼琴 Piano

Mary Sauer

Principal

樂譜管理 Librarians

Peter Conover

Principal

Carole Keller

Mark Swanson

管弦樂人事部 Orchestra Personnel

John Deverman

Director

Anne MacQuarrie Manager, CSO Auditions and Orchestra Personnel

舞台技師 Stage Technicians

Kelly Kerins

Stage Manager

Dave Hartge

James Hogan

Christopher Lewis

Patrick Reynolds

Todd Snick

Joe Tucker

* 副指揮按年資高至低排名 Assistant concertmasters are listed by seniority

† 休假中 On leave

芝加哥交響樂團弦樂部的座位安排，採用轉換座位制度。坐在第一排表演席後的演奏者（即小提琴的首兩排表演席），每兩星期有系統地轉換座位，並按字母順序排列。敲擊樂手同樣以字母順序排列。

The Chicago Symphony Orchestra string sections utilise revolving seating. Players behind the ﬁrst desk (ﬁrst two desks in the violins) change seats systematically every two weeks and are listed alphabetically. Section percussionists also are listed alphabetically.

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• 皇家太平洋酒店

The Royal Pacific Hotel and Towers

• Mr Jay A Sala

• SDM爵士芭蕾舞學院

SDM Jazz & Ballet Academic

• 信永中和（香港）會計師事務所有限公司 SHINEWING (HK) CPA Limited

• 信和集團 Sino Group

• 聯合出版（集團）有限公司

Sino United Publishing (Holdings) Ltd

• 藍天製作室有限公司 Sky Studio Ltd

• 事必達推廣有限公司 Speedy Promotion Ltd

• 蘇仲豪先生 Mr Eddie So

• Stanford Club of Hong Kong

• 聖文德書院

St Bonaventure College & High School

• 聖公會聖瑪利亞堂 St Mary's Church

• 舞館 Studiodanz

• 台北經濟文化辦事處 Taipei Economic & Cultural Office

• 天邊外劇場 Theatre Horizon

• 時代廣場 Times Square

• 通利琴行 Tom Lee Music Company Ltd

• TomSenga Design

• 東華三院李嘉誠中學 TWHGs Li Ka Shing College

• 東華三院羅裕積小學 TWHGs Lo Yu Chik Primary School

• 東華三院黃笏南中學

TWGHs Wong Fut Nam College

• Unitel Classica

• 城市電腦售票網 URBTIX

• White Complex International Co Ltd

• William's Studio

• 風車草劇團 Windmill Grass Theatre

• 香港基督教青年會（港青）

YMCA of Hong Kong

• Zenith Designing & Printing Services Ltd

贊助人 PATRON

梁振英先生

The Honourable C Y Leung, GBM, GBS, JP

永遠名譽會長

HONORARY LIFE PRESIDENT

邵逸夫爵士 Sir Run Run Shaw

執行委員會 EXECUTIVE COMMITTEE

主席 Chairman

夏佳理先生

The Hon Ronald Arculli, GBM CVO GBS OBE JP

副主席 Vice Chairman

查懋成先生 Mr Victor Cha

義務司庫 Honorary Treasurer

李思權先生 Mr Billy Li

委員 Members

紀大衛教授 Professor David Gwilt, MBE

周永健先生 Mr Anthony W K Chow, SBS JP

劉鎮漢先生 Mr Anthony Lau

梁靳羽珊女士 Mrs Yu-san Leong

李錦榮先生 Mr William Li

黃敏華女士 Ms Nikki Ng

李義法官 The Hon Mr Justice Ribeiro

詹偉理先生 Mr James Riley

任志剛先生 Mr Joseph Yam, GBM JP

節目委員會 PROGRAMME COMMITTEE

主席 Chairman

紀大衛教授 Professor David Gwilt, MBE

委員 Members

盧景文教授 Professor King- man Lo, MBE JP

毛俊輝先生 Mr Fredric Mao, BBS

譚榮邦先生 Mr Wing- pong Tam, SBS JP

姚珏女士 Ms Jue Yao

伍日照先生 Mr Daniel Ng

羅志力先生 Mr Peter C L Lo

白諾信先生 Mr Giorgio Biancorosso

榮譽節目顧問 Honorary Programme Advisors

高德禮先生 Mr Douglas Gautier

Dr Peter Hagmann

約瑟．施力先生

Mr Joseph Seelig

地址 Address: 香港灣仔港灣道2號12樓1205室 Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong

電話 Tel: 傳真 Fax: 電子郵箱 Email: 2824 3555 2824 3798, 2824 3722 afgen@hkaf.org

節目查詢 Programme Enquiries: 2824 2430

(辦公時間內during office hours)

財務及管理委員會 FINANCE AND MANAGEMENT COMMITTEE

主席 Chairman

李思權先生 Mr Billy Li

委員 Member

梁國輝先生 Mr Nelson Leong

發展委員會 DEVELOPMENT COMMITTEE

主席 Chairman

查懋成先生 Mr Victor Cha

副主席 Vice Chairman

梁靳羽珊女士 Mrs Yu- san Leong

委員 Members

杜安娜女士 Mrs Igna Dedeu

白碧儀女士 Ms Deborah Biber

廖碧欣女士 Ms Peggy Liao

黃慧玲女士 Ms Hwee- leng Whang

龐建貽先生 Mr Paulo Kin- yee Pong

顧問 ADVISORS

鮑磊先生 Mr Martin Barrow, GBS CBE JP

李國寶博士 Dr The Hon David K P Li, GBM GBS JP

梁紹榮夫人 Mrs Mona Leong, SBS BBS MBE JP

李業廣先生 Mr Charles Y K Lee, GBM GBS JP

陳國威先生 Mr Patrick K W Chan

名譽法律顧問 HONORARY SOLICITOR

史蒂文生黃律師事務所 Stevenson, Wang & Co

核數師 AUDITOR

羅兵咸永道會計師事務所 PricewaterhouseCoopers

香港藝術節基金會

HONG KONG ARTS FESTIVAL TRUST

主席 Chairman

霍璽先生 Mr Angus H Forsyth

管理人 Trustees

陳達文先生 Mr Darwin Chen, SBS ISO

梁紹榮夫人 Mrs Mona Leong, SBS BBS MBE JP

陳祖澤博士 Dr John C C Chan, GBS JP

出版：香港藝術節協會有限公司承印：香港嘉昱有限公司本刊內容，未經許可，不得轉載。

Published by: Hong Kong Arts Festival Society Limited Printed by Cheer Shine Enterprise Co., Ltd Reproduction in whole or in part without written permission is strictly prohibited.

職員 Staff

行政總監 Executive Director

何嘉坤 Tisa Ho

節目 Programme

節目總監 Programme Director

梁掌瑋 Grace Lang

副節目總監 Associate Programme Director

蘇國雲 So Kwok- wan

節目經理 Programme Manager

葉健鈴 Linda Yip

外展經理 Outreach Manager

梁偉然 Ian Leung

助理製作經理 Assistant Production Manager

蘇雪凌 Shirley So

節目主任 Programme Officer

李家穎 Becky Lee

市場推廣 Marketing

市場總監 Marketing Director

鄭尚榮 Katy Cheng

市場經理 Marketing Managers

周怡 Alexia Chow

鍾穎茵 Wendy Chung

葉愛莉 Elly Yip

助理市場經理（票務）

Assistant Marketing Manager ( Ticketing)

梁彩雲 Eppie Leung

發展 Development

發展總監 Development Director

余潔儀 Flora Yu

發展經理 Development Manager

嚴翠芳 Josephine Yim

助理發展經理 Assistant Development Manager

陳艷馨 Eunice Chan

會計 Accounts

會計經理 Accounting Manager

陳綺敏 Katharine Chan

助理會計經理 Assistant Accounting Manager

鄒智峯 Andy Chau

會計文員 Accounts Clerk

黃國愛 Bonia Wong

行政 Administration

行政秘書 Executive Secretary

陳詠詩 Heidi Chan

接待員 / 初級秘書 Receptionist / Junior Secretary

李美娟 Virginia Li

職員（合約） Staff ( contract)

節目 Programme

物流及接待經理 Logistics Manager

金學忠 Elvis King

製作經理 Production Manager

廖卓良 Liu Cheuk- leung

節目經理 Programme Manager

梁頌怡 Kitty Leung

助理節目經理 Assistant Programme Manager

邱慧芝 Janel Yau

助理監製 Assistant Producer

李宛虹 Lei Yuen- hung

外展統籌 Outreach Coordinators

陳韻婷 Alyson Chan

林淦鈞 Lam Kam Kwan

外展助理 Outreach Assistants

陳慧晶 Ainslee Chan

陳瑞堃 Chan Sui Kwan

項目助理 Project Assistants

鄧詠文 Carmina Tang

林晨 Mimi Lam

特別項目統籌 Special Project Coordinator

巫敏星 Maria Mo

技術統籌 Technical Coordinators

黎春成 Anthony Lai

陳寶愉 Bobo Chan

陳曉楓 Chan Hiu Fung

陳詠杰 Chan Wing- kit

陳佩儀 Claudia Chan

蕭健邦 Leo Siu

何美蓮 Meilin Ho

出版 Publication

編輯 Editor

鄺潔冰 Cabbie Kwong

英文編輯 English Editor

黃進之 Nicolette Wong

助理編輯 Assistant Editor

曾逸林 Zeng Yilin

編輯助理 Editorial Assistant

伍穎姸 Winnie Ng

市場推廣 Marketing

助理市場經理 Assistant Marketing Manager

梁愷樺 Anthea Leung

市場主任 Marketing Officer

張凱璇 Carla Cheung

票務主任 Ticketing Officer

葉晉菁 Ip Chun-ching

票務助理 Ticketing Assistant

關愷霖 Kwan Hoi- lam

客戶服務主任 Customer Services Officers

陳昕穎 Chan Yan-wing

馮敏怡 Merrie Fung

楊妙思 Iris Yeung

容巧欣 Rachel Yung

發展 Development

發展經理 Development Manager

蘇啟泰 Alex So

發展助理 Development Assistant

黃苡姍 Iris Wong

行政 Administration

辦公室助理 Office Assistant

江宇麒 Kong Yu-ki

《蕭紅》三幕室內歌劇

Heart of Coral - A chamber opera after the life of Xiao Hong

中國國家京劇院老旦名劇選演

作曲：陳慶恩文本：意珩導演：黎海寧 Music by Chan Hing-yan Libretto by Yan Yu Directed by Helen Lai

China National Peking Opera Company - The Artistry of Lao Dan

《粵歷油麻地三代同台做大戲》

In Yau Ma Tei - A Legacy of Cantonese Opera

《沙灘上的愛恩斯坦》 Einstein on the Beach

中國國家京劇院《慈禧與德齡》

China National Peking Opera Company - Empress Dowager Cixi and Princess Deling

拿波里聖卡洛歌劇院《呷醋丈夫》

San Carlo Theatre, Naples - Il Marito Disperato

拿波里聖卡洛歌劇院《茶花女》

San Carlo Theatre, Naples - La Traviata

芝加哥交響樂團

Chicago Symphony Orchestra

幻想古提琴室樂團 Phantasm viol consort

香港中樂團「樂旅中國 VII」

Hong Kong Chinese OrchestraMusic about China VII

布列頓百歲誕辰紀念音樂會

Die Konzertisten - The Britten 100 Project

羅浮宮音樂家古樂團

Les Musiciens du Louvre Grenoble

荷迪．薩巴爾《人的聲音》

Jordi Savall - Les Voix Humaines

艾班另一面

The Other Ebène

艾班四重奏

Quatuor Ebène

拉爾夫．拉特鋼琴獨奏會

Ralph van Raat Piano Recital

馬田．霍羅斯特單簧管獨奏會

Martin Fröst Clarinet Recital

朴星吉鋼琴獨奏會

Piao Xingji Piano Recital

吳懷世與黃家正長笛鋼琴音樂會

龍貫天、阮兆輝、新劍郎、李奇峰與眾新晉演員

羅伯特．威爾遜與菲力普．格拉斯四幕歌劇 An opera in four acts by Robert Wilson and Philip Glass

編劇：何冀平導演：毛俊輝 By He Jiping Directed by Fredric Mao

音樂：占瑪勞莎 Music: Domenico Cimarosa

音樂：威爾第

Music: Giuseppe Verdi

指揮：馬捷爾

Conductor: Lorin Maazel

高音古提琴 / 總監：羅倫斯．德雷福斯

Treble viol / Director: Laurence Dreyfus

指揮：閻惠昌

Conductor: Yan Huichang

演出 Featuring: Die Konzertisten 合唱團

指揮：米高．賴恩 Conductor: Michael Ryan

指揮：馬克．明柯夫斯基 Conductor: Marc Minkowski

古大提琴獨奏會 Viola da gamba recital

艾班另一面爵士六人組

The Other Ebène six-piece Jazz band

鋼琴：約翰．霍羅斯特 with Johan Fröst, piano

Wilson Ng and KaJeng Wong Flute and Piano Recital

7/3 ◤ 8:15pm 米凱．路迪《圖畫展覽會》

Mikhail Rudy - Pictures at an Exhibition

雅絲敏．利維 Yasmin Levy

澳洲室樂團

Australian Chamber Orchestra

艾斯佩蘭薩．斯伯丁

Esperanza Spalding - Radio Music Society

澳洲室樂團《珊瑚礁》

Australian Chamber Orchestra - The Reef

多媒體鋼琴獨奏會 Piano recital with animations STA 9/3 8pm

世界音樂演唱會 World music concert

9/3 ◤ 8:30pm

藝術總監：李察．托尼提 Artistic Director: Richard Tognetti CHCH 14, 15/3 8:15pm

爵士音樂會 Jazz music concert CCCH 15, 16/3 ◤ 8pm

多媒體音樂會 Chamber concert with film CHCH 16/3 4:30pm 8:15pm

香港小交響樂團．笙弦

Hong Kong Sinfonietta

《我的第一個四季》

My First Four Seasons

魯杜斯華夫斯基四重奏

Lutosławski Quartet

拿波里聖卡洛歌劇院《非凡威爾第》

San Carlo Theatre, Naples - Viva Verdi

音樂總監/指揮：葉詠詩

Music Director / Conductor: Yip Wing-sie

17/3 8pm

親子音樂會 A narrated concert NDA 20/3 8pm

21/3 8:15pm

指揮：羅拔圖．阿巴度 Conductor: Roberto Abbado

22/3 8pm 戈蘭．布列葛維奇與婚喪喜慶樂隊《吉卜賽香檳派對》

Goran Bregovic Wedding and Funeral Orchestra - Champagne for Gypsies

英國國家劇團《一僕二主》

編劇：李察．賓

National Theatre of Great Britain - One Man, Two Guvnors By Richard Bean

1927 劇團《怪誕城的動物與孩子》

15-17, 19-

多媒體動畫音樂劇

1927 - The Animals and Children Took to the Streets A cinematic musical

11 圈《反斗先生》

Circle of Eleven - LEO

《中式英語》

Chinglish

The TEAM《美國夢險號》

雜技獨腳戲 A one-man show combining circus and theatre

編劇：黃哲倫導演：雷．西爾弗曼

By David Henry Hwang Directed by Leigh Silverman

The TEAM - Mission Drift 音樂劇場 Musical

《爆．蛹》

Blast

洛桑劇院《戲偶人生》

Théâtre Vidy-Lausanne - Hand Stories

《屠龍記》

Smear

中國國家話劇院《青蛇》

National Theatre of China - Green Snake

美國芭蕾舞劇院

American Ballet Theatre

藝術總監：凱文．麥肯齊

Artistic Director: Kevin McKenzie

神氣舞團《信靠》

Compagnie La Baraka - NyA

優獸舞團《足跡》

Fabulous Beast - Rian

編劇：王昊然導演：陳曙曦

By Wang Haoran Directed by Chan Chu-hei

創作 / 設計 / 操偶：楊輝

Designed, created and performed by Yeung Faï

編劇：黃詠詩導演：李鎮洲

By Wong Wing-sze Directed by Lee Chun-chow

改編/導演：田沁鑫

Adapted and directed by Tian Qinxin

精選舞薈 Dance Gala

《羅密歐與茱麗葉》

Romeo and Juliet

莫米克斯舞蹈奇藝坊《四季狂想曲》

MOMIX Dance Theater - Bothanica

亞太舞蹈平台 V

Asia Pacific Dance Platform V

香港賽馬會當代舞蹈平台系列

編舞：麥克美倫

Choreographer: Sir Kenneth MacMillan

編舞 / 藝術總監：阿布．拉格

Choreographer / Artistic Director: Abou Lagraa

導演/編舞：Michael Keegan-Dolan

Director / Choreographer: Michael Keegan-Dolan

藝術總監：摩斯．潘德頓

Artistic Director: Moses Pendleton

The Hong Kong Jockey Club Contemporary Dance Series

◤

香港賽馬會藝粹系列 The Hong Kong Jockey Club Series

◤ 信和集團藝萃系列 Sino Group Arts Celebration Series

APAA 香港演藝學院香港賽馬會演藝劇院

The Hong Kong Jockey Club Amphitheatre, HKAPA

APAC 香港演藝學院音樂廳 Concert Hall, HKAPA

APAL 香港演藝學院歌劇院 Lyric Theatre, HKAPA

APAD 香港演藝學院戲劇院 Drama Theatre, HKAPA

CCCH 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

CCGT 香港文化中心大劇院 Grand Theatre, HK Cultural Centre

CCST 香港文化中心劇場 Studio Theatre, HK Cultural Centre

CHCH 香港大會堂音樂廳 Concert Hall, HK City Hall

◤

瑞信新晉藝術家系列 Credit Suisse Emerging Artists Series

◤ 埃克森美孚新視野 ExxonMobil Vision

CHT

KTTA

香港大會堂劇院 Theatre, HK City Hall

葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre

KTTB 葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre

NDA 北區大會堂演奏廳 Auditorium, North District Town Hall

NLG

南蓮園池 Nan Lian Garden

STA 沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall

YLTA

YMT

元朗劇院演藝廳 Auditorium, Yuen Long Theatre

油麻地劇院 Yau Ma Tei Theatre

資料截至

節目詳情及網上報名 For more details and online registration: www.hk.artsfestivalplus.org

特別節目 Special

「與頂尖文化領袖對談」香檳午餐會 Champagne Luncheons with Leading International Arts CEOs

29/ 1 領導者的影響力 Leadership and Leverage 20/ 3 傳統與革新 Tradition and Transformation

歌劇/戲曲 Opera / chineSe Opera 粵歷油麻地 Opera Treasures of Yau Ma Tei

12/ 20123/ 2013

粵劇教育計劃 Cantonese Opera Education Project 3, 9, 10/ 3 「薪火代代傳」講座 Talks: Passing the Torch 8- 10/ 3, 15- 17/ 3 「藝遊油麻地」導賞團

Yau Ma Tei Cultural Walk 10/ 3 粵劇髮飾工作坊

Accessorising Cantonese Opera 威爾第歌劇全方位 All About Verdi’s Operas

1- 3/ 2013 威爾第介紹講座及工作坊

Verdi Introductory Talk & Workshop 13/ 3 石倚潔美聲大師班 Bel Canto with Yijie Shi

完全威爾第歌劇電影系列 Tutto Verdi Film Series

12/ 1 《奧貝爾托》 Oberto, Conte di San Bonifacio

13/ 1 《阿依達》 Aida

19/ 1 《一日國王》 Un giorno di regno

20/ 1 《遊吟詩人》 Il trovatore

26/ 1 《弄臣》 Rigoletto

27/ 1 《倫巴第人在第一次十字軍中》

I lombardi alla prima crociata

2/ 2 《假面舞會》 Un ballo in maschera

3/ 2 《法斯塔夫》 Falstaff

解構愛恩斯坦 Decoding Einstein

28/ 2 電影《菲力普．格拉斯鏡中遊》

6/ 3

Film: Philip Glass: Looking Glass

電影《絕對威爾遜》 Film: Absolute Wilson

9/ 3 「藝術與技術的完美結合」講座

Restaging Einstein on the Beach: Artistic and Technical Theatre in Collaboration

其他 Others

23/ 2 蕭紅：她的人生與作品

Xiao Hong: Her Life and Her Work

2/ 3 《蕭紅》創作分享 Heart of the Matter

10/ 3 京劇演前講座

Beijing Opera: a Pre- performance Talk

10/ 3 京劇製作後台之旅

Backstage of a Beijing Opera

音樂 MuSic

大師的藝術 Maestro's Art

20/ 2

芭蕾舞指揮之道 Conducting for Dance

13/ 3 Rousset 的巴羅克風格

13/ 3

Interpretation of Baroque

托尼提小提琴大師班

Violin Masterclass by Richard Tognetti

其他 Others

27/ 1

21/ 2

2/ 3

銅管樂大師班 Mastering Brass

幻想古提琴室樂團古提琴大師班

Viol Masterclass with Phantasm

艾班四重奏弦樂大師班

Quatuor Ebène Masterclass for Strings 5/ 3

拉爾夫．拉特鋼琴大師班

Piano Masterclass by Ralph van Raat 7/ 3

電影《被遺忘的天籟》

Film: Ladino - 500 Years Young

戲劇 TheaTre

世界劇場面面觀 Global Theatre

17/ 2

《一僕二主》演後談 Two Guvnors First Hand 22/ 2 與 1927 劇團演後對談

Post- performance Dialogue with 1927 23/ 2

《一僕二主》後台解碼

Behind the Scenes of a Smash Hit Comedy 24/ 2 後台參觀怪誕城

The Animals and Children Backstage 1/ 3

《反斗先生》幻像的藝術 The Art of Illusion 3/ 3 中式英語交流會 Exchanging the Chinglish 7/ 3

《美國夢險號》演後談

Staging the American Dream 10/ 3 《爆．蛹》演後談 Behind the Blast 16/ 3 《屠龍記》演後談 The Might of the Pen 23/ 2

劇場與動畫工作坊

Integrating Performance and Animation Workshop

舞蹈 Dance

舞蹈點滴 About Dance

22/ 2, 1/ 3

與凱文．麥肯齊對談 Meet Kevin McKenzie 23, 24/ 2

美國芭蕾舞劇院大師班

American Ballet Theatre Masterclass 2/ 3 《羅密歐與茱麗葉》後台之旅 Behind the Scenes at Romeo & Juliet 16/ 3 舞蹈奇藝後台之旅 MOMIX Revealed 16/ 3 亞太舞蹈平台演後藝人談

Meet the Artists of the Asia Pacific Dance Platform 17/ 3 「舞動的表象與空間」工作坊 Surface and Space of Movements Workshop 23, 24/ 3

與本地當代舞蹈家對談

The Hong Kong Jockey Club Contemporary Dance Series Post- performance Dialogue

駐節藝術家計劃 The Artists-in-Residence Project 10/ 20123/ 2013

舞入校園 Dance into Schools 23/ 2

現代舞 x Hip Hop 示範講座 Contemporary Dance x Hip Hop Lecture Demonstration

電視特備節目 FeSTival On Tv

13, 20, 27, 28/ 1; 3, 4, 10/ 2

藝術節節目精選 Festival Programme Highlights

香港藝術節 Hong Kong Arts Festival

由觀眾與社會各界支持的國際藝壇盛事

1973 年，首屆香港藝術節正式揭幕，至今已成為地區內舉足輕重的表演藝術節，以及亞洲區首屈一指的文化盛事。香港藝術節每年邀請享譽國際的藝術家聚首一堂，演出的節目色色俱備。在 2013 年，藝術節共邀請了 32 個海外及 17 個本地優秀藝術家及團體參與，為觀眾帶來逾 145 場精采演出，當中包括 13 場世界首演及 17 場亞洲首演。

過去曾登上藝術節舞台的知名國際藝人及藝團包括塞西莉亞．芭托莉、馬友友、小澤征爾、庫特．馬素爾、列卡杜．沙爾、茱麗葉．庇洛仙、奇雲．史柏西、皇家阿姆斯特丹音樂廳樂團、聖彼得堡馬林斯基劇院基洛夫樂團及合唱團、維也納管弦樂團、巴伐利亞國立歌劇院、紐約市芭蕾舞團、巴黎歌劇院芭蕾舞團、漢堡芭蕾舞團、翩娜．包殊烏珀塔爾舞蹈劇場、皇家莎士比亞劇團及北京人民藝術劇院等。

除了多次與國際藝術團體攜手委約全新作品外，藝術節亦積極委約本地藝術家創作戲劇、室內歌劇和當代舞蹈等新作品。不少作品在藝術節首演成功後，已在本港及海外多度重演。

藝術節銳意讓觀眾超越舞台界限，與藝術家近距離接觸，每年策劃近百項加料節目。透過示範講座、大師班、工作坊、座談會、後台參觀、導賞團及電影展映等活動，提高大眾對藝術的興趣及認識。加料節目經常跳出表演場地的框框，深入不同社區，於書店、公園、教堂、商場以至大街小巷裡舉行，當中更包括不少免費節目。

香港藝術節致力培養年輕一代對藝術的興趣，多年來推行眾多的外展教育計劃，當中青少年之友自1992年成立以來，曾參與活動的學生人數累計近650,000人，會員累計約120,000人。青少年之友會員除了有機會欣賞藝術節節目外，更可參加全年各式的活動，提高其欣賞藝術的能力。

香港藝術節是一所非牟利機構，年度預算中的約三成經費來自香港政府的撥款，約四成來自票房收入，而餘下的約三成則有賴各大企業、熱心人士和慈善基金會的贊助和捐款。

An International Arts Festival Truly Supported by its Audiences and the Community

Launched in 1973, the Hong Kong Arts Festival is a major annual festival in the region and one of Asia’s premier cultural events. Each year the Festival offers a broad spectrum of programmes, ranging from classical fare to cutting-edge productions. In 2013, the Festival presents over 145 performances, including 13 world premieres and 17 Asian premieres, featuring 32 ensembles or soloists from overseas and 17 from Hong Kong.

International artists and ensembles presented by the Festival in the past include Cecilia Bartoli, Yo-Yo Ma, Seiji Ozawa, Kurt Masur, Riccardo Chailly, Juliette Binoche, Kevin Spacey, the Royal Concertgebouw Orchestra, the Mariinsky Theatre and Valery Gergiev, the Vienna Philharmonic Orchestra, Bavarian State Opera, New York City Ballet, Paris Opera Ballet, Hamburg Ballet, Pina Bausch Tanztheater Wuppertal, Royal Shakespeare Company, and the People’s Art Theatre of Beijing, to name a few.

In addition to an active programme of international cocommissions, the Festival also commissions and produces work in theatre, chamber opera and contemporary dance by Hong Kong’s own creative talent . These productions have had successful subsequent runs both in and outside Hong Kong after the premiere season in the Festival.

Close to 100 Festival PLUS programmes are organised each year offering a diverse range of activities to enhance the engagement between artists and audiences: masterclasses, workshops, symposia, backstage visits, film screenings and other events. These PLUS programmes take place in performance venues and in community locations such as bookstores, parks, churches, malls and even along the streets and alleys of Hong Kong. Many are offered completely free of charge.

The Festival is also committed to promoting young people’s interest in the arts. Launched in 1992, its Young Friends (YFS) has in the past two decades reached out to nearly 650,000 students and about 120,000 members. YFS members enjoy special access to Festival events and performances, together with year round activities.

The Festival is a non-profit organization . About 30% of its annual income is covered by government funding, about 40% by box office revenue , and the remaining 30% comes from sponsorships and donations from corporations, individuals, and charitable foundations

如欲贊助或捐助香港藝術節，請與藝術節發展部聯絡

電郵: dev@hkaf.org

直綫: (852) 2828 4911/12/13

網頁: www.hk.artsfestival.org/

Please contact the HKAF Development Dept for sponsorship opportunities and donation details.

Email: dev@hkaf.org

Direct Lines: (852) 2828 4911/12/13

Website: www.hk.artsfestival.org