Chiyan
Wong and Friends
Reflections on a Sampan
王致仁與樂友
漁光爵韻
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
支持 半價學生票 培育藝術小樹苗
Support our Student Ticket Scheme Help us provide more half-price tickets to young people
學生票捐助計劃
籌得的所有款項，均全數用作資助本地全日制學 生以半價優惠購買藝術節門票。為了讓更多青少年有機會觀賞高質 素的演出，從而培養他們對表演藝術的興趣和認識，我們需要您 的協助！
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！
All donations to the Student Ticket Scheme are used for subsidising full-time local students to attend the Festival’s performances at half price. We need your support to encourage more young people to enjoy and be inspired by the Festival’s high-quality performances.
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!
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
王致仁與樂友——漁光爵韻
Chiyan Wong and Friends— Reflections on a Sampan
14.03.2026 / 8:00pm
東九文化中心劇場
The Theatre, East Kowloon Cultural Centre
演出長約 1 小時 5 分鐘，不設中場休息
Approximately one hour and five minutes with no interval
15.03.2026 / 4:00pm, 7:30pm
香港君悅酒店香檳吧
Champagne Bar, Grand Hyatt Hong Kong
演出長約 45 分鐘，不設中場休息
Approximately 45 minutes with no interval
3 月 15 日演出場地由香港君悅酒店香檳吧贊助
The 15 Mar performance venue is sponsored by the Champagne Bar at the Grand Hyatt Hong Kong
※ 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”).
藝術節加料節目
文化導賞團 Guided Cultural Tour 世界地質公園滘西村漁民文化體驗
Experience Fishermen’s Culture at Kau Sai Village inside UNESCO Global Geopark
25.01.2026 （已舉行 Past event）
講座 Talk
香港漁歌背後——王致仁的音樂靈感
Jazzing Up the Fishermen’s Song!—The Creative Journey of Chiyan Wong
28.02.2026 （已舉行 Past event）
紀錄片放映及映後座談
Documentary Film Screening and Post-screening Talk 《岸上漁歌》
Ballad on the Shore
01.03.2026 （已舉行 Past event）
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.
© Damien Daufresne
封面照片Cover Photograph Chiyan Wong © K. Ng Fisherman'sToday , Illustrated by Chiyan Wong in 2023
作曲、鋼琴
王致仁
生於香港、現居柏林的鋼琴家王致仁， 以橫跨巴羅克到當代音樂的多元演奏曲 目，深受聽眾喜愛。他常從前人作品中 汲取靈感，以自己獨特而充滿玩味的方 式重新譜曲。
王致仁深受巴赫、莫扎特及李斯特等同為即 興演奏家的作曲家啟發，並延續他們的精 神，深入鑽研即興演奏。自 2024 年冬季，他 開始創作融合巴西音樂與香港本地民間音樂 的作品，形成別樹一幟的音樂風格。
他的第三張專輯與倫敦交響樂團和指揮孔 茲一同錄音，收錄了亞歷山大．茨伐斯曼 與拉威爾深受爵士樂影響的作品。 2025 年 11 月，他更將他的音樂帶至台灣巡演。他 與柏林充滿活力的音樂人經常合作，充分 體現其在音樂路上不斷尋求蛻變的態度。
王致仁童年在香港接受音樂教育，十二歲 時移居英國，在英國皇家音樂學院師從諾 瑪．費沙和克里斯多夫．艾頓。他亦熱衷 於作曲，曾於普魯士灣國際音樂研討會與 湯馬士．阿迪斯合作，又於巴黎隨拿芝． 哈金鑽研對位法。 2021 年，他在利希慎基 金會的資助下，完成關於布梭尼的研究並 取得博士學位。
Composer & Piano
Chiyan Wong
Born in Hong Kong and based in Berlin, pianist Chiyan Wong has captivated audiences with his repertoire spanning from the Baroque to contemporary works. Often inspired by the past, he rewrites the music in his own uniquely playful manner.
Inspired by composers such as Bach, Mozart and Liszt—who were also famed improvisers—Wong draws on from their legacy, delving deeper into improvising. Since winter of 2024, he has been producing works that fused aspects of Brazilian music with folk music from his native Hong Kong, producing music that is uniquely his own.
In 2023 he recorded his third album, comprising jazz-influenced music by Alexander Tsfasman and Maurice Ravel, with the London Symphony Orchestra and Christoph Koncz. In November 2025, he took his music on tour in Taiwan. His ongoing collaborations with Berlin’s vibrant musical community reflect his dedication to evolving his sound.
Wong began his musical education in Hong Kong, then moved to England at age 12 to study with Norma Fisher and Christopher Elton at the Royal Academy of Music. His interest in composition led him to work with Thomas Adès at the Prussia Cove International Musicians’ Seminar, as well as counterpoint studies with Naji Hakim in Paris. In 2021, he completed his doctorate on Busoni, supported by the Lee Hysan Foundation.
© Kurt Chan
結他
法蘭西斯高．科斯高
結他手法蘭西斯高．科斯高在羅馬出生，他把爵士 樂、搖滾和民謠完美融合，創作出親密感與複雜性 兼備的音樂。他的藝術靈感源自於對多元音樂身份 的着迷。
在他現正進行的個人項目中，他營造出民謠抒情和 爵士和聲的聲響空間，創作出聲音細膩、雋永而個 人化的原聲結他作品。他與鋼琴家王致仁的合作， 使他進一步探索新的音樂領域，將巴西的音樂節奏 與王致仁的印象派風格相結合，喚起一種令人熟悉 又雀躍的感覺。
科斯高常駐柏林，現已成為知名的自由身樂手，他把 才華奉獻予不同的藝術家，為這座城市注入更多音樂 活力。他的作品展現了文化、歷史和聲音的持續對 話，豐富了當代的音樂景觀。
Guitar Francesco Fusco
Born in Rome, guitarist Francesco Fusco seamlessly blends jazz, rock and folk, crafting music that balances intimacy and complexity. His artistry stems from a fascination with diverse musical identities. In his current solo project, he creates sonic spaces where folk lyricism meets jazz harmony, producing delicate acoustic pieces that feel both timeless and personal. His collaboration with pianist Chiyan Wong further explores new musical realms, merging Brazilian rhythms with Wong's impressionistic style to evoke a sense of familiarity and excitement.
Now based in Berlin, Fusco has become a prominent session musician, lending his talents to various artists in the city's vibrant music scene. His work reflects a continuous dialogue between cultures, histories and sounds, enriching the contemporary musical landscape.
爵士鼓 啓．西弗特
啓．西弗特是一位德籍日本裔作曲家、爵士鼓手和 音樂製作人，他的作品融合了當代古典音樂、爵士 樂和即興音樂的元素。他致力連結不同的文化和樂 種，創作出鼓舞人心、帶來改革和超越界限的音樂。
西弗特曾與來自不同界別的眾多藝術家合作，包括 加納維亞、哈妮．莫達希迪和尼爾斯．蘭格倫和斯 特格萊夫即興樂團，以及不來梅愛樂樂團的成員。
他曾在歐洲、英國、加拿大、中東和亞洲等地的知 名音樂節（如溫布里亞爵士音樂節和柏林藝術節）以 及爵士樂俱樂部（如曼徹斯特的 Band on the Wall） 演出。
他的作品曾在德國漢堡萊斯音樂廳、柏林音樂廳和 享樂爵士樂音樂節等著名舞台演出。
Drums
Hiromu Seifert
Hiromu Seifert is a Japanese-German composer, jazz drummer and music producer who blends contemporary classical, jazz and improvised music. He seeks to bridge cultures and genres, creating inspiring music that transforms and transcends boundaries.
Seifert has collaborated with a diverse range of artists, including Ganavya, Hani Mojtahedy and Nils Landgren, as well as ensembles like the Stegreif Orchester and members of the Bremer Philharmoniker. He has performed across Europe, the UK, Canada, the Middle East and Asia at renowned festivals such as Umbria Jazz and Berliner Festspiele, as well as clubs like Band on the Wall in Manchester. His compositions have been showcased at prestigious venues including Laeiszhalle Hamburg, Konzerthaus Berlin and the Enjoy Jazz Festival in Germany.
© Marika Rasche
低音大提琴
湯瑪士．歌拉切克
居於萊比錫的低音大提琴手湯瑪士．歌拉切克以橫跨 各種音樂類型和風格而聞名。他從古典結他開始，過 渡到電子低音結他，最後轉向低音大提琴。他在柏林 漢斯．艾斯勒音樂學院和柏林藝術大學學習爵士樂。
其後在萊比錫孟德爾頌音樂及戲劇學院獲得早期音樂 （古提琴 / 古樂低音提琴）碩士學位。
作為一位炙手可熱的低音大提琴手，歌拉切克曾與柏 林的萊萊卡、新室內樂團和馬克多菲五重奏等團體 合作。他目前是萊萊卡、ZANDRRR 爵士三重奏和基 諾．夏里侯森四重奏的成員。在早期音樂方面，他曾 與德累斯頓巴羅克樂團和圖林根巴赫樂團一起演奏。
他的演出足跡遍佈以色列、美國、歐洲及世界各地。
他亦曾贏得多項比賽獎項，包括青年德國爵士樂獎。
Double Bass
Thomas Kolarczyk
Leipzig-based double bassist Thomas Kolarczyk is renowned for crossing genres and styles. He began with classical guitar, transitioned to electric bass and finally to double bass, studying jazz at the Hochschule für Musik Hanns Eisler Berlin and the Berlin University of the Arts. He holds a Master’s degree in Early Music (Violone/Historical Bass) at the University of Music and Theatre Leipzig.
A sought-after bassist, Kolarczyk has performed with ensembles including Leléka (Berlin), Ensemble Neue Kammer and the Marc Doffey Quintet. He is a member of Leléka, the jazz trio ZANDRRR and the Keno Harriehausen Quartet. In Early Music, he has played with groups like the Dresdner Barockorchester and Thüringer Bach Collegium. His performances have taken him across Israel, the USA, Europe and beyond. He has also won several competitions, including the Junger Deutscher Jazzpreis.
編曲
約翰尼斯．范．巴利斯特咸
約翰尼斯．范．巴利斯特咸是一位常駐柏林的作 曲家及音樂家，經常作獨奏演出，並參與爵士樂 團和管弦樂團演奏。他曾在威瑪、柏林及萊比錫 學習音樂，與國際著名音樂家一起錄音及演出， 當中包括尼爾斯．蘭德格倫、科特．羅森溫高、 格雷．高恩，他亦曾與鍾．拜雅斯和佩蒂．史密 斯等傳奇唱作人合作。自 2022 年起，他與貝希斯 坦鋼琴公司合作。
Arranger
Johannes von Ballestrem
Johannes von Ballestrem is a Berlin-based composer and musician active across solo work, jazz ensembles and orchestras. Trained in Weimar, Berlin and Leipzig, he has performed and recorded with international icons such as Nils Landgren, Kurt Rosenwinkel, and Greg Cohen, as well as legendary singer-songwriters Joan Baez and Patti Smith. Since 2022, he has partnered with piano company Bechstein.
除德布西之作品外，所有演出樂曲均由約翰尼斯．范． 巴利斯特咸合作編曲
All compositions are arranged in collaboration with Johannes von Ballestrem, except for those by Claude Debussy
© Dovile Sermokas
© Lukas Diller
王致仁
《乜魚呀》 ^
羅伯特．曼尼斯卡爾
《小船》
王致仁
《艇仔遊河》^^
德布西
〈小步舞曲〉，選自《貝加馬斯克組曲》，L75 （鋼琴獨奏 ）
王致仁
《東星斑》
王致仁
《嚓》
德布西
〈月光〉，選自《貝加馬斯克組曲》，L75
（鋼琴獨奏）
王致仁
《香》
安東尼奧．卡洛斯．裘賓
《不再渴望》
安東尼奧．卡洛斯．裘賓
《單音森巴》
作曲 / 鋼琴
王致仁
結他
法蘭西斯高．科斯高
爵士鼓
啓．西弗特
低音大提琴
湯瑪士．歌拉切克
14.03.2026
東九文化中心劇場
The Theatre, East Kowloon Cultural Centre
Chiyan Wong (b. 1988)
What Fish^
Roberto Menescal (b. 1937)
OBarquinho(“The Little Boat”)
Chiyan Wong
Sampan^^
Claude Debussy (1862-1918)
“Menuet” from Suitebergamasque , L75 (piano solo)
Chiyan Wong Plectropomus
Chiyan Wong Tch’
Claude Debussy
“Clair de lune” from Suitebergamasque , L75 (piano solo)
Chiyan Wong Incensitivity
Antônio Carlos Jobim (1927-94)
ChegadeSaudade(“Enough of Missing You”)
Antônio Carlos Jobim
SambaDeUmaNotaSó(“One Note Samba”)
Composer & Piano
Chiyan Wong
Guitar
Francesco Fusco
Drums Hiromu Seifert
Double Bass
Thomas Kolarczyk
王致仁
《乜魚呀》 ^
羅伯特．曼尼斯卡爾 《小船》
王致仁 《艇仔遊河》^^
王致仁
《嚓》
德布西
〈月光〉，選自《貝加馬斯克組曲》，L75 （鋼琴獨奏）
王致仁
《香》
安東尼奧．卡洛斯．裘賓
《單音森巴》
15.03.2026
香港君悅酒店香檳吧 Champagne Bar, Grand Hyatt Hong Kong
Chiyan Wong What Fish^
Roberto Menescal OBarquinho(“The Little Boat”)
Chiyan Wong Sampan^^
Chiyan Wong Tch’
Claude Debussy “Clair de lune” from Suitebergamasque , L75 (piano solo)
Chiyan Wong Incensitivity
Antônio Carlos Jobim SambaDeUmaNotaSó(“One Note Samba”)
除德布西之作品外，所有演出樂曲均由約翰尼斯．范．巴利斯特咸合作編曲
All compositions are arranged in collaboration with Johannes von Ballestrem, except for those by Claude Debussy
^ 樂曲前播放的漁歌錄音選段為《乜魚出身撩力上》，由西貢蘇財好嘆，2011 年 10 月 18 日收錄於大埔大灘海深灣漁排。
^The recording of the fishermen’s song played before this piece is an excerpt from WhatFishJumpswithAllitsMight?, sung by So Choi-ho of Sai Kung, recorded on 18 October 2011 on a fishing raft at Shum Wan, Long Harbour (Tai Tan Hoi), in Tai Po
^^ 樂曲前播放的鹹水歌錄音選段為《艇仔遊河》，於1988年8月25日由西貢已故 / 前蠔涌村代表溫樹興於蠔涌鄉公所嘆。
^^The recording of the salt-water song played before the piece is an excerpt from SampanJoyride—BalladoftheBoat Maiden sung on 25 August 1988 by the late Wan Shue-hing, the former Representative of Ho Chung Village, at the Office of the Ho Chung Rural Committee in Sai Kung 以上錄音選自葉賜光著作《尋找香港漁歌》（2023 年，中華書局出版），鳴謝歌者、作者、出版社及出版贊助衞奕信勳爵文物 信託授權播放。
The above recordings are selected from the book InSearchoftheSongsoftheHongKongFisherman, published in 2023 by the Chung Hwa Book Company (Hong Kong) Ltd and written by Kenneth Yip Chee-kwong. Special thanks go to the singers, the author, the publisher and the publication sponsor, The Lord Wilson Heritage Trust, for granting permission for use of the recordings.
曲目介紹 Programme Notes
王致仁
《乜魚呀》
鋼琴家王致仁致力尋找「香港聲音」，重
新將我們這個現代城市與昔日的漁港歷史 連結，並向一直與我們息息相關的海洋
致敬。他讀過葉賜光的著作《尋找香港漁 歌》後，便深深迷上水上人的歌謠。有首 漁歌令他留下深刻印象（那是一道音樂謎
題，要聽者猜猜歌者正在形容哪種魚類）； 王致仁在柏林經歷寒冬時又聆聽了大量巴 薩諾瓦，當時他靈機一觸：「如果把這些 動聽易記的漁歌，放進一種具律動感的節 奏型態——像小船隨波浪輕輕搖晃前行—— 再配上柔和、緩慢游移的和聲，效果會怎 樣呢？這些開首的旋律猶如『魚餌』，勾 起新的旋律可能性：帶點童真、帶點藍調 味，最後竟孕育出全新的創作。」
巴西歌手卡坦諾．費羅素形容巴薩諾瓦是 現代派藝術。王致仁則看出巴薩諾瓦與 六十年代同期興起的現代主義攝影異曲同 工。王致仁的《乜魚呀》第一、二小節取
材自同樣盛行於六十年代的漁歌，然後樂 曲的兩大部分交替出現：快速的 A 段採用 搖擺節奏， B 段則採用穩定的森巴節奏。
Chiyan Wong (b. 1988)
What Fish
In search of a “Hong Kong sound”, to re-connect our modern city with its history as a fishing settlement and pay tribute to our long relationship with the ocean, pianist Chiyan Wong became fascinated after discovering the book InSearchoftheSongs oftheHongKongFisherman, written by Kenneth Yip Chee-kwong. One traditional boat dwellers’ song jumped out—a musical riddle in which the listener is asked to guess what fish the singer is describing—and as Wong went through a bitter Berlin winter, listening to a lot of bossa nova, he had an epiphany: “What if these catchy fishermen’s tunes were set to a grooving rhythmic pattern, like a boat on a gently rocking along the waves, offset by soft, slowly shifting harmonies? These opening melodic ‘baits’ attracted new melodic possibilities, childlike, bluesy, resulting in entirely new creations?”
The Brazilian singer Caetano Veloso described bossa nova as a form of modernist art, and Wong saw the parallels between bossa nova and the modernist photography emerging at the same time during the 1960s. The result was What Fish, which draws from the fishermen’s song in its first two bars before unfolding in two main alternating sections: a fast A form in swing time and a B form in a straight samba beat.
羅伯特．曼尼斯卡爾
1937)
羅伯特．曼尼斯卡爾 《小船》
《小船》捕捉了早期巴薩諾瓦的氣氛，配合 簡單的旋律和生動的歌詞，在 1960 年代在 巴西電台和咖啡館廣泛流傳；原曲有歌手演
唱，歌詞則由極具影響力的羅納德．波斯卡 利所撰，隨着巴薩諾瓦傳至美國和歐洲， 《小船》也漸漸在國際樂壇上為人所識，而
且經常收錄在巴薩諾瓦主要藝術家的作品集
或唱片中。《小船》是巴西結他演奏家、作 曲家兼編曲家羅伯特．曼尼斯卡爾最廣為人 知的作品之一，而他同時是巴薩諾瓦運動的 發起人之一。
《小船》是首典型的抒情歌，重點在於抒情 的正歌，流動、速度富彈性的旋律底下則是 穩定的伴奏。整體的起伏既短又親切，輕 鬆、搖晃的律動反映海洋的意象——正如 歌詞令人想到帆船、海風、渴望與緬懷過 去，全都與巴薩諾瓦的「山打地」（意思跟 「悵然若失」相若）主題關係密切。柔和的 旋律、精緻的和聲與含蓄的節奏，都是有助 營造氣氛的手法——而且世界各地的藝術 家都會認為，這種氣氛與巴西當代流行音樂 與爵士樂息息相關。
Roberto Menescal (b. 1937)
OBarquinho (“The Little Boat”)
This song captures the mood of early bossa nova, with its melodic simplicity and evocative lyrics making it a staple of Brazilian radio and cafés during the 1960s. The original version was performed with a singer, featuring lyrics by the influential Ronaldo Bôscoli, and the song gained international attention as the genre spread to the USA and Europe. Often included on compilations and albums featuring key artists of the genre, it remains one of the best-known compositions by Roberto Menescal, a founding member of the bossa nova movement.
Written in a typical bossa nova ballad form, OBarquinho is focused on a lyrical verse with a flowing, rubato melody over a steady accompaniment. The overall arc is short and intimate, and its relaxed, swaying groove mirrors ocean imagery—much as its lyrics evoke sailboats, the sea breeze, longing and nostalgia, all central to bossa nova’s saudade theme. This gentle melody, refined harmony and subdued rhythm helped define the mood that artists around the world associated with Brazilian contemporary pop and jazz.
Roberto Menescal (b.
網上圖片 Online image
王致仁
《艇仔遊河》
《艇仔遊河》跟《乜魚呀》的靈感都來自 水上人的歌謠；傳統的《艇仔遊河》是鹹 水歌種當中最典型的姑妹情歌類，內容圍 繞兩位在調情的水上人。事源王致仁聽了 《尋找香港漁歌》隨書附送的原聲歌集，當 中收錄了漁歌及鹹水歌的錄音。其中一首 姑妹情歌描述了一位男水上人正在追求另 一名女水上人，男子嘆述，雖然他只有幾 塊魚肉和一碟芥蘭送給心上人，但要是兩 人一起坐下來吃，那麼剛萌芽的愛情，就 會讓魚肉青菜吃起來也像魚翅鮑魚。
王致仁採用跟《乜魚呀》相同的處理手 法，他創作的《艇仔遊河》先選用歌曲的 第一行旋律，之後才以 A–B 曲式和慢速森 巴節奏配合大膽的和聲。今天演出時，樂 曲開端先以獨奏爵士鼓自由地即興演奏， 然後王致仁才加入奏出一個在 D 大調和 C 大調之間游離的節奏型。《艇仔遊河》開 展時，會溫柔地搖晃或起伏不定，令人想 起大海平和的聲音與動態——這一方面既 跟巴薩諾瓦樂曲大致相類，亦與標題十分 吻合。
Chiyan Wong Sampan
Much like What Fish, Sampan also takes inspiration from a boat people’s tune—in this case a flirty a cappella folk song about a romance between two boat dwellers. Chiyan listened to the album included with the book In Search of theSongsoftheHongKongFisherman, which features recordings of fishermen’s songs and saltwater songs. In the original, a man trying to woo a boat maid laments that although he only has a few pieces of fish and a plate of gailan (Chinese broccoli) to offer her, if they just sit down to eat together, their blossoming romance will make this simple food taste just as good as abalone or shark’s fin.
And just as he did with What Fish, Wong takes the first line of the tune before embarking on a harmonic adventure with a slow samba in A-B form. Today the piece will open with a free drum solo improvisation, before Wong enters with a rhythmic pattern fluctuating between D Major and C Major. Like a lot of bossa nova in general— and suitably for a piece titled Sampan—the piece unfolds with a gentle sway or undulation that naturally brings to mind the peaceful sounds and movements of the sea.
德布西
德布西
〈小步舞曲〉，選自《貝加馬斯克組 曲》，L75（鋼琴獨奏）（只演14/3）
小步舞曲是巴羅克時期的貴族舞蹈，德布 西的小步舞曲則重新演繹了這種舞曲，跨
越音樂中過去與現代主義運動之間的鴻 溝。〈小步舞曲〉是德布西鋼琴獨奏名作 《貝加馬斯克組曲》的第二樂章，德布西藉
組曲尋找純淨的「法國」風格，向法國巴 羅克時期，以及拉摩和庫普蘭等法國作曲 家致敬。
德布西的小步舞曲的和聲語言與傳統功能 性和聲大相徑庭。採用功能性和聲寫作 時，各和弦會跟隨一套可預計的和弦組合
運作，張弛交替。作曲家大量採用非傳統 音階和平行和弦組合；他對節奏和織體的 處理，更將古典小步舞曲改頭換面，短、 輕、斷奏的段落，與流動、抒情的連奏樂 句交織，令作品更有深度，氣氛更突出。
Claude Debussy (1862–1918)
“Menuet” from Suitebergamasque, L75 (piano solo) (14/3 only)
Debussy’s Menuet is a modern re-interpretation of a formal, aristocratic dance from the Baroque era, bridging a gap between the musical past and the Modernist movement. It’s the second movement of his famous solo piano work, the Suitebergamasque. Debussy, in search of a pure “French” style, paid homage to the French Baroque period and composers like Jean-Philippe Rameau and François Couperin.
Debussy’s harmonic language in the Menuet represents a radical departure from traditional functional harmony, where chords follow predictable, tension-and-release progressions. The composer extensively uses non-traditional scales and parallel chord progressions, and his treatment of rhythm and texture further transforms the classical minuet, with short, light, and staccato passages—plus flowing, lyrical, and legato phrases— adding textural depth and character.
Claude Debussy (1862–1918)
王致仁
《東星斑》（只演14/3）
「珊瑚石斑魚」是多種魚類的統稱，包括東 星斑和西星斑。這兩種魚類常見於香港水 域，不但對城中的活魚市場十分重要，亦 深受海鮮酒樓的食客歡迎。此外，由於石
斑魚顏色鮮艷，因此當王致仁為鋼琴、結 他和低音大提琴創作新曲，寫下一個快活 明亮、節奏強勁的咻樂（一種與森巴有少
許關係的風格）曲調時，馬上想到以「東 星斑」為標題。
咻樂本身糅合了非洲節奏特色（如切分音）
以及來自歐洲舞廳音樂的旋律與舞蹈節奏 （例如波爾卡舞曲）；在世人眼中，咻樂屬 於第一批明顯有巴西特色的都市流行音樂
形式，比森巴更早出現。
為鋼琴、結他和低音大提琴而寫的《東星 斑》屬於「後期」咻樂，採用輪旋曲式寫
成。重複出現的 A 段以 A 大調為主，卻會不 知不覺地在 A 大調附近游走，就像東星斑 的生態一樣。B 段先以 A 小調模進句開始，
然後先後觸及多個調性。A 段每次重現的處 理手法各有不同：時而由鋼琴伴奏結他旋 律，時而兩者角色對調；或者採用常見的 咻樂寫法，將旋律以六度或三度音重疊。
Chiyan Wong
Plectropomus (14/3 only)
The Plectropomus species includes fish such as the Leopard Coral Grouper and Squaretail Coral Grouper, which are commonly found in Hong Kong’s waters and are significant species in the city’s live fish market trade—and very popular when they appear on the tables of our seafood restaurants. It’s also a colourful fish, so when Wong was seeking a title for a bright, funky new tune written for piano, guitar and double bass in the choro genre (a distant relative of samba), the name of the fish jumped out.
Itself a fusion of African rhythmic characteristics such as syncopation with melodies and dance rhythms borrowed from European dance hall music (such as the polka), the choro is recognised as one of the first distinctively Brazilian forms of urban popular music, preceding the samba.
Plectropomus is a “latter-day” choro, written in rondo form for piano, guitar and double bass. The recurring A section is mostly in the key of A Major, with subtle drifting in and around, much like how the fish itself behaves. The B section is announced by a sequence that begins in A minor, and moves quickly through different keys. Each recurring A section is treated differently: at times, the piano accompanies the melody in the guitar and vice versa, or, a very common choro characteristic, the doubling of the melody in thirds or sixths.
王致仁 《嚓》
王致仁問過自己一個問題：「假如一首支離 破碎的咻樂夢見自身，會發生甚麼事情？」 《嚓》其實是作曲家對這個問題的回應。標
題「也是向查利．帕克所寫的爵士曲調致 敬，例如《吱吱》。」可是帕克採用活力充 沛的比博普爵士樂語言，但王致仁的音樂 反而有種接近憂鬱、懨懨欲睡的特質。
咻樂作品《嚓》同樣以 E 大調寫成，樂曲分 為三部分。第一部分斷斷續續，樂曲好像 在不同的調性中「尋找自我」似的；然後 音樂停下，圍繞着兩個延留的樂音，漂進 下一部分，旋律的片段也漸漸浮現。最後 是一段咻樂音樂，以鬆散的二段體寫成。
德布西
〈月光〉，選自《貝加馬斯克組曲》，L75
（鋼琴獨奏）
德布西〈月光〉是印象派的重要作品，以
創新的和聲以及營造特定夢幻氛圍的能力
見稱。樂曲擺脫了傳統浪漫派音樂死板的 形式，作曲家也以情緒及色彩為重，嚴謹 結構為次。〈月光〉原是《貝加馬斯克組
曲》（前文提及過的鋼琴組曲）第三樂章， 靈感來自詩人保羅．魏爾倫的同名詩作 （1869），刻劃月光照耀下，「有人戴着面
具，有人跳着貝加馬斯卡舞，全都很迷人； 彈奏着魯特琴，跳着舞，彷彿愁緒都藏在 別出心裁的裝束底下」。
德布西採用非傳統音階（例如全音音階）、 平行和弦，以及不作解決的不協和音，創 造出一套嶄新的音響語言。鋼琴曲〈月光〉
以降 D 大調寫成，靠着平行和弦與琶音， 令織體仿如閃光飄動似的，而且節奏也朦 朦朧朧，避開穩定的節拍。
Chiyan Wong Tch’
In Tch’, we hear what Wong created after asking himself: What would happen if a “disjointed choro dreamed itself”. The title takes “a nod to the jazz tunes that Charlie Parker used to write, like ChiChi”, but unlike Parker’s highly charged bebop language, there is almost a melancholic, sleepy quality to this music.
Another choro in E Major, Tch’ consists of three parts. It begins with a disjointed section in which the piece seems to be “looking for itself” in various keys. It then halts and suspends around two notes, drifting into another section where fragments of a melody emerge. The final section is a choro in a loose binary form.
Claude Debussy
“Clair de lune” from Suitebergamasque, L75 (piano solo)
Debssy’s “Clair de lune” is a seminal work of musical Impressionism, important for its innovative harmonies and its ability to evoke a specific, dreamlike atmosphere. It broke away from the rigid forms of traditional Romantic music, with Debussy prioritising mood and colour over strict structure. The third movement of the above-mentioned Suite bergamasque, it was inspired by Paul Verlaine’s 1869 poem of the same name, which evokes a moonlit scene with “charming maskers and bergamaskers, playing the lute and dancing, as if sad beneath their fantastical disguises”.
Debussy’s use of non-traditional scales (such as the whole-tone scale), parallel chords and unresolved dissonances created a new sonic language. The piano piece in D-flat Major features shimmering textures from parallel chords and arpeggios, and rhythmic ambiguity that avoids a steady beat.
王致仁
《香》
歷史學家相信，香港之所以稱為「香港」，
是因為過去這個港口曾經從事香品貿易。沉
香木價格高昂，香港出產的土沉香則是沉香 木的重要來源——當這種樹木遭受真菌感染
的時候，就會產生一種深色而帶有香氣的樹 脂自保。觀眾在今日演出前段所聽到王致仁 創作的曲調 ，靈感都來自水上人的歌謠，雖
然《香》與之無關，但依舊向香港致敬：致 敬對象是香港海洋史的另一面——貿易港。
《香》是王致仁第一首以巴薩諾瓦風格寫作 的曲調，也反映出裘賓《不再渴望》對他 的影響。《香》曲調方面的特色之一，就是 分為前後兩部分，大家一般預期兩部分會 採用不同調性，可是《香》前後兩部分都
以 B 小調寫成，但途中卻會離開主調，遊 蕩到其他調性去。
安東尼奧．卡洛斯．裘賓 《不再渴望》（只演14/3）
安東尼奧．卡洛斯．裘賓是巴西作曲家、鋼 琴家、結他演奏家兼編曲家，是讓巴薩諾瓦 成為國際藝術的推手。裘賓擅長寫作抒情旋 律與複雜和聲，不少不朽金曲都出自他手
筆，例如《來自伊帕尼瑪的女孩》、《海浪》 和《跑調》，將巴西的節奏與來自爵士樂的 複雜寫法共冶一爐。裘賓優雅從容又敏銳，
Chiyan Wong
Incensitivity
Hong Kong translates as “fragrant harbour” in Cantonese, and historians believe the city’s name was inspired by its past as a trading port for fragrant incense. The Hong Kong incense tree (Aquilariasinensis) is the source of the highly valuable agarwood, formed when a fungus infects the tree and causes it to release a fragrant, dark resin for defence. While not related to Wong’s earlier tunes inspired by the boat people's songs, the song’s title still contains a nod to Hong Kong’s oceanic history as a trading port.
Incensitivity is the first tune Wong wrote in the bossa nova style, and reveals the influences of Jobim’s ChegaDeSaudade. One feature of this tune is that although it consists of two sections, where two sections are expected to differ in key, it remains in B minor but wanders off into other keys.
Antônio Carlos Jobim (1927–94) ChegaDeSaudade (14/3 only)
Antônio Carlos Jobim was a Brazilian composer, pianist, guitarist and arranger who helped shape bossa nova into an international art form. A master of melodic lyricism and sophisticated harmony, he penned timeless standards such as TheGirlfrom Ipanema, Wave and Desafinado, blending Brazilian rhythms with jazz-inspired sophistication. Jobim’s elegant, urbane sensibility and collaborations
曾與多位藝術家合作，包括威尼斯奧斯． 德．莫拉舒以及桑．舒伯圖，將森巴推上講 求優雅精緻的國際樂壇，除了影響一代又一 代的作曲家，更令人對二十世紀拉丁美洲音 樂另眼相看。
裘賓《不再渴望》（原曲歌詞出自莫拉舒之
手）就像燃燒着的火花，將巴薩諾瓦送到國 際舞台的聚光燈下。樂曲除了巧妙地糅合 森巴與爵士樂情懷，更是巴薩諾瓦發展史 上的試金石——親切、儒雅、節奏捉摸不 定——連繫巴西抒情主義與爵士樂和聲， 裘賓還因此成了全世界的參考對象。以當 時來說，《不再渴望》很有新意，有來自爵 士樂的複雜和聲——包括伸延和弦、調式 色彩，還有順滑的半音音階低音線條，營 造一種名為「山打地」的氛圍（也就是一種 渴望、憂鬱、依戀兼而有之的感覺，類似 「悵然若失」）；有人認為那是葡萄牙或巴 西人的性格特色。
安東尼奧．卡洛斯．裘賓 《單音森巴》
《單音森巴》大約寫於 1958 至 1959 年，它 奠定了巴薩諾瓦運動的基調。原曲有歌手 演唱，作曲家將森巴與爵士和聲共冶一 爐，憑着此曲確立自己的特色，當中極簡 主義的精妙運用，更讓它風靡全球。此曲 曾被無數藝術家翻唱，還推出了許多不同 語言的版本，至今仍然是拉丁爵士樂及聲 樂的重要曲目。而今晚演出的版本乃根據 原曲改編而成。
曲調以一個旋律動機為基礎，通過動機的 重複與變化，營造出令人迷醉的緊密結構； 原曲在人聲與伴奏之間，經常採用調皮 的、類似爵士樂的「對唱」效果。《單音森 巴》原曲充滿巴薩諾瓦特色，和聲也融合 了爵士樂的延伸和弦與圓滑流暢的和聲進 行。這改編版一般強調細膩的切分音、低 調的律動，以及抒情的聲樂線條。
撰文：Adam Wright 中文翻譯：鄭曉彤
with artists including Vinícius de Moraes and João Gilberto propelled samba into refined, cosmopolitan waters, influencing generations of composers and redefining 20th-century Latin American music.
Originally with lyrics by Vinicius de Moraes, Jobim’s ChegaDeSaudade is the incendiary spark that launched bossa nova into the international spotlight. It is built around a refined fusion of samba and jazz sensibilities, and is a touchstone of bossa nova’s evolution—intimate, urbane and rhythmically elusive—bridging Brazilian lyricism with jazz harmony and making Jobim a global reference point. The song was innovative for its era, featuring sophisticated, jazz-influenced harmony—extended chords, modal colour and smooth chromatic bass lines that create a sense of saudade—the feeling of longing, melancholy or nostalgia that’s said to be a characteristic of the Portuguese or Brazilian temperament.
Antônio Carlos Jobim
SambadeumaNotaSó (“One Note Samba”)
Written between 1958-59, SambadeumaNota Só helped define the bossa nova movement. The original version was performed with a singer, establishing Jobim’s signature blend of samba rhythms and jazz harmony, and its minimalist brilliance made it a global sensation. Covered by countless artists and translated into multiple languages, it remains a staple of the Latin jazz canon. The version heard tonight is an adaptation of that original vocal masterpiece, re-imagined for this performance.
The tune is built around a single melodic motif that is repeated and varied, creating a hypnotic, compact structure. It often features a playful, almost jazz-like call-and-response between voice and accompaniment. Characteristic of bossa nova, the harmony blends jazz-inflected extended chords with smooth, flowing chord progressions. The arrangement typically emphasises subtle syncopation and an understated groove.
Text: Adam Wright
Chinese translation: Eos Cheng
專訪王致仁：
生於斯 樂於斯
Shaped by Hong Kong, Playing for the World
香港鋼琴家王致仁在國際舞台上綻放光彩， 開拓出獨特的音樂路。他在香港成長，繼而 負笈海外深造。今屆香港藝術節，他將帶來 展現個人風格的節目與本地樂迷分享。他與
本地指揮劉卓熙對談，分享音樂上的成長點 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？
香港有不少獨特的學習機會，最令我難忘的 是每年的香港學校音樂節。全神貫注備賽的 過程令人振奮，也激發了我對音樂的好奇與 熱忱。此外，香港很便利，我以前每週也會
流連 HMV 唱片店，聽各式各樣的音樂，拿 起實體唱片細聽。不過說到底，沒有甚麼能 真正讓你完全準備好出國。你只能鼓起勇
氣、一往無前。做音樂也是如此。
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？
鋼琴本身蘊藏無窮可能，自然容易令人着迷 和深究。比賽不僅是展現技巧的舞台，也是 探索與塑造個人音樂特質的重要途徑。
你將在藝術節演出以香港漁歌為創作靈感的爵 士作品。這些民間傳統對你有何吸引之處？你 又如何將之與自己的文化身份認同融合？ 我有幸拜讀葉賜光先生的著作《尋找香港漁 歌》，深受啟發。我一直鍾情於水，總聯想 到它與音樂、即興演奏和聲音流動的關係， 也與我對爵士樂的興趣呼應。長時間離開香
Pianist Chiyan Wong spent his formative years in Hong Kong before pursuing studies and rising to fame abroad. During the 2026 HKAF, he will return to the city to perform programmes that showcase his unique talent. Ahead of the Festival, Wong shares some insights into his musical upbringing and artistry in conversation with local conductor Sanders Lau.
How did your early training in Hong Kong prepare you for your international career?
Hong Kong offered unique opportunities. For me, the annual Hong Kong Schools Music Festival was unforgettable. The intensity of preparation was exhilarating. That experience really sparked my curiosity and energy. Another highlight was the readily accessible record stores. I went to HMV every week, listening to all kinds of music and taking physical copies off the shelves. But in truth, nothing fully prepares you for moving abroad. You just go and do it. Music is like that too: you just dive straight in.
Pianists from Hong Kong have become highly visible on the international competition stage. What do you think drives this prominence?
The piano offers endless possibilities, which makes it naturally fascinating. Competitions provide a platform not only for showing technical skill, but also for discovering and developing one’s own sound.
You have written new jazz compositions inspired by Hong Kong fishermen ’ s songs and will play them at the 2026 HKAF. What drew you to these folk traditions and how do you bring your cultural identity into them?
It started with a fascinating book by Kenneth Yip Chee-kwong titled InSearchoftheSongsoftheHong KongFisherman. I’ve always been drawn to water, which I associate closely with music, improvisation
港，讓我有機會以不同、甚至有點複雜的方 式去愛這座城市。我也會從舊照片（例如何 藩的作品）、電影，還有六、七十年代的設 計美學汲取靈感。這些日積月累的元素產生 化學作用，當我思索「此時此地」的意味是 甚麼，作品就成了答案的一部分。
在繁重的巡演行程中，你如何在每場表演中 保持最佳狀態？
我習慣嚴謹分配時間來兼顧演奏與創作。冥 想與游泳也幫助我保持專注與平衡。
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
and patterns, all of which also connect to my interest in jazz. Living outside Hong Kong has helped me love my hometown in new and sometimes complicated ways. I also draw inspiration from old photographs (such as those by Fan Ho), films and the design aesthetics of the 1960s and ’70s. Together, these create a kind of chemical reaction within me when I ask myself what “here” and “now” mean to me.
With demanding touring schedules, how do you stay fresh mentally and physically?
I divide my time with discipline to balance performing and composing. Meditation and swimming also help me stay centred.
Text: Sanders Lau
This is a revised version of an article originally published on the HKAF’s News&Features website in December 2025
©
Aurore Belkin
Acknowledgements
香港藝術節衷心感謝下列機構及人士的慷慨支持﹕
The Hong Kong Arts Festival would like to thank the following for their generous support:
贊助舍計劃會員 Patron's Club Members
鉑金會員 Platinum Member
嘉里控股有限公司 Kerry Holdings Limited
黃金會員 Gold Member
怡和集團 Jardine Matheson Limited
純銀會員 Silver Member
太古地產 Swire Properties
青銅會員 Bronze Members
諾業基金有限公司 Nathaniel Foundation
胡興正醫生慈善基金有限公司 Dr. Wayne Hu Charitable Foundation Ltd 鳴謝
實物支持機構 In-Kind Supporters
半島酒店 The Peninsula Hotel Limited
藝術節捐助計劃 Festival Donation Scheme
鉑金捐款者 PLATINUM DONOR
HK$140,000 或以上 OR ABOVE
文肇偉 Sebastian Man
鑽石捐款者 DIAMOND DONOR
HK$70,000 - HK$139,999
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Jeffrey and Helen Chan
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周一嶽醫生 Dr. York Chow
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愛爾蘭外交貿易部 Department of Foreign Affairs and Trade, Ireland
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天主教澳門教區 Diocese De Macau
林芍彬博士 Dr Anne Lam Cheuk-bun
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東九文化中心 East Kowloon Cultural Centre
Esencia Flamenca HK
誠品書店 Eslite bookstore
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翻騰三周半 Fountain de Chopin
藝穗會 Fringe Club
德國駐香港總領事館 German Consulate General Hong Kong
六國酒店 Gloucester Luk Kwok Hong Kong
香港君悅酒店 Grand Hyatt Hong Kong
Habyt Bridges
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香港藝術行政人員協會 Hong Kong Arts Administrators Association
香港藝術中心 Hong Kong Arts Centre
香港浸會大學 Hong Kong Baptist University
音樂學院 Academy of Music
香港中樂團 Hong Kong Chinese Orchestra
香港大會堂 Hong Kong City Hall
香港文化中心 Hong Kong Cultural Centre
香港旅遊發展局 Hong Kong Tourism Board
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入境事務處 Immigration Department
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葉劍豪教授 Professor Ip Kim-ho
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歐永財魅力弗拉門戈藝術團 Raymond Au & His Flamenco Troupe Los Duende
麗豪酒店 Regal Riverside Hotel
黃日芝芭蕾舞學校 Regine Wong School of Ballet
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紀文鳳女士 林健忠博士
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The Hon. John KC Lee,
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副市場總監 盧伯全
市場經理 鄭曉恩 *、張予心 *、黃芷賢 *
市場項目經理 譚懿諾 *
副市場項目經理 李穎軒 *
助理市場經理 朱凱潼 *
市場統籌 梁喬正 *
市場主任 王舒萱 *
票務
高級市場經理（票務） 梁彩雲
票務主任 蔡嘉熹 *
發展
發展總監 簡潤如
特別發展協理 蘇啟泰 *
發展經理 陳寶齋 *、葉巧儀 *、黃珮茵 *
助理發展經理 郭倩珩 *
發展主任 葉涴喬 *
短期發展助理 陳芍穎 *
行政事務
財務總監 鄺敬婷
會計
會計經理 杜詩麗 * 會計及行政主任 麥婕妤 * 人力資源及行政 人力資源及行政經理 楊美君 * 接待員 / 初級秘書 李美娟
資訊科技
資訊科技經理 陳啟明 *
無限亮
項目總監 錢 佑 *
節目及外展經理 鍾美琼 *、高 君 *、吳卓恩 *
助理節目及外展經理 潘詠汶 *
節目及外展統籌 鄭銘柔 *
市場經理 黃嘉欣 *
副市場經理 陳佩鈴 *、吳雪琼 *
助理製作經理 鄭家裕 *
高級會計主任 鍾巧明 *
STAFF
Executive Director
Assistant to Executive Director
PROGRAMME
Programme Directors
Associate Programme Director
Senior Programme Managers
Programme Managers
Project Manager
Programme Coordinators
Programme Officer
LOGISTICS
Logistics Manager
TECHNICAL
Senior Production Manager
Production Manager
PUBLICATIONS
Editorial Manager
English Editor
Associate Editor
Assistant Editor
OUTREACH
Outreach Manager
Outreach Coordinators
Outreach Officers
Flora Yu
Connie Ho
Grace Lang, So Kwok-wan
Kenneth Lee
Shirley So, Janet Yau*
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