Seong-Jin Cho Piano Recital - 43rd Hong Kong Arts Festival

香港藝術節於1973年首次舉辦，自此成 為本港一年一度的文化盛事，整個亞太 地區的藝術愛好者都翹首以待。

Since 1973, the Hong Kong Arts Festival has been a highlight of the city’s annual cultural calendar and a highly anticipated event throughout the region.

Each year, leading international artists and outstanding local talent come together over the course of a full month, enhancing the vitality and the quality of life of residents and visitors alike.

香港藝術節每年都邀請到國際頂尖藝術 家蒞臨香港，與本地藝壇精英共同獻 藝。整整一個月的精彩節目，為本地居 民和遊客提供精神養分，令他們的生活 更豐富多姿。

今年藝術節約有50個本地及來自世界各 地的表演團體和獨立藝術家參與，為觀 眾呈獻近 140 場表演，包羅中國戲曲、

西洋歌劇、音樂、戲劇和舞蹈；此外， 還特備「加料節目」，包括電影放映、 工作坊及後台參觀。一如以往，我熱切 期待各項節目上演，希望一睹為快。

藝術節團隊再次順利籌辦一連串陣容鼎 盛的節目，謹此衷心致賀。

我相信今年香港藝術節定會令大家賞心 悅目，興奮難忘。

This year, some 50 ensembles and solo artists from Hong Kong and from all over the world will showcase nearly 140 performances in Chinese and Western opera, music, theatre and dance. And, thanks to Festival PLUS, there is more, including film screenings, workshops and backstage tours. As always, I can’t wait for the shows to begin.

My congratulations to the Festival team for putting together yet another outstanding line-up.

I know you will find this year’s Hong Kong Arts Festival entertaining, stimulating and entirely unforgettable.

梁振英 香港特別行政區行政長官

C Y Leung Chief Executive, Hong Kong Special Administrative Region

歡迎蒞臨第 43 屆香港藝術節。

康樂及文化事務署每年提供的撥款， 是藝術節財政收入的一大支柱，在此 我衷心感謝香港特區政府；同時亦感 謝香港賽馬會慈善信託基金一直以來 的支持與關注。藝術節得以呈獻各式 各樣高質素的作品，有賴一眾贊助企 業、機構及個人捐助者的慷慨支持。

最後，我謹在此感謝青少年之友、藝 術節捐助計劃、學生票捐助計劃及新 作捐助計劃的捐獻者和贊助者，各位 的捐助對這座城市未來的藝術發展非 常重要。

我由衷感謝您前來欣賞本節目。藝術 節的成功有賴你的參與，希望您樂在 其中。

It gives me great pleasure to welcome you to this performance in the 43rd Hong Kong Arts Festival.

I wish to thank the Government of Hong Kong SAR, acting through the Leisure and Cultural Services Department, for the annual subvention which is a mainstay of the Festival’s finances; and the Hong Kong Jockey Club Charities Trust for their long term support and interest. Thanks are also due to the many generous sponsors, donors, institutions and individuals whose support enables us to present the variety and quality of work that is featured. Last but by no means least, I would like to put on record our thanks to donors and sponsors of Young Friends, the Festival Donation Scheme, the Student Ticket Scheme, and the New Works Scheme, all of which go towards ensuring a future for the arts in this city.

Most of all, I would like to thank you for your presence. Festival audiences are critical to the Festival’s success, and I hope that you will find the time that you spend at the Festival entertaining and memorable.

歡迎閣下蒞臨第43屆香港藝術節。

國際婦女年 40 週年之際，為頌揚撐起 半邊天的女性，本屆香港藝術節為您呈 獻多位熠熠生輝的演藝天后；同時在歌 劇、音樂、戲劇和舞蹈作品中，亦涵蓋 豐富的女性故事，當中既有虛構也有紀 實，或講述女性所受的壓迫，或鼓舞她 們自強不息的精神。但我們並非重女輕 男，在本屆藝術節中亦不乏頂尖的男藝 術家，包括近年藝術比賽中冉冉升起的 年輕新星，聞名遐邇的藝術泰斗以及著 名頂級大師。

誠盼各位能暢懷享受藝術節的節目。我 謹代表香港藝術節團隊感謝您撥冗參與 這年度藝術盛事，也感謝本屆香港藝術 節表演和創作者、幕後工作人員，及所 有其他支持藝術節的人士。舉辦藝術節 所需的，不僅是一支團隊，更是一個廣 大的社群，我們非常高興您成為這個社 群的一份子。

It is a pleasure and privilege to welcome you to the 43rd Hong Kong Arts Festival.

This Festival is resplendent with brilliant Divas, marking the 40th anniversary of International Women’s Year and celebrating the half of humanity that holds up half the sky. It is replete with stories of women: in fiction and fact, in stories of oppression and empowerment, in opera, music, theatre and dance. And to maintain the balance of Yang and Yin, the Festival also features a splendid parade of Maestros: young talent crowned in recent competition, great artists of major stature, and doyens of established eminence.

We trust that you find much to enjoy, and thank you for making the time to be here. With the entire team, I would like to thank the wonderful performers and creators who take part in this Festival, the many people who work behind the scenes, and yet others who make contributions in so many different ways. It takes more than a team to make a Festival, it takes a community. We are very glad and grateful that you are part of this community.

Hong Kong Arts Festival (HKAF)

香港藝術節 於 1973 年正式揭幕，是國際藝壇中重要的 文化盛事，於每年 2 、 3 月期間呈獻約 140 場演出 及逾 250 項「加料」和教育節目 ，致力豐富香港的文化生 活。

香港藝術節是一所非牟利機構，2015年藝術節的年度預 算約港幣 1 億 1 千 2 百萬，當中接近三成來自香港特區 政府的撥款，約四成來自票房收入，而餘下的逾三成則 來自各大企業、熱心人士和慈善基金會的贊助和捐款。

香港藝術節 每年呈獻眾多 國際演藝名家 的演出，例如： 塞西莉亞．芭托莉、荷西．卡里拉斯、馬友友、菲力 普．格拉斯、庫特．馬素爾、列卡杜．沙爾、米高．巴 里殊尼哥夫、蕭菲．紀蓮、奇雲．史柏西、羅伯特．威 爾遜、皇家阿姆斯特丹音樂廳樂團、聖彼得堡馬林斯基 劇院、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、翩娜．包殊烏珀塔爾舞蹈劇場、雲門舞 集、星躍馬術奇藝坊、皇家莎士比亞劇團、柏林劇團及 中國國家話劇院等。

香港藝術節積極與本地演藝人才和新晉藝術家合作，每 年委約及製作多套由知名及新晉藝術家參與的全新戲 劇、室內歌劇、音樂和舞蹈作品，並同步出版新作劇 本，不少作品更已在香港及海外多度重演。

香港藝術節 大力投資下一代的 藝術教育 。「青少年之

友」成立23年來，已為逾700,000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、小學學生的藝術教育活動，並通過「學生票捐助計 劃」每年提供逾8,500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」 ，例如示範講座、大師班、工作坊、座談會、後 台參觀、展覽、藝人談、導賞團等，鼓勵觀眾與藝術家 互動接觸。

HKAF, launched in 1973, is a major international arts festival committed to enriching the life of the city by presenting about 140 performances and over 250 PLUS and educational events in February and March every year.

HKAF is a non-profit organisation. The estimated budget for the HKAF in 2015 is around HK$112 million, with just under 30% coming from government funding, around 40% from the box office, and over 30% from sponsorships and donations from corporations, individuals, and charitable foundations.

HKAF presents top international artists and ensembles , such as Cecilia Bartoli, José Carreras, Yo-Yo Ma, Philip Glass, Kurt Masur, Riccardo Chailly, Mikhail Baryshnikov, Sylvie Guillem, Kevin Spacey, Robert Wilson, the Royal Concertgebouw Orchestra, the Mariinsky Theatre, Bavarian State Opera, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch, Cloud Gate Dance Theatre, Zingaro, Royal Shakespeare Company, Berliner Ensemble, and National Theatre of China.

HKAF actively promotes Hong Kong’s own creative talents and emerging artists , and commissions, produces and publishes new works in theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas.

HKAF invests in arts education for young people . In the past 23 years, our Young Friends has reached over 700,000 secondary and tertiary school students in Hong Kong. A variety of arts education projects targeted at primary, secondary, and tertiary school students has been launched in recent years. Donations to the Student Ticket Scheme also make available more than 8,500 half-price student tickets each year.

HKAF organises a diverse range of Festival PLUS activities in community locations each year to enhance the engagement between artists and audiences. These include lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided tours.

6.3.2015

香港大會堂音樂廳 Concert Hall, Hong Kong City Hall www.hk.artsfestival.org

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演出長約 1 小時 40 分鐘，包括一節中場休息 Running time: approximately 1 hour and 40 minutes including one interval

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趙成珍

Seong - Jin Cho

趙成珍 1994 年生於南韓首爾，是當代數 一數二的年輕鋼琴家。六歲開始習琴，並 於 11 歲舉行首個獨奏會。2009 年，他以 15 歲之齡成為日本濱松國際鋼琴比賽歷 年最年輕冠軍，2011 年於莫斯科柴可夫斯 基國際鋼琴比賽獲獎，並於 2014 年亞瑟． 魯賓斯坦國際鋼琴大師賽獲獎。

趙成珍曾與多位指揮家及國際級樂團攜手

演出，包括格杰夫與馬林斯基樂團、馬捷

爾與慕尼黑愛樂樂團、雅諾夫斯基與柏林 廣播交響樂團、普雷特涅夫與俄國國家樂

團、普雷特涅夫與瑞士巴塞交響樂團、捷

克愛樂樂團以及 NHK 交響樂團等。

趙成珍亦曾於世界各地舉行獨奏會，當中

包括︰東京歌劇城音樂廳、聖彼得堡馬林 斯基劇院音樂廳及莫斯科音樂學院大演奏 廳。曾到訪的國家包括日本、德國、法國、

俄羅斯、波蘭、以色列、中國及美國。除 此之外，趙成珍更積極參與各地的音樂盛 事，例如俄羅斯聖彼得堡的白夜藝術節、

美國紐約國際鍵盤音樂節以及波蘭杜什尼 基茲德魯伊的蕭邦節。他亦以室樂樂手身 份於首爾的春季音樂節及韓國大關嶺音樂 節等演出。

趙成珍自 2012 年赴巴黎入讀國立高等音 樂舞蹈學院，隨著名鋼琴大師米素．貝洛 夫修習鋼琴。

簡歷中譯 伍穎妍

Born in 1994 in Seoul, South Korea, Cho has established himself as one of the foremost pianists of his generation. He began to play the piano at six and gave his first public recital at 11. At the age of 15, he won the first prize at Hamamatsu Competition 2009 in Japan, as the youngest winner in the history of the competition. He was also a prize-winner at the International Tchaikovsky Competition 2011 and the Arthur Rubinstein International Piano Master Competition 2014.

Cho has performed with orchestras such as Mariinsky Theatre Symphony Orchestra (Valery Gergiev), Munich Philharmonic Orchestra (Lorin Maazel), RundfunkSinfonieorchester Berlin (Marek Janowski), Russian National Orchestra (Mikhail Pletnev), Basel Symphony Orchestra (Mikhail Pletnev), Czech Philharmonic Orchestra, NHK Symphony Orchestra, among others.

He has given recitals in prestigious venues including the Tokyo Opera City Hall, St. Petersburg Mariinsky Theatre Concert Hall and the Great Hall of the Moscow Conservatory. He has toured Japan, Germany, France, Russia, Poland, Israel, China, and the US, and performed in numerous music festivals including The Stars of the White Night Festival in St. Petersburg (Russia), International Keyboard Institute and Festival (US), and Chopin Festival in Duszniki-Zdroj (Poland). As a chamber musician he has performed in Seoul Spring Festival and Great Mountains Festival, among other events.

Since 2012, Cho has been a student at the Conservatoire National Suprieur de Musique et de Danse de Paris and resides in Paris. He is currently studying with Michel Beroff, a noted pianist.

莫扎特

降 B 大調鋼琴奏鳴曲， K281

快板

充滿愛意的行板

小廻旋曲：快板

舒伯特

降 B 大調第三即興曲，作品 142， D935

F 小調第四即興曲，作品 142， D935

李斯特

F 小調第十超技練習曲

蕭邦

F 大調第二敘事曲，作品 38

降 B 小調第二鋼琴奏鳴曲，作品 35

緩板 – 雙倍速度

諧謔曲

葬禮進行曲：緩慢地

終曲：急板

降 B 小調第二諧謔曲，作品 31

是晚演出曲目及次序或有更改

Pieces and their order of performances are subject to change 曲目 Programme

Wolfgang Amadeus Mozart ( 1756- 1791)

Piano Sonata in B-flat, K281

Allegro

Andante amoroso

Rondeau: Allegro

Franz Schubert ( 1797- 1828)

Impromptu D935, Op 142, No 3 in B-flat

Impromptu D935, Op 142, No 4 in F minor

Franz Liszt ( 1811- 1886)

Transcendental étude No 10 in F minor

中場休息 Interval

Frédéric Chopin ( 1810- 1849)

Ballade No 2 in F, Op 38

Piano Sonata No 2 in B-flat minor, Op 35

Grave – Doppio movimento

Scherzo

Marche funèbre: Lento

Finale: Presto

Scherzo No 2 in B-flat minor, Op 31

莫扎特：降 B 大調鋼琴奏鳴曲， K281

Mozart: Piano Sonata in B-flat, K281

降 B 大調鋼琴奏鳴曲， K281 約於 1774 至 1776 年間創作。莫扎特在 1777 年與父親 的書信中，提到他在巴黎及奧格斯堡等 城市巡迴表演時，親自演奏了從 K279 至 K284 的整套六首奏鳴曲。信中亦寫到作 曲家對於運用「彈性速度」的觀點：「在 慢板樂章中，左手應該建立嚴謹的節奏 感，好讓右手來跟隨。」

許多莫扎特演繹者的演奏當中，都可見 「彈性速度」的運用帶出第二樂章〈充 滿愛意行板〉中的抒情效果。這個頗為 不尋常的標題，其實反映了作曲家對一 位女士的傾慕。愛意並非只顯露在標題 上，更在音樂上，從起首 3 / 8 拍子的三 度和弦樂句中，及後來以 16 分音符組成 的三連音，以至樂章結束前富有安撫性 的低音段落，都加深刻畫這種愛意。另 一方面，首樂章〈快板〉，以及尾樂章 〈小迴旋曲：快板〉，分別都展現出輕鬆、 細緻而靈巧的魅力。

The date of composition of Mozart’s Piano Sonata in B-flat, K281 lies between 1774 and 1776. In a letter written to his father in 1777, Mozart mentioned he had himself performed the whole set of six sonatas from K279 to K284 during a journey covering Paris and Augsburg. He also wrote about his ideas in articulating tempo rubato, that "in a slow movement, the left hand should play in strict time, followed by the right hand."

As shown by many Mozart interpreters, this kind of tempo rubato enhances particularly the lyricism in the second movement of the piano sonata K281. This movement is unusually entitled Andante amoroso , the expression intended to hint at a lady who the composer was in love with. This amorous mood does not only live in the title. The passage with consecutive thirds in 3/8 time at the beginning already symbolises the harmonious company. The feeling is deepened by the triplets of semiquavers, and by the final calming gesture in the bass just before the end. Both the first movement, Allegro, and the finale, Rondeau: Allegro , displays crisp, light character, with delicate wit and charm.

舒伯特：降

B 大調第三即興曲，作品 142 ， D935

Schubert: Impromptu D935, Op 142, No 3 in B-flat

舒伯特寫下的兩組（每組四首）即興曲 在他離世十年後才出版。相對於鋼琴奏 鳴曲式，舒伯特的即興曲通常帶有較為 憂鬱的主題，再透過不同氣氛，呈現起 伏變化的情緒。第二組當中的降 B 大調 第三即興曲，作品 142， D935，主題源 自於作品《羅莎蒙特》的間奏曲。這個 優雅而平靜的主題，以變奏曲的形式展 示其不同的面貌，運用了細分節奏及各 種類型的裝飾音。最後，主題莊嚴地重 現，把樂曲帶到終結。

It was only ten years after Franz Schubert's death that the complete two sets (four pieces each) of impromptus were published. Compared to the sonata form, the main themes of Schubert's Impromptus tend to be more melancholic, which are then taken into journeys of varieties of moods and more volatile episodes. The theme of Impromptu D935, Op 142, No 3 in B-flat is taken from the wellknown tune of the entr'actes from Rosamunde. This calm and elegant theme is subjected to a series of variations, with graceful decorations and florid embellishments of increasing subdivision in rhythms. It ends with a solemn reiteration of the theme.

舒伯特： F 小調第四即興曲，作品 142 ， D935

Schubert: Impromptu D935, Op 142, No 4 in F minor

F 小調第四即興曲，作品 142， D935 具 有活力充沛的調性，樂曲的發展呈現突 破性的調性轉移，如降 A 小調。而在激 烈的樂曲結尾之前，一段和聲律動較慢、 有懸疑性及沉思性的樂句，令樂曲回到 了比較典型的舒伯特即興曲風格。此外， 這首第四即興曲比其他舒伯特即興曲的 技巧性要求更高。

The Impromptu D935, Op 142, No 4 in F minor has a lively character from the start. There are bolder modulations to remote keys such as the A-flat minor. Before the vigorous coda, there is a striking passage of suspended slow moving harmonies which brings us into a sombre mood, a reminder of the more typical character of Schubert’s Impromptu. Apart from that, this final impromptu is technically demanding than the other pieces written by Schubert in the whole two sets.

李斯特： F 小調第十超技練習曲

Liszt: Transcendental étude No 10 in F minor

神童李斯特年僅 20 歲就寫下 12 首超技 練習曲，秉承了他的老師徹爾尼在鋼琴 練習曲上的貢獻。這 12 首練習曲運用了 當時所有為人認知的鋼琴技巧。另一位 作曲家白遼士曾經這樣寫道：「李斯特 的這些練習曲是為自己而寫的，難度極 高，再沒有任何人可以誇口說自己能嘗 試演奏這些曲目！」

熱情的 F 小調第十超技練習曲〈極激烈 的快板〉是以正規的奏鳴曲式寫成。兩 個主題的性格和調性都有強烈對比。發 展部運用強烈的八度重複音，加上複雜 的和弦和激揚的調式都體現了李斯特以 和聲與對比的手法所體現的張力，展現 出音樂的戲劇性。

As a composer just reaching his 20s, the young prodigy Franz Liszt wrote 12 studies in the manner of his teacher Czerny. These highly virtuosic pieces explored all known devices of piano techniques of his time. The composer Berlioz wrote, "Liszt created these pieces for himself to play and no one else in the world should flatter himself that he could even begin to perform it."

The passionate Transcendental é tude No 10 in F minor, Allegro agitato molto , is written in the standard sonata form with two thematic elements strongly contrasted in character and tonality. There are dramatic repeating notes in octaves at the development session, together with complex chordal and turbulent pianistic passages. It shows the typical way that Liszt creates musical drama, heightened by harmonic tensions and juxtapositions.

蕭邦： F 大調第二敘事曲，作品 38

Chopin: Ballade No 2 in F, Op 38

比起奏鳴曲所要求的短小精煉的動機性 主題而言，蕭邦在創作上的強項更體現 在較長抒情性的樂句。不少學者指出蕭 邦的敘事曲有標題性，而且從波蘭詩人 米奇域茲的詩得到創作靈感，可是作曲 家本身則強調純音樂美學的創作意圖。 他一共寫了四首敘事曲，其中 F 大調第 二敘事曲，作品 38 在 1836 至 1839 年間 寫成。對於這首曲是否具標題性，各人 見解不一。旋律由寧靜的 F 大調主題， 轉成為激情的 A 小調，再者，中段樂 曲的戲劇性發展及獨特的寧靜諧謔曲氣 氛，促使音樂學者聯想到詩人米奇域茲 的詩中描繪的神秘而美麗的湖。

Developing the form of the Ballade, Frédéric Chopin demonstrates his strength in long lyrical melodic lines rather than short themes demanded by sonatas. Though some scholars claimed that his Ballades are programmatic and inspired by poems of the Polish poet Mickiewicz, the composer has rather clearly shown his intention of going after the aesthetics of pure music. He wrote four Ballades, and Ballade No 2 in F major, Op 38, written between 1836 and 1839, has particularly aroused diverse views over whether it is programmatic or not. It is mainly due to the transformed tonality from F major to A minor, both in the ferocious middle section and towards the end. In addition, the tranquil beginning is claimed to be depicting the mysterious beauty of a lake in one of Mickiewicz's poems.

蕭邦：降 B 小調第二鋼琴奏鳴曲，作品 35

Chopin: Piano Sonata No 2 in B-flat minor, Op 35

蕭邦寫的降 B 小調第二鋼琴奏鳴曲，作 品 35，四個樂章皆十分成功地平衡了在 音樂結構上的革命精神和詩意。於 1839 年完成作品之時，蕭邦已經是一位能大 膽地創作極富想象力的作品的鋼琴作曲 大師。這一點可以從他如何巧妙地在作 品中糅合了截然不同的主題元素而得到 證明。正如在奏鳴曲首樂章召喚性的開 首和激揚的主題，瞬間就轉為非常有詩 意、深沉而含蓄的第二主題。次樂章具 諷刺意味的〈諧謔曲〉則穿插了轉為大 調的中段，輕柔而閃爍中卻依然帶着半 點憂傷。

而作品中一直隱含着的幽暗的基調，最 終由第三樂章的〈葬禮進行曲〉顯露出 來。此樂章比其餘樂章早兩年完成，也 是改革奏鳴曲最廣為人知的例子。模仿 鼓鳴及鐘響的葬禮進行曲餘韻中，樂曲 苦中帶甜的中段轉成大調，帶領聽眾進 入似夢非夢的境界，彷彿是對過去美好 回憶的緬懷。剎那間，從甜美的幻境回 到進行曲的行列當中，然後迅速被捲入 終曲的漩渦中。無窮動的節奏，有如一 股強風捲走一切如落葉般的回憶。鋼琴 家魯賓斯坦曾生動地描繪這個樂章如 「教堂後園墓地夜裏捲起的一陣狂風」。

The intricate balance between poeticism and revolutionary spirit in formal structure permeates throughout all four movements of Chopin's second piano sonata. By the time Chopin completed the whole sonata in 1839, he had established himself as an utterly imaginative and daring composer on the piano. This is shown by the enigmatic joining of the most incongruous elements in his Piano Sonata No 2 in B-flat minor, Op 35. In the first movement, the opening declamatory call and turbulent theme is followed immediately by the poetically muffled and pensive second theme. The ironic Scherzo is also intervened by a gently shimmering trio, which, even in the major key, still rings with a touch of sadness in its character.

But the grimness undertone, as the unifying factor of the whole sonata, is finally confirmed by the Marche funèbre of the third movement, written two years before the rest of the sonata. This movement is perhaps one of his most famous works that transforms the sonata as a rigid form to music with universal significance. After the dark sonic imitation of the drumbeats and tolling bells of the funeral march, the bitterly sweet middle section in the major key comes upon us like a brief glimpse into the landscape of the dream, or the recollection of the nostalgia. The finale sweeps away any trace of recollection like fallen leaves blown away by whirlwind. It is in the form of moto perpetuo without any break. The pianist Rubinstein has quite vividly described it as "night winds sweeping over church-yard graves".

蕭邦：降 B 小調第二諧謔曲，作品 31

Chopin: Scherzo No 2 in B-flat minor, Op 31

以富幻想性的形式，將本質迥異的音樂 元素糅合起來的手法，在蕭邦的降 B 小 調第二諧謔曲，作品 31 中得到充分體現。 樂曲先由激烈的樂句展開，如一問一答 的對話，召喚聽眾加入狂熱的華爾茲舞 曲。進入了中段，樂曲呈現截然不同的 安逸恬靜。但不久，開首澎湃的華爾茲 舞曲再次呈現，狠狠地打破了中段帶來 的安逸氣氛。末段本來似是重複首段的 音樂材料，作曲家卻巧妙地在重複的段 落加上變奏，其才華與高超的技巧充分 體現。最後樂曲在燦爛的連續句後猝然 告終。

An ingenious unison of incongruous elements, the Scherzo No 2 in B-flat minor, Op 31, which starts with a vigorous passage in the form of question and answer as if to summon the listener to join a menacing waltz. The calm central intermezzo is, however, contrastingly tranquil. It is soon abruptly destroyed by the re-appearance of the explosive waltz elements from the beginning. Chopin demonstrates his wit and virtuosity by ensuring the repetition in the last section remains not just repetition but with discreet variations, leading to a splendid stretto towards an abrupt ending.

樂曲介紹 葉劍豪 Programme notes by Kim- Ho Ip

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

節目查詢熱線 Programme Enquiry Hotline: 2824 2430

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.

Programme Calendar

節目時間表

粵劇《鴛鴦淚》

◤ 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

◤ 寶格麗璀璨妙韻 The Bulgari Stage for Voices of Women

歌劇 / 戲曲 OPERA / CHINESE OPERA

藝術總監：李奇峰 Cantonese Opera - Lovers' Tears Artistic Director: Danny Chi Kei Li

經典復興：粵劇戲寶傳承篇

藝術總監：李奇峰 Classics Revisited: Cantonese Opera Treasures Artistic Director: Danny Chi Kei Li

莫斯科大劇院歌劇團《沙皇的新娘》

音樂及文本：林姆斯基-高沙可夫 The Bolshoi Opera - The Tsar’s Bride Music and Libretto: Nikolai Rimsky-Korsakov

賽馬會本地菁英創作系列 《大同》

文本：陳耀成 作曲：陳慶恩

導演：鄧樹榮 指揮：廖國敏

香港藝術節委約及製作

浙江小百花越劇團

新版《梁山伯與祝英台》

團長：茅威濤 導演：郭小男

浙江小百花越劇團

《二泉映月》

團長：茅威濤 導演：郭小男

浙江小百花越劇團

《五女拜壽》

團長：茅威濤

Jockey Club Local Creative Talents Series Datong: The Chinese Utopia Libretto: Evans Chan Music: Chan Hing-yan Director: Tang Shu-wing Conductor: Lio Kuokman Commissioned and produced by Hong Kong Arts Festival

Zhejiang Xiaobaihua Yue Opera Troupe The New Butterfly Lovers Artistic Director: Mao Weitao Director: Guo Xiaonan

Zhejiang Xiaobaihua Yue Opera Troupe The Moon Doubled in the Second Spring Artistic Director: Mao Weitao Director: Guo Xiaonan

Zhejiang Xiaobaihua Yue Opera Troupe Five Daughters Offering Felicitations Artistic Director: Mao Weitao

Cl ASSICAl MUSIC

泰利曼與德累斯頓國家管弦樂團 Christian Thielemann and the Staatskapelle Dresden

香港中樂團「樂旅中國 IX」

爵士樂/世界音樂 Jazz / World Music

世界音樂週末營-韓風樂韻 World Music WeekendKorean Music - Jeong Ga Ak

世界音樂週末營韓國清唱 X 佛蘭明高跨界音樂會 情歌樂會與拉米加斯女子樂團成員 World Music WeekendPansori meets Flamenco Jeong Ga Ak Hoe & musicians from Las Migas

粉紅馬天尼 Pink Martini

戲劇 THEATRE

貝克特三部曲 《非我》/《落腳聲》/《搖籃曲》 導演：沃爾特．阿斯姆斯 演出：莉莎．德萬

《打擂台》

25/3 7:30pm

指揮：閻惠昌 Hong Kong Chinese Orchestra - Music about China IX Conductor: Yan Huichang CHCH 28/2 8:00pm

威廉 克里斯蒂、庭院之聲學院

獨唱家與繁花古樂團

William Christie and Le Jardin des Voix Academy Soloists with the Orchestra of Les Arts Florissants CHCH 3/3 8:15pm

馮大維鋼琴獨奏會 David Fung Piano Recital STA 5/3 8:00pm

法比奧 比昂迪小提琴演奏會

古鍵琴：鮑娜．龐塞 Fabio Biondi Violin Recital Paola Poncet, harpsichord APAC 6/3 8:15pm

趙成珍鋼琴獨奏會 Seong-Jin Cho Piano Recital CHCH 6/3 8:15pm

歐洲嘉蘭古樂團

音樂總監 / 小提琴：法比奧．比昂迪 Europa Galante Music Director / Violin: Fabio Biondi CHCH 7/3 7:30pm

滙豐《弦繫香港》音樂會

香港中樂團 指揮：閻惠昌 HSBC A Hong Kong Story Concert Hong Kong Chinese Orchestra Conductor: Yan Huichang CCCH 12/3 8:00pm

米凱．路迪與馬克．夏卡爾 《音樂的色彩》 Mikhail Rudy & Marc ChagallThe Sound of Colours

杜希金三重奏

13/3 14/3 15/3 8:00pm 8:15pm 3:00pm

鋼琴：馮大維 小提琴：金珍秀 大提琴：金約拿 Trio Dushkin David Fung, piano Dennis Kim, violin Jonah Kim, cello CHCH 13/3 8:15pm

杜達美與洛杉磯愛樂樂團 Gustavo Dudamel and the Los Angeles Philharmonic CCCH 19, 20/3 8:00pm

聲音劇場 藝術總監：保羅．希利亞

《新與舊的家庭觀》

《帕特 80 x 8 》慶祝帕特 80 生辰音樂會

卡華高斯與佩斯音樂會

Theatre of Voices Artistic Director: Paul Hillier Family Values - Old and New Arvo Pärt – 80 by 8, Pärt at 80 celebration concert CHCH 25/3 26/3 8:00pm 8:00pm

小提琴：卡華高斯 鋼琴：佩斯 Kavakos and Pace Recital Leonidas Kavakos, violin; Enrico Pace, piano CCCH 27/3 8:00pm

香港小交響樂團與曼高娃

音樂總監 / 指揮 : 葉詠詩 鋼琴：曼高娃 Hong Kong Sinfonietta & Plamena Mangova Music Director / Conductor: Yip Wing-sie Piano: Plamena Mangova CHCH 28/3 8:00pm

狄杜娜朵《戲劇女王》

音樂總監 / 小提琴：德米特里．辛柯夫斯基 與金蘋果古樂團聯合演出 Joyce DiDonato: Drama Queens Music Director / Violin: Dmitry Sinkovsky With Il Pomo d’Oro CCCH 6/5 8:00pm

爵士樂/世界音樂 Jazz / World Music

赤腳女聲 Barefoot Divas CCCH 7/3 ◤ 8:00pm

波比．麥非年 spirityouall Bobby McFerrin - spirityouall CCCH 13/3 ◤ 14/3 8:00pm 8:00pm

卡珊卓．威爾遜 Cassandra WilsonComing Forth By Day: A Celebration of Billie Holiday

世界音樂週末營-拉米加斯女子樂團

佛蘭明高音樂 World Music Weekend - Las Migas Flamenco

Three short Samuel Beckett plays Not I / Footfalls / Rockaby Director: Walter Asmus Performer: Lisa Dwan

導演：亞歷山大．戴夫連特 Ontroerend Goed and The Border Project

Fight Night Director: Alexander Devriendt

合拍劇團《獅子男孩歷險記》

導演：克萊夫．孟度斯 及 詹姆士．伊特曼 Complicite - Lionboy Director: Clive Mendus & James Yeatman

紙影院《奧德賽漂流記》 藝術總監及紙偶師：尼古拉斯．羅寧

音樂總監：克里斯多夫．里德

都柏林城門劇院《傲慢與偏見》

改編：詹姆斯．麥克斯韋

導演：艾蘭．斯坦福

小偶影院《雞蛋星球》

藝術總監 / 演出：茨維．薩哈爾

The Paper Cinema's Odyssey Artistic Director & Puppeteer: Nicholas Rawling Musical Director: Christopher Reed

The Gate Theatre - Pride and Prejudice Adapted by James Maxwell Revised and Directed by Alan Stanford APAL

PuppetCinema - Planet Egg Artistic Director / Performer: Zvi Sahar

甘迪尼雜技團《落地開花》 Gandini Juggling - Smashed CCST 17-21/3 22/3 8:15pm 3:00pm & 8:15pm

新銳舞台系列 :《烏合之眾》

編劇：喻榮軍 導演：鄧偉傑

香港藝術節委約，與上海話劇藝術中心聯合製作

《金蘭姊妹》

編劇 / 製作顧問：李恩霖 編劇：黃詠詩 導演：司徒慧焯 香港藝術節委約及製作

星耀佛蘭明高

演出：安東尼奧．卡納萊斯、卡諾斯．羅德 里基、赫蘇斯．卡蒙納、卡林美．阿馬亞

New Stage Series: The Crowd Playwright: Nick Yu Director: Tang Wai-kit Commissioned by Hong Kong Arts Festival, Co-produced with the Shanghai Dramatic Arts Centre CCST 27/3 28-29/3 8:15pm 3:00pm & 8:15pm

The Amahs Playwright / Production Consultant: Roger Lee Playwright: Wong Wing-sze Director: Roy Szeto Commissioned and produced by Hong Kong Arts Festival CHT 28/2; 1, 3-8, 10-15/3 1, 7, 8, 14/3 8:00pm

舞蹈 DANCE

Gala Flamenca

Performers: Antonio Canales, Carlos Rodríguez, Jesús Carmona, Karime Amaya

亞太舞蹈平台(第七屆) 驫舞劇場《兩男關係》；芮孝承《足跡》 Asia Pacific Dance Platform VII HORSE: 2 Men; Hyoseung Ye: Traces

荷蘭國家芭蕾舞團《仙履奇緣》 編舞：克里斯多夫．惠爾頓

香港賽馬會當代舞蹈平台

節目一編舞：李思颺及王丹琦、盤偉信 節目二編舞：馮樂恒、黃靜婷 節目三編舞：曹德寶、李德、徐奕婕、 黃俊達、黃翠絲、黃碧琪、袁勝倫 香港藝術節委約及製作

莫斯科大劇院芭蕾舞團《巴黎火焰》 編舞：阿列克塞．羅曼斯基 現場伴奏：莫斯科大劇院樂團

Dutch National Ballet - Cinderella Choreographer: Christopher Wheeldon

The Hong Kong Jockey Club Contemporary Dance Series Programme 1 by Justyne Li & Wong Tan-ki, Wayson Poon Programme 2 by Victor Fung, Chloe Wong Programme 3 by Hugh Cho, Li De, Ivy Tsui, Ata Wong, Tracy Wong, Rebecca Wong, Allen Yuan Commissioned and produced by Hong Kong Arts Festival

The Bolshoi Ballet - The Flames of Paris Choreographer: Alexei Ratmansky With the Bolshoi Orchestra

莫斯科大劇院芭蕾舞團《珠寶》 編舞：巴蘭欽 現場伴奏：莫斯科大劇院樂團 The Bolshoi Ballet - Jewels Choreographer: George Balanchine With the Bolshoi Orchestra

CCST

12-14/3 7:30pm

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

CCCH 香港文化中心音樂廳 Concert Hall, 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

CHT 香港大會堂劇院 Theatre, HK City Hall

APAL 香港演藝學院歌劇院 Lyric Theatre, HKAPA

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

APAD 香港演藝學院戲劇院 Drama Theatre, HKAPA

YMTT 油麻地戲院 Yau Ma Tei Theatre

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

STCA 沙田大會堂文娛廳 Cultural Activities Hall, Sha Tin Town Hall

YLTA 元朗劇院演藝廳 Auditorium, Yuen Long Theatre

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

電影 FILM

2, 8, 16/11/2014 《法老的女兒》The Pharaoh's Daughter

30/11; 6, 14/12/2014 《舞姬》La Bayadère 11, 17, 25/1 《愛之傳說》The Legend of Love 1, 7, 14, 15/3 《胡桃夾子》The Nutcracker 5, 11, 12, 18/4 《天鵝湖》Swan Lake 19/4; 9, 10/5 《羅密歐與茱麗葉》Romeo and Juliet 21, 27/6; 5/7 《伊凡大帝》Ivan The Terrible 歌劇/戲曲 OPERA / CHINESE OPERA

27/2-29/3

藝術節展覽：康有為面面觀 HKFA Exhibition:

Datong and The World of Kang Youwei 11/3 傳承粵劇經典 Passing the Torch in Cantonese Opera 13/3 執導現代歌劇 Staging a New Opera 15/3 歌劇作曲解碼 Composing for Datong 15/3 「新音樂．新構思」座談會 “New Music, Fresh Ideas”: a Discussion Hosted by Evans Chan 21/3 《沙皇的新娘》後台解碼 Designing The Tsar's Bride 21/3 《大同》演後談

Meet the Faces of Datong 22/3 烏托邦之後台解碼 Utopia Backstage 22/3 《大同：康有為在瑞典》放映座談會 Datong: The Great SocietyIn Search of a Modern Utopia 26/3 中國戲曲的視野 與茅威濤對談 Future of Chinese Opera 音樂 MUSIC

27/2 艾瑪的音樂之旅 Kapelle for Kids 27/2-29/3 「女．聲」攝影活動 "Voices of Women" Photography Campaign 28/2 德累斯頓國家管弦樂團大師班 Orchestra Masterclass by Staatskapelle Dresden 3/3 威廉．克里斯蒂與繁花古樂團大師班 Masterclass with William Christie and Les Arts Florissants

6/3 赤腳女聲 喜樂的泉源 Barefoot Divas – Living with Joy

7/3 相約法比奧．比昂迪 Meet Fabio Biondi

11/3 以樂為生 On Music as a Profession 12/3 杜希金三重奏：音樂道路的迷思

Trio Dushkin: A Case Study on Today's Working Musicians

13/3 杜希金三重奏演前導賞及示範

A Listening Guide to the Shostakovich and Tchaikovsky Trios by Trio Dushkin

14/3 波比．麥非年大師班

The Bobby McFerrin Masterclass

14/3 與米凱．路迪對話

In Dialogue with Mikhail Rudy 15/3 邂逅 Lady Day Lady Day Live

音樂 MUSIC

16/3 米凱．路迪鋼琴大師班

Piano Masterclass with Mikhail Rudy 20/3 洛杉磯愛樂主席兼行政總裁 博爾達分享藝術管理心得

Meeting Deborah Borda - President and CEO of Los Angeles Philharmonic 27/3 佛蘭明高的韻律 Flamenco, The Rhythm 28/3 卡華高斯小提琴大師班 Violin Masterclass by Leonidas Kavakos 28/3 當韓國清唱遇上佛蘭明高 When Pansori Meets Flamenco

舞蹈 DANCE

25/2

佛蘭明高舞蹈之談 Flamenco, The Dance 28/2 佛蘭明高舞蹈工作坊 Dance Flamenco 2/3 驫舞劇場舞蹈工作坊

Dance Workshop with HORSE 6/3 邂逅舞者：亞太舞蹈平台

Dialogue with Hyoseung Ye and HORSE 7/3 芮孝承舞蹈工作坊

Dance Workshop with Hyoseung Ye 13/3

再續《仙履奇緣》 Rebooting Cinderella 14/3

《仙履奇緣》的奇幻世界

The Magic of Cinderella 14/3

荷蘭國家芭蕾舞團大師班 Dutch National Ballet Masterclass 14, 15/3

與本地當代舞蹈家對談

The Hong Kong Jockey Club Contemporary Dance Series – Post-performance Dialogue 27/3

莫斯科大劇院芭蕾舞大師班 Mastering Ballet with the Bolshoi

戲劇 THEATRE

27/2

與德萬對話 In Conversation with Lisa Dwan 28/2 合拍劇團面面觀 Method and Process of Complicite 28/2

《打擂台》演後談 Fighting for Your Attention 1/3 媽姐的故事 The Amahs' Stories 2/3 《奧德賽漂流記》演後談 Behind the Odyssey 5, 12/3 《金蘭姊妹》演後談 Sisterhood of Old Hong Kong 6/3 《傲慢與偏見》演後談 Staging Pride and Prejudice 7/3

珍．奧斯汀的世界 The World of Jane Austen 12/3 《雞蛋星球》工作坊 Playing With Puppets? 13, 14, 15/3 《雞蛋星球》演後談 Landing on Planet Egg 18/3

小偶進社區（公開展演）

Puppetry Close to Home (Public Showcase) 19/3

解讀《落地開花》 Smashed Revealed 20/3

雜耍基礎工作坊 Juggling Fundamentals 21/3

香港藝術節戲劇論壇 The HKAF Theatre Forum 28/3 《烏合之眾》演後談 When is a Herd not a Herd?

電視特備節目 FESTIVAL ON TV 11, 18, 25/1; 1, 8/2

藝術節節目精選 Festival Programme Highlights