Sir John Eliot Gardiner and The Constellation Choir & Orchestra - 54th Hong Kong Arts Festival

約翰・艾略特・加德納爵士

與星宿合唱團及管弦樂團

Sir John Eliot Gardiner and The Constellation Choir & Orchestra

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

香港賽馬會主席 廖長江先生 GBM GBS JP

The Hon Martin Liao , GBM GBS JP

香港賽馬會主席廖長江先生獻辭

Message

by The Hon Martin Liao Chairman of The Hong Kong Jockey Club

自 1973 年香港藝術節創辦初期，香港賽馬會與旗下的慈善信託基金便一 直支持這項文化盛事。

藝術文化是馬會慈善工作的重點策略範疇之一。我們透過支持香港故宮 博物院、大館，還有世界級的展覽、活動和表演等等，致力豐富市民生 活，並將香港打造成為文化交流中心。

今年的香港藝術節精采紛呈。「香港賽馬會藝粹系列」今年載譽歸來， 呈獻世界級的精采演出，包括西班牙國家舞劇院為本屆藝術節揭幕的 《美麗的奧蒂羅》、由約翰．艾略特．加德納爵士聯同星宿合唱團及管弦

樂團演繹的合唱鉅作，以及捷克布爾諾國家歌劇院帶來的柴可夫斯基歌 劇《尤金．奧尼金》。

一如既往，我們將透過「賽馬會創藝科媒系列」，推動藝術與科技的跨 界融合。今屆的焦點節目為坂本龍一與「鐵皮鼓」共同創作的鋼琴獨奏 會《鏡：KAGAMI 》，以混合實境形式，讓觀眾穿梭於實體與數碼實境交織 的藝術空間。

此外，「賽馬會藝貫中西系列」將獻上亞里斯多芬筆下《利西翠妲》的中 文改編版演出，彰顯香港作為中外文化藝術交流中心的優勢，促進來自 海外、中國內地和香港的藝術家之間的跨文化協作。

「香港賽馬會學生專享節目」亦將為超過 3,000 名來自不同背景的年輕 人提供免費門票，讓其欣賞七指雜技團上演的《決鬥》。作品以競技運 動場為背景，糅合令人歎為觀止的編舞與雜技，重新演繹《羅密歐與茱 麗葉》的經典故事。

馬會能夠捐助不同的慈善與社區項目，包括對香港藝術節的長期支持， 有賴我們的獨特綜合營運模式。本會藉此提供世界級賽馬運動和有節 制體育博彩，帶來稅款、慈善捐款及就業機會，建設更美好的社會。

本人謹向香港藝術節協會致以誠摯祝賀，並祝各位表演者演出成功， 觀眾滿載而歸。

The Hong Kong Jockey Club and its Charities Trust are proud to have supported the Hong Kong Arts Festival since its inception in 1973.

Arts and culture is a key charity strategic focus of the Club. Through our support for the Hong Kong Palace Museum, for Tai Kwun, as well as for world-class exhibitions, events and performances, we seek to enrich quality of life and to promote Hong Kong as a hub for cultural exchange.

This year’s Hong Kong Arts Festival is no exception. The Hong Kong Jockey Club Series will once again be a major highlight, featuring La Bella Otero by the Ballet Nacional de España; choral masterpieces from The Constellation Choir and Orchestra led by Sir John Eliot Gardiner; and Tchaikovsky’s Eugene Onegin by the National Theatre Brno.

We will continue to support the fusion of arts and technology through the Jockey Club InnoArts Series. Taking centre stage will be piano recital KAGAMI by Ryuichi Sakamoto & Tin Drum, which blends physical and digital reality.

There will also be a Chinese-language adaptation of Aristophanes’ Lysistrata under the Jockey Club East-meets-West Series, which seeks to leverage Hong Kong’s strengths as a melting pot of Chinese and Western cultures to promote collaboration between artists from overseas, the Chinese Mainland and Hong Kong.

The Hong Kong Jockey Club Student Matinée Programme will present Duel Reality by The 7 Fingers, reimagining Romeo and Juliet in a sports arena featuring high-energy choreography and acrobatics. To enable young people from varied backgrounds to enjoy this unique production, we will also provide over 3,000 free tickets.

Like all our donations, the Club’s support for the Hong Kong Arts Festival is made possible by its unique integrated business model, through which it provides racing and sports entertainment and channels wagering demand into tax contributions, charity donations and employment opportunities.

With my warmest congratulations to the Hong Kong Arts Festival Society, and my very best wishes to performers and audiences for yet another memorable celebration of the arts.

約翰 · 艾略特

· 加德納爵士與星宿合唱團及管弦樂團

Sir John Eliot Gardiner and The Constellation Choir & Orchestra © Ben Ealovega

06.03.2026 / 8:00pm

香港文化中心音樂廳

Concert Hall, Hong Kong Cultural Centre

演出長約 2 小時 10 分鐘，包括一節中場休息

Approximately two hours and 10 minutes including one interval

封面照片 Cover Photographs

Sir Gardiner © Chris Christodoulou

Constellation Choir & Orchestra © Ben Ealovega

07.03.2026 / 8:00pm

香港文化中心音樂廳

Concert Hall, Hong Kong Cultural Centre

演出長約 1 小時 55 分鐘，不設中場休息

Approximately one hour and 55 minutes with no interval

藝術節加料節目

※ 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.

香港賽馬會慈善信託基金、香港賽馬會、其各自關聯公司或任何參與彙編此 載內容或與彙編此載內容有關的第三方（統稱「馬會各方」）皆無就內容是 否準確、適時或完整或使用內容所得之結果作任何明示或隱含的保證或 聲明。任何情況下，馬會各方皆不會對任何人或法律實體因此載內容而作出 或沒有作出的任何行為負上任何法律責任。

None of The Hong Kong Jockey Club Charities Trust, The Hong Kong Jockey Club, their respective affiliates or any other person involved in or related to the compilation of the contents herein (collectively, “the HKJC Parties”) makes any express or implied warranties or representations with respect to the accuracy, timeliness or completeness of the contents or as to the results that may be obtained by the use thereof. In no event shall any HKJC Party have any liability of any kind to any person or entity arising from or related to any actions taken or not taken as a result of any of the contents herein.

演前講座 Pre-Performance Talk

06.03.2026 （已舉行 Past event）

研討會 Seminar

巴赫與沃土——傾聽自然的奧秘 Music and the Land Bach and the Ecology of Listening 08.03.2026（額滿 Full）

本節目內容及本刊物所載之藝術家 / 客席撰文者言論屬於個人觀點，並不代 表香港藝術節(「本會」)之立場或意見。

The content of this programme and the opinions featured in this publication are solely those of the artists/guest writers and do not represent the views or opinions of the Hong Kong Arts Festival (“HKAF”).

為免影響演出，持票人士務請準時入場。本會有權不讓於演出開始後或中 場休息後遲到和在演出期間中途離場的觀眾重新入場。

Ticket holders are strongly advised to arrive punctually. The HKAF reserves the right to refuse the (a) admission of latecomers (whether at the beginning of the performance or after the intermission) and (b) re-admission of audience members who leave the auditorium during the performance.

本會有權決定觀眾（包括遲到和中途離場的觀眾）入場和重新入場的可能性 及方式。

The HKAF also reserves the right to determine the possibility of admission and re-admission of audience members (which includes latecomers and audience members who have left the auditorium and are seeking re-admission), as well as the manner in which they are admitted.

在任何情況下，若本會允許遲到者入場，該等遲到者只能在指定的遲到點 入場。持票人士如因遲到而不獲安排入場，本會恕不退票或換票。如有任 何爭議，本會保留最終決定權。

In any case, should the HKAF permit the admission of latecomers, such latecomers shall only be admitted at designated latecomer point(s). No refunds or changes will be offered if ticket holders are refused admission due to late arrival. In the event of any dispute, the HKAF reserves all rights to make the final decision.

指揮

約翰．艾略特．加德納爵士

約翰．艾略特．加德納爵士是當今古典音 樂界的代表人物，並以具創新精神的鑑古 演奏方式而聞名。2024 年 9 月，他成立了 斯普林希爾藝薈，並帶領旗下的星宿合唱 團及管弦樂團於同年 12 月展開國際巡演。

2025 / 26 樂季，星宿合唱團及管弦樂團展 開多場歐洲巡迴演出，並於 2026 年 3 月首 度赴亞洲巡演。

作為蒙特威爾第合唱團、英國巴羅克獨奏 家合奏團以及革命與浪漫樂團的創辦人兼 時任藝術總監，加德納爵士可 說 是古樂復 興運動的領軍人物之一。作 為 指揮，他亦 經常與倫敦交響樂團、維也納愛樂樂團、 柏林愛樂樂團及荷蘭皇家音樂廳管弦樂團 等頂尖樂團合作，更與荷蘭皇家音樂廳管 弦樂團灌錄了布拉姆斯的交響曲全集，並 由德意志留聲機公司於 2025 年發行。

加德納爵士的錄音涵蓋了從莫扎特、舒曼、 白遼士、艾爾加、庫爾特．魏爾，以至文藝 復興與巴羅克時期的大師作品，曲目極 為 多元。其重要成就包括他於 2000 年展開的 「巴赫清唱劇朝聖之旅」，以及於 2011 年榮 獲留聲機特別成就獎。加德納不僅是獲最多 留聲機唱片大獎的在世藝術家，更兩度獲得 格林美獎以及其他多項殊榮，如 1998 年獲英 女王伊利沙白二世授予爵士勳銜和 2011 年獲 頒法國榮譽軍團勳章。

加德納爵士的指揮足跡遍佈全球各個重要表 演場地及藝術節，包括薩爾斯堡、柏林、琉 森音樂節，以及紐約卡内基音樂廳與倫敦皇 家艾伯特音樂廳。加德納爵士亦曾在各大劇 院指揮歌劇演出，如維也納國家歌劇院、米 蘭史卡拉歌劇院、巴黎喜歌劇院與倫敦皇家 歌劇院等。他在 1983 至 1988 年間擔任里昂 歌劇院藝術總監一職，並協助歌劇院成立其 全新管弦樂團。

Conductor

Sir John Eliot Gardiner

Sir John Eliot Gardiner is a leading figure in today’s classical music scene, renowned for his innovative, historically informed approach. In September 2024, he founded Springhead Constellation, including The Constellation Choir & Orchestra, which toured major venues worldwide that December. The 2025/26 season sees the ensembles embark on diverse European tours as well as a debut tour to Asia in March 2026.

As the founder and Artistic Director of the Monteverdi Choir, the English Baroque Soloists and the Orchestre Révolutionnaire et Romantique, Gardiner helped shape the Early Music revival. He regularly conducts top ensembles such as the London Symphony Orchestra, the Vienna Philharmonic, the Berliner Philharmoniker and the Royal Concertgebouw Orchestra. With the latter, he recorded Brahms’CompleteSymphonies, released by Deutsche Grammophon in 2025.

Gardiner’s discography spans from Mozart, Schumann, Berlioz, Elgar, to Kurt Weill as well as Renaissance/Baroque masters. Notable achievements include the Bach Cantata Pilgrimage project (2000) and the Gramophone Special Achievement Award (2011). He has received more Gramophone Awards than any other living artist, won two Grammys and has received numerous honours, including a knighthood from Queen Elizabeth II in 1998 and the French Legion of Honour in 2011.

Gardiner has performed regularly at the world's major venues and festivals, including the Salzburg, Berlin and Lucerne festivals, Carnegie Hall and the Royal Albert Hall. Gardiner has conducted opera productions at the Wiener Staatsoper, the Teatro alla Scala, the Opéra Comique in Paris and the Royal Opera House, among others. From 1983-88 he was Artistic Director of the Opéra de Lyon, where he founded its new orchestra.

星宿合唱團及管弦樂團

The Constellation Choir & Orchestra

星宿合唱團及管弦樂團由約翰．艾略特．

加德納爵士於2024年8月創立，可 說 是其

畢生追求卓越音樂與創新精神的結晶。加

德納爵士在古典音樂界影響深遠，並憑藉

其革新演出與領導風格，將星宿合唱團及

管弦樂團塑造為藝術探索與跨領域創作的 指標。

有別於其他團體，星宿合唱團及管弦樂團 的選曲十分廣泛，其曲目涵蓋從巴羅克時

期至當代音樂的作品。樂團在秉承加德納 爵士對音樂傳統的深刻理解與尊重之餘， 亦不斷突破現代詮釋的界限，並致力於呈 獻一場又一場風格鮮明且技藝精湛的演出。

星宿合唱團及管弦樂團雲集了世界頂尖藝 術家與表演者，是斯普林希爾藝薈旗下的 重要部分。這個多元的創作集團集合了一

群有志於重塑二十一世紀藝術的音樂團

體、創意藝術家與創作者，而當中星宿合 唱團及管弦樂團更扮演着關鍵角色，透過 容易理解兼具吸引力與教育意義的演出， 引起跨越世代與地域的文化迴響。

星宿合唱團及管弦樂團開展了不少極具視 野的項目，並經常進行國際巡演，又透過

融匯音樂、藝術與環境保育的跨領域演 出，展現了非凡的靈活性和對藝術的不懈 堅持。

Founded in August 2024 by conductor Sir John Eliot Gardiner, The Constellation Choir & Orchestra (CCO) represents the culmination of a lifetime dedicated to musical excellence and innovation. Building on a legacy of transformative performances and pioneering leadership in the classical music world, Gardiner established the CCO as a beacon of artistic exploration and interdisciplinary creativity.

The CCO distinguishes itself by embracing a broad repertoire that spans from the Baroque era to contemporary music. This ensemble is committed to delivering performances with stylistic conviction and technical brilliance, reflecting Gardiner’s deep understanding and respect for musical traditions while also pushing the boundaries of modern interpretation.

Comprised of the finest international artists and performers, the CCO is part of the larger Springhead Constellation initiative. This vibrant collective integrates musical ensembles, creative artists and makers dedicated to re-defining 21st-century artistry. The CCO plays a central role in this mission, engaging audiences with accessible, educational and captivating performances that resonate across generations and geographies.

The CCO’s ambitious projects often tour globally, showcasing its versatility and dedication to artistic excellence by creating multidisciplinary events that explore the intersection of music, art and environmental stewardship.

星宿合唱團

The Constellation Choir

女高音 Soprano

Lenneke Ruiten *

Sam Cobb *

Helen Eastwood

Eloise Irving

Charlotte La Thrope

Rebekah Nießer-Jones

Emily Owen

Alison Ponsford-Hill

Daisy Walford

Amy Wood

女低音 Alto / 假聲男高音 Countertenor

Reginald Mobley *

Sarah Denbee *

Christie Cook

Iris Korfker

Simon Ponsford

Tania Murphy

男高音 Tenor

Gareth Treseder *

Jonathan Hanley *

Ben Alden

Graham Neal

Benedict Quirke

James Wells

男低音 Bass

Alex Ashworth *

Joseph Murphy *

Jack Comerford *

Peter Edge

David Stuart

Tom Unwin

06-07.03.2026

06.03.2026

星宿管弦樂團 The Constellation Orchestra

小提琴 Violin

Kati Debretzeni

Beatrice Scaldini

Dominika Fehér

May Kunstovny

Sophie Simpson

Rebecca Harris

Anne Schumann

Liz MacCarthy

Henrietta Wayne

Debbie Diamond

Håkan Wikström

Emily Dupere

中提琴 Viola

Fanny Paccoud

Lisa Cochrane

Oscar Holch

George White

大提琴 Cello

Kinga Gáborjáni ^

Catherine Rimer

Poppy Walshaw

低音大提琴 Double Bass

Val Botwright ^

Markus Van Horn

長笛 Flute

Rachel Beckett

David Westcombe #

雙簧管 Oboe

Michael Niesemann

Mark Baigent

Cait Walker #

巴塞管 Basset Horn

Emily Worthington #

Christine Foidl #

巴松管 Bassoon

Györgyi Farkas ^

Dóra Király

圓號 Horn

Anneke Scott

Joseph Walters #

小號 Trumpet

Neil Brough

Robert Vanryne

Michael Harrison

長號 Trombone

Miguel Tantos Sevillano #

Blair Sinclair #

James Buckle #

管風琴 Organ

James Johnstone ^

魯特琴 Lute

Thomas Dunford ^

定音鼓 Timpani

Robert Kendell

^ 通奏低音 Basso Continuo

# 只限 Only on 06.03.2026

# 只限 Only on 07.03.2026

女高音

倫妮卡．雷坦（3 月 6、7 日）

倫妮卡．雷坦先後於海牙皇家音樂學院與巴伐利亞戲 劇學院學習長笛與聲樂，並迅速躋身當代最炙手可熱 的女高音之列，其國際演藝事業涵蓋音樂會與歌劇 演出。

2023年2月，她榮獲阿姆斯特丹音樂廳頒授的 「艾莉．安美玲之戒」——此殊榮曾分別由傳奇女高 音艾莉．安美玲與低男中音羅拔．何納奪得。

雷坦即將參與的演出包括於哈勒姆愛樂音樂廳獻唱 彼高利斯的《聖母悼歌》、在漢堡國家歌劇院飾演史 特勞斯歌劇《拿索斯島的亞莉安妮》中的彩碧妮塔一 角，以及於歐洲、亞洲多個表演場地演繹莫扎特、布 拉姆斯、浦朗克與巴赫的經典作品。她曾與多位指揮 名家攜手，包括加德納爵士、馬克．明柯夫斯基與克 里斯蒂安．泰利曼；亦曾與維也納愛樂樂團、蒙特威 爾第合唱團及柏林古樂學院樂團等樂團同台演出。

Soprano

Lenneke Ruiten ( 6, 7 March)

Lenneke Ruiten studied flute and singing at the Royal Conservatory of The Hague and the Bayerische Theaterakademie. She quickly became one of today’s most sought-after sopranos, with an international career in concert and opera. In February 2023, she received the Elly Ameling Ring, awarded by the Concertgebouw Amsterdam and previously given to Elly Ameling and Robert Holl.

Ruiten’s upcoming engagements include Pergolesi’s StabatMater in Haarlem, Zerbinetta in Ariadneauf Naxos at the Hamburg State Opera, and major Mozart, Brahms, Poulenc and Bach works in venues across Europe and Asia. She has performed with conductors such as Sir John Eliot Gardiner, Marc Minkowski and Christian Thielemann, and with ensembles including the Vienna Philharmonic, the Monteverdi Choir and the Akademie für Alte Musik Berlin.

女高音 珊．戈布（3 月 6、7 日）

珊．戈布是一位來自英國伯明翰的女高音。她在倫敦 大學皇家霍洛威學院完成音樂學士學位，以及在伯明 翰大學完成音樂學碩士學位，目前正在海牙皇家音樂 學院攻讀早期音樂聲樂表演碩士學位。

她近期的獨唱演出包括與埃克塞特巴赫合唱團演出巴 赫 B 小調彌撒曲、與埃克塞特愛樂合唱團演出韓德爾 的《彌賽亞》，以及與和諧古樂團演出莫扎特 C 小調大 彌撒曲。作為一位合唱歌手，她曾與多個知名團體合 作，包括蒙特威爾第合唱團和瑪麗安合唱團等。

戈布是迴聲合唱團的創始成員之一，並持續與不同藝 術家合作，包括2025年春季在荷蘭國家歌劇院演出的 《狄多與依尼亞斯》。

Soprano

Sam Cobb (6, 7 March)

Sam Cobb is a British soprano originally from Birmingham. She is currently pursuing a Master’s degree in Early Music Vocal Performance at the Royal Conservatoire of The Hague, after completing her undergraduate degree in Music at Royal Holloway, University of London, and a Master’s in Musicology at the University of Birmingham.

Her recent solo engagements include Bach’s Mass in B minor with the Exeter Bach Choir, Handel’s Messiah with the Exeter Philharmonic Choir and Mozart’s Mass in C minor with Armonico Consort. As an ensemble singer, she has performed with acclaimed groups such as the Monteverdi Choir and the Marian Consort.

Cobb is a founding member of the Echo Vocal Ensemble and has collaborated with various artists, including a performance at the Dutch National Opera in Purcell’s DidoandAeneas in spring 2025.

假聲男高音

雷珍納．莫布利（3 月 6、7 日）

雷珍納．莫布利是獲格林美獎提名的美國假聲男高 音，其演藝足跡遍及歐美，並以詮釋巴羅克、古典 與現代作品見稱。作為多元化曲目的倡導者，他獲邀 成為韓德爾及海頓研究社成立二百年來的首位節目顧 問，並主持該研究社的「眾聲」社區參與計劃。莫布 利還同時負責帶領由英國藝術與人文研究委員會資助 的項目，聚焦多元文化背景的作曲家。

莫布利定期與多個知名樂團合作，如巴羅克愛樂樂 團、聖地牙哥巴赫古樂團和蒙特威爾第合唱團及管弦 樂團。其重要演出包括與日本巴赫古樂團及聖德尼藝 術節的合作演出；亮相英國廣播公司逍遙音樂會；以 及與維也納學院樂團、費雷堡巴羅克樂團及荷蘭巴羅 克樂團合作演出。

Countertenor

Reginald Mobley (6, 7 March)

Reginald Mobley is a Grammy-nominated American countertenor renowned for interpreting Baroque, classical and modern repertoire across the USA and Europe. An advocate for diversity in programming, he was the first Programming Consultant for the Handel and Haydn Society, and has led its Every Voice community engagement programme. He leads a project funded by the UK Arts and Humanities Research Council that focuses on composers from diverse backgrounds.

Mobley regularly appears with ensembles such as the Philharmonia Baroque Orchestra, the Bach Collegium San Diego and the Monteverdi Choir and Orchestra. His notable engagements include the Bach Collegium Japan and the Saint-Denis Festival; appearances at the BBC Proms; and collaborations with Wiener Akademie, Freiburger Barockorchester and the Holland Baroque.

女低音

莎拉．登比（3 月 7 日）

莎拉．登比先後於布里斯托大學及博洛尼亞大學取得 音樂及意大利語一級榮譽學士學位，並於倫敦聖三一 音樂及舞蹈學院取得碩士學位。她曾是格蘭特堡合唱 團的一員，其演藝生涯成就包括參演布萊特．迪恩歌 劇《哈姆雷特》世界首演，並在格蘭特堡歌劇節擔任 多個重要角色的替補。她曾獻聲於倫敦英國皇家歌劇 院、蘇格蘭歌劇團及英國格蘭奇歌劇節。

登比曾在合唱團擔任獨唱者並與多個團體合作，包括 星宿管弦樂團、英國巴羅克獨奏家合奏團、蘇格蘭室 樂團及倫敦交響樂團。近期，她更獲邀與西敏寺合唱 團同台，於英王查理斯三世與王后卡米拉的加冕典禮 獻唱。登比亦是專為視障音樂家而設的伊利沙白．伊 戈 - 博特獎得主。

Alto

Sarah Denbee (7 March)

Sarah Denbee gained first-class honours degrees in Music and Italian from the universities of Bristol and Bologna, and a Master’s from the Trinity Laban Conservatoire. She was a member of the Glyndebourne Chorus for a number of years, and her career highlights include singing in the world premiere of Brett Dean’s Hamlet, as well as covering several roles at Glyndebourne. She has worked at the Royal Opera House in London, the Scottish Opera and The Grange Festival in the UK.

Denbee has been a step-out soloist with The Constellation Orchestra, the English Baroque Soloists, the Scottish Chamber Orchestra, and the London Symphony Orchestra among others. She also recently sang at the coronation of King Charles III and Queen Camilla alongside the Westminster Abbey Choir. Denbee is a recipient of the Elizabeth Eagle-Bott Award for visually impaired musicians.

男高音 加里夫．卓思達（3 月 6 日）

威爾斯男高音兼作曲家加里夫．卓思達先後就讀於英 國布里斯托大學及卡迪夫皇家威爾斯音樂戲劇學院， 更憑藉其藝術成就，獲母校授予榮譽畢業生頭銜。近 期，他與星宿合唱團及管弦樂團合作演出，在孟德爾 頌的《仲夏夜之夢》中分飾巴頓與雷山德兩角，這部 製作更分別登上了樂斯拉夫國家音樂中心及維也納音 樂廳等歐洲舞台。

著名音樂出版社 Schott Music 將卓思達評為「同代最 傑出的新銳合唱作曲家之一」，他的作品在全世界演 出並錄製成唱片。近期的首演作品包括：威爾斯語 歌曲《夜已深》以及為紀念建校三百週年而作的《威 廉．珀金斯爵士學校頌 》，以及為慈善音樂會「 2025 年癌症安魂曲」（為英國癌症研究基金會籌款）創作的 《直至這種悲傷無人再知曉》。

Tenor

Gareth Treseder (6 March)

Welsh tenor and composer Gareth Treseder studied at the University of Bristol and Cardiff’s Royal Welsh College of Music & Drama, and has been made an Honourary Associate of the college in recognition of his achievements. He recently performed Bottom and Lysander in Mendelssohn’s AMidsummerNight’s Dream with The Constellation Choir & Orchestra, on European stages including Wrocław’s National Forum of Music and Vienna’s Konzerthaus.

Schott Music has hailed Treseder as one of the finest emerging choral composers of his generation. His works have been performed and recorded worldwide. His recent premieres include Mae’r nosynddu ( “ The Night is Dark ” ); OdetoSirWilliam Perkins’School marking the school’s 300th anniversary; and UntilSuchSorrowNoOneKnows, written for Requiem to Cancer 2025 in aid of Cancer Research UK.

男高音 喬納森．亨利（3 月 7 日）

喬納森．亨利是一位英國男高音，作為獨唱和合唱歌 手均聲譽卓著。他熱衷於巴羅克時代的聲樂作品，並 在加德納爵士等名家指揮下，與蒙特威爾第合唱團和 巴羅克獨奏家合奏團到世界各地演出。

他的演藝成就包括在紐約卡內基音樂廳和米蘭史卡拉 歌劇院等著名場地演出，以及近期在巴赫的《聖馬太 受難曲》、《聖約翰受難曲》以及韓德爾的《阿西斯與 加拉蒂亞》中擔任獨唱角色。亨利與蒙特威爾第合唱 團一起錄製了多張專輯，他享受表演英國歌曲和藝術 歌曲，又經常與鋼琴家加文．羅伯兹合作。

亨利也是屢獲殊榮的古風合唱團的成員。他即將參與 的項目包括與哥本哈根協奏團和愛爾蘭巴羅克管弦樂 團的合作演出。

Tenor

Jonathan Hanley (7 March)

Jonathan Hanley is a British tenor known for his work as both a soloist and ensemble singer. He is passionate about Baroque vocal music and has performed internationally with the Monteverdi Choir and the English Baroque Soloists, under renowned conductors including Sir John Eliot Gardiner.

Highlights of his career include performances at prestigious venues such as Carnegie Hall in New York and Teatro alla Scala in Milan, as well as recent solo roles in Bach’s StMatthewPassion and StJohn Passion, and Handel’s AcisandGalatea. Hanley records with the Monteverdi Choir and enjoys performing English song and Lieder, often collaborating with pianist Gavin Roberts.

Hanley is also a member of the award-winning Stile Antico. His upcoming projects include collaborations with Concerto Copenhagen and the Irish Baroque Orchestra.

男低音

亞歷斯．阿什和夫（3 月 6、7 日）

亞歷斯．阿什和夫是一位音樂會及歌劇歌手，活躍於 歐洲和英國。他的歌唱生涯始於利奇菲爾德大教堂， 又曾在劍橋大學聖約翰學院擔任合唱學者。

他灌錄的作品包括與倫敦交響樂團合作演出的《伊 底帕斯王》以及與加德納爵士一起演出蒙特威爾第 的《晚禱》和巴赫的 B 小調彌撒曲、《聖馬太受難曲》 及《聖約翰受難曲》。他又曾為德意志留聲機唱片 的 Stage+ 線上平台演唱白遼士《基督的童年》中的依 市瑪耳人家庭的家長一角。

阿什和夫的近期重點演出包括在紐約卡內基音樂廳演 唱巴赫的 B 小調彌撒曲和韓德爾的《快板、沉思與中 板》，以及在英王查理斯三世的加冕典禮上演唱。他 現時於英國皇家音樂學院擔任聲樂教授。

Bass

Alex Ashworth (6, 7 March)

Alex Ashworth is a concert and opera singer active across Europe and the UK. He started singing at Lichfield Cathedral and served as a choral scholar at St John’s College, Cambridge.

His recordings include OedipusRex with the London Symphony Orchestra, Monteverdi’s Vespers, and Bach’s Mass in B minor, StMatthewPassion and StJohnPassion with Sir John Eliot Gardiner. He also sings La Père du Famille in Berlioz’s L’Enfance duChrist on Deutsche Grammophon’s Stage+ subscription service.

Ashworth’s recent highlights include performances of Bach’s Mass in B minor and Handel’s L’allegro at Carnegie Hall in New York, and singing at the Coronation of King Charles III. He is a Professor of Singing at the Royal Academy of Music, London.

男低音

約瑟夫．墨菲（3 月 6 日）

現年二十一歲的約瑟夫．墨菲是一名來自利物浦的男 低音，他也是英國皇家音樂學院聲樂研究系四年級 生，師從亞歷斯．阿什和夫，並在查德．溫丁指導下 學習。在學期間，墨菲深耕多種音樂風格的歌藝，從 早期音樂、神劇到歌劇皆有涉獵。他曾與但尼丁合奏 團、約翰．巴特及鈴木雅明合作。近期，墨菲以獨唱 家身份與瑞秋．波傑同台演出，並擔任 2025年格蘭奇 歌劇節合唱團成員，替補飾演《茶花女》中的歐比尼 侯爵。他目前是加德納爵士麾下的星宿學院院士。墨 菲的合唱經驗豐富，曾任利物浦大都會大教堂首席合 唱團成員，以及英國國家青年合唱團聲部長。

Bass

Joseph Murphy (6 March)

Joseph Murphy, a 21-year-old bass from Liverpool, is in his fourth year of a Bachelor of Music degree in Vocal Studies at the Royal Academy of Music, where he studies with Alex Ashworth and is coached by Chad Vindin. At the Academy, Murphy has honed his skills in a wide variety of genres, from Early Music and oratorio to opera. He has collaborated with the Dunedin Consort, John Butt and Masaaki Suzuki. Recently, Murphy performed as a soloist with Rachel Podger and served as a chorus member for the Grange Festival 2025 season, covering the role of Marquis D’Obigny in LaTraviata. He is currently a Constellation Academician with Sir John Eliot Gardiner. Murphy’s extensive choral background includes roles as Head Chorister at the Liverpool Metropolitan Cathedral and a section leader for the National Youth Choir in the UK.

男低音

傑克．戈默福（3 月 7 日）

傑克．戈默福於約克大學主修音樂，後進入英國皇 家音樂學院深造，期間獲得多項獎學金。他的過往 演出包括：與倫敦韓德爾樂團合作演出巴赫清唱劇， BWV174；與彼得．韋倫及蒙特威爾第合唱團演出韓德 爾的《以色列人在埃及》；與布列頓比爾藝術中心及 英國廣播公司演出《麻鷸河》；和加德納爵士及星宿 合唱團合作演出孟德爾頌的《女巫之夜》；以及在英 王查理斯三世的加冕典禮中獻唱。

在演唱事業以外，戈默福亦曾擔任助理講師及研究 員。作為音樂學家，他專門研究韓德爾和他的神劇作 品，以及這些神劇的接受史，更出版過相關書籍。他 又獲邀在英國廣播公司 Radio 3 的《早期音樂節目》中 擔任嘉賓講者。

Bass

Jack Comerford (7 March)

Jack Comerford read Music at the University of York and later at the Royal College of Music where he held several scholarships. His engagements have included the Bach cantata BWV174 with the London Handel Players, Handel’s IsraelinEgypt with the Monteverdi Choir and Peter Whelan, Britten Pears Arts and BBC’s CurlewRiver, Mendelssohn’s Walpurgisnacht with Sir John Eliot Gardiner and The Constellation Choir, and the Coronation of King Charles III.

In addition to singing, Comerford has also worked as an assistant lecturer and researcher. He is a published musicologist, writing on Handel, his oratorios and their reception, and has appeared as a guest speaker on BBC Radio 3’s EarlyMusicShow

06.03.2026

莫扎特

安魂曲，K626

I. 進堂詠：安魂曲

II. 垂憐經

III. 繼抒詠 甲、震怒之日 乙、號筒響逼 丙、威嚴君王 丁、求你記憶 戊、懾服魔群 己、罪犯復活

IV. 奉獻詠

甲、主耶穌基督 乙、奉獻犧牲

V. 聖、聖、聖

VI. 迎主經

VII. 羔羊經

VIII. 領主詠

指揮

約翰．艾略特．加德納爵士

女高音

倫妮卡．雷坦

假聲男高音

雷珍納．莫布利

男高音

加里夫．卓思達

男低音

Wolfgang Amadeus Mozart (1756-91)

Requiem, K626

I. Introitus: Requiem

II. Kyrie

III. Sequenz

a. Dies irae

b. Tuba mirum

c. Rex tremendae

d. Recordare

e. Confutatis

f. Lacrimosa

IV. Offertorium

a. Domine Jesu

b. Hostias

V. Sanctus

VI. Benedictus

VII. Agnus Dei

VIII. Communio

Conductor

Sir John Eliot Gardiner

Soprano Lenneke Ruiten

Countertenor

Reginald Mobley

Tenor

Gareth Treseder

約瑟夫．墨菲 Bass

Joseph Murphy

INTERVAL

莫扎特

C小調大彌撒曲，K427

I. 垂憐經

II. 光榮經 甲、天主在天受光榮 乙、我們讚美你 丙、我們感謝你 丁、主、天主 戊、除免世罪者 己、因你是聖 庚、耶穌基督 申、皆同聖神

III. 信經 甲、我信唯一天主 乙、取了肉軀

IV. 聖、聖、聖

V. 迎主經

指揮

約翰．艾略特．加德納爵士

女高音

倫妮卡．雷坦

珊．戈布

男高音

加里夫．卓思達

男低音

亞歷斯．阿什和夫

Wolfgang Amadeus Mozart Great Mass in C minor, K427

I. Kyrie

II. Gloria

a. Gloria in excelsis Deo

b. Laudamus te

c. Gratias

d. Domine Deus

e. Qui tollis

f. Quoniam

g. Jesu Christe

h. Cum Sancto Spiritu

III. Credo

a. Credo in unum Deum

b. Et incarnatus est

IV. Sanctus

V. Benedictus

Conductor

Sir John Eliot Gardiner

Soprano

Lenneke Ruiten

Sam Cobb

Tenor

Gareth Treseder

Bass

Alex Ashworth

Programme Notes

莫扎特

一位作曲家的遺作（特別是那些未完成的 作品），往往令人肅然起敬，彷彿「自帶光 環」。而在莫扎特的筆下更有兩套未完成 的經典合唱作品，數世紀來讓無數音樂家 為之着迷。這兩首作品便是安魂曲， K626

及 C 小調大彌撒曲，K427 。

彼得．謝弗的舞台劇《莫扎特傳》以及其 電影改編記述了莫扎特離世前的故事，非 常富戲劇性，但其實與現實大相逕庭。電 影指 安魂曲， K626 是由裝成不知名贊助 人的作曲家薩里耶利委約創作；事實上， 該曲是華錫格伯爵為紀念他的亡妻而委約 的。華錫格伯爵更在自己那份安魂曲樂譜 上簽上大名，自詡為該作的作曲家。

自莫扎特逝世後，坊間對於安魂曲是否出 自其手筆，一直存疑。學者基道．沃爾夫 在《莫扎特之安魂曲》一書中，仔細記載

We often revere an unfinished, final work of a composer with awe and wonder. In the case of Wolfgang Amadeus Mozart (1756-91), however, there is not one but two unfinished choral masterpieces that have captured musicians’ interest for centuries: the Requiem, K626, and the Great Mass in C minor, K427.

Peter Schaffer’s play Amadeus and its famous film adaptation provide a popular, if at times over-romanticised, account of the events that took place during Mozart’s final months. The haunting commission by the “unknown messenger” was sent by Count Franz von Walsegg (1763-1827)—and not Antonio Salieri—in memory of his late wife. The copy of Mozart’s Requiem, K626 used by Count Walsegg was in the count’s own hand and signed with “Fr. C[omte]. De Wallsegg” as the composer.

The authenticity of the Requiem has haunted the masterpiece since Mozart’s death. Christoph Wolff’s monograph, Mozart’sRequiem—Historical andAnalyticalStudies, gives a detailed account of the “Requiem Controversy”. We now believe that Mozart wrote most of the Introitus: Requiem-Kyrie. He also wrote the vocal parts of the whole Sequenz (except Lacrimosa) as well as that of Offertorium with continuo, occasionally with some indication of orchestration as well.

Joseph Eybler and Abbé Stadler attempted to complete the piece, but the task was eventually entrusted to Franz Xaver Süssmayr. Süssmayr travelled with Mozart to Prague for the performance of LaClamenzadiTito as his student, and it is possible that Mozart discussed the Requiem commission with Süssmayr.

Mozart’s Requiem is divided into five main sections: (1) Introitus: Requiem-Kyrie, (2) Sequenz, (3) Offertorium, (4) Sanctus and Benedictus, and (5) Agnus Dei and Communio. Each of these five sections should conclude with a fugue. The only

了這個「安魂曲爭議」的來龍去脈。現今 學界普遍認為莫扎特本人寫作了進堂詠及 憐憫頌之大部分、繼抒詠的聲樂部分（除 「己、罪犯復活」部分），還有奉獻詠的聲 樂及通奏低音加上一些配器的指示。

約瑟．艾卜拉及亞北．史德勒分別曾嘗試

完成這首未竟之作，但最後此任務還是落 在莫扎特的門生——徐斯瑪耶身上。他

曾隨莫扎特到布拉格，出席其歌劇《狄托 的仁慈》之演出。莫扎特很有可能在這次 旅途中，與徐斯瑪耶談論過安魂曲的委約 細節。

全首安魂曲可分為五大部分：一、進堂 詠及垂憐經；二、繼抒詠；三、奉獻詠； 四、聖、聖、聖及迎主經；五、羔羊經及 領主詠。根據全曲的曲式推論，每部分都 應以一賦格曲作結；但繼抒詠末段的「亞 孟」，徐斯瑪耶只填上變格終止式。其 實，莫扎特寫了「亞孟」賦格曲的草稿， 但徐斯瑪耶可能沒有見過草稿，或是未有 時間完成賦格曲樂段。另一說是他對自己 的作曲技巧沒有信心，所以以變格終止式 代替。雖然徐斯瑪耶在技巧上未必是最適 合完成這首遺作的人選，但他與莫扎特的 師徒關係，使他的完成品比其他作曲家更 具說服力。

比起安魂曲有着明確的背景，莫扎特創作 C 小調大彌撒曲，K427 的動機反而成為數 世紀的謎團。1783 年 1 月 4 日，在一封寫給 父親利奧波德的家書中，莫扎特承諾將到 薩爾斯堡探望父親，而手上「寫了一半的 彌撒曲」就是這個承諾的憑證。

實際上莫扎特已屢次改變行程，直至 1783 年 7 月 29 日才終於偕妻子康斯坦兹從維也 納到達薩爾斯堡，相信他當時亦有隨身攜 同這「半首彌撒曲」。根據莫扎特姊姊瑪莉 安娜的日記所述，他的某一套彌撒曲在該 年 10 月 26 日於薩爾斯堡的聖伯多祿修院聖 堂首演。在日記中，她亦提到演出由「弟 婦擔任獨唱」。這個細節亦讓後世推斷她 所指的就是 C 小調大彌撒曲，因為在〈基 督，求你垂憐〉的獨唱樂段與莫扎特為康 斯坦兹所寫的幾首視唱練習曲大致吻合。

missing fugue is the final “Amen” of Sequenz, for which Süssmayr only wrote a plagal Amen. Mozart created a sketch of the Amen fugue, but Süssmayr did not use it, perhaps because he did not have access to it, did not have time or was uncertain about his ability to finish it. Süssmayr might not have been the ideal choice to finish Mozart’s grandest sacred work, but his close relationship with the composer makes his completion in a way more authentic than any other composer.

Contrary to the certainty of the compositional background of the Requiem, Mozart’s intention for the Great Mass in C minor, K427 was not as clear. In a letter dated 4 January 1783, Mozart wrote to his father, Leopold, mentioning a promise to visit his father in Salzburg and “the score of half of a Mass” was evidence of his determination to make the trip, despite the numerous delays in fulfilling that promise.

C 小調大彌撒曲在 1783 年於薩爾斯堡首演，當時很可能是 由莫扎特的妻子康斯坦兹擔任獨唱 Constanze, Mozart ’ s wife, was allegedly the soloist during the 1783 premiere of the Great Mass in C minor

究竟這首不完整的 C 小調大彌撒曲怎樣在 禮儀中呈現，我們已無從稽考；但能夠肯 定的是，莫扎特再沒有執筆完成此作。

現存的 C 小調大彌撒曲樂譜，有莫扎特親 筆寫上的「 1783 年」字樣，包含完整的 〈垂憐經〉及〈光榮經〉樂譜，而〈信經〉

則只有首兩部分（即至「他藉聖神的工 化、由童貞瑪利亞取了肉軀」）未完成配器 的初稿，當中包括所有旋律部分、合唱部 分、器樂低音聲部，及某些器樂聲部的零 碎片段。〈聖、聖、聖〉的總譜已經散佚， 只留下管樂及定音鼓的分譜。而〈迎主經〉 更沒有任何莫扎特的手稿流傳，只有由薩 爾斯堡的抄譜員寫下的長號及風琴分譜， 以及由來自奧格斯堡的合唱指導費斯所抄 寫的總譜（而當中只有〈垂憐經〉、〈光榮 經〉、〈聖、聖、聖〉及〈迎主經〉）。

莫扎特為何沒有完成這首彌撒曲，至今仍 沒有答案。他為「取得肉軀」樂段寫作了 最細緻、最溫柔的音樂，可能是想起了自 己早逝的兒子雷蒙。雷蒙僅活了三個月就 離開人世，這時莫扎特還身在薩爾斯堡。

或許喪子之痛使他無法再次提筆完成此 曲，但這一切只能留予後人臆度了。雖然 彌撒曲最終未能完成，但莫扎特對這套作 品的重視卻是昭然若揭，因為在 1785 年 3 月，他曾將〈垂憐經〉及〈光榮經〉的音 樂改編成意大利語清唱劇《懺悔者達味》，

K469。即使 C 小調大彌撒曲並不完整，亦 絕不妨礙我們欣賞這位音樂奇才滿溢而出 的創意。

撰文：楊欣諾

When Mozart and his wife, Constanze, finally arrived in Salzburg from Vienna on 29 July 1783, this “half-Mass” came with them. According to the diary of Mozart’s sister, Nannerl, it received its first performance on 26 October 1783 at St Peter’s Abbey in Salzburg (if she was actually referring to the Great Mass). She also wrote about her “sisterin-law singing the solo”, which suggests that the performance was indeed of the Great Mass, as the Christe eleison section for soprano solo corresponds largely the solfeggios that Mozart wrote for Constanze. We do not know how the incomplete Mass was performed in liturgy; what we are certain of is that Mozart never returned to complete it.

Dated 1783 by Mozart’s hand, what we inherited as the Great Mass in C minor is the autograph score of the complete movements of Kyrie and Gloria, an incomplete draft of the two movements of the Credo (up to Et incarnatus est) with only all the melodic parts (including the entire choral parts), the basso continuo and fragments of instrumental parts. For Sanctus, the extant sources are the wind parts and timpani from Mozart’s hands; the autograph full score is lost. There is nothing left for us from Mozart’s hand in the Benedictus; there are only the organ and the three trombone parts from a Salzburg copyist, and a score made by the Ausburg choir leader Matthäus Fischer, in which we can only find Kyrie, Gloria, Sanctus and Benedictus.

The reason why Mozart abandoned the Mass is still a mystery. Yet we find the most tender music in the Et incarnatus section, which Mozart could have written thinking of his newborn son, Raimund Leopold. The boy’s sudden death in August while the family was still in Salzburg might be a possible reason that the grieving father left the Mass unfinished, but this remains speculation. Although the Mass was never completed, Mozart must have considered the music worthy, as he re-arranged the music of the Kyrie and Gloria into an Italian cantata titled Davide penitente, K469 in March 1795. The Great Mass may be incomplete, but this does not stop us from admiring the creative outpouring of this musical genius.

Text: Felix Yeung

Mozart Requiem, K626

I. Introit: Requiem

Eternal rest give unto them, O Lord, and let perpetual light shine upon them.

A hymn, O God, becometh thee in Zion, and a vow shall be paid to thee in Jerusalem.

Hear my prayer.

All flesh shall come to thee.

Eternal rest give unto them, O Lord, and let perpetual light shine upon them.

II. Kyrie

Lord have mercy.

Christ have mercy.

Lord have mercy.

III. Sequence

a. Dies irae

Day of wrath and doom impending, David’s word with Sibyl’s blending, Heaven and Earth in ashes ending. O what fear man’s bosom rendeth, when from Heaven the Judge descendeth, on whose sentence all dependeth.

b. Tuba mirum

Wondrous sound the trumpet flingeth, through Earth’s sepulchres it ringeth, all before the throne it bringeth.

Death is struck, and nature quaking, all creation is awaking, to its Judge an answer making. Lo, the book exactly worded, wherein all hath been recorded, thence shall judgement be awarded.

When the Judge His seat attaineth, and each hidden deed arraigneth, nothing unavenged remaineth.

What shall I, frail man, be pleading? Who for me be interceding, when the just are mercy needing?

c. Rex tremendae

King of majesty tremendous, who dost free salvation send us, fount of pity, then befriend us.

Mozart Requiem, K626

I. Introitus: Requiem

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem.

Exaudi orationem meam, ad te omnis care veniet.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

II. Kyrie

Kyrie, eleison. Christe, eleison. Kyrie, eleison.

III. Sequenz

a. Dies irae

Dies irae, dies illa, solvet saeclum in favilla, teste David cum Sibylla. Quantus tremor est futurus, quando judex est venturus, cuncta stricte discussurus!

b. Tuba mirum

Tuba mirum spargens sonum per sepulcra regionum, coget omnes ante thronum.

Mors stupebit et natura, cum resurget creatura, judicanti responsura. Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur.

Judex ergo cum sedebit, quidquid latet, apparebit, nil inultum remanebit.

Quid sum miser tunc dicturus?

Quem patronum rogaturus, cum vix justus sit securus?

c. Rex tremendae

Rex tremendae majestatis, qui salvandos savas gratis, salve me, fons pietatis.

莫扎特 安魂曲，K626

一、進堂詠：安魂曲

主啊，求你賜予他們永遠的安息， 並以你的永光照耀他們。

天主！熙雍的人都要稱揚你； 所許的願也要在耶路撒冷向你償還。 俯聽祈禱的主啊！

凡有血氣的都要來接近你。

主啊，求你賜予他們永遠的安息， 並以你的永光照耀他們。

二、垂憐經 上主，求你垂憐。

基督，求你垂憐。 上主，求你垂憐。

三、繼抒詠 甲、震怒之日 依照達味與女先知， 預告世界將歸燼灰， 那天真是主震怒日期。 審判大主降臨之時， 追問一切清算無遺， 我心我靈將顫慄無比。

乙、號筒響逼 號筒響逼四方八極， 死過眾生起自墓穴， 向判主座前都來聚集。

善者惡者都要復生， 前往判主答覆鞫訊， 死與體質將不勝怖驚。 那時展開案卷巨冊， 其中紀錄詳細明白， 全關審判普世的事迹。

判主在座秋毫明察， 一切隱密顯譯露透骨， 斷無一罪能逃脫譴罰。

那時義者也難安心， 嗟我罪人何可訴陳， 將呼何人作我的護身？

丙、威嚴君王 你是赫赫威嚴君王， 凡蒙救者由你恩賞， 仁慈之源請救我勿忘。

d. Recordare

Think, kind Jesus, my salvation, caused Thy wondrous incarnation, leave me not to reprobation.

Fant and weary Thou hast sought me, on the Cross of suffering bought me, shall such grace be vainly brought me?

Righteous Judge, for sin’s pollution, grant Thy gift of absolution, ‘ere that day of retribution.

Guilty now I pour my moaning, all my shame with anguish owning. Spare, O God, Thy suppliant groaning. Through the sinful woman shriven, through the dying thief forgiven, thou to me a hope hast given. Worthless are my prayers and sighing, Yet, good Lord, in grace complying, rescue me from fires undying. With Thy sheep a place provide me, from the goats afar divide me, to Thy right hand do Thou guide me.

e. Confutatis

When the wicked are confounded, doomed to flames of woe unbounded, call me with Thy Saints surrounded. Low I kneel with heart’s submission, see, like ashes, my contrition, help me in my last condition.

f. Lacrimosa

That day of tears and morning, from the dust of Earth returning, man for judgment must prepare him. Spare, O God, in mercy spare him. Lord, all-pitying, Jesus blest, grant them Thine eternal rest. Amen.

IV. Offertory

a. Domine Jesu

O Lord Jesus Christ, King of glory, deliver the souls of all the faithful departed from the pains of hell and from the bottomless pit. Deliver them from the lion’s mouth, that hell swallow them not up, that they fall not into darkness. But let the standard-bearer holy Michael lead them into that holy light. Which Thou didst promise of old to Abraham and to his seed.

d. Recordare

Recordare, Jesu pie, quod sum causa tuae viae; ne me perdas illa die.

Quaerens me, sedisti lassus, redemisti crucem passus; tantus labor non sit cassus. Juste judex ultionis, donum fac remissionis ante diem rationis.

Ingemisco, tamquam reus: culpa rubet vultus meus; supplicanti parce, Deus. Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti. Preces meae non sunt dignae, sed tu, bonus, fac benigne, ne perenni cremer igne. Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra.

e. Confutatis

Confutatis maledictis, flammis acribus addictis, voca me cum benedictus. Oro supplex et acclinis, Cor contritum quasi cinis: gere curam mei finis.

f. Lacrimosa

Lacrimosa dies illa, qua resurget ex favilla judicandus homo reus. Huic ergo parce, Deus, pie Jesu Domine, Dona els requiem. Amen.

IV. Offertorium

a. Domine Jesu

Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu: libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum. Sed signifer sanctus Michael repraesentet eas in lucem sanctam. quam olim Abrahae promisisti et semini ejus.

丁、求你記憶 至慈耶穌求你記憶， 為着救我曾來猶國， 切勿在那日把我殄滅。

主為覓我奔走碌碌， 被釘苦架把我救贖， 望此苦楚切勿無結局。

主的判決公正不偏， 求你容我清算日前， 蒙受洪恩而恕免罪愆。

我如罪犯揮淚憂惔， 因着罪愆滿面羞慚， 懇求你寬恕我的不堪。 瑪達肋納偕同右盜， 得你寬恕與你和好， 勿使我失卻你的依靠。 我的祈禱實屬不堪， 仗你仁慈邀你容涵， 請救我於永火的難關。

綿羊群內請給我位， 從山羊中把我引退， 請將我置於你的右隊。

戊、懾服魔群 你使魔群慚愧懾服， 又把他們投諸永獄， 請招我享善人的永福。 向你哀懇伏地戰慄， 因着痛悔我心碎裂， 求你垂顧子於我的末日。

己、罪犯復活 罪犯復活起自土塵， 應受審判到主法庭， 眞是悲慘日期的臨身。 吾主耶穌仁慈無匹， 請給罪犯寬恕憐恤， 並求你賜與他們安息。 亞孟。

四、奉獻詠

甲、主耶穌基督 主耶穌基督，榮光的君王， 求你教拔已亡諸信者的靈魂， 脫免陰府的刑罰與深淵的極處。

求你拯救他們脫離猛獅的口； 求你不容深坑吞滅他們， 並不容他們陷落於幽暗的處所。 但望你的總領天神聖彌額爾， 引導他們入於至聖的光明之中。

這光明是你昔時 許給了亞巴郎和他之子孫的。

b. Hostias

We offer to Thee, O Lord, sacrifices and prayers: do Thou receive them on behalf of those souls of whom we make memorial this day. Grant them, O Lord, to pass from death to that life. Which Thou didst promise of old to Abraham and to his seed.

V. Sanctus

Holy, Holy, Holy, Lord God of hosts!

Heaven and Earth are full of Thy glory! Hosanna in the highest!

VI. Benedictus

Blessed is He that cometh in the Name of the Lord! Hosanna in the highest!

VII. Agnus Dei

Lamb of God, who takest away the sins of the world, grant them rest.

Lamb of God, who takest away the sins of the world, grant them rest.

Lamb of God, who takest away the sins of the world, grant them eternal rest.

VIII. Communion

May light eternal shine upon them, O Lord,

With Thy Saints for evermore, for Thou art gracious.

Eternal rest give to them, O Lord, and let perpetual light shine upon them.

With Thy Saints for evermore, for Thou art gracious.

b. Hostias

Hostias et preces tibi, Domine, laudis offerimus. tu sucipe pro animabus illis, quaram hodie memoriam facimus. fac eas, Domine, de morte transire ad vitam, quam olim Abrahae promisisti et semini ejus.

V. Sanctus

Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth! Pleni sunt caeli et terra gloria tua Osanna in excelsis.

VI. Benedictus

Benedictus qui venit in nomine Domini. Osanna in excelsis.

VII. Agnus Dei

Agnus Dei, qui tollis peccata mundi, dona eis requiem.

Agnus Dei, qui tollis peccata mundi, dona eis requiem.

Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

VIII. Communio

Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis, cum sanetis tuis in aeternum, quia pius es.

乙、奉獻犧牲

主啊！求你把我們為讚頌你所奉獻的 祈禱與犧牲， 惠然收納， 為使我們今天所紀念的靈魂， 由死亡而遷入於生命。 這生命是你昔時 許給了亞巴郎和他之子孫的。

五、聖、聖、聖 聖、聖、聖、 上主，萬軍的天主！ 你的光榮充滿天地。 賀三納於至高之天！

六、迎主經

因主名而來的，當受讚美。 賀三納於至高之天！

七、羔羊經

除免世罪的天主羔羊， 求你賜給他們安息。

除免世罪的天主羔羊， 求你賜給他們安息。

除免世罪的天主羔羊， 求你賜給他們永遠的安息。

八、領主詠

主啊！望永光照耀他們： 由於你的仁慈，使他們永遠偕同的 諸聖。

主啊！求賜給他們永遠安息， 並以你的永光照耀他們。

由於你的仁慈，使他們永遠偕同你的 諸聖。

Mozart

Great Mass in C minor, K427

I. Kyrie

Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us.

II. Gloria

a. Gloria in excelsis Deo Glory be to God on high. And on Earth peace, goodwill towards men.

b. Laudamus te

We praise thee, we bless thee, we worship thee, we glorify thee.

c. Gratias

We give thanks to thee for thy great glory.

d. Domine Deus

O Lord God, Heavenly King, God the Father almighty.

O Lord, the only-begotten Son, Jesus Christ:

O Lord God, Lamb of God, Son of the Father.

e. Qui tollis

That takest away the sins of the world, have mercy upon us. Thou that takest away the sins of the world, receive our prayer. Thou that sittest at the right hand of God the Father, have mercy upon us.

f. Quoniam

For thou only art holy; thou only art the Lord; thou only, O Christ, art the Most High.

g. Jesu Christe Christ.

h. Cum Sancto Spiritu

With the Holy Ghost, in the glory of God the Father. Amen.

Mozart

Great Mass in C minor, K427

I. Kyrie

Kyrie, eleison. Christe, eleison. Kyrie, eleison.

II. Gloria

a. Gloria in excelsis Deo Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis.

b. Laudamus te Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.

c. Gratias

Gratias agimus tibi propter magnam gloriam tuam.

d. Domine Deus Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris.

e. Qui tollis

Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis.

莫扎特 C 小調大彌撒曲，K427

一、垂憐經 上主，求你矜憐。 基督，求你矜憐。 上主，求你矜憐。

二、光榮經 甲、天主在天受光榮 天主享受榮福於天， 善人享受太平於地。

乙、我們讚美你 我們讚美你、稱頌你、 欽崇你、顯揚你。

丙、我們感謝你 我們為着無上的光榮，感謝你。

丁、主、天主 主、天主，天上的君王， 全能的天主聖父！ 主、天主的獨子，耶穌基督！ 主、天主，天主的羔羊， 聖父之子！

戊、除免世罪者 除免世罪者， 求你矜憐我們。

除免世罪者， 請你俯聽我們的祈求。

坐在聖父右座者， 求你矜憐我們。

f. Quoniam

Quoniam tu solus sanctus. Tu solus Dominus. Tu solus Altissimus.

g. Jesu Christe

Jesu Christe.

h. Cum Sancto Spiritu

Cum Sancto Spiritu in gloria Dei Patris. Amen.

己、因你是聖 因為只有你是聖的， 只有你是主， 只有你是至高無上的；

庚、耶穌基督 耶穌基督。

申、皆同聖神 偕同聖神永遠在聖父的光榮內。 亞孟。

III. Credo

a. Credo in unum Deum I believe in one God, The Father almighty, maker of Heaven and Earth, and of all things visible and invisible. And in one Lord Jesus Christ, the only-begotten Son of God, begotten of his Father. Before all worlds, God of God, Light of Light, very God of very God, begotten, not made. Being of one substance with the Father, by whom all things were made. Who for us men and for our salvation came down from Heaven.

b. Et incarnatus est And was incarnate by the Holy Ghost of the Virgin Mary, and was made man.

IV. Sanctus

Holy, holy, holy, Lord God of hosts, Heaven and Earth are full of thy glory. Hosanna in the highest.

V. Benedictus

Blessed is he that cometh in the name of the Lord.

Hosanna in the highest.

翻譯及匯編：楊欣諾

Compiled and translated by Felix Yeung

III. Credo

a. Credo in unum Deum Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, visibilium omnium, et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum.

Et ex Patre natum ante omni saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialem patri: per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de caelis.

b. Et incarnatus est Et incarnatus est de Spiritu Sancto ex Maria Virgine: Et homo factus est.

IV. Sanctus

Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.

V. Benedictus

Benedictus qui venit in nomine Domini. Hosanna in excelsis.

三、信經

甲、我信惟一天主 我信惟一無二的天主， 全能的聖父； 天地萬物， 無論有形無形，都是所創造的。 我信惟一無二的主、耶穌基督， 天主的獨子。

他是在萬世之前由聖父所生的， 他是出自天主的天主， 出自光明的光明， 出自真天主的真天主。

他是聖父所生，而非聖父所造， 是與聖父同性同體的； 萬物是藉着他而受造的。

他為了我們人類、並為了我們的 得救、 從天上降下。

乙、取了肉軀 他藉聖神的工化、 由童貞瑪利亞取了肉軀， 而成為人。

四、聖、聖、聖 聖、聖、聖、 上主，萬軍的天主！ 你的光榮充滿天地。 賀三納於至高之天！

五、迎主經

因主名而來的，當受讚美。 賀三納於至高之天！

編按：本場刊因應不同作曲家及樂曲之歷史和基督宗派背景而選用不同中文譯法，如「上帝」、「天主」等翻譯。

Editor’s note: Based on the historical and denominational context of the pieces and composers, there may be different Chinese translations of the same word, such as “God”.

巴赫

B 小調彌撒曲， BWV232

一、彌撒曲

憐憫頌

1. 求主憐憫（合唱）

2. 求基督憐憫（女高音二重唱）

3. 求主憐憫（合唱）

榮歸主頌

4. 榮歸上帝（合唱）

5. 平安在地（合唱）

6. 我等讚主（女高音獨唱）

7. 我等謝主（合唱）

8. 主上帝（女高音及男高音二重唱）

9. 除去世罪者（合唱）

10. 坐於父右者（女低音獨唱）

11. 惟主是聖（男低音獨唱）

12. 偕同聖靈（合唱）

二、尼吉亞信經

1. 我信獨一上帝（合唱）

2. 全能聖父（合唱）

3. 我信獨一之主（女高音及女低音二重唱）

4. 道成肉身（合唱）

5. 被釘十架（合唱）

6. 第三日復活（合唱）

7. 我信聖靈（男低音獨唱）

8. 我信洗禮（合唱）

9. 又望死後復活（合唱）

三、三聖哉頌

1. 聖哉、聖哉、聖哉（合唱）

Johann Sebastian Bach (1685-1750)

Mass in B minor, BWV232

I. Missa

Kyrie

1. Kyrie eleison (chorus)

2. Christe eleison (soprano duet)

3. Kyrie eleison (chorus)

Gloria

4. Gloria in excelsis (chorus)

5. Et in terra pax (chorus)

6. Laudamus te (soprano solo)

7. Gratias agimus tibi (chorus)

8. Domine Deus (soprano & tenor duet)

9. Qui tollis peccata mundi (chorus)

10. Qui sedes ad dextram Patris (alto solo)

11. Quoniam tu solus sanctus (bass solo)

12. Cum Sancto Spiritu (chorus)

II. Symbolum Nicenum (Credo)

1. Credo in unum Deum (chorus)

2. Patrem omnipotentem (chorus)

3. Et in unum Dominum (soprano & alto duet)

4. Et incarnatus est (chorus)

5. Crucifixus (chorus)

6. Et resurrexit (chorus)

7. Et in Spiritum sanctum Dominum (bass solo)

8. Confiteor (chorus)

9. Et expecto (chorus)

III. Sanctus

1. Sanctus (chorus)

四、和撒那、奉主頌、羔羊頌及賜我等平安

1. 和撒那（合唱）

2. 奉主名而來者（男高音獨唱）

3. 和撒那（合唱）

4. 上帝之羔羊（女低音獨唱）

5. 賜我等平安（合唱）

指揮

約翰．艾略特．加德納爵士

女高音

倫妮卡．雷坦

珊．戈布

女低音 / 假聲男高音

莎拉．登比

雷珍納．莫布利

男高音

喬納森．亨利

男低音

亞歷斯．阿什和夫 傑克．戈默福

IV. Osanna, Benedictus, Agnus Dei et Dona nobis pacem

1. Osanna in excelsis (chorus)

2. Benedictus (tenor solo)

3. Osanna in excelsis (chorus)

4. Agnus Dei (alto solo)

5. Dona nobis pacem (chorus)

Conductor

Sir John Eliot Gardiner

Soprano

Lenneke Ruiten

Sam Cobb

Alto/Countertenor

Sarah Denbee

Reginald Mobley

Tenor

Jonathan Hanley

Bass

Alex Ashworth

Jack Comerford

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Programme Notes

對任何希望認識音樂之父巴赫的人來說， 古樂大師加德納爵士的《天堂城堡中的音 樂：巴赫傳》定是必讀材料之一。正在閱 讀這篇節目介紹的觀眾，不妨抽空細閱加 德納爵士這本傑作。在此之前，筆者唯有 先班門弄斧，為觀眾提供一些基本資料， 讓大家可以盡情欣賞大師的精采演出。

提起 B 小調彌撒曲， BWV232 ，相信最令 人費解的問題就是：為何在新教重鎮萊比 錫擔任聖多馬合唱團樂長的巴赫，要寫 作一套「偉大的天主教彌撒曲（die große catholische Messe）」呢？事實上，自 1730 年左右開始，巴赫便對拉丁文聖樂作品愈 來愈感興趣；這大概和萊比錫信義宗的崇 拜中會使用此類音樂有關。在當時教會年 曆中較重要的日子（特別是聖誕日及復活 日），崇拜中都會用上拉丁文聖樂，巴赫的 《降 E 大調尊主頌》， BWV243a 就是一個好

Sir John Eliot Gardiner’s MusicintheCastleofHeaven: APortraitofJohannSebastianBach is the ideal book for anyone wanting to learn about Bach and it comes highly recommended to everyone reading these notes. And now, festivalgoers have the rare opportunity to experience the author and conductor leading The Constellation Choir & Orchestra in one of his subject’s most monumental works: the Mass in B minor, BWV232

The first question must be: why did Johann Sebastian Bach (1685-1750) write the “Great Catholic Mass” (die großecatholischeMesse) while he was Thomaskantor in the predominantly Protestant Leipzig? Firstly, Bach’s interest in Latin church music had grown since 1730, partly due to the use of such music in Lutheran worship in Leipzig at the time. Latin settings are sung on important dates in the church calendar, especially Christmas and Easter. For example, the E-flat setting of the Magnificat BWV243a was written for Christmas 1723. Secondly, Bach’s inclination to write systematic, encyclopaedic collections of music became especially apparent in his later years—good examples are the four volumes of Clavier-Übung (1726-41, including GoldbergVariations) and TheMusicalOffering, BWV1079 (1747). All of this, along with his growing use of parody technique in his vocal works, explains why Bach was able to preserve earlier music of a more occasional nature in the reincarnate form of church music in a versatile Catholic missatota encyclopaedia during his final years.

The Mass in B minor was written from August 1748 to October 1749, and its autograph score of 188 pages is grouped under four title pages:

I. Missa (Kyrie and Gloria)

II. Symbolum Nicenum (Credo)

III. Sanctus

IV. Osanna, Benedictus, Agnus Dei et Dona nobis pacem

例子。除此之外，巴赫（尤其在晚年時期） 對編輯及寫作百科全書式的作品合輯情有 獨鍾，例如其四冊《鍵盤練習曲集》（17261741 年，當中包括《哥德堡變奏曲》）以及 《音樂獻禮》，BWV1079（1747 年）。另外， 他在聲樂作品中的仿作技巧亦愈來愈運用 自如，令巴赫在晚年時得以將以前為特定

場合而寫的作品改編成完整的天主教彌撒 曲，才讓這種如百科全書般的形態得以流 傳於世。

B 小調彌撒曲是在 1748 年 8 月至 1749 年 10 月

之間寫成。這份洋洋 188 頁的龐大手稿分 成了四個部分：

一、彌撒曲（按：即〈憐憫頌〉及〈榮歸主 　　頌〉部分）

二、尼吉亞信經

三、三聖哉頌

四、和撒那、奉主頌、羔羊頌及賜我等平安

除了保存自己的作品外，巴赫如此編排全 曲的樂章，可能是為了讓天主教及信義宗 的禮儀都能使用這部作品合輯。

為了執行這個偌大的計劃，巴赫首先選擇 從一首現有的彌撒曲取材。這套彌撒曲原 是為五聲部、三支小號、定音鼓、兩支雙 簧管、兩支長笛、弦樂及通奏低音而寫。

1733 年 7 月，巴赫給新上任的薩克森選帝侯 腓特烈．奧古斯特二世獻上這套彌撒曲， 順便為自己在宮廷禮拜堂中謀求一份職 銜。雖然巴赫沒有保留彌撒曲的分譜，但 他將自己的總譜加入 B 小調彌撒曲的合輯 中，亦在樂譜上標示了不少新的變化。

第一首〈求主憐憫〉（1）以呼求形式揭開 序幕，緊接其後的則是一首沉重的賦格 曲。在接下來的〈求基督憐憫〉（2）中， 巴赫使用了如情歌般的女高音二重唱。一 些學者指出，這種同聲部的二重唱代表上 帝及基督的合一，即強調「合二為一」的 概念。第二首〈求主憐憫〉（3）是一首充 滿半度音、帕勒斯堤納風格的賦格曲。隨 後的九個樂章屬於〈榮歸主頌〉的部分； 〈榮歸上帝〉（4）率先引入小號及定音鼓， 輔以精力充沛的 D 大調，而後面的〈平安 在地〉（5）部分則是如牧歌般的賦格曲。

Besides the possibility of his wish to preserve his earlier music, Bach might have grouped the mass movements in this way to facilitate both Lutheran and Catholic usage of this “multi-functional” collection.

巴赫為新上任的薩克森選帝侯腓特烈 奧古斯特二世獻上 B 小調彌撒曲的早期版本

The early version of the Mass in B minor was dedicated to Friedrich August II

Bach first turned to a pre-existing Missa as he embarked on this final grand project. Scored for five voices, three trumpets with timpani, two oboes, two flutes, strings and basso continuo, this Missa was presented to the Saxon Elector Friedrich August II in Dresden in July 1733, with an accompanying letter to petition for a title in the Court Capella. Even Bach did not keep the performance materials of the Missa—the manuscript score went into the collection, with some changes marked on the scores.

The first Kyrie (1) begins with the invocative opening followed by an immense, heavy fugue. In the following Christe (2) , Bach turned to a love duet with great intimacy for two sopranos. Some commentators have suggested that the use of duet of the same range portrays the unity of God and Christ, highlighting the idea of “two in one’”. The second Kyrie (3) is a fugue in the style of Palestrina, full of chromaticism. The

在〈我等讚主〉（6）中，小提琴及女高音獨 唱以富裝飾音的方式表現出滿溢的喜樂。

〈我等謝主〉（7）是另一首帕勒斯堤納風格

的賦格曲，改編自清唱劇《上帝歟，我稱 謝爾》， BWV29 中的合唱曲。原曲的歌詞 「上帝啊，我們稱謝你，我們稱謝你」正好 與拉丁文「 gratias（稱謝）」吻合；巴赫似

乎正是為了這個聯結而挑選這首早期的作 品進行仿作，而之後的仿作樂章亦不乏這 個細節。隨後的〈主上帝〉（8）再次使用愛 歌二重唱的曲式，讓女高音、男高音及長 笛互相輝映。〈除去世罪者〉（9）取自清唱 劇《請觀我所遭之憂》，BWV46 的起始合 唱曲，表達出懇求基督憐憫世人罪過的熱 切。〈坐於父右者〉（10）與前一樂章維持 同一調，猶如延續方才向上帝的請求，但 女低音獨唱及柔音雙簧管的組合則添注了 一分私密的色彩。〈惟主是聖〉（11）回歸 D 大調，是對基督的三重呼求，並由男低音 獨唱，以獵號及兩枝巴松管伴奏。最後的 〈偕同聖靈〉（12）以小號及定音鼓為第一 部分劃上壯麗的句點。

巴赫在 B 小調彌撒曲的第二部分——尼 吉亞信經中，沿用了上一部分的配器；他 並沒有採用拉丁文平常慣用的「 Credo 」 （即經文的首字），而是以「 Symbolum Nicenum（尼西亞信經）」來稱呼這部分。

在拉丁文的彌撒曲中，通常不會將首句譜 曲，而是由神職人員領唱，但巴赫卻選擇

將首句〈我信獨一上帝〉（1）以文藝復興風 格的複調音樂配上巴羅克式的行進通奏低 音。這個「古風格」的樂章緊隨一首「新 風格」的〈全能聖父〉（2）。〈我信獨一之 主〉（3）又一次運用愛歌二重唱的形式，由 女高音及女低音演唱。樂章一開局便由兩 個小提琴聲部（由雙簧管重奏）以同音程進 行模仿，再次展現「合二為一」的概念。

〈道成肉身〉（4）以小提琴奏出一個「十字 架形」的旋律，並在合唱聲部以下行琵音 呈現道成肉身的基督。下一個樂章〈被釘

十架〉（5）源自清唱劇《哭泣、哀嘆、擔 憂、猶豫》，BWV12 的起首合唱曲，在低 音聲部使用了傳統的「輓歌」音形。原曲 的末句是「那些帶有耶穌印記的人」，可見 「十字架」就是代表救主的「印記」。〈第 三日復活〉（6）從哀切的 E 小調轉向喜樂的 D 大調，並再次讓小號及定音鼓的組合亮

following nine movements of the Gloria open with the exuberant D Major in Gloria in excelsis (4) combined with the first sounding of the trumpets and timpani. This is immediately followed by the pastorale-like Et in terra pax (5) fugue. The outpouring of joy in the Laudamus te (6) is achieved by the ornamental figures in both the obbligato violin and soprano solo parts. This is followed by another Palestrina-style fugue on the text Gratias agimus tibi (7) , which is parodied from the chorus of the cantata Wirdanken dir,Gott,wirdankendir, BWV29. The original chorus of “We thank you, God, we thank you” coincides with the words “gratias” (“thanks”); Bach seems to have deliberately quoted this earlier work due to this connection, which can be found in the subsequent parody movements. Domine Deus (8) is another love duet, this time featuring a solo traverse flute with a soprano and tenor duet. The choral Qui tollis (9) , a plea to Christ for mercy, is another parody from the opening chorus of the cantata Schauetdochund sehet,obirgendeinSchmerzsei, BWV46 (“See if there be any sorrow like unto my sorrow”). Qui sedes (10) , staying in the same key as the preceding movement, is an extension of the petition to God, yet from a more personal voice of an alto solo and the oboe d’amore solo. Returning to D Major, the triple invocation to Christ Tu solus (11) is portrayed by a bass vocalist with corno da caccia solo, accompanied by two bassoons. The final Cum Sancto Spiritu (12) returns to the opening trumpets and timpani for a majestic conclusion.

Bach continued the same instrumentation in the second part of the Mass—the Credo —yet titled it Symbolum Nicenum instead. The scoring of the Creed remains the same as that of the Missa. Latin mass settings often leave the incipit Credo in unum Deum (1) to the priest; yet Bach provided an amalgam of Renaissance polyphony in the vocal parts with a walking bass ostinato in Baroque style. The stile antico movement is followed by a modern-style Patrem (2) Et in unum Dominum (3) is a love duet for soprano and alto. The opening theme of the two violin parts (doubled by oboes) with unison imitation explores the idea of “two in one” again. Et incarnatus (4) opens a chiasmus, a visual cross figure, in the violins and the descending arpeggio in the vocal entries to symbolise the incarnation. Parodied from the opening chorus of

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相。男低音獨唱配以兩支柔音雙簧管，在 〈我信聖靈〉（7）中以牧歌般的調子歌頌聖 靈。隨後，文藝復興風格的複調音樂再度

登場—— 〈我信洗禮〉（8），後面是一個和 音極為豐富的「盼望死後復活」過門，象 徵死亡沉睡的永恆狀態，並展現「洗禮」 與「死亡」在神學上的關聯。終樂章〈又

望死後復活〉（9）取自第 120 首清唱劇，這 裏巴赫再次用了小號及定音鼓，讓信經部 分以宏偉的氣勢作結。

第三部分——三聖哉頌取自巴赫於 1724 年 為聖誕日崇拜寫作的樂章。在編寫 B 小調 彌撒曲時，巴赫並沒有一首現成的五聲部 《三聖哉頌》。他或許是感到自己時日無 多，遂決定將這六聲部的作品改為雙女高 音、雙女低音、男高音及男低音的編排。

第四部分從〈和撒那〉（1）開始，巴赫在 此將合唱部分擴展至八聲部，並參照了第

215 首清唱劇的起首合唱曲。這套清唱劇原 是為薩克森選帝侯腓特烈．奧古斯特二世 被選為波蘭國王（他在波蘭被稱為奧古斯 特三世）的周年寫作，而巴赫則巧妙地將 一首為世俗政權寫作的音樂改編為讚美天 上君王的樂章：耶穌於棕枝主日乘驢進耶 京，獲當地群眾夾道歡呼「和撒那」。巴赫

沒有為〈奉主頌〉（2）的助奏樂器下定論， 只以高音譜號寫作。正因巴赫經常以 B 小 調為橫笛寫作樂曲，故「新巴赫版本」亦 採用此樂器為男高音獨唱伴奏。〈和撒那〉

（3）再次響起之後，我們將聽到改編自《升 天日神曲》， BWV11 的女低音獨唱〈羔羊 頌〉（4）。根據德累斯頓的彌撒曲慣例，巴 赫在最後的〈賜我等平安〉（5）引用這套彌 撒曲，並在此引用〈我等謝主〉的樂章。

正如巴赫在 B 小調彌撒曲手稿的末頁所 寫，請容我亦以此總結這篇節目介紹——

Deo Soli Gloria ——唯獨上帝受光榮。

撰文：楊欣諾

the cantata Weinen,Klagen, Sorgen, Zagen, BWV12, the Crucifixus (5) features a traditional lament pattern in the bass line. The original chorus ends with the words “diedasZeichenJesutragen” (“they who bear the mark of Jesus”)—Bach was apparently referring to the “cross” as “Jesus’ mark”. From E minor, we again return to the joyful D Major with trumpets and timpani in Et Resurrexit (6) . The bass vocalist with two oboes d’amore sings of the Holy Spirit in Et in Spiritum Sanctum (7) in a lilting pastorale. The Renaissancestyle polyphonic Confiteor (8) is followed by the harmonically rich bridge of “etexpecto”, symbolising a timeless state of the sleep of death as an association between baptism and death. The final Et expecto (9) was derived from the chorus in Cantata No 120, using trumpets and timpani, drawing the Nicene Creed to a grand conclusion.

The third part of the Mass, the Sanctus , came from an earlier setting of the text written for Christmas Day in 1724. Bach did not have a five-voice Sanctus setting and perhaps he felt he was running out of time. He eventually revised the music and adapted it for two sopranos, two altos, tenor and bass. The fourth part of the Mass collection begins with the Osanna (1) , which further expands the choral force into eight parts, and Bach drew materials from the opening chorus of the Cantata No 215, which was written for the anniversary of the election of Friedrich August II as King August III of Poland. As Jesus entered Jerusalem as a king on the donkey on Palm Sunday, welcomed by shouts of hosannas, Bach rearranged the music for an earthly king to praise the heavenly King. The Benedictus (2) has an unassigned obbligato part notated in the treble clef. As B minor was one of Bach’s favourite keys for the traverso flute, the NeueBach-Ausgabe has assigned it to accompany the tenor solo. After the recapitulation of the Osanna (3) , the alto solo Agnus Dei (4) was parodied from AscensionOratorio, BWV11. According to the standard practice of Mass settings performed in Dresden, Bach derived the final Dona nobis pacem (5) from materials earlier in the Mass and, in this case, “gratiasagimustibi”.

As Bach inscribed at the end of the autograph score, we conclude these programme notes in the same fashion: DeoSoliGloria—may glory be to God alone.

Text: Felix Yeung

Bach Mass in B minor, BWV232

I. Missa

Bach Mass in B minor, BWV232

巴赫 B 小調彌撒曲，BWV232

I. Missa 一、彌撒曲 Kyrie Kyrie 憐憫頌

1. Kyrie eleison (chorus) Lord, have mercy upon us.

2. Christe eleison (soprano duet) Christ, have mercy upon us.

3. Kyrie eleison (chorus) Lord, have mercy upon us.

1. Kyrie eleison (chorus) Kyrie eleison.

2. Christe eleison (soprano duet) Christe eleison.

3. Kyrie eleison (chorus) Kyrie eleison.

1. 求主憐憫（合唱） 求主憐憫我等。

2. 求基督憐憫（女高音二重唱） 求基督憐憫我等。

3. 求主憐憫（合唱） 求主憐憫我等。

Gloria Gloria 榮歸主頌

4. Gloria in excelsis (chorus) Glory be to God on high.

5. Et in terra pax (chorus) And in earth peace, goodwill towards men.

6. Laudamus te (soprano solo)

We praise thee, we bless thee, we worship thee, we glorify thee.

7. Gratias agimus tibi (chorus)

We give thanks to thee for thy great glory.

8. Domine Deus (soprano & tenor duet)

O Lord God, heavenly King, God the Father almighty. O Lord, the only-begotten Son, Jesus Christ, the Highest.

O Lord God, Lamb of God, Son of the Father.

9. Qui tollis peccata mundi (chorus)

That takes away the sins of the world, have mercy upon us.

Thou that takest away the sins of the world, receive our prayer.

10. Qui sedes ad dextram Patris (alto solo)

Thou that sittest at the right hand of God the Father, have mercy upon us.

11. Quoniam tu solus sanctus (bass solo)

For thou only art holy, thou only art the Lord, thou only art the Most High, O Jesus Christ.

12. Cum Sancto Spiritu (chorus) With the Holy Ghost, in the glory of God the Father. Amen.

4. Gloria in excelsis (chorus) Gloria in excelsis Deo.

5. Et in terra pax (chorus) Et in terra pax hominibus bonae voluntatis.

6. Laudamus te (soprano solo) Laudamus te, benedicimus te, adoramus te, glorificamus te.

7. Gratias agimus tibi (chorus) Gratias agimus tibi propter magnam gloriam tuam.

8. Domine Deus (soprano & tenor duet) Domine Deus, Rex coelestis,  Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe, altissime.

4. 榮歸上帝（合唱） 但願在天上榮耀歸於上帝。

5. 平安在地（合唱） 在地上平安歸於主所喜悅之人。

6. 我等讚主（女高音獨唱） 我等讚美主， 稱頌主， 敬拜主， 榮耀主。

7. 我等謝主（合唱） 為主之大榮耀， 感謝主。

8. 主上帝（女高音及男高音二重唱） 主上帝，天上之王， 全能之上帝聖父。 主、獨生之聖子， 至高之耶穌基督；

Domine Deus, Agnus Dei, Filius Patris. 主上帝，上帝之羔羊，聖父之 聖子。

9. Qui tollis peccata mundi (chorus)

Qui tollis peccata mundi, miserere nobis.

Qui tollis peccata mundi, suscipe deprecationem nostram.

10. Qui sedes ad dextram Patris (alto solo) Qui sedes ad dextram Patris, miserere nobis.

11. Quoniam tu solus sanctus (bass solo) Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe.

12. Cum Sancto Spiritu (chorus) Cum Sancto Spiritu in gloria Dei Patris. Amen.

9. 除去世罪者（合唱） 除去世人罪之主， 憐恤我等； 除去世人罪之主， 應允我等之祈禱。

10. 坐於父右者（女低音獨唱） 坐於上帝聖父右之聖子， 憐恤我等。

11. 惟主是聖（男低音獨唱） 惟主是獨一為聖， 主是獨一為主， 主是獨一為至上， 耶穌基督。

12. 偕同聖靈（合唱） 偕同聖靈， 同在上帝聖父上帝之榮耀中。阿們。

II. Nicene Creed

1. Credo in unum Deum (chorus) I believe in one God.

2. Patrem omnipotent (chorus)

The Father almighty, maker of Heaven and Earth, and of all things visible and invisible.

3. Et in unum Dominum (soprano & alto duet)

And in one Lord Jesus Christ, the only-begotten Son of God, begotten of his Father before all worlds, God of God. Light of Light, very God of very God, begotten, not made, being of one substance with the Father, by whom all things were made. Who for us men and for our salvation came down from Heaven.

4. Et incarnatus est (chorus) And was incarnate by the Holy Ghost of the Virgin Mary, and was made man.

5. Crucifixus (chorus) And was crucified also for us under Pontius Pilate. He suffered and was buried.

6. Et resurrexit (chorus)

And the third day he rose again according to the Scriptures,

II. Symbolum Nicenum (Credo) 二、尼吉亞信經

1. Credo in unum Deum (chorus) Credo in unum Deum.

2. Patrem omnipotent (chorus) Patrem omnipotentem, factorum coeli et terrae, visibilium omnium et invisibilium.

3. Et in unum Dominum (soprano & alto duet)

Et in unum Dominum, Jesum Christum, Filium Dei unigenitum et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum do Deo vero, genitum, non factum, consubstantialem Patri, per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de coelis.

4. Et incarnatus est (chorus) Et incarnatus est de Spiritu Sanctu ex Maria virgine et homo factus est.

5. Crucifixus (chorus) Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.

6. Et resurrexit (chorus) Et resurrexit tertia die secundum scripturas,

1. 我信獨一上帝（合唱） 我等信獨一之神。

2. 全能聖父（合唱） 即全能之聖父， 創造天地， 及一切有形無形之萬物之主。

3. 我信獨一之主 （女高音及女低音二重唱） 我等信獨一之主耶穌基督， 上帝獨生之聖子，

是聖父在萬世之先所生。

是從神所出之神，從光所出之光， 從真神所出之真神， 是生非造， 是與聖父同體， 萬物皆藉聖子而造； 聖子為要拯救我等世人， 從天降臨。

4. 道成肉身（合唱） 為聖靈感動之童貞女馬利亞所生， 成為人身。

5. 被釘十架（合唱） 在本丟彼拉多手下， 為我等釘十字架， 被害而葬。

6. 第三日復活（合唱） 照聖經之言， 第三日復活， and ascended into Heaven. And sitteth on the right hand of the Father.

And he shall come again with glory to judge both the quick and the dead: whose kingdom shall have no end. et ascendit in coelum, sedet ad dexteram Dei Patris. Et iterum venturus est cum gloria judicare vivos et mortuos, cujus regni non erit finis.

7. Et in Spiritum sanctum Dominum (bass solo)

And I believe in Holy Ghost, the Lord and giver of life, who proceedeth from the Father and the Son,

who with the Father and the Son together is worshipped and glorified. Who spake by the prophets.

And I believe one Catholic and apostolic Church.

7. Et in Spiritum sanctum Dominum (bass solo)

Et in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit;

qui cum Patre et Filio simul adoratur et conglorificatur; qui locutus est per Prophetas. Et unam sanctam catholicam et apostolicam ecclesiam.

升天， 坐在聖父之右； 將來復必有榮耀而降臨， 審判生人死人， 其國無窮無盡。

7. 我信聖靈 （男低音獨唱） 我等信聖靈即是主， 是賜生命者， 是從聖父、聖子 所出，

與聖父、聖子， 同是當拜，當稱頌者， 眾先知說預言，皆是被聖靈感動； 我等信使徒所立獨一聖而公之 教會。

8. Confiteor (chorus) I acknowledge one baptism for the remission of sins.

9. Et expect (chorus) And I look for the resurrection of the dead, and the life of the world to come. Amen.

III. Sanctus

1. Sanctus (chorus) Holy, holy, holy, Lord God of hosts, Heaven and Earth are full of thy glory.

IV. Osanna, Benedictus, Agnus Dei and Dona nobis pacem

1. Osanna in excelsis (chorus) Hosanna in the highest.

2. Benedictus (tenor solo) Blessed is he that cometh in the name of the Lord.

3. Osanna in excelsis (chorus) Hosanna in the highest.

4. Agnus Dei (alto solo) O Lamb of God, that takest away the sins of the world, have mercy upon us.

5. Dona nobis pacem (chorus) Grand us thy peace.

翻譯及匯編：楊欣諾

Compiled and translated by Felix Yeung

8. Confiteor (chorus) Confiteor unum baptisma in remissionem peccatorum.

9. Et expecto (chorus) Et expecto resurrectionem mortuorum et vitam venturi saeculi. Amen.

III. Sanctus

1. Sanctus (chorus) Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria ejus.

IV. Osanna, Benedictus, Agnus Dei et Dona nobis pacem

1. Osanna in excelsis (chorus) Osanna in excelsis.

2. Benedictus (tenor solo) Benedictus, qui venit in nomine Domini.

3. Osanna in excelsis (chorus) Osanna in excelsis.

4. Agnus Dei (alto solo) Agnus Dei, qui tollis peccata mundi, miserere nobis.

5. Dona nobis pacem (chorus) Dona nobis pacem.

8. 我信洗禮（合唱） 我等信因為赦罪 設立之獨一洗禮。

9. 又望死後復活（合唱） 我等望死後之復活， 又望來世之永生。 阿們。

1. 聖哉、聖哉、聖哉（合唱） 聖哉，聖哉，聖哉， 天地萬軍之主上帝， 主之榮光，充滿天地。

四、和撒那、奉主頌、羔羊頌及 賜我等平安

1. 和撒那（合唱） 和撒那，響徹雲霄。

2. 奉主名而來者（男高音獨唱） 奉主名而來的，是應當稱頌的。

3. 和撒那（合唱） 和撒那，響徹雲霄。

4. 上帝之羔羊（女低音獨唱） 上帝之羔羊， 除去世人罪之主， 憐恤我等。

5. 賜我等平安（合唱） 賜我等平安。

編按：本場刊因應不同作曲家及樂曲之歷史和基督宗派背景而選用不同中文譯法，如「上帝」、「天主」等翻譯。

Editor's note: Based on the historical and denominational context of the pieces and composers, there may be different Chinese translations of the same word, such as "God".

Acknowledgements

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香港聯合國教科文組織世界地質公園 Hong Kong UNESCO Global Geopark

悅品海景酒店．觀塘 Hotel COZi Harbour View

宜必思香港中上環 ibis Hong Kong Central & Sheung Wan

入境事務處 Immigration Department

In Black

法國文化中心 Institut français

東方葡萄牙學會 Instituto Português do Oriente

益普索 IPSOS

廖健邦 James Liu

滘西村值理會 Kau Sai Village Office

林欣傑 Keith Lam

梁頌怡 Kitty Leung

駐香港韓國文化院 Korean Cultural Center in Hong Kong

高山劇場 Ko Shan Theatre

Kubrick

葵靑劇院 Kwai Tsing Theatre

光華印務公司 Kwong Wah Printing Company

勞工處 Labour Department

李淑嫻 Lee Suk Han

康樂及文化事務署 Leisure and Cultural Services Department

牧羊少年與他的浮萍 Lemna of the Alchemist

林昕楠 Lin Xinnan

盛薈 @ 莊士敦 Loplus@Johnston LORE Limited

馬志恆 Ma Chi Hang

馬哥孛羅香港酒店 Marco Polo Hongkong Hotel

Margaret Cheung

Mariko Drayton

Maxibit HK/China

MOViE MOViE

Munchkinlands Company

迷音樂 Musikholic

MYKE40 ltd

荃灣西如心酒店 Nina Hotel Tsuen Wan West

北區大會堂 North District Town Hall

香港諾富特世紀酒店 Novotel Century Hong Kong

One Bite Design Studio

Parenthèses

柏斯琴行 Parsons Music Limited

迷離科技有限公司 Practical Magic and Innovation

葉劍豪教授 Professor Ip Kim-ho

瑞士文化基金會 Pro Helvetia – Swiss Arts Council

犇華企業服務有限公司 Primasia Corporate Services Limited

舍區 Quarryside

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

皇家太平洋酒店 Royal Pacific Hotel

Saul Zaentz Company

沙田大會堂 Sha Tin Town Hall

上環文娛中心 Sheung Wan Civic Centre

Southgate Design

春天芭蕾舞學校 Springtide Ballet School 聯合新零售（香港）有限公司 SUP Retail (Hong Kong) Limited

大館 古蹟及藝術館 Tai Kwun Centre for Heritage and Arts

駐香港臺北經濟文化辦事處 Taipei Economic and Cultural Office in Hong Kong 台灣蘇富比國際房地產 Taiwan Sotheby's International Realty

唐娟 Tang Juan

藝林文具印刷有限公司 The Artland Co. Ltd.

瑞典駐香港及澳門總領事館 The Consulate General of Sweden in Hong Kong and Macau

The Corner Coffee Ltd.

香港教育大學 The Education University of Hong Kong

文化與創意藝術學系 Department of Cultural and Creative Arts

香港演藝學院 The Hong Kong Academy for Performing Arts

舞蹈學院 School of Dance

戲劇學院 School of Drama

音樂學院 School of Music

表演場地管理部 Venue Performance Unit

場地技術部 Venue Technical Unit

香港管弦樂團 The Hong Kong Philharmonic Orchestra

香港朗廷酒店 The Langham, Hong Kong

香港半島酒店 The Peninsula Hotel Limited

港靑 香港基督敎靑年會 The Salisbury – YMCA of Hong Kong

香港大學 The University of Hong Kong

比較文學系 Department of Comparative Literature

音樂系 Department of Music

荃灣大會堂 Tsuen Wan Town Hall

翠華船務（香港）有限公司 Tsui Wah Ferry Service (H.K.) Limited

屯門大會堂 Tuen Mun Town Hall

東華三院東蒲 TWGHs TungPo

美國駐港澳總領事館 U.S. Consulate General HK & Macau

郭慧芸芭蕾舞學校 Vivian Kwok School of Ballet

Vivian Suen

西九文化區管理局 West Kowloon Cultural District Authority

WINK

艾希妮控股有限公司 X Social Group Holdings Limited

高木 Yakitori Takagi

元朗劇院 Yuen Long Theatre

贊助人

李家超先生 , PATRON

GBM SBS PDSM PMSM

永遠名譽會長 邵逸夫爵士（1907-2014）

執行委員會

主席 盧景文教授

副主席 文肇偉先生 義務司庫 范高廉先生 委員 何苗春暉女士

紀文鳳女士 林健忠博士

劉鎮漢先生 李敬恩女士

馬清正先生 薛文熹先生

譚榮邦先生 閻　蘭博士 楊　光先生

節目委員會

主席 譚榮邦先生 委員 白諾信教授

黃　翔先生 羅志力先生 毛俊輝教授

約瑟 施力先生 +

姚　珏教授

財務委員會

主席 范高廉先生 委員 鄭惠貞女士 梁國輝先生

發展委員會

主席 閻　蘭博士

副主席 梁嘉彰女士

委員 張詩樂先生 馮穎詩女士

龐心怡女士 孫林宣雅女士 文 藝女士

顧問 夏佳理先生 鮑　磊先生

查懋成先生

陳祖澤博士

陳達文博士

霍　璽先生

李業廣先生

梁紹榮夫人

李國寶博士

名譽法律顧問 甘乃迪女士 美博香港律師事務所

核數師 羅兵咸永道會計師事務所

Honorary Programme Advisor

電話 TEL （852）2824 3555

傳真 FAX （852）2824 3798、（852）2824 3722

電子郵箱 Email afgen@hkaf.org

節目查詢熱線 （852）2824 2430

Programme Enquiry Hotline

地址 ADDRESS

香港灣仔港灣道二號十二字樓 1205 室 Room 1205, 12/F,2 Harbour Road, Wan Chai, Hong Kong

The Hon. John KC Lee,

GBM SBS PDSM PMSM

HONORARY LIFE PRESIDENT The Hon. Sir Run Run Shaw, GBM CBE（1907-2014）

EXECUTIVE COMMITTEE

Chairman Prof. Lo Kingman, SBS MBE JP

Vice-Chairman

Honorary Treasurer

Members

PROGRAMME COMMITTEE

Chairman

Members

FINANCE COMMITTEE

Chairman

Members

DEVELOPMENT COMMITTEE

Chairperson

Vice-Chairperson

Members

ADVISORS

HONORARY SOLICITOR

AUDITOR

Mr Sebastian Shiu-wai Man

Mr Colin Farrell

Ms Joanna Hotung

Ms Leonie Ki, GBS SBS JP

Sir Lam Kin Chung, KCR

Mr Anthony Lau

Ms Kristine Li

Mr Ma, Ching Cheng

Mr Hugh Simon

Mr Tam Wingpong, SBS

Dr Yan Lan

Mr Sunny Yeung

Mr Tam Wingpong, SBS

Prof. Giorgio Biancorosso

Mr Edmond Huang

Mr Peter C L Lo

Prof. Fredric Mao, BBS

Mr Joseph Seelig, OBE +

Prof. Jue Yao, SBS JP

Mr Colin Farrell

Ms Margaret Cheng, JP

Mr Nelson Leong

Dr Yan Lan

Ms Catherine Leung

Mr Carey Cheung

Ms Ophelia Fung

Ms Samanta Sum-yee Pong

Mrs Helen Lin Sun

Ms Yi Wen

The Hon. Ronald Arculli, GBM CVO GBS OBE JP

Mr Martin Barrow, GBS CBE

Mr Victor Cha

Dr John CC Chan, GBS JP

Dr Darwin Chen, SBS ISO

Mr Angus H Forsyth

The Hon. Charles YK Lee, GBM GBS OBE JP

Mrs Mona Leong, SBS BBS MBE JP

Dr The Hon. Sir David KP Li, GBM GBS OBE JP

Ms Gabriela Kennedy

Mayer Brown Hong Kong LLP

PricewaterhouseCoopers

職員

行政總監 余潔儀

行政總監助理 何丹蓉

節目

節目總監 梁掌瑋、蘇國雲

副節目總監 李冠輝

高級節目經理 蘇雪凌、游慧姿 *

節目經理 鄭佩群 *、廖國穎 *、馬筠婷 *

黃　嵐 *

項目經理 李朗軒 *

節目統籌 陳娟瑜 *、周　翹 *、鍾曉晴 *

容諾行 *

節目主任 黃明儀 #

物流

物流及接待經理 金學忠 *

技術

高級製作經理 梁雅芝 * 製作經理 陳梓衡 *

出版

編輯經理 陳詠恩 *

英文編輯 Adam Wright*

副編輯 陳劭儀 *

助理編輯 干　霖 *

外展

外展經理 林嘉敏 *

外展統籌 陳沅渟 *、李幸凝 *、鄧芷蔚 * 、 黃思婷 *

外展主任 趙家琳 *、郭曉潼 *

外展助理 陳美鳳 *

市場推廣

市場總監 鄭尚榮

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

Special Development Associate

Development Managers

Assistant Development Manager

Development Officer

Nancy Wong*

Eppie Leung

Heidi Choi*

Brenda Kan

Alex So*

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 Taylor Cheng*

Marketing Manager Carly Wong*

Deputy Marketing Managers

Gina Chan*, King Ng*

Assistant Production Manager 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