Yunchan Lim
Piano Recital
任奫燦
鋼琴獨奏會
特首獻辭 Chief Executive ’ s Message
二零二六年香港藝術節隆重 舉 行，謹此致賀。
今年藝術節邁進第五十四屆，約 180 場演出涵蓋 音樂、戲曲、歌劇、戲劇、舞蹈、藝術科技及 其他表演藝術創作，精彩多元，引人矚目。
藝術節在二月二十七日以西班牙國家舞劇院著 名舞劇《美麗的奧蒂羅》揭開序幕，在舞台重 現巴黎黃金時代的歌舞昇平，別出心裁。三月 二十七日藝術節閉幕以大型舞劇《牡丹亭》為 壓軸演出，呈獻導演兼編舞黎星對經典愛情劇 目的嶄新演繹。今年的音樂節目陣容強大，匯 聚各傑出鋼琴家獻技，有年輕韓國天才鋼琴家 任奫燦，也有榮獲二零二五年范．克萊本國際 大賽金獎及觀 眾 大獎的本地鋼琴家沈靖韜，實 在不容錯過。
一如既往，藝術節包羅繽紛多彩的外展及教育 活動。今年的「加料節目」着重豐富藝術愛好 者的文化體驗，加深對世界級藝術家的認識， 對於啓發更多人參與藝術活動，以至鞏固香港 作為中外文化藝術交流中心的定位，極為重要。
感謝眾多贊助商及捐款者慷慨支持香港藝術節。
我亦感謝藝術節團隊再接再厲，為本港以至全
球各地觀 眾 呈獻異彩生輝，令人讚嘆的文化藝 術與娛樂盛會。
香港特別行政區行政長官 李家超
I am pleased to congratulate the Hong Kong Arts Festival on the organisation of its 2026 season. This year’s Festival, the 54th edition, features some 180 performances, encompassing music, Chinese and Western opera, theatre, dance, arts technology and a dazzling variety of performing arts productions.
The Festival opens on 27 February with Ballet Nacional de España’s acclaimed operatic ballet La Bella Otero , recreating the glamour of Paris’ golden era on stage. The Festival concludes on 27 March with the large-scale dance theatre production DreaminThePeonyPavilion , directed and choreographed by Li Xing, injecting fresh life into the timeless love classic. This year’s music performances present a number of brilliant pianists, including young Korean piano sensation Yunchan Lim, and Hong Kong-born Aristo Sham, the gold medallist and audience award winner at the 2025 Van Cliburn International Piano Competition.
As ever, the Festival features a diverse range of outreach and educational activities. This year’s PLUS programme focuses on a wide cultural experience for arts lovers and deeper understanding of world-class artists, contributing to promoting engagement in cultural events and consolidating Hong Kong’s positioning as the East-meets-West centre for international cultural exchange.
I am grateful to our many sponsors and donors for their generous support. My thanks also, as always, go to the Hong Kong Arts Festival for once again bringing Hong Kong, and the world, a shining season of arts and culture, entertainment and wonder.
John KC LEE Chief Executive Hong Kong Special Administrative Region
主席獻辭 Chairman ’ s Message
誠摯歡迎閣下蒞臨第 54 屆香港藝術節。作為國際 藝壇中重要的表演藝術盛事，藝術節一直秉持使 命，致力豐富香港的文化生活，並向社會各界推 廣最優質的表演藝術。今年，藝術節匯聚逾 1,100 位本地及國際的頂尖藝術家，為觀眾 呈獻超過 45 個涵蓋不同藝術領域的多元化節目，合共逾 180 場精釆演出，並 舉 辦約 300 項「加料節目」、外 展及教育活動，為香港注入充沛的文化活力。
我由衷感謝香港特別行政區政府透過康樂及文化事 務署，提供年度恆常撥款及配對資助；感謝香港 賽馬會慈善信託基金、一眾企業贊助機構、慈善基 金會及捐助者的慷慨支持；還有感謝在藝術節舞台 上盡顯才華及創意的享譽國際藝術家，以及在所有
節目背後努力耕耘的香港藝術節團隊——你們每 一分的寶貴捐獻、每一位的投入參與和支持，讓 香港藝術節得以順利舉行，並且成為我們的龐大 動力，使我們能夠持續透過表演藝術回饋社會。
今後，香港藝術節將繼續為觀 眾 呈獻目不暇給的 演出、委約創意無限的新作品，以及致力培育才 華洋溢的本地藝術人才。最後，我要向所有前來
觀賞演出的觀 眾 致以萬分謝意。希望您享受這趟 我們為您精心策劃的藝術之旅，並從中獲得喜 悅、共鳴與啟發。
香港藝術節主席
盧景文
A warm welcome to the 54th Hong Kong Arts Festival. As a leading international performing arts event, the Festival continues to uphold its mission of enriching our city’s cultural life and promoting the best of the performing arts to different sectors of our community. This year, the Festival brings to Hong Kong more than 1,100 distinguished local and international artists from a wide range of artistic disciplines in over 180 performances of more than 45 programmes, as well as about 300 “PLUS”, outreach and education events.
I would like to express my sincere gratitude to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention and matching grant. My heartfelt thanks also go out to The Hong Kong Jockey Club Charities Trust, our corporate sponsors, charitable foundations and donors for their generous support. Their invaluable contributions empower us to actively advance the community through the performing arts.
My genuine appreciation goes to all our internationally renowned and most talented artists for their creativity and outstanding performances on stage. Their dedication profoundly motivates us to continue showcasing exceptional productions, commissioning new works and nurturing local talent. I am also deeply grateful to the HKAF team for its commitment and efforts to bring this Festival to life. Finally, I extend my warmest thanks to all audience members. We truly hope you enjoy this artistic journey and discover moments of delight, resonance and inspiration throughout the programmes being presented this year.
Lo Kingman Chairman Hong Kong Arts Festival
支持機構：
Supporting Organisation:
前言 Foreword
第 54 屆香港藝術節雲集眾多大師級藝術家與傑 出團隊，帶來超過 180 場的音樂、舞蹈、戲劇、 歌劇、戲曲、藝術科技與跨界創作節目，展示藝 術家的精湛造詣。
今年的其中一個主題，是對「勇氣與和平」的探 索。當全球都因為戰亂、流離、經濟下行等苦難 感到焦躁不安，藝術家以獨特的視角與語言，在 舞台上交織出對世界的回應，提醒我們抱持堅毅 與希望。
此外，今屆藝術節部分作品採用了簡約的戲劇手 法，讓我們擺脫地域與資源的限制。我們亦繼續 擁抱藝術科技，利用混合實景技術，開拓新的表 演效果。
一如既往，藝術節今年帶來超過 300 項的外展與 教育活動。「加料節目」準備了一系列講座、大師 班、後台參觀、文化深度遊等活動。我們為大、
中、小學生設計的全方位外展及教育活動，則會 帶領數以萬計的年輕觀眾理解作品背後的故事。
衷心感謝您出席這一場演出，願您從中找到愉悅 與共鳴。
The 54th Hong Kong Arts Festival once again brings together great masters and outstanding artists, presenting more than 180 performances across music, dance, theatre, opera, Chinese opera, arts-tech and interdisciplinary creations—showcasing the exceptional craft of leading local and international talent.
One of this year’s themes is an exploration of “Courage and Peace”. At a time when the world is troubled by war, displacement, economic downturns and other hardships, artists respond from their own distinctive perspectives and in their own languages on stage, reminding us of the need to be resilient and hopeful.
Some works in this year’s Festival adopt a minimalistic theatrical approach, enabling us to transcend the constraints of geography and resources. We also continue to embrace arts-tech, using mixed-reality technologies to open up new performance possibilities.
As always, the Festival presents more than 300 outreach and education activities. Our PLUS events feature a curated series of talks, masterclasses, backstage tours and guided cultural walks. Our comprehensive education initiatives tailored for primary, secondary and tertiary students are aimed at enabling students to gain a more in-depth understanding and appreciation of the works we present.
I sincerely thank you for joining us at this performance, and we hope that you find joy and resonance in the experience.
香港藝術節行政總監 余潔儀
香港藝術節的資助來自：
The Hong Kong Arts Festival is made possible with the funding support of:
Flora Yu Executive Director Hong Kong Arts Festival
港藝術節收入目標（包括第 54 屆香港藝術節及 2026 年「無限亮」）約港幣一億五千九百萬，當中香港特 區政府的年度恆常撥款佔總收入約 12%，另外約 24% 需來自票房收入，約 44% 則需依賴來自各大企業、 熱心人士和慈善基金會的贊助和捐款。預計餘下的 約 20% 則來自其他收入，包括政府針對捐款和贊助 收入而提供的配對資助。
香港藝術節 每年呈獻眾多 國際演藝名家 精采多元的 演出，例如 *：
• 歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫 斯科大劇院、聖彼得堡馬林斯基劇院、三藩市歌 劇院、薩翁林納歌劇節
• 中國戲曲： 中國國家京劇院、河北梆子劇院、上 海崑劇團、上海張軍崑曲藝術中心、江蘇省蘇州 崑劇院、浙江小百花越劇團、上海越劇院
• 古典音樂：塞西莉亞．芭托莉、列卡杜 沙爾、趙 成珍、古斯塔沃・杜達美、菲力普・格拉斯、劉曉 禹、馬友友、丹尼斯．馬祖耶夫、安娜 涅翠柯、 詹安德列亞．諾斯達、小澤征爾、湯瑪士 夸斯托 夫、甘拿迪．羅傑斯特汶斯基、譚盾、湯沐海、克 里斯蒂安．泰利曼、安德拉斯．席夫爵士、班貝格 交響樂團、倫敦交響樂團、NHK 交響樂團、皇家阿 姆斯特丹音樂廳樂團、柏林廣播電台合唱團、萊比 錫聖多馬合唱團、維也納愛樂樂團
• 爵士樂及世界音樂：波比．麥非年、尤蘇・ 恩多 爾、艾斯佩蘭薩．斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼
• 舞蹈：米高・巴里殊尼哥夫、蕭菲・紀蓮、艾甘． 漢、娜塔麗亞 奧斯波娃、美國芭蕾舞劇院、雲 門舞集、漢堡芭蕾舞團—約翰．紐邁亞、紐約市 芭蕾舞團、巴黎歌劇院芭蕾舞團、翩娜．包殊烏 珀塔爾舞蹈劇場、米蘭史卡拉歌劇院芭蕾舞團
• 戲劇：彼得・ 布祿克、羅伯特．利柏殊、蜷川幸 雄、羅柏特 威爾遜、柏林劇團、中國國家話劇 院、皇家莎士比亞劇團、英國國家劇院
• 大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝坊
• 戶外節目：《聲光園》、《幻光動感池》、《聲光頌》
• 音樂劇：《日新》、《雄獅少年》、《咆哮山莊》
• 藝術科技：《超真實》裝置音樂會、《真．幻境 界》、《巴黎舞會》
, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the as well as a diverse range of “PLUS” and in February and March each year.
non-profit organisation. The total income target for FY2025/26 (including the 54th Hong Kong Arts Festival and 2026 “No Limits”) is approximately HK$159 million. Current Government annual baseline funding accounts for around 12% of the Festival's total income. Around 24% of the Festival’s income needs to be generated from the box office, and around 44% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 20% is expected to come from other revenue sources including the Government’s matching grant scheme, which matches income generated through private sector sponsorship and donations. The HKAF has presented top international artists and ensembles across multiple genres, such as*:
• Western opera: Bayerische Staatsoper, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre, San Francisco Opera, Savonlinna Opera Festival
• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Kunqu Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe, Shanghai Yue Opera House
• Classical music: Cecilia Bartoli, Riccardo Chailly, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Bruce Liu, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, Sir András Schiff, Bamberg Symphony, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra
• Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini
• Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, Natalia Osipova, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet – John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch, Teatro alla Scala Ballet Company
• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company, National Theatre of Great Britain
• Large-scale special events: World of WearableArt, Zingaro
• Outdoor events: Power Plant, Super Pool, Chorus
• Musicals: Yat-sen, I Am What I Am the Musical, Wuthering Heights
• Arts-Tech: Hyperreality—An Installation Concert, Norealitynow , VR Interactive Dance—Le Bal de Paris
The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, the HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas.
香港藝術節 積極與 本地演藝人才 合作，並致力為 新
進藝術家 提供展示才華的平台。藝術節至今委約及
製作逾 250 套本地全新創作，包括粵劇、戲劇、室內 歌劇、音樂和舞蹈作品，不少製作更已在香港及海 外多度重演。
香港藝術節多年來與知名國際藝術家及團體聯合製作 不少優秀作品，當中包括由香港藝術節聯同香港歌德 學院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹 窗人》；作為聯合委約機構之一並聯同倫敦老域劇 院、布魯克林音樂學院與尼爾街製作公司製作的「橫 貫計劃」之《暴風雨》及《李察三世》；與上海國際 藝術節聯合委約的《青蛇》；與三藩市歌劇院聯合製 作的《紅樓夢》；與芬蘭國家歌劇院及芭蕾舞團聯合 製作的《拉娜》，以及與中央戲劇學院及 Compagnie Point Fixe 聯合製作的《海底兩萬里》等。
香港藝術節 一直大力投資 下一代的藝術教育。「青 少年之友」成立 33 年來，已為約 849,000 位本地中 學生及大專生提供藝術體驗活動。藝術節近年亦開 展多項針對大、中、小學生的藝術教育活動，包括 由國際及本地藝術家主持的示範講座及工作坊、學 生展演、演前講座、公開彩排、以及欣賞藝術節演 出。同時，通過「學生票捐助計劃」，藝術節每年提 供約 10,000 張半價學生票。
香港藝術節 每年主辦一系列多元化並深入社區的 「加料節目」，例如電影放映、示範講座、大師班、 工作坊、座談會、後台參觀、展覽、藝人談、文化 導賞團等，鼓勵觀眾與藝術家互動接觸。
香港藝術節 亦銳意將共融藝術理念拓展到社區每一 角落。由藝術節與香港賽馬會慈善信託基金聯合呈 獻的「無限亮」計劃於 2019 年正式開展，透過一系 列的演出及多元的教育及社區外展節目，「無限亮」
致力創造共融空間，讓不同能力人士均可以一同欣 賞、參與、擁抱藝術。
香港藝術節協會 2025/26 年度收入目標：
Estimated Target Income for the HKAF in FY2025/26:
港幣一億五千九百萬
The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced with GoetheInstitut Hong Kong and Tanztheater Wuppertal Pina Bausch; Richard III and TheTempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with the HKAF as a co-commissioning institution; Green Snake co-commissioned with Shanghai International Arts Festival; Dream of the Red Chamber coproduced with San Francisco Opera; Laila , a co-production with Finnish National Opera and Ballet, and 20,000LeaguesUndertheSea , co-produced with The Central Academy of Drama, China, and Compagnie Point Fixe.
The HKAF invests heavily in arts education for young people. Over the past 33 years, our “Young Friends” scheme has reached around 849,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 halfprice student tickets each year.
The HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meetthe-artist sessions and guided cultural tours.
The HKAF actively promotes inclusion via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019. Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together.
政府的年度恒常撥款 Current Government annual baseline funding
HK$159 million 約 Around 44% 約 Around 12% 約 Around 20% 約 Around 24%
其他收入 Other Revenues
（包括按捐款和贊助收入 可望獲得的政府配對資助 including possible Government Matching Grant for Sponsorship and Donation income）
票房收入 Box Office
誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。
To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.
電郵 Email: dev@hkaf.org
直綫 Direct lines: (852) 2828 4911/12
網頁 Website: http://go.hkaf.org/give
贊助和捐款 Sponsorship & Donations
*有關香港藝術節的過往節目 Details of past HKAF programmes
任奫燦鋼琴獨奏會
Yunchan Lim Piano Recital
30.03.2026 / 8:00pm
香港文化中心音樂廳
Concert Hall, Hong Kong Cultural Centre
演出長約 1 小時 50 分鐘，包括一節中場休息
Approximately one hour and 50 minutes including one interval
封面照片Cover Photograph
© James Hole
※ 演出期間敬請關掉手提電話及其他電子產品，以免發出聲響或產生光線，影 響表演者及其他觀眾。
Please switch off mobile phones and all electronic devices so they will not emit sound or light during the performance, disturbing the performers and other audience members.
※ 請勿擅自攝影、錄音或錄影。
Unauthorised photography or recording of any kind is strictly prohibited.
※ 演出期間請保持安靜。
Please keep noise to a minimum during the performance.
※ 本場刊採用環保紙張印刷。
This programme is printed on environmentally friendly paper.
※ 如不欲保留本場刊，請於完場後放回演出場地入口。
If you don’t wish to keep this booklet, please return it to the admission point.
所有作品內容均由創作團隊獨立製作，並不代表贊助機構之立場或意見。
The content of all works is independently produced by the creative team, and does not reflect the views or opinions of the Sponsor.
本節目內容及本刊物所載之藝術家 / 客席撰文者言論屬於個人觀點，並不代 表香港藝術節（「本會」）之立場或意見。
The content of this programme and the opinions featured in this publication are solely those of the artists/guest writers and do not represent the views or opinions of the Hong Kong Arts Festival (“HKAF”).
為免影響演出，持票人士務請準時入場。本會有權不讓於演出開始後或中 場休息後遲到和在演出期間中途離場的觀 眾重新入場。
Ticket holders are strongly advised to arrive punctually. The HKAF reserves the right to refuse the (a) admission of latecomers (whether at the beginning of the performance or after the intermission) and (b) re-admission of audience members who leave the auditorium during the performance.
本會有權決定觀 眾（包括遲到和中途離場的觀 眾）入場和重新入場的可能性 及方式。
The HKAF also reserves the right to determine the possibility of admission and re-admission of audience members (which includes latecomers and audience members who have left the auditorium and are seeking re-admission), as well as the manner in which they are admitted.
在任何情況下，若本會允許遲到者入場，該等遲到者只能在指定的遲到點 入場。持票人士如因遲到而不獲安排入場，本會恕不退票或換票。如有任 何爭議，本會保留最終決定權。
In any case, should the HKAF permit the admission of latecomers, such latecomers shall only be admitted at designated latecomer point(s). No refunds or changes will be offered if ticket holders are refused admission due to late arrival. In the event of any dispute, the HKAF reserves all rights to make the final decision.
© Bonsook Koo
© James Hole
鋼琴家
任奫燦
任奫燦於 2022 年，以十八歲之齡成為范．
克萊本國際鋼琴大賽歷來最年輕的金獎得 主，此後，其國際知名度急升。著名美國指 揮家瑪琳．艾爾梭曾說：「任奫燦是一位萬 中無一、兼具深邃音樂悟性與驚人技藝的藝 術家」。
在贏得范．克萊本殊榮後的數年，任奫燦 與紐約、洛杉磯、慕尼黑、東京及首爾愛
樂樂團舉行首演，取得空前成功；又與包 括芝加哥、琉森、英國廣播公司、波士頓 及東京交響樂團在內等多個樂團合作。此 外，他亦曾在紐約卡內基音樂廳、瑞士韋
爾比亞音樂節、倫敦威格摩爾音樂廳、阿 姆斯特丹音樂廳和東京三得利音樂廳等重 要舞台舉行獨奏會。
任奫燦在 2025 / 26 樂季的重點演出包括：與 費城管弦樂團、德累斯頓國家管弦樂團、羅 馬國立聖西西里亞學院管弦樂團、阿姆斯特 丹音樂廳樂團、萊比錫布業大廳樂團舉行首 演。他亦會再度與紐約愛樂樂團、洛杉磯愛 樂樂團、波士頓交響樂團、芝加哥交響樂團 和巴黎管弦樂團合作。本樂季他也會在洛杉 磯、芝加哥、波士頓、卡內基音樂廳、倫敦 威格摩爾音樂廳等舉行獨奏會。
作為唱片公司迪卡古典的獨家唱片灌錄音 樂家，任奫燦灌錄的首張錄音室專輯《蕭 邦：練習曲，作品 10 及 25 》在韓國銷量達 三白金佳績，在世界各地的古典音樂排行 榜亦名列前茅。他亦推出在范．克萊本國 際鋼琴大賽的決賽演奏——拉赫瑪尼諾夫 第三鋼琴協奏曲的現場錄音、柴可夫斯基的 《季節》，以及巴赫的《戈爾德堡變奏曲》。
他還曾推出李斯特全套《超技練習曲》（施 坦威鋼琴）、貝多芬的第五鋼琴協奏曲「帝 皇」（環球音樂集團），以及 2020 年韓國電 視台 KBS 的專輯《韓國的年輕音樂家們》。
2024 年 1 月，他更獲邀擔任「 Apple Music 古典樂」全球大使。
任奫燦在韓國始興出生，七歲起學習鋼 琴。他在十三歲時獲韓國藝術英才教育院錄 取，並在此遇到了他的老師兼伯樂——孫旻 秀。2019 年，年僅十五歲的他成為了韓國 尹伊桑國際音樂大賽歷來最年輕的金獎得 主。任奫燦現於新英格蘭音樂學院跟隨恩師 孫旻秀深造。
Piano Yunchan Lim
Since becoming the youngest person to ever win gold at the Van Cliburn International Piano Competition at the age of 18 in 2022, Yunchan Lim’s ascent to international stardom has been meteoric. Acclaimed American conductor Marin Alsop has said: “Yunchan is that rare artist who brings profound musicality and prodigious technique organically together.”
In the years following his Cliburn win, Lim made successful orchestral debuts with the New York, Los Angeles, Munich, Tokyo and Seoul philharmonic orchestras, as well as the Chicago, Lucerne, BBC, Boston and Tokyo symphony orchestras, among others. His recital appearances have included performances at Carnegie Hall in New York, the Verbier Festival in Switzerland, Wigmore Hall in London, the Concertgebouw in Amsterdam and Suntory Hall in Japan, among other major stages.
Lim’s 2025/26 season highlights include orchestral debuts with the Philadelphia Orchestra, Staatskapelle Dresden, Santa Cecilia, The Concertgebouw in Amsterdam and the Gewandhausorchester in Leipzig, as well as returning to the New York Philharmonic, the Los Angeles Philharmonic, the Boston Symphony and the Chicago Symphony orchestras, and the Orchestre de Paris. The season will also see recitals in Los Angeles, Chicago, Boston, Carnegie Hall and Wigmore Hall, among other major stages.
As an exclusive Decca Classics recording artist, Yunchan Lim’s acclaimed debut studio album, Chopin: Études,Opp.10&25, has gone triple platinum in South Korea and topped classical charts around the world. His other releases on the label include the recording of his momentous performance of Rachmaninoff’s Piano Concerto No 3 live from the Cliburn final, Tchaikovsky’s TheSeasons and Bach’s GoldbergVariations. Other important releases include Liszt’s Transcendental Études (Steinway & Sons); Beethoven’s Piano Concerto No 5, “Emperor” (Universal Music Group); and his appearance on KBS’s 2020 YoungMusiciansofKorea album. Since January 2024, Lim has been a key Global Ambassador for Apple Music Classical.
Born in Siheung, South Korea, Lim began piano lessons at the age of seven. He was accepted into the Korea National Institute for the Gifted in Arts at the age of 13, where he met his teacher and mentor, Minsoo Sohn. In 2019, aged only 15, he became the youngest person to win South Korea’s IsangYun International Competition. Lim currently studies at the New England Conservatory of Music with his teacher Sohn.
© Richard Rodriguez
任奫燦鋼琴獨奏會
Yunchan Lim Piano Recital
舒伯特
D大調第十七鋼琴奏鳴曲，D850， 「加施泰納」
I. 活潑的快板
II. 速度稍快
III. 諧謔曲：活潑的快板—三聲中段
IV. 迴旋曲：中庸的快板
史克里亞賓
升G小調第二鋼琴奏鳴曲，作品19，
「幻想奏鳴曲」
I. 行板
II. 急板
史克里亞賓
升F小調第三鋼琴奏鳴曲，作品23
I. 戲劇性的
II. 小快板
III. 行板
IV. 如火的急板
史克里亞賓
升F大調第四鋼琴奏鳴曲，作品30
I. 行板
II. 飛翔般的最急板
30.03.2026
Franz Schubert (1797-1828)
Piano Sonata No 17 in D Major, D850, “Gasteiner”
I. Allegro vivace
II. Con moto
III. Scherzo: Allegro vivace—Trio
IV. Rondo: Allegro moderato
中場休息 INTERVAL
Alexander Scriabin (1872-1915)
Piano Sonata No 2 in G-sharp minor, Op 19, “Sonata-Fantasy”
I. Andante
II. Presto
Alexander Scriabin
Piano Sonata No 3 in F-sharp minor, Op 23
I. Drammatico
II. Allegretto
III. Andante
IV. Presto con fuoco
Alexander Scriabin
Piano Sonata No 4 in F-sharp Major, Op 30
I. Andante
II. Prestissimo volando
支持 半價學生票 培育藝術小樹苗
Support our Student Ticket Scheme Help us provide more half-price tickets to young people
學生票捐助計劃
籌得的所有款項，均全數用作資助本地全日制學 生以半價優惠購買藝術節門票。為了讓更多青少年有機會觀賞高質 素的演出，從而培養他們對表演藝術的興趣和認識，我們需要您 的協助！
香港藝術節是香港特區政府的「藝術發展配對資助計劃」受惠機構， 部份籌得的捐款及贊助收入將獲 一元 對 一元 的配對資助。*
無論捐贈數額多少，我們均衷心感謝您的支持！
All donations to the Student Ticket Scheme are used for subsidising full-time local students to attend the Festival’s performances at half price. We need your support to encourage more young people to enjoy and be inspired by the Festival’s high-quality performances.
The Hong Kong Arts Festival is a recipient of the HKSAR Government’s Art Development Matching Grants Scheme. Part of the Festival’s sponsorship and donation income will benefit from a dollar-for-dollar match by the Government.*
Donations of any amount will make a difference, and are greatly appreciated!
網上捐款
ONLINE DONATION http://go.hkaf.org/give
其他捐款方法，請參閱刊於本 冊子尾部之捐款表格
For other donation methods, please refer to the Donation Form near the end of this booklet
查詢 Enquiries: dev@hkaf.org
2828 4911/12
樂曲介紹 Programme Notes
舒伯特
Franz Schubert (1797–1828)
舒伯特
D 大調第十七鋼琴奏鳴曲，D850， 「加施泰納」
舒伯特畢生完成了十二首鋼琴奏鳴曲，
另有十首尚未脫稿，其中 D 大調奏鳴曲，
D850 就是他於 1825 年 8 月在奧地利小鎮 巴特加施泰逗留期間寫成，故有「加施泰 納」的別稱。作品處處反映了當地的自然
風光，並以職業鋼琴家博克力為創作靈 感。博克力生於布拉格， 1821 年移居維也 納，以鋼琴家及作曲家身份在音樂之都打
響名堂。這首鋼琴奏鳴曲與別名「偉大」 的 C 大調交響曲同樣在 1825 年面世，其篇 幅宏大、情感豐富，洋溢歡欣與生趣。
第一樂章以一個鮮明且富節奏感的主題開 門見山，很快便將舒伯特對和聲色彩的鍾 愛表露無遺。開首後僅僅八個小節，調性
便已移到 F 大調，再走幾小節，進入升 C 大調，隨後盪回最初的 D 大調，再經由降
Franz Schubert (1797–1828)
Piano Sonata No 17 in D Major, D850, “Gasteiner”
Franz Schubert completed 12 piano sonatas during his lifetime, along with 10 that remained unfinished. The D Major sonata, D850, comes from August 1825 when he was staying in Bad Gastein. The work has since been known as the “Gasteiner”. In many ways it bears the influence of the area’s natural surroundings and was written with professional pianist Carl Maria von Bocklet in mind. Bocklet was born in Prague and moved to Vienna in 1821, where he made a great impression both as a pianist and composer. The year 1825 also saw the birth of the “Great” C Major symphony. The sonata is expansive and contains a great range of expression, full of joy and playfulness.
The first movement begins with a bold, rhythmic statement and soon illustrates Schubert’s love of harmonic colour. Already by the eighth bar we are in F Major, and a few bars later, C-sharp Major, before swinging back to D Major. The transition to
B 大調過渡至第二主題，那歡快悠揚的 A 大調八度旋律，正當我們以為調性終於要
敲定下來，這段旋律卻又忍不住觸及 G 大
調和 C 大調，並隨即折返 A 大調。第二主 題得到充分拓展後，便迎來綿長的尾聲， 此時和聲轉換仍然樂此不疲，直至發展部
在降 B 大調上展開。發展部以第一主題為 基礎，期間調性數度轉變，跟原來的 D 大 調相距最遠時，甚至一度抵達降 A 大調和 降 E 小調。再現部原樣重現呈示部的樂思 佈局，惟大致留在 D 大調內，其尾聲從極 強音開始，以最強音告終。
第二樂章的旋律抑揚頓挫，獨特節奏貫穿 整個樂章，同時讓和聲廣泛展開；第二個 樂段則帶來舞蹈般的節奏，尤其引人入 勝。在「 ABABA 」的曲式下，兩個樂段交 替復現，並在尾聲二合為一，靜謐收結。
第三樂章中，諧謔曲妙趣橫生，活力無 窮；三聲中段卻只起用連串和弦，附以涇 渭分明的力度對比，構成一段富表現力的 流麗旋律，與前者氛圍截然不同。終樂章 是首歡快的進行曲，期間和聲與力度不時 突然劇變，而在兩個對比鮮明的插段後， 音樂便朝向遠方繼續行進。
the second subject passes through B-flat Major on its way to A Major for a happily swinging melody in octaves which seems to be more settled, but cannot help touching G Major and C Major before quickly returning to A Major. This melody is extended and there follows a lengthy coda, also having fun with harmonic shifts, before the development section enters, in B-flat Major. This, based on the first subject, moves through a number of keys, traveling as far from D as A-flat Major and E-flat minor in its course. The recapitulation makes all the same moves as the exposition, but remaining basically in D Major, and with a coda, beginning fortissimo and ending with fff
The second movement presents a lilting melody with a distinctive rhythm which pervades the movement, and also ranges far and wide harmonically. The second section brings an even more intriguing, dancelike rhythm. The form is ABABA and the two sections come together in the coda in a quiet finish. The Scherzo is highly entertaining and again very energetic, while the Trio contrasts this with an entirely chordal and smoothly flowing expressive melody with some highly contrasted dynamics. The final movement is a happy march full of wide-ranging harmonic and dynamic surprises, with two contrasted episodes before the music marches off into the distance.
史克里亞賓
Alexander Scriabin (1872–1915)
史克里亞賓
十九世紀末至二十世紀初，史克里亞賓與 其他俄國藝術家提出了一套理論，主張藝
術要引領人們進入狂喜狀態或神聖境界。
他遂以屬七和弦為主要基礎，並以多種方
式加以應用，漸漸構築了一套和聲系統。
這個系統內的屬七和弦非但不會以傳統方
式解決，更會轉向另一個相似的和弦，進 而發展，予人懸而不決之感。在這個和 弦基礎上，作曲家加入不同節奏、織體和
旋律，烘托出渴望、狂喜或喜悅的感覺。
史克里亞賓曾經渴想交出一部巨作，將音 樂、舞蹈、色彩、燈光、香氛兼收並蓄，
連同鐘聲「從天際雲間懸垂下來」，除了 他親自擔綱演奏鋼琴外，這部巨作更將包 羅多位獨唱、合唱團和樂團編制。雖然如 斯構想最終僅能局部實現，但作曲家在 十九世紀九十年代末的一系列創作，已充 分飽含這類想法的演變軌跡。
Alexander Scriabin (1872–1915)
Alexander Scriabin, along with other artists in Russia during the later part of the 19th century and the early part of the 20th, developed a theory that the aim of art was to transport the participant into a state of ecstasy, or the realm of the divine. To this end, over time he created a harmonic system largely based on the dominant seventh, although added to in various ways. These dominant sevenths would not resolve traditionally, but move on to another, similar chord. In this way, the listener experiences a sense of unresolved expectation. The rhythms, texture and melodies of his music added to this harmonic background often produce a sense of yearning, exultation or joy. He aspired to produce a great work which would incorporate music, with solo voices, chorus and orchestra, with himself at the piano, along with dancing, colour, lights, perfume and bells “suspended from the clouds”. Only parts of this vision were brought to life. All his music from the late 1890s is suffused by the gradual development of this kind of thinking.
升 G 小調第二鋼琴奏鳴曲，作品 19， 「幻想奏鳴曲」
史克里亞賓的鋼琴風格上承蕭邦和李斯 特，並根據個人創作需要和演奏能力靈 巧變通而成。或許因為他先前交出了一些 頗為傳統的作品，並取得一定成功，他的 創作理想已然起了變化，所以他花了大約 五年時間，才寫成第二鋼琴奏鳴曲。這部 1897 年脫稿、翌年出版的作品只有兩個樂
章，相當簡練，卻無礙它煥發活力。「行 板」樂章首個樂段頗具張力，抒情的 B 大 調第二主題緊隨其後，配以史克里亞賓常 用的多層伴奏，兩個樂段及後相繼以不同 調性重複，最終在 E 大調結束，而樂章最 後數小節，則與開首的樂思遙相呼應。
「急板」樂章以 3/2 拍子疾馳奔騰，旋律連 綿，附以向前衝刺的八分音符，煞是一首 愉快的舞曲。
升 F 小調第三鋼琴奏鳴曲，作品 23
第三鋼琴奏鳴曲於 1897 年寫成，不論是全 曲結構，抑或是四個樂章的內容，皆頗符 合傳統體律。正如標題所示，第一樂章具 戲劇性，惟當中也夾雜不少心醉神迷的隨 想片段，全以大調收束。當降 E 大調的第 二樂章展現多種舞蹈似的節奏，營造喜樂 氣氛，接續的 B 大調「行板」樂章就以 3/4
拍子重現第一樂章的線索，而於後續樂章 重現先前樂章元素，恰恰就是史克里亞賓 一大創作特徵。終樂章的壯麗舞曲下，第 一樂章的旋律狂熱回歸，拉起全曲，迎向 歡欣的結局。
Piano Sonata No 2 in G-sharp minor, Op 19, “Sonata-Fantasy ”
Scriabin’s pianistic style is derived from that of Chopin and Liszt, and adapted beautifully to suit his creative needs and pianistic abilities. The second piano sonata took him about five years to complete, and this is possibly because, having composed successful but quite traditional pieces until then, his ideals were changing. It was finished in 1897 and published the following year. The work, in only two movements, is quite short, but shows no signs of being hard to bring to life. The Andante begins with a dramatic section, which is followed by a lyrical second subject with a typically layered accompaniment. This is in B Major, and then the two sections are repeated, but in different keys, ending in E Major, with references to the opening in the final bars. The Presto, in 3/2, is an intense gallop, with a long-breathed melody along with the sprinting quavers, creating a joyful dance.
Piano Sonata No 3 in F-sharp minor, Op 23
Written in 1897, the third piano sonata is conventional in its construction and in the accustomed four movements. As the title suggests, the first movement is dramatic, but these moments are interspersed with ecstatic musings. All ends beautifully in the major. The second movement, in E-flat Major, produces dancelike rhythms and a happy effect, while the Andante, in 3/4 time and in B Major, brings back hints of the first movement. This return of elements of previous movements becomes a notable feature in Scriabin’s music. The final movement is a splendid dance which eventually sees an ecstatic return of the melody of the first movement, binding the entire work together and making for a joyous conclusion.
創新向前 共拓新景 請支持 新作捐助計劃
香港藝術節一直致力委約及製作高質素的全新作品，鼓勵藝術創新 和培育演藝人才。您對 新作捐助計劃 的捐款能協助我們把優秀又大 膽創新的作品搬上舞台，讓它們發光發亮。
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 Festival is committed to promoting original works, and has commissioned and produced many critically acclaimed productions in the past. Your donation to the New Works Scheme will help us produce more innovative performances and nurture local talent.
The Hong Kong Arts Festival is a recipient of the HKSAR Government’s Art Development Matching Grants Scheme. Part of the Festival’s sponsorship and donation income will benefit from a dollar-for-dollar match by the Government.* Donations of any amount will make a difference, and are greatly appreciated!
網上捐款
ONLINE DONATION http://go.hkaf.org/give
其他捐款方法，請參閱刊於本 冊子尾部之捐款表格 For other donation methods, please refer to the Donation Form near the end of this booklet
升 F 大調第四鋼琴奏鳴曲，作品 30
1903 年，身為有婦之夫的史克里亞賓與友
人胞妹發展出婚外情，同年創作的第四鋼 琴奏鳴曲瀰漫強烈的感性，跟他那段時間 的其他作品如出一轍。不同的是，作曲家
完成第四奏鳴曲後還寫了一首詩，詳述樂 曲的含義。詩一開首，便提及一顆從霧中 乍現的星，及至中間有曰：
飛向你，受人仰慕的星 任我飛翔引領我。
瘋狂之舞，神聖之嬉！ 教人迷醉，閃爍耀眼！
如果「行板」樂章描繪了一顆星自迷霧而 出的景象，第二樂章顯然就是詩中所述的 「瘋狂之舞」，狂熱四射，使人陶醉，而 「行板」樂章的旋律也在結尾再次出現。
此作標誌了作曲家正式轉向利用和聲營造 樂曲懸而未解的氣氛，並試圖以創作進入
狂喜狀態或神聖境界。
撰文：紀大衛
中文翻譯：瀧澤勳
Piano Sonata No 4 in F-sharp Major, Op 30
Composed in 1903, the year in which the married Scriabin had an affair with a friend’s sister, the fourth piano sonata exudes an intense sensuality, as do other works written around the same time. However, after completing the work, he wrote a poem which describes the music’s meaning. The poem begins with a star appearing through a mist and in the middle of the poem these lines appear:
It is toward thee, adored star
My flight guides me.
Mad dance, godlike play!
Intoxicating, shining one!
The Andante paints the scene of the star emerging from the mist and the second movement is certainly a “mad dance”, intoxicating in its ecstatic fervour and in the return of the melody from the first movement at the end of the work. This sonata marks the true beginning of the composer’s move towards the harmonic basis of his later expression of unresolved expectation and journey towards ecstasy or the divine.
Text: David Gwilt
Chinese translation: Amadeus Cheung
Acknowledgements
香港藝術節衷心感謝下列機構及人士的慷慨支持﹕
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Programme Officer
LOGISTICS
Logistics Manager
TECHNICAL
Senior Production Manager
Production Manager
PUBLICATIONS
Editorial Manager
English Editor
Associate Editor
Assistant Editor
OUTREACH
Outreach Manager
Outreach Coordinators
Outreach Officers
Flora Yu
Connie Ho
Grace Lang, So Kwok-wan
Kenneth Lee
Shirley So, Janet Yau*
Cathy Cheng*, Sophie Liao*, Katie Ma*, Neva Wong*
Li Long-hin*
Alice Chan*, Nicole Chow*, Dorothy Chung*, Ryan Yung*
Melissa Wong#
Elvis King*
Shirley Leung*
Jacob Chan*
Eugene Chan*
Adam Wright*
Shao yi Chan*
Lindsey Gan*
Carman Lam*
Olivia Chan*, Giselle Li*, Tina Tang*, Ariel Wong*
Raven Chiu*, Angel Kwok*
Outreach Assistant Christine Chan*
MARKETING
Marketing Director
Associate Marketing Director
Marketing Managers
Project Manager – Marketing
Katy Cheng
Eugene Lo
Vicki Cheng*, Stephanie Cheung*, Effie Wong*
Hades Tam*
Deputy Project Manager - Marketing Hill Li*
Assistant Marketing Manager
Jessica Chu*
Marketing Coordinator Isaac Leung*
Marketing Officer
TICKETING
Senior Marketing Manager (Ticketing)
Ticketing Officer
DEVELOPMENT
Development Director
Nancy Wong*
Eppie Leung
Heidi Choi*
Brenda Kan
Special Development Associate Alex So*
Development Managers
Assistant Development Manager
Development Officer
Leroy Chan*, Evelyn Ip*, Janice Wong*
Evelyn Kwok*
Jeria Yip*
Temporary Development Assistant Cherry Chan*
CORPORATE SERVICES
Finance Director
ACCOUNTS
Account Manager
Accounting & Administrative Officer
HR & ADMINISTRATION
HR and Admin Manager
Teresa Kwong
Connie To*
Charmaine Mak*
Janet Yeung*
Receptionist/Junior Secretary Virginia Li
INFORMATION TECHNOLOGY
Information Technology Manager
NO LIMITS
Project Director
Derek Chan*
Eddy Zee*
Programme and Outreach Managers Becky Chung*, Tiffany Ko*, Frieda Ng*
Assistant Programme and Outreach Manager Jasmine Poon*
Programme and Outreach Coordinator
Marketing Manager
Deputy Marketing Managers
Assistant Production Manager
Taylor Cheng*
Carly Wong*
Gina Chan*, King Ng*
Dick Cheng*
Senior Accounting Officer Catherine Chung*
藝術家統籌 張晞琳*、朱芷慧*、馮碧琪*、向怡君*、何敬堯*、梁頌怡*、盧悅穎*、羅玲* 、Lucrezia Luxardo*、胡肇婷*、楊曦*、翁蒨懃*
製作主任 魏俊瑩* 技術統籌 張詠宜*、范文恩*、馮舒凝*、李浩賢*、譚學臻*、鄧煒培*、曾以德*
Artist Coordinators Haynes Cheung*, Eleanor Chu*, Betty Fung*, Cassandra Heung*, Kelvin Ho*, Kitty Leung*, Joyce Lo*, Celine Luo*, Lucrezia Luxardo*, Blanche Wu*, Adrien Yeung*, Bonnie Yung*
Production Officer Rita Ngai*
Technical Coordinators Jess Cheung*, Yan Fan*, Cherry Fung*, Lawrence Lee*, Camille Tam*, Billy Tang*, Joyi Tsang*
*合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order
# 藝術人才見習配對計劃2025/26由香港藝術發展局資助
# 2025/26 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2026年2月更新 Updated February 2026
請支持您的藝術節！
Become a Supporter of Your Festival!
香港藝術節是一所非牟利機構，單憑票房收入及政府基本資助，遠遠 未足以應付呈獻及推廣世界各地頂尖表演藝術的成本。藝術節之所以 能持續舉辦，捐助者的慷慨支持實在功不可沒。誠意邀請您捐助藝術 節捐助計劃，協助我們繼續帶來高質素國際及本地藝術家精采的演出， 以及舉辦多元化的外展及教育活動。
香港藝術節是香港特區政府的「藝術發展配對資助計劃」受惠機構， 部份籌得的捐款及贊助收入將獲一元對一元的配對資助。*
無論捐贈數額多少，我們均衷心感謝您的支持！
The Hong Kong Arts Festival is a non-profit organisation. Income from ticket sales and government baseline funding can only partially cover the Festival’s costs for presenting and promoting the best performing arts from around the world. The Festival can only continue its work thanks to the generous support of its donors. Please support the Festival Donation Scheme so we can continue to present world-class international and local artists as well as offering diverse outreach and education activities.
The Hong Kong Arts Festival is a recipient of the HKSAR Government’s Art Development Matching Grants Scheme. Part of the Festival’s sponsorship and donation income will benefit from a dollar-for-dollar match by the Government.* Donations of any amount will make a difference, and are greatly appreciated!
* 須受「藝術發展配對資助計劃」之條款及細則約束。 Subject to conditions of the Government’s Art Development Matching Grants Scheme.
網上捐款
ONLINE DONATION http://go.hkaf.org/give
其他捐款方法，請參閱刊於本 冊子尾部之捐款表格
For other donation methods, please refer to the Donation Form near the end of this booklet
查詢 Enquiries: dev@hkaf.org 2828 4911/12
is amongst the world's
Our home base most promising.
我們位於世界最具潛力的城市之一
1899.Childe Hassam - New England Headlands