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3 名家選 : 布魯赫納第五交響曲 Great Composers: Bruckner s Fifth Symphony 雲尼斯指揮 Lawrence Renes conductor 音樂會開始前 45 分鐘, 文化中心 4 樓大堂設有由劉志剛 ( 粵語 ) 主持的免費講座 Free pre-concert talks by Savio Lau (Cantonese) in the 4/F Foyer of Cultural Centre 45 minutes before each concert. 節目約於 9 時 20 分結束, 不設中場休息 Concert ends approx. 9:20pm. There is no interval. 布魯赫納 BRUCKNER 降 B 大調第五交響曲慢板慢板 極緩慢諧謔曲 甚活潑 ( 快速 ) 終曲 慢板 Symphony No. 5 in B flat Adagio Adagio. Sehr langsam Scherzo. Molto vivace (Schnell) Finale. Adagio 今晚的音樂會由香港電台第四台 (FM 兆赫 ) 錄音 節目將於 6 月 3 日 ( 星期五 ) 晚上 8 時播出, 並於 6 月 8 日 ( 星期三 ) 下午 2 時重播 Tonight s concert is recorded by RTHK Radio 4 (FM Stereo MHz) and will be broadcast on 3rd June 2011 (Fri) at 8pm with a repeat on 8th June 2011 (Wed) at 2pm. 各位觀眾欣賞美樂前, 請關掉手提電話及其他響鬧裝置 場內不准飲食 攝影 錄音或錄影 我們歡迎閣下保留場刊, 若不欲保留, 請於完場後將場刊交回場地入口, 以作循環再用 祝大家有一個愉快的音樂體驗 Dear patrons For a wonderful concert experience, please kindly switch off your mobile phone and other beeping devices before the concert begins. Photography, recording, filming, eating or drinking are not allowed. We hope you enjoy reading this house programme and wish to retain it. If you don t wish to take your programme home with you, please return it to the admission point after the performance for recycling. We wish you a very enjoyable evening.

4 Salute to Our Partners 感謝伙伴 香港管弦樂團衷心感謝以下機構的慷慨贊助和支持! The Hong Kong Philharmonic Orchestra would like to express our heartfelt thanks to the Partners below for their generous sponsorship and support! 主要贊助 M A J O R F U N D I N G B O D Y 首席贊助 P R I N C I PA L PAT R O N 節目贊助 M A J O R S P O N S O R S CIC Investor Services Limited a subsidiary of Crédit Industriel et Commercial, France 如欲查詢有關贊助或捐款事宜, 歡迎致電 (852) 或電郵至 development@hkpo.com 與我們聯絡 For sponsorship and donation enquiries, please call (852) or to development@hkpo.com 以公司英文名稱序 In alphabetical order of company name

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6 PHOTO Keith Hiro

7 香港管弦樂團 ( 港樂 ) 是亞洲區內最具領導地位的樂團之一, 豐富香港文化生命逾一世紀, 並已發展成一個集華人與海外音樂精英的傑出樂團, 吸引世界級藝術家同台獻藝 港樂每年透過超過 150 場精彩演出, 觸動逾 200,000 樂迷的心靈 在藝術總監兼總指揮艾度. 迪華特領導下, 港樂的藝術水平屢創高峰 港樂近年演出馬勒交響曲系列 歌劇音樂會 傳統古典樂曲以外的嶄新曲目, 均為樂迷所熱切期待, 更成為樂團藝術發展的里程碑 2010/11 樂季, 港樂邀得多位樂壇巨星助陣 : 郎朗 曹秀美 宓多里 列賓 林昭亮 王健等 利茲 湯. 庫普曼 丹尼夫擔任客席指揮的音樂會亦不容錯過 馬其頓鋼琴家狄里柏斯基以第二鋼琴協奏曲繼續其拉赫曼尼諾夫巡禮, 樂季壓軸演出, 是迪華特與港樂一連三周的柴可夫斯基節 2006 年 4 月起, 太古集團慈善信託基金成為樂團的首席贊助, 此為港樂史上最大的企業贊助, 令樂團得以在藝術上有更大的發展, 向世界舞台邁進的同時, 將高水準的演出帶給廣大市民, 讓更多人接觸到古典音樂 港樂和香港的城市脈搏深深緊扣, 積極推廣管弦樂至社會各階層, 將精彩的音樂會體驗帶到各家各戶, 當中不少重要演出更透過電台及電視轉播給全港市民欣賞, 包括於跑馬地馬場遊樂場舉行的全年最大型交響演奏 太古 港樂. 星夜. 交響曲 為了提高全港中 小 特殊學生對古典音樂的興趣, 港樂舉辦音樂教育計劃 豐保險創意音符, 提供免費音樂會及各項教育活動 香港藝術發展局於 2008 年 2 月頒發 藝術推廣獎 予香港管弦樂團, 以表揚港樂近年來成功擴展觀眾層面和獲取公眾支持 港樂的海外巡迴演出, 讓樂團在港外建立聲譽及進一步提升藝術水平 樂團曾參與上海之春國際音樂節及北京國際音樂節,2009 年 1 月, 樂團在迪華特的領導下到廣州 北京及上海作中國巡演 2010 年 9 月, 迪華特與港樂參與上海世博, 於上海東方藝術中心演出貝多芬第九交響曲及特別委約香港作曲家林丰創作的 融, 作為 2010 中國巡演的首站, 隨後分別到西安音樂廳及北京國家大劇院演出馬勒第七交響曲 The Hong Kong Philharmonic Orchestra (HKPO) is one of Asia s leading orchestras. Enriching Hong Kong s cultural life for over a century, the Orchestra has grown into a formidable ensemble of Chinese and international talents, attracting world-class artists to collaborate on its stage. HKPO annually touches the lives of over 200,000 music lovers through more than 150 performances. Under the leadership of Artistic Director and Chief Conductor Edo de Waart, HKPO continues to scale new heights in musical excellence. The continuing cycle of Mahler symphonies and challenging programming outside the traditional repertoire have become highly anticipated events as well as musical milestones for the Orchestra. Celebrated artists continue to grace our halls in the 2010/11 season: Lang Lang, Sumi Jo, Midori, Vadim Repin, Cho-Liang Lin, Wang Jian, just to name a few. Our roster of guest conductors includes Maestro Carlo Rizzi, Ton Koopman and Stéphane Denève. Simon Trpčeski, who headlines the Rachmaninov cycle, has returned with another brilliant interpretation of the composer s famous Second Piano Concerto; while Maestro de Waart and the HKPO will bring to you a 3-week Tchaikovsky Festival as the season finale. From April 2006, The Swire Group Charitable Trust became the Hong Kong Philharmonic s Principal Patron. Swire s sponsorship of the Hong Kong Philharmonic, the largest in the Orchestra s history, supports artistic growth and development as the Orchestra takes its place on the world stage, and brings performances of musical excellence to the widest possible public. HKPO stays in tune with our city by presenting the orchestra in unexpected venues and bringing the excitement of the concert experience to every home through radio and television broadcasts including the largest symphonic event of the year, Swire Symphony under the Stars, at Happy Valley. The Orchestra runs a comprehensive schools education programme, HSBC Insurance Creative Notes, bringing the joy of classical music to primary, secondary and special school kids. In February 2008, the Hong Kong Arts Development Council honoured the HKPO with the Arts Promotion Award, in recognition of its success in expanding its audience base and gaining public support in recent years. The Orchestra also builds its reputation and raises its artistic standards by touring. Apart from participating in the Shanghai Spring International Music Festival and the Beijing Music Festival, the Orchestra undertook a China tour of Guangzhou, Beijing and Shanghai under the leadership of Maestro de Waart in January In September 2010, de Waart and the HKPO appeared at the Expo 2010 Shanghai, performing Beethoven s Ninth Symphony and the newly commissioned work Rong written by Hong Kong composer Fung Lam in the Shanghai Oriental Art Center, as the first stop of the 2010 China tour. It was followed by performances of Mahler s Seventh Symphony in the Xi an Concert Hall and Beijing s National Centre for the Performing Arts. 香港管弦樂團由香港特別行政區政府資助香港管弦樂團首席贊助 : 太古集團香港管弦樂團為香港文化中心場地伙伴 The Hong Kong Philharmonic Orchestra is financially supported by the Government of the Hong Kong Special Administrative Region SWIRE is the Principal Patron of the Hong Kong Philharmonic Orchestra The Hong Kong Philharmonic Orchestra is the Venue Partner of the Hong Kong Cultural Centre

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9 雲尼斯指揮 Lawrence Renes conductor 雲尼斯曾與歐洲多個享負盛名的樂團合作, 如巴伐利亞電台交響樂團 法國電台愛樂樂團 西德交響樂團 柏林德意志交響樂團 哥德堡交響樂團及丹麥國家交響樂團等 2010/11 樂季, 他首次與德累斯頓國家劇院 首爾愛樂樂團及皇家斯德哥爾摩歌劇院合作, 並再次獲瑞典室樂團 皇家斯德哥爾摩樂團 西班牙國家管弦樂團 BBC 交響樂團 萊比錫德國中部電台交響樂團及荷蘭歌劇院邀請演出 雲尼斯於 1994 至 1996 年間於荷蘭電台愛樂擔任迪華特的助理, 他於 1998 至 2003 年擔任阿納姆愛樂樂團首席指揮及藝術總監期間指揮的馬勒 布魯赫納及華格納演出, 令他享譽樂界 2001 至 2006 年間, 他擔任不萊梅劇院及不萊梅愛樂樂團的音樂總監, 任內曾指揮大部份主流曲目 他又定期與皇家斯德哥爾摩愛樂合作, 近期的演出包括於諾貝爾和平獎音樂會中與苪妮. 費萊明合作 雲尼斯亦以能駕馭不同時期和風格的歌劇見稱, 曲目包括一系列現代歌劇 2007 年他指揮譚盾 茶 的美國首演, 並分別指揮荷蘭歌劇院及英國國家歌劇院演出約翰. 亞當斯 原子博士 的歐洲首演及英國首演 雲尼斯於阿姆斯特丹市史韋琳克音樂學院主修小提琴,1993 年於海牙皇家音樂學院指揮系榮譽畢業 Lawrence Renes has conducted many of Europe s most prestigious orchestras including the Sinfonieorchester des Bayerischen Rundfunks, the Orchestre Philharmonique de Radio France, the WDR Sinfonieorchester, Deutsches Sinfonie-Orchester Berlin and the Gothenburg and Danish National Symphony Orchestras. Engagements for the 2010/11 season include his débuts with the Staatskapelle Dresden, Seoul Philharmonic Orchestra and the Royal Stockholm Opera as well as return visits to the Swedish Chamber Orchestra, Royal Stockholm Orchestra, Orquesta Nacional de España, BBC Symphony Orchestra, MDR Sinfonieorchester Leipzig and the Netherlands Opera. From 1994 to 1996 Renes was assistant to Edo de Waart at the Netherlands Radio Philharmonic, and between 1998 and 2003 was Chief Conductor and Artistic Director of Het Gelders Orkest, Arnhem, with whom he built his reputation for authoritative performances of works by Mahler, Bruckner and Wagner. Between 2001 and 2006 he was Generalmusikdirektor of Bremer Theater and the Bremer Philharmoniker where he conducted most of the mainstream repertoire. He also has established a regular relationship with the Royal Stockholm Philharmonic Orchestra and a recent highlight of this collaboration was the Nobel Peace Prize Gala Concert with Renée Fleming. In the field of opera, Lawrence Renes has gained an excellent reputation with a broad range of repertoire including a number of contemporary operas. He gave the US première of Tan Dun's Tea in 2007 and the UK première of John Adams' Doctor Atomic at the English National Opera, having previously conducted the European première with the Netherlands Opera. After studying violin at the Sweelinck Conservatory in Amsterdam, Lawrence Renes went on to study conducting at the Royal Conservatory in The Hague, where he graduated with honours in 1993.

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11 布魯赫納 音樂史學家 學者和愛好者對布魯赫納在音樂史上的地位有很大分歧 不少人 ( 尤其布魯赫納的學生 ) 認為他是 19 世紀末最重要的交響曲作曲家 ; 但同樣有不少人 ( 以傑出樂評人愛德華. 漢斯力克為首, 當時布魯克納仍然在生 ) 認為他只是怪人一名, 而且樂如其人, 作品雜亂無章 其實雙方的所作所為, 對布魯赫納的作品也同樣無益 布魯赫納的學生太著急為恩師的作品爭取演出機會, 就把樂曲扭曲和改動, 企圖將之 普及化 ; 即使今時今日, 有時仍無人能完全確定作曲家原意為何 反對者則透視的他奇特生活方式, 鉅細無遺, 令部分聽眾因為他言行古怪而難以公允地聆賞他的音樂 約瑟夫. 安東. 布魯赫納是家裡五個能活下來的孩子中最年長的一個, 父親在安斯菲爾登村 ( 奧地利北部一條小村莊 ) 裡當校長和管風琴師, 母親是教堂詩班員 ; 年紀小小, 父母就帶著他到教堂望彌撒, 那就是他最初接觸的音樂 ; 四歲時, 父親教他用迷你小提琴拉奏讚美詩旋律, 音樂訓練就此展開 ; 十歲已能代替父親彈奏教堂的管風琴 一家人偶然會到附近的聖弗洛里安去, 在當地壯麗的修院望彌撒, 令他對教會音樂更熱愛 1837 年父親離世, 家庭經濟頓陷困境, 聖弗洛里安修院院長於是慷慨讓 13 歲的布魯赫納成為詩班員, 並在修院寄宿 布魯赫納在聖弗洛里安修院接受了三年的密集音樂訓練, 但離校時卻決定不靠高超的管風琴和小提琴技藝謀生, 而選擇跟隨父親的腳步當學校教師 他先後在多所鄉村學校工作過, 後來獲聘返回聖弗洛里安修院任教, 一晃十年 ;1850 年獲聘為管風琴師 他擔任新職後創作出首批作品, 全數準備供教會使用, 其中包括數首大型彌撒曲 有個外地音樂家聽過這些樂曲後, 認為布魯赫納應正式學習作曲, 增進創作技巧 1855 年 7 月, 三十歲的布魯赫納成了維也納作曲名師西蒙. 塞赫特的學生 塞赫特是音樂史上最多產的作曲家之一, 作品多達八千多首 ( 他自誇不會讓自己沒寫一首賦格曲就度過一天 ); 也是備受推崇的作曲老師, 學生包括舒伯特 塞赫特最早給予布魯赫納的意見之一, 就是勸他離開局促一隅的聖弗洛里安修院 雖然布魯赫納與修院感情深厚, 心靈契合, 但還是選擇離開, 到林茨填補當地教堂管風琴師的空缺, 同時繼續隨塞赫特學習 往後幾年, 布魯赫納成了名滿歐洲的管風琴家之一, 又漸漸鼓起勇氣寫作世俗管弦樂曲,1862 年寫成首批管弦樂作品 ( 一套四首樂曲 ), 並於翌年動筆寫作第一首交響曲 他後來放棄了林茨的工作, 接替塞赫特出任維也納音樂學院對位法教授,1868 年起定居維也納, 既教學又寫作交響曲, 數量越來越多 他最出色的作品都是這段時間寫成的 布魯赫納 1896 年與世長辭, 遺體按其遺願移送聖弗洛里安修院 他一直認為修院才是他心靈的歸宿 他的遺囑寫道 : 我希望我的遺體放在金屬棺裡, 不埋在土窖而放在拉特蘭教士修院教堂大管風琴下 這安排已在我生前獲修院最受人尊敬的主教批准 時至今日, 到訪聖弗洛里安小教堂的遊人仍可看見布魯赫納的棺木, 放在壯觀的巴洛克管風琴底下 那是多年來為他帶來靈感的管風琴

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13 Anton Bruckner Music historians, scholars and enthusiasts are divided over Bruckner s place in the history of music. There have been many not least among them his own pupils who regard him as the paramount symphonist of the late 19th century. But there are just as many headed, in his own time, by the eminent critic Eduard Hanslick who regard him as a simple eccentric, whose personal idiosyncrasies are reflected in music which is rambling and formless. Neither group has ever done Bruckner s legacy much good. His pupils were so anxious that his music should be heard that, in a bid to popularise it, they distorted and altered it. Even today, nobody is entirely surely what Bruckner originally intended in some cases. For their part, Bruckner s detractors have given us such a detailed insight into his own odd lifestyle, that some find Bruckner s personal traits too peculiar to be able to hear his music with dispassionate ears. Bruckner was the eldest of five surviving children born to the local schoolmaster and organist in the small village of Ansfelden in northern Austria. His mother sang in the church choir, and the young Joseph Anton Bruckner s first musical experience was when his parents took him to Mass at the church. His musical training began when he was just four his father taught him to play hymn tunes on a tiny violin by the time he was 10 he was able to deputize for his father on the church organ. His love of church music was greatly enriched by occasional family visits to Mass at the spectacular monastery at nearby St Florian. When, in 1837, his father died and the family faced real poverty, the Prior of St Florian generously offered the 13-year-old Bruckner a place as a residential chorister. He received intensive musical training at St Florian but, when after three years he left, he chose not to capitalize on his considerable skills as an organist and violinist, opting instead to follow in his father s footsteps and become a schoolteacher. After working in a number of rural schools, he was offered a teaching post back at St Florian, where he remained for the next 10 years, being appointed Organist in In that capacity he produced his first music, all of which was intended for church use, and included several large-scale settings of the Mass. It was hearing one of these that prompted a visiting musician to suggest to Bruckner that he should develop his compositional skills by taking formal lessons. In July 1855, the 30-year-old Bruckner became a pupil of the noted Viennese composition teacher Simon Sechter. Sechter was one of the most prolific composers in the history of music, producing over 8,000 works (boasting that he didn t let a day go by without composing a fugue). He was also highly esteemed as a teacher and, among those who sought lessons from him was Schubert. One of the first pieces of advice Sechter gave Bruckner was to leave the isolated monastery at St Florian. Despite his powerful emotional and spiritual ties to the place, Bruckner left and took the vacant position of Cathedral Organist at Linz, while continuing his private lessons with Sechter. Over the next few years Bruckner became one of the most celebrated organists in Europe while gradually summoning up the courage to write secular orchestral music. His first orchestral compositions were a set of four pieces written in 1862, and the following year he set to work on his first symphony. He eventually relinquished the post in Linz to succeed Sechter as Professor of Counterpoint at the Vienna Conservatoire. Bruckner lived in Vienna from 1868, combining his duties as a teacher with increasing activity as a composer of symphonies. He composed his greatest works in this period. Bruckner died in His body was taken to the monastery at St Florian, which he had always regarded as his true spiritual home, in accordance with his will: "I wish that my mortal remains shall be put into a metal coffin, without being lowered into the crypt, under the large organ of the church of the regular Lateran canon monastery. I already obtained the consent for this from the most Reverend Prelate of the mentioned monastery while I was still alive." Visitors to the Abbey at St Florian today can see Bruckner s coffin under the spectacular baroque organ which inspired him for many years.

14 布魯赫納 Anton Bruckner 降 B 大調第五交響曲 慢板慢板 極緩慢諧謔曲 甚活潑 ( 快速 ) 終曲 慢板 Symphony No. 5 in B flat Adagio Adagio. Sehr langsam Scherzo. Molto vivace (Schnell) Finale. Adagio 布魯赫納第五交響曲演奏時間接近 90 分鐘, 篇幅足以成為一場音樂會的唯一曲目 就像今晚的節目一樣 由於樂曲以作曲技巧 對位法 讚美詩和 循環應用 音樂素材為重, 因此常被視為布魯赫納早年的集大成之作 事實上, 他完成第五交響曲後有好一段時間只顧埋首修訂舊作, 沒有新曲面世 樂曲雖然規模宏大, 寫作技巧又五花八門, 但那一方面是為表達作曲家深刻的宗教情懷, 另一方面也與他管風琴師的身份有關 管風琴師很重視即興演奏, 布魯赫納因此有不少機會從事自然流露的音樂創作 的確, 傳聞布魯赫納在聖弗洛里安時, 會花上幾小時用獨特的方式 禱告 也就是用管風琴即興演奏 也許正是這種創作態度, 令其交響曲聽來像不斷蔓延擴展似的 此外, 他的配器也很有管風琴家特色 : 就像管風琴家利用各層鍵盤營造樂器組之間的音色對比, 布魯赫納也常常把樂團當成 樂器組 銅管組 木管組 弦樂組 由脫稿到現今的演出之間, 布魯赫納的交響曲常遭多番折騰, 第五交響曲也不例外 樂曲 1875 年動筆,1876 年脫稿, 但作曲家一再修訂 改動, 直至 1878 年才定稿, 並題獻給奧地利當時的教育及文化大臣卡爾. 馮. 史譚米亞 第五交響曲在布魯赫納有生之年未嘗演出過 ; 但在 1894 年 ( 當時布魯赫納已病入膏肓不能工作 ), 其學生弗朗茨. 施克認為樂曲過於複雜, 複雜得唯有硬把樂曲大刀闊斧地刪節和修改, 才有望讓人接受 ; 這個刪節版 1894 年在奧地利格拉茨市首演,1896 年出版 病重的布魯赫納未能出席這次音樂會, 也他從未親耳聽過此曲演出 1936 年, 一個較接近布魯赫納原稿的版本由羅伯特. 哈斯編輯 ;1951 年, 傑出布魯赫納學者利奧波德. 諾華克編輯了 原典版, 被視為最接近布魯赫納原意 哈斯和諾華克版都以 1878 年版本為基礎 ; 今晚演出的是諾華克版

15 At nearly 90 minutes duration, Bruckner s fifth symphony is substantial enough to stand by itself on a concert program, as it does tonight. Because of its focus on the technical aspects of musical composition, counterpoint, chorales and the cycling through of musical material, it is often seen as a culmination of Bruckner s achievements in musical form up until that point and in fact, following the composition of this symphony Bruckner turned back for some time to his earlier works to revise them, rather than moving on to create new material. The broad scope of the symphony and these technical elements are put to the service of Bruckner s deep religious fervour. They are also linked to his pursuits as an organist. With a strong emphasis on the art of improvisation, the role of organist permitted Bruckner the possibilities of spontaneous composition. Indeed, apocryphal stories of his time at St Florian describe Bruckner spending hours in a unique kind of prayer improvising at the organ. Perhaps it was this approach to the art of composition which makes his symphonies seem so sprawling to us. And Bruckner s orchestration also bears the hallmarks of an organist; just as on the organ a player contrasts different choirs of instruments, via the different manuals or keyboards, Bruckner s writing often treats the orchestra as choirs of instruments brass, wind and strings. The fifth symphony is typical of the torturous course Bruckner s symphonies underwent on the journey between their original creation and their performance today. Begun in 1875 and completed in 1876, Bruckner continued to revise and alter it up to 1878, when he produced a final manuscript bearing the dedication to Austria s then Minster for Education and Culture, Carl von Stremeyr. It was never performed in Bruckner s lifetime, but in 1894, by which time Bruckner was too ill to work, a pupil, Franz Schalk, decided that the complexity of the work was such that the only way his master s symphony could be made palatable was to inflict drastic cuts and revisions. His version of the fifth symphony was performed in the Austrian city of Graz in April 1894 and published in Bruckner was too ill to attend the performance. He never heard this symphony. In 1936 a version closer to Bruckner s original was edited by Robert Haas. And in 1951, the eminent Bruckner scholar, Leopold Nowak, produced his Urtext (authoritative) edition which is regarded as the closest possible to Bruckner s original intentions. Both Haas and Nowak based their editions on the 1878 version. Tonight, we perform the Nowak version.

16 布魯赫納 : 降 B 大調第五交響曲 BRUCKNER: Symphony No. 5 in B flat 第一樂章 深沉的低音大提琴撥奏 ( 此曲偶然被稱為 撥奏交響曲, 因為四樂章裡有三樂章都以弦樂撥奏開始 ) 奏出莊嚴的進行曲, 上方是弦樂低聲而持續的和弦 忽然, 有力的齊奏與雄偉的銅管號角曲交替出現 ; 弦樂與木管互相呼應, 氣氛活潑淘氣 快板其他段落對比強烈, 這個活潑樂段為音樂帶來一陣輕鬆時刻 樂章長約二十分鐘, 大部分時間由嶙峋的附點節奏不斷驅使音樂前進, 推進至厚重而經常重複的齊奏 第二樂章 這是全曲最早動筆的樂章 音樂以虔敬之心掀開序幕 ( 此曲另一個偶然可見的別稱是 忠信的教會, 嘗試概括全曲的主要氣氛 ) 在低音大提琴撥奏襯托下, 抒情的雙簧管主題悠然自得地開展, 與豐富的弦樂和弦抗衡 作曲家在樂章內大量應用這兩個樂思, 將兩者結合和並列 第三樂章 開端的急促樂段迅速達到高潮, 然後農村氣息強烈的舞曲響起 作曲家把繁忙迫切的音樂與整齊的鄉土舞曲並列, 經常營造出格格不入之感, 反映出作曲家本人的經歷 他在奧地利農村生活多時, 現在卻置身喧鬧煩囂的維也納都市生活, 因而深感迷惘 第四樂章 這個樂章重拾第一樂章開端的低音大提琴撥奏及持續和弦, 還引用了其他樂章的片段, 令不少論者指出此曲與貝多芬第九交響曲相似 但前樂章的片段在貝多芬第九交響曲終樂章只屬曇花一現, 然後那家傳戶曉的曲調徐徐響起 ; 布魯赫納卻讓前樂章的片段成為重心, 採用這些素材寫成一首出神入化的雙重賦格曲 ( 他的老師正是寫作雙重賦格曲的大師 ) 在弦樂狂喜的脈動襯托下, 銅管樂奏出雄壯的讚美詩, 為樂曲畫上閃爍的句號 節目介紹中文翻譯 : 鄭曉彤 編制 : 兩支長笛 兩支雙簧管 兩支單簧管 兩支巴松管 四支圓號 三支小號 三支長號 大號 定音鼓及弦樂組 今次是港樂首次演出布魯赫納第五交響曲

17 First movement. Deep pizzicato basses (sometimes the work is given the nickname Pizzicato since three out of the four movements open with pizzicato strings) set up a solemn march above which strings play subdued, sustained chords. Sudden powerful unisons alternate with majestic brass fanfares. Livelier, cheeky dialogues between strings and woodwind provide moments of light relief in the otherwise starkly contrasted Allegro section, which becomes almost dominated by a jagged dotted rhythm which drives the music on relentlessly for the best part of 20 minutes, culminating in massive, oft-repeated unisons. Second movement. This was the first part of the work to be composed and begins in a devotional mood (another occasional nickname given to the symphony, in a bid to encapsulate the overriding mood of the work, is Church of Faith ). Pizzicato basses support a lyrical oboe theme which unfolds leisurely and is countered by rich string chords. These two ideas are combined, juxtaposed and worked out expansively over the course of the movement. Third movement. A rapid burst of activity quickly reaches a climax, after which a decidedly rustic dance emerges. The often awkward juxtaposition of this bustling, urgent music with a measured country dance mirrors the confusion Bruckner might have experienced when, after a life spent in the rural heart of Austria, he found himself thrust into the manic hustle and bustle of Viennese city life. Fourth movement. A return to the pizzicato basses and sustained chords of the opening of the first movement, along with references to material from the others, have drawn many commentators to refer to the connection between this symphony and Beethoven s Ninth. But while Beethoven reviewed and rejected the earlier themes before coming up with the one big tune in his symphony s finale, Bruckner brings all his back into the main arena, producing out of them an absolutely monumental double fugue (a form in which his own teacher was a pre-eminent master), and a majestic brass chorale which, above ecstatically pulsating strings, brings the work to its scintillating conclusion. Programme notes by Marc Rochester Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, and strings. This is the Hong Kong Philharmonic s first performance of Bruckner s fifth symphony.

18 Bruckner Timeline

19 Bruckner Timeline

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21 HKPO APR THE UNPLAYABLE SYMPHONY 要數音樂史上沒有好好學會任何樂器, 又能名垂青史的偉大作曲家, 白遼士大概是第一人 他追求的特殊音效往往意味著樂手要做出一些他們仍未拿捏得到的技巧 正因如此, 白遼士很多作品都被評為 奏不得, 而 幻想交響曲 正式首演前的幾次試演最後都胎死腹中 有一次, 巴黎創新劇院排練 幻想交響曲, 白遼士憶述其惡劣情況 : 大家排練時完全一團糟, 受刑進行曲引來樂師起鬨 對著這個爛攤子, 總監們退縮了, 演出計畫也砸了 他們說, 要演出還要很多準備 他們沒想過演一首交響曲要花這麼多功夫 01 PHOTO Cheung Chi Wai 白遼士 幻想交響曲 的靈感來自戴昆西作品 一個英國鴉片吸食者的自白, 此書刻劃人的心智如何被鴉片摧毀, 生動逼真得令人毛骨悚然 樂曲描繪哀傷藝術家吞下鴉片, 並在夢中見到愛人的情景, 共分五幕 : 白日夢 熱情 舞會 田園景緻 受刑進行曲及女巫安息夜之歌 幻想交響曲 是 19 世紀其中一首最偉大的作品, 讓樂隊有盡情炫耀的機會,5 月 20 及 21 日, 副指揮蘇柏軒將會以他的指揮棒, 帶你遊歷一場因鴉片而起的夢魘, 夢裡女巫喧鬧狂歡, 樂聲中更有人被斬首 同場, 阿根廷女中音麥丹娜將為你高唱拉威爾取材自 一千零一夜 充滿異國風情和感官刺激的 天方夜譚 蘇柏軒 Perry So 02 麥丹娜 Daniela Mack 聆聽您的意見 We re listening! 您們親臨音樂廳, 以行動支持樂團, 我們衷心感謝 您們的寶貴意見, 我們同樣重視 請以電郵 comments@hkpo.com 與我們聯絡 Thank you for coming to our concerts. For any comments, please us at comments@hkpo.com so that we could continue to bring more exciting concerts to you! PHOTO Daria Acosta Berlioz was probably the first important composer in the history of music who never learnt to play any musical instrument properly, and his desire to create a musical effect often meant that he demanded of orchestral players techniques they had yet to develop. Much of his music was declared unplayable and the first attempts to have the Symphonie fantastique performed were abandoned. Berlioz himself recounted a disastrous rehearsal at the Théâtre des Nouveautés in Paris; We rehearsed with our forces in disarray, and the Marche au supplice created a perfect furore among the players. The directors recoiled before such tumult and the enterprise was abandoned. It would involve, they said, too much elaborate preparation. They had no idea so many arrangements were required for a symphony. Berlioz s inspiration for his Symphonie fantastique was Thomas de Quincey s Confessions of an English Opium Eater, a shockingly vivid portrayal of a mind ravaged by opium. In this fantastic symphony, a disconsolate composer took opium and dreamed of his beloved in five scenes: Rêveries-Passions, Un Bal, Scène aux champs, Marche au supplice, and Songe d une nuit de sabbat. Hear Associate Conductor Perry So bring to life Berlioz s vivid portrayal of an opium-induced nightmare complete with witches revelries and a musical beheading as he directs one of the great orchestral showpieces of the 19th century on 20th and 21st of May, while Argentinean mezzo-soprano, Daniela Mack, revels in the exotic and sensual pleasures of Ravel s song-cycle derived from the legendary Arabian Nights tales.

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24 香港管弦樂團 Hong Kong Philharmonic Orchestra 第一小提琴 First Violins PHOTO Bobby Lee 夏定忠 John Harding 團長 Concertmaster 梁建楓 Leung Kin-fung 第一副團長 First Associate Concertmaster 王思恆 Wong Sze-hang 第二副團長 Second Associate Concertmaster 朱蓓 Zhu Bei 第三副團長 Third Associate Concertmaster 艾度. 迪華特 Edo de Waart 藝術總監兼總指揮 Artistic Director & Chief Conductor 總指揮席位由以下機構贊助 Maestro s Chair endowed by The Octavian Society & Y. S. Liu Foundation 毛華 Mao Hua 程立 Cheng Li 把文晶 Ba Wenjing 許致雨 Anders Hui 桂麗 Gui Li 李智勝 Li Zhisheng 龍希 Long Xi 梅麗芷 Rachael Mellado PHOTO Lawrence Chan 蘇柏軒 Perry So 副指揮 Associate Conductor 第二小提琴 Second Violins 倪瀾 Ni Lan 范丁 Fan Ting 王亮 Wang Liang 趙瀅娜 Zhao Yingna # 徐姮 Xu Heng 梁文瑄 Leslie Ryang Moon-sun 張希 Zhang Xi 華嘉蓮 Katrina Rafferty 鈴木美矢香 Miyaka Suzuki 冒田中知子 Tomoko Tanaka Mao 李嘉道 Ricardo de Mello 方潔 Fang Jie 何珈樑 Gallant Ho Ka-leung 簡宏道 Russell Kan Wang-to 冒異國 Mao Yiguo 潘廷亮 Martin Poon Ting-leung # 樂師席位由以下機構贊助法國興業私人銀行 # Musician s Chair endowed by Societe Generale Private Banking PHOTOS BY Cheung Chi Wai & Keith Hiro 黃嘉怡 Christine Wong Kar-yee 周騰飛 Zhou Tengfei * 陳怡廷 Chen Yi-ting * 柯雪 Ke Xue

25 第二小提琴 Second Violins * 劉博軒 Liu Boxuan * 劉芳希 Liu Fang-xi 中提琴 Violas PHOTO Natasha Komoda 凌顯祐 Andrew Ling 熊谷佳織 Kaori Wilson 黎明 Li Ming 羅舜詩 Alice Rosen 崔宏偉 Cui Hong-wei 范星 Fan Xing 范欣 Fan Yan 洪依凡 Ethan Heath 孫斌 Sun Bin 王駿 Wang Jun * 付水淼 Fu Shuimiao * 楊帆 Yang Fan * 張姝影 Zhang Shu-ying 大提琴 Cellos 鮑力卓 Richard Bamping 方曉牧 Fang Xiaomu 林穎 Dora Lam 陳怡君 Chen Yi-chun + 關統安 Anna Kwan Ton-an 陳屹洲 Chan Ngat Chau 張明遠 Cheung Ming-yuen 霍添 Timothy Frank 李銘蘆 Li Ming-lu 宋亞林 Yalin Song * 潘 Pan Yan 低音大提琴 Double Basses 林達僑 George Lomdaridze 姜馨來 Jiang Xinlai 馮榕 Feng Rong 費利亞 Samuel Ferrer 首席 Principal 署理首席 Acting Principal 聯合首席 Co-Principal 助理首席 Assistant Principal + 樂師席位由以下機構贊助邱啟楨紀念基金 + Musician s Chair endowed by C. C. Chiu Memorial Fund 林傑飛 Jeffrey Lehmberg 鮑爾菲 Philip Powell 范戴克 Jonathan Van Dyke * 張沛姮 Chang Pei-heng * 何鴻毅家族基金 香港管弦樂團駐團學員培訓 計劃樂手 * Fellows of The Robert H. N. Ho Family Foundation Orchestral Fellowship Scheme

26 香港管弦樂團 Hong Kong Philharmonic Orchestra 長笛 Flutes 短笛 Piccolo 史德琳 Megan Sterling 盧韋歐 Olivier Nowak 施家蓮 Linda Stuckey 雙簧管 Oboes 英國管 Cor Anglais 韋爾遜 Michael Wilson 布若芙 Ruth Bull 杜爾娜 Sarah Turner 單簧管 Clarinets 低音單簧管 Bass Clarinet 史安祖 Andrew Simon 史家翰 John Schertle 簡博文 Michael Campbell 巴松管 Bassoons 低音巴松管 Contra Bassoon 莫班文 Benjamin Moermond 李浩山 Vance Lee 崔祖斯 Adam Treverton Jones 圓號 Horns 韋麥克 Mark Vines 柏如瑟 Russell Bonifede 周智仲 Chow Chi-chung 高志賢 Marc Gelfo 李少霖 Homer Lee Siu-lam 李妲妮 Natalie Lewis 小號 Trumpets 長號 Trombones 傲高年 Colin Oldberg 莫思卓 Christopher Moyse 華達德 Douglas Waterston 韋雅樂 Jarod Vermette 韋力奇 Maciek Walicki 低音長號 Bass Trombone 大號 Tuba 定音鼓 Timpani 高樂朋 Robert Collinson 陸森柏 Paul Luxenberg 龐樂思 James Boznos 敲擊樂器 Percussion 豎琴 Harp 鍵盤 Keyboard 泰貝桑 Shaun Tilburg 梁偉華 Raymond Leung Wai-wa 胡淑徽 Sophia Woo Shuk-fai 史基道 Christopher Sidenius 葉幸沾 Shirley Ip 特約樂手 Extra player 小號 Trumpet 莊力傑 # Lertkiat Chongjirajitra # # 承蒙曼谷交響樂團允許參與演出 # With kind permission of the Bangkok Symphony Orchestra

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28 香港管弦協會 Hong Kong Philharmonic Society 名譽贊助人行政長官曾蔭權先生 HONORARY PATRON The Chief Executive The Hon Donald Tsang Yam-kuen, GBM 執行委員會劉元生先生主席 EXECUTIVE COMMITTEE Mr Y. S. Liu Chair 董事局劉元生先生主席 蘇澤光先生副主席 陳祖泳女士邱詠筠女士蔡關穎琴律師蔡寬量教授霍經麟先生湯德信先生喬浩華先生林煥光先生梁馮令儀醫生劉靖之教授羅志力先生伍日照先生蘇兆明先生冼雅恩先生詩柏先生鄧永鏘爵士黃錦山先生衛嘉仁先生 贊助基金委員會 伍日照先生主席 BOARD OF GOVERNORS Mr Y. S. Liu Chairman Mr Jack C. K. So, JP Vice-Chairman Ms Joanne Chan Ms Winnie Chiu Mrs Janice Choi, MH Prof. Daniel Chua Mr Glenn Fok Mr David Fried Mr Peter Kilgour Mr Lam Woon-kwong, GBS, JP Dr Lilian Leong, BBS, JP Prof. Liu Ching-chih Mr Peter Lo Chi-lik Mr Daniel Ng Yat-chiu Mr Nicholas Sallnow-Smith Mr Benedict Sin Nga-yan Mr Stephan Spurr Sir David Tang, KBE Mr Kenny Wong Kam-shan Mr David Zacharias ENDOWMENT TRUST FUND BOARD OF TRUSTEES Mr Daniel Ng Yat-chiu Chair 蔡關穎琴律師伍日照先生冼雅恩先生蘇澤光先生詩柏先生 財務委員會冼雅恩先生主席 霍經麟先生劉元生先生伍日照先生黃錦山先生黃文耀先生 籌款委員會蔡關穎琴律師主席 邱詠筠女士周董立茂女士 Tasha Lalvani 女士副主席 陳天賜先生湯德信先生伍日照先生施彼德先生蘇澤光先生 Mrs Janice Choi, MH Mr Daniel Ng Yat-chiu Mr Benedict Sin Nga-yan Mr Jack C. K. So, JP Mr Stephan Spurr FINANCE COMMITTEE Mr Benedict Sin Nga-yan Chair Mr Glenn Fok Mr Y. S. Liu Mr Daniel Ng Yat-chiu Mr Kenny Wong Kam-shan Mr Robert T. Wong FUNDRAISING COMMITTEE Mrs Janice Choi, MH Chair Ms Winnie Chiu Mrs Leigh Tung Chou Mrs Tasha Lalvani Vice-chair Mr Chan Tin Chi Mr David Fried Mr Daniel Ng Yat-chiu Mr Peter Siembab Mr Jack C. K. So, JP 林煥光先生劉元生先生冼雅恩先生 Mr Lam Woon-kwong, GBS, JP Mr Y. S. Liu Mr Benedict Sin Nga-yan 發展委員會詩柏先生主席 DEVELOPMENT COMMITTEE Mr Stephan Spurr Chair 名譽顧問陳永華教授張建東博士周永成先生何超瓊女士胡法光先生嘉道理勳爵夫人梁定邦醫生岑才生先生黃英琦女士楊鐵樑爵士 HONORARY ADVISERS Prof. Chan Wing-wah, JP Dr the Hon Marvin Cheung, OBE, SBS, JP Mr Vincent Chow Wing-shing, MBE, JP Ms Pansy Ho Chiu-king Mr Hu Fa-kuang, GBS, CBE, JP Lady Kadoorie Dr Ronald Leung, OBE, JP Mr Shum Choi-sang, SBS, OBE, MA, JP Ms Ada Wong Ying-kay, JP The Hon Sir T. L. Yang, GBM, JP 龐樂思先生陳祖泳女士邱詠筠女士蔡寬量教授紀大 教授李偉安先生梁馮令儀醫生鄧永鏘爵士 Mr James Boznos Ms Joanne Chan Ms Winnie Chiu Prof. Daniel Chua Prof. David Gwilt, MBE Mr Warren Lee Dr Lilian Leong, BBS, JP Sir David Tang, KBE

29 行政人員麥高德先生行政總裁 行政及財務部何黎敏怡女士行政及財務總監 李康銘先生財務經理 張嘉雯小姐人力資源經理 李家榮先生資訊科技及項目經理 郭文健先生行政及財務助理經理 陳碧瑜女士行政秘書 蘇碧華小姐行政及財務高級主任 陳麗嫻小姐接待員 梁錦龍先生辦公室助理 藝術策劃部韋雲暉先生藝術策劃總監 王嘉瑩小姐助理經理 ( 藝術家事務 ) MANAGEMENT Mr Michael MacLeod Chief Executive ADMINISTRATION AND FINANCE Mrs Vennie Ho Director of Administration and Finance Mr Homer Lee Finance Manager Miss Cherish Cheung Human Resources Manager Mr Andrew Li IT and Project Manager Mr Alex Kwok Assistant Administration and Finance Manager Ms Rida Chan Executive Secretary Miss Vonee So Senior Administration and Finance Officer Miss Pamela Chan Receptionist Mr Sammy Leung Office Assistant ARTISTIC PLANNING Mr Raff Wilson Director of Artistic Planning Miss Michelle Wong Assistant Manager (Artist Liaison) 朱荻恩小姐發展助理經理 韓嘉怡小姐發展助理經理 市場推廣部譚兆民先生市場推廣總監 陳剛濤先生市場推廣經理 梁國順先生巿場及傳訊高級主任 黃穎詩小姐巿場及傳訊主任 陳嘉惠女士編輯 陸可兒小姐企業傳訊主任 林美玲小姐客務主任 樂團事務部邵樂迦先生樂團事務總監 楊劍騰先生樂團人事經理 陳國義先生舞台經理 何思敏小姐樂譜管理 Miss Judy Chu Assistant Development Manager Miss Kary Hon Assistant Development Manager MARKETING Mr Paul Tam Director of Marketing Mr Nick Chan Marketing Manager Mr Gordon Leung Senior Marketing Communications Officer Miss Natalie Wong Marketing Communications Officer Ms Tiphanie Chan Publications Editor Miss Alice Luk Corporate Communications Officer Miss Alice Lam Customer Service Officer ORCHESTRAL OPERATIONS Mr Luke Shaw Director of Orchestral Operations Mr Ambrose Yeung Orchestra Personnel Manager Mr Steven Chan Stage Manager Miss Betty Ho Librarian 羅芷欣小姐藝術策劃助理 Miss Christy Law Artistic Planning Assistant 丁美雲小姐樂團事務助理經理 Miss Natalie Ting Assistant Orchestral Operations Manager 翁瑋瑜小姐教育及外展統籌主任 Miss Flora Yung Education and Outreach Coordinator 蘇近邦先生運輸主任 ( 樂器 ) Mr So Kan Pong Transportation Officer (Musical Instruments) 梁琪琪小姐教育及外展主任 發展部李察先生發展總監 吳凱明女士發展經理 Miss Kiki Leung Education and Outreach Officer DEVELOPMENT Mr Richard Truitt Director of Development Ms Edith Ng Development Manager 聯絡我們香港九龍尖沙咀文化中心行政大樓八樓電話 : 傳真 : Contact us Level 8, Administration Building, Hong Kong Cultural Centre, Kowloon, Hong Kong Tel: Fax:

30 Maestro Circle 大師會 大師會特別為熱愛管弦樂的企業及人士而設, 旨在推動香港管弦樂團的長遠發展及豐富市民的文化生活 港樂謹此向下列各大師會會員致謝 Maestro Circle is established for the business community and individuals who are fond of symphonic music. It aims at supporting the long-term development of the Hong Kong Philharmonic Orchestra and enriching cultural life. We heartily thank the following Maestro Circle members. 白金會員 PLATINUM MEMBERS David M. Webb webb-site.com 鑽石會員 DIAMOND MEMBERS 綠寶石會員 EMERALD MEMBERS Peter Siembab 珍珠會員 PEARL MEMBERS Mrs Joy Chung 以公司英文名稱序 In alphabetical order of company name

31 多謝支持 Thank You for Your Support 香港管弦樂團在此向以下商業機構及熱心人士表達由衷謝意! The Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support. 樂團席位贊助基金 CHAIR ENDOWMENT FUND 總指揮贊助基金 The Maestro s Chair endowed by The Octavian Society Limited 劉元生慈善基金 Y. S. Liu Foundation 樂師贊助基金 The Musician s Chair endowed by 邱啟楨紀念基金 C. C. Chiu Memorial Fund 法國興業私人銀行 Societe Generale Private Banking 常年經費 ANNUAL FUND 金管贊助人 Gold Patron >HK$100,000 新昌國際集團有限公司 Hsin Chong International Holdings Ltd 嘉里控股有限公司 Kerry Holdings Limited 黃少軒江文璣基金有限公司 Mr & Mrs S H Wong Foundation Ltd 紅寶贊助人 Ruby Patron HK$10,000 HK$29,999 Mr Barry John Buttifant 陳靜娟女士 Ms Vivien C C Chan Mrs Anna Chen 鄭李錦芬女士 Ms Eva Cheng 蔡維邦先生 Mr Edwin Choy Dr & Mrs Carl Fung 馮慶鏘伉儷 Mr & Mrs Kenneth H C Fung 馮兆林先生夫人 Mr & Mrs Fung Shiu Lam 高膺伉儷 Mr & Mrs Ko Ying 關智健先生及家人 Dr Justin L. Kwan & Family 李健鴻醫生 Dr Lee Kin Hung 梁馮令儀醫生 Dr Lilian Leong 麥耀明先生 Mr Lawrence Mak 麥禮和醫生 Dr Mak Lai Wo Dr John Malpas Mrs Anna Marie Peyer 田家炳基金會 Tin Ka Ping Foundation 丁天立伉儷 Mr & Mrs Ivan Ting 曹延洲醫生 Dr Tsao Yen Chow 汪徵祥慈善基金 The Wang Family Foundation 黃保欣先生 Mr Wong Po Yan 任懿君先生 Mr David Yam Yee Kwan 銀管贊助人 Silver Patron HK$50,000 HK$99,999 Mr & Mrs Alec P Tracy 陳建球伉儷 Mr & Mrs E Chan 張爾惠伉儷 Mr & Mrs Lowell & Phyllis Chang 梁烈安伉儷 Mr & Mrs Leung Lit On 翡翠贊助人 Jade Patron HK$5,000 HK$9,999 無名氏 Anonymous (2) 陳振漢醫生 Dr Edmond Chan 陳健華先生 Mr Chen Chien Hua Mr Cheng Kwan Ming Mrs Mitzi Lee 梁冠強先生 Mr Jack Leung 梁贊先生及周嘉平女士 Mr Jan Leung & Ms Emily Chow Mr & Mrs Michael & Angela Grimsdick 何兆煒醫生 Dr William Ho 胡立生先生 Mr Maurice Hoo 龔鳴夫先生 Mr Jackson Kung Ming Foo 梁卓恩先生夫人 Mr & Mrs Cheuk-yan & Rotina Leung 李景行先生 Mr Richard Li Ms Li Shuen Pui Agnes Mr & Mrs John & Coralie Otoshi 彭永福醫生及夫人 Dr & Mrs Pang Wing Fuk 潘昭劍先生 Mr Poon Chiu Kim Raymond Ms Carley Shum & Mr Jeff Szeto 銅管贊助人 Bronze Patron HK$30,000 HK$49,999 Mr & Mrs David Fried 金菁女士 Ms Jin Jing 陳智文先生 Mr Stephen Tan 謝超明女士 Ms Tse Chiu Ming 董建成先生夫人紀念鮑復慧女士 Mr C.C. & Mrs Harriet Tung in memory of Ms Ida Pau Fook Wai 明珠贊助人 Pearl Patron HK$3,000 HK$4,999 無名氏 Anonymous (2) 陳鴻遠先生 Mr Chan Hung Yuen Robert 陳葆酉先生及馮永仁先生 Mr Po Chan & Mr Nicholas Fung Mr & Mrs Jonathan Cheng 張德龍先生 Mr Cheung Tak Lung Mr Chow Ping Wah Dr Affandy Hariman Mr Toru Inaoka 關日華醫生 Dr Mike Kwan Yat Wah Mr Lee Chi Wa 陸伯良先生 Mr Ray Luk Dr Joseph Pang Mr Tsunehiko Taketazu 曾文生先生 Mr Eric M S Tsang 胡志剛先生 Mr Wu Chi Kong

32 多謝支持 Thank You for Your Support 香港管弦樂團在此向以下商業機構及熱心人士表達由衷謝意! The Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support. 學生票資助基金 STUDENT TICKET FUND 金管贊助人 Gold Patron >HK$100,000 生銀行 Hang Seng Bank 芝蘭基金會 Zhilan Foundation 紅寶贊助人 Ruby Patron HK$10,000 HK$29,999 無名氏 Anonymous Mr Ian D Boyce 陳求德醫生及夫人 Dr & Mrs Chan Kow Tak Mr David Chiu 馮兆林先生夫人 Mr & Mrs Fung Shiu Lam 高膺伉儷 Mr & Mrs Ko Ying 關智健先生及家人 Dr Justin L. Kwan & Family 李玉芳女士 Ms Doreen Lee 梁惠棠醫生 Dr Thomas W T Leung 羅家驩慈善基金 Lo Kar Foon Foundation 朗軒創意國際有限公司 Long Hin Creative International Ltd. 文本立先生夫人 Mr & Mrs Bernard Man 黃建安先生 Mr Thomas Wong Kin On 任懿君先生 Mr David Yam Yee Kwan 葉謀遵博士 Dr M T Geoffrey Yeh 銀管贊助人 Silver Patron HK$50,000 HK$99,999 嘉里控股有限公司 Kerry Holdings Limited 信興教育及慈善基金 Shun Hing Education and Charity Fund 翡翠贊助人 Jade Patron HK$5,000 HK$9,999 無名氏 Anonymous Mr Iain Bruce Mrs Anna Chen 陳健華先生 Mr Chen Chien Hua Mr Chu Ming Leong 鍾思源醫生 Dr Chung See Yuen 熊芝華老師 Ms Teresa Hung 關家雄醫生及夫人 Dr & Mrs Kwan Ka Hung 梁卓恩先生夫人 Mr & Mrs Cheuk-Yan & Rotina Leung Ms Liu Ying Dr Lo Xina 駱余劍清紀念基金 Lok Yu Kim Ching Memorial Fund Nathaniel Foundation Limited 曹延洲醫生 Dr Tsao Yen Chow Mr Wong Kong Chiu 盛平公證行有限公司 Zennon & Pierre Company Limited 銅管贊助人 Bronze Patron HK$30,000 HK$49,999 李國賢博士 Dr Simon K.Y. Lee 梁家傑伉儷 Mr & Mrs Alan Leong Dr John Shum Ding Ping & Ms Chan Kit Wah Eva 王培麗博士紀念鮑復慧女士 Dr Eleanor Wong in memory of Ms Ida Pau Fook Wai 明珠贊助人 Pearl Patron HK$3,000 HK$4,999 無名氏 Anonymous (3) 陳鴻遠先生 Mr Chan Hung Yuen Robert Mrs K L Chan Dr Chan Man Wai 周慕華女士 Ms Catherine Mo Wah Chau Ms Katherine Cheung 祈大衛教授 Professor David Clarke 馮為佳先生及馮霍幸楹女士 Mr Alex Fung & Mrs Hanne Froseth-Fung 何炳佑先生夫人伉儷 Mr & Mrs Phyllis & Adolf Ho 劉秉勳先生 Mr Philip Lau 劉玉強先生 Mr Matthew Lau Yuk Keung 李慕怡小姐 Ms Morley Lee 李樹榮博士 Dr Lee Shu Wing Ernest 梁錦暉先生 Mr Leung Kam Fai 林燕女士 Ms Lemon Lim Yin 呂永照先生 Mr Lui Wing Chiu 羅紫媚 & Joe Joe Mr Lo Cheung On, Andrew Dr Ingrid Lok Hung 麥輝成先生 Mr Mak Fai Shing 芥籽園基金 Mustard Seed Foundation Oxford Success (Overseas) Ltd 岑才生先生 Mr Shum Choi Sang 蘇展鵬先生 Mr C. P. So Miss Ophelia Tam Ms Tsang Kwai Fong 蔡東豪先生 Mr Tony Tsoi 王立怡小姐 Ms Jennifer Wang 黃星華博士 Dr Dominic S W Wong, GBS, OBE, JP Mr Wu Ken 胡躍民先生及顧曉方女士 Mr Wu Yeuk Man & Ms Ku Hiu Fong Cindy 教育項目資助機構 EDUCATION PROGRAMME SUPPORTER 豐銀行慈善基金 The Hongkong Bank Foundation

33 贊助基金 ENDOWMENT TRUST FUND 贊助基金於一九八三年由以下機構贊助得以成立 The Endowment Trust Fund was set up in 1983 with these initial sponsors. 香港賽馬會慈善信託基金 豐銀行慈善基金 置地有限公司 The Hong Kong Jockey Club Charities Trust The Hongkong Bank Foundation The Hongkong Land Group 花旗銀行 怡和有限公司 香港董氏慈善基金會 Citibank, NA Jardine, Matheson & Company Ltd The Tung Foundation 商藝匯萃 PAGANINI PROJECT 此計劃由 商藝匯萃 發起及組織 This project is initiated and organised by Business for Art Foundation. 汪穗中先生捐贈 艾曼. 謝曼明 (1907) 小提琴. 由冒田中知子小姐使用張爾惠先生捐贈 洛治. 希爾 (c.1800) 小提琴. 由王亮先生使用鍾普洋先生捐贈 多尼. 哈達 (1991) 大提琴. 由張明遠先生使用史葛. 羅蘭士先生捐贈 安素度. 普基 (1910) 小提琴. 由張希小姐使用 Donated by Mr Patrick Wang Emile Germain (1907) Violin, played by Ms Tomoko Tanaka Mao Donated by Mr Lowell Chang Lockey Hill (c.1800) Violin, played by Mr Wang Liang Donated by Mr Po Chung Dawne Haddad (1991) Violoncello, played by Mr Cheung Ming-yuen Donated by Mr Laurence Scofield Ansaldo Poggi (1910) Violin, played by Ms Zhang Xi 香港管弦協會婦女會捐贈 樂器捐贈 INSTRUMENTAL DONATION Donated by The Ladies Committee of the Hong Kong Philharmonic Society 所捐贈之罕有樂器 Rare instruments donated 安域高. 洛卡 (1902) 小提琴. 由程立先生使用 Enrico Rocca (1902) Violin, played by Mr Cheng Li 桑. 巴蒂斯. 維爾翁 (1866) 小提琴由第三副團長 Jean-Baptiste Vuillaume (1866) Violin, played by Ms Bei Zhu, 朱蓓小姐使用 Third Associate Concertmaster 約瑟. 加里亞奴 (1788) 小提琴由第二副團長 Joseph Gagliano (1788) Violin, played by 王思恆先生使用 Mr Wong Sze-hang, Second Associate Concertmaster 卡洛. 安東尼奧. 狄斯多尼 (1736) 小提琴, Carlo Antonio Testore (1736) Violin, played by Mr Ni Lan 由倪瀾先生使用 為支持 提升樂團樂器素質計劃 而捐贈之其他樂器 德國轉閥式小號兩支 德國華格納大號乙套 翼號乙支 Other instruments donated in support of the Instrument Upgrade and Enhancement Project Two German Rotary Trumpets A set of Wagner Tubas A Flugelhorn

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