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4 獻辭 MESSAGE 歡迎大家與我一起回顧港樂四十年來的歷史 這本特刊簡明地介紹樂團職業化後四十載的發展, 饒富趣味 1895 年, 業餘樂團 中英樂團 成立, 也就是港樂的前身 ;1957 年, 中英樂團 易名為 香港管弦樂團 1974 年 1 月, 港樂職業化後首次在香港大會堂音樂廳演出, 爾後先後由八位藝術總監 / 音樂總監帶領, 每位總監都令港樂更上一層樓 時至今日, 港樂已成為亞洲首屈一指的樂團, 擁有九十位達國際水平的全職樂師 在現任音樂總監梵志登帶領下, 樂團本樂季已於內地及台北共五個城市演出, 大獲好評 港樂未來還有多項演出計劃, 包括華格納聯篇歌劇 尼布龍的指環 的第一齣 萊茵的黃金, 以及於 2015 年 2 月至 3 月期間往倫敦 維也納 蘇黎世 恩多芬 伯明翰 柏林和阿姆斯特丹巡迴演出 本人在此感謝港樂的支持者與合作伙伴, 包括觀眾 捐助者和贊助商 藝術家 港樂樂師和行政人員, 與港樂攜手促進香港的文化發展 藉此多謝香港特別行政區政府多年來一直支持港樂, 以及與港樂緊密合作的首席贊助太古集團 請與港樂並肩同行, 共譜新章! Thank you very much for reading this book, a brief and succinct account of the development of the Hong Kong Philharmonic Orchestra over its first 40 years as a professional orchestra. Founded as an amateur orchestra the Sino- British Orchestra in 1895, it was renamed the Hong Kong Philharmonic Orchestra in In January 1974, the orchestra made its professional début in the City Hall Concert Hall. Since then, it has been led by eight Artistic/Music Directors, each taking the orchestra to new heights. Today, the HK Phil has developed into one of the best orchestras in Asia, with 90 full-time players of international standing. Under the baton of current Music Director, Jaap van Zweden, the orchestra has toured Mainland China and Taipei, with acclaimed performances in five cities this season. Many exciting projects are still to come, including Das Rheingold, the first of the four operas that constitute Wagner s Der Ring des Nibelungen; and a tour to Europe in February-March 2015, with performances in London, Vienna, Zurich, Eindhoven, Birmingham, Berlin and Amsterdam. I would like to thank our many supporters and partners our audience, patrons and sponsors, musicians and staff, who have shared our vision to enrich the cultural life of Hong Kong. May I thank the Government of the Hong Kong SAR for its long-standing support and Principal Patron Swire for their ongoing partnership. I hope you will enjoy our 40th anniversary book, and walk with us through our history as well as along the many miles to come! 劉元生 Y. S. Liu 香港管弦協會董事局主席 Chairman, Board of Governors The Hong Kong Philharmonic Society Limited 2

5 目錄 CONTENTS i. ii. iii. 創團之初 林克昌大師 Formative Years Maestro Lim kek-tjiang ( ) 蒙瑪大師 Maestro Hans Günter Mommer ( ) 新時期的開始 董麟大師 A NEW ERA Maestro Ling Tung ( ) P. 5 P. 14 P. 17 iv. 眾望所歸 施明漢大師 P. 21 WIDELY APPLAUDED Maestro Kenneth Schermerhorn ( ) V. VI. VII. VIII. 跨越九七 艾德敦大師 Across 1997 Maestro David Atherton ( ) 千禧年代 黃大德大師 Millennium Maestro Samuel Wong ( ) 沙士 過後 艾度 迪華特大師 After the SARS Epidemic Maestro Edo de Waart ( ) 更上層樓 梵志登大師 REACHING NEW HEIGHTS Maestro Jaap van Zweden (2012 ) P. 33 P. 41 P. 45 P. 51 港樂舊日點滴 A Reminiscence of HK Phil Our Early Days P. 54 港樂夥拍音樂精英宴饗樂迷 Sumptuous Feasts with Stellar Artists P. 56 歷屆主席和藝術 / 音樂總監 Chairmen and Artistic/Music Directors P. 59 港樂樂師 董事局及委員會成員 行政人員名單 LISTS OF HK PHIL PLAYERS, BOARD & COMMITTEE MEMBERS AND ADMINISTRATIVE STAFF P. 60 作者簡介 A Note on the Author P. 64 contents 3

6 4 第一任音樂總監林克昌 The first Music Director, Lim Kek-tjiang.

7 I. 創團之初 林克昌大師 Formative Years Maestro Lim kek-tjiang ( ) 1973 年 3 月 5 日, 香港組建首個職業交響樂團計劃的消息, 正式公諸於世 英文 南華早報 翌日以標題 港樂即將轉為職業化, 在頭版予以報導 上一次如此重點報導樂團新聞的, 是 1959 年 10 月指揮巨匠卡拉揚率領維也納愛樂樂團歷史性首次訪港 在公布港樂職業化的新聞發布會上, 香港管弦協會主席白爾德醫生宣布 : 決心把樂團提升為具備實力 值得支持的職業樂團的時刻已經來臨 白醫生早於 1948 年開始在中英樂團擔任小提琴樂師, 樂團於 1957 年改名為香港管弦樂團 他的宣布可以說是結束了四分之一個世紀的等待, 有時甚至是挫折 他回憶說 : 過去二十五年我們一直艱苦經營, 經常缺乏樂師, 更多是缺乏資源 白醫生選擇公布消息的當天, 正是著名英國倫敦愛樂樂團由蘭斯多夫指揮大師執棒, 在首屆香港 hong kong finally got serious about classical music on March 5, 1973, when plans for Hong Kong s first professional orchestra were made public. The South China Morning Post trumpeted the news the next day on its front page, under the headline Orchestra to turn Pro soon. The time has come to make a determined effort to upgrade it into a competent professional orchestra worthy of support, Dr Solomon Bard, Chairman of the Hong Kong Philharmonic Society, had declared at a press conference. This announcement brought to an end a quarter century of waiting and, at times, frustration for Dr Bard, who had joined the Sino-British Orchestra as a violinist in 1948, and seen it renamed Hong Kong Philharmonic Orchestra (HK Phil 1 ) in 白爾德醫生 Dr Bard We had struggled hard for the past 25 years always short of players and often short of money, he recalled. Dr Bard had chosen to break the news on a special day when the renowned London Philharmonic Orchestra, under Erich 富華教授於 1959 年指揮港樂 Arrigo Foa conducted HK Phil in The acronym of Hong Kong Philharmonic Orchestra has been HK Phil since September 2012, replacing the previous HKPO. 1. lim kek-tjiang 5

8 時任香港總督麥理浩爵士祝賀港樂成為職業化樂團 A message from the then Governor of Hong Kong, Sir Murray MacLehose, congratulating the orchestra on turning professional. Leinsdorf, performed the first of ten concerts at the inaugural Hong Kong Arts Festival the first festival of its kind in the region. Hong Kong s then Governor Sir Murray MacLehose noted the month-long event opens up new possibilities of pleasure and interests for residents and tourists alike. The professional symphony orchestra was one such opportunity. 藝術節演出十場音樂會的第一場 1973 年的香港藝術節是當時區內別樹一幟的藝術盛會 時任香港總督麥理浩爵士說, 長達一個月的香港藝術節 為本地居民和遊客的興致與樂趣開啟了新的可能性 一個全職業的管弦樂團正是這樣的 可能性 之一 政府在 1970 年代對藝術的投入並非偶然 其時香港正開始進行新的文化身份整合, 期間漸漸發展為國際金融中心的地位亦步亦趨, 過程中衍生了一代新的富裕中產階級 幾年間, 眾多今天已被視為重點文化機構猶如雨後春筍般紛紛成立 例如 1974 年專門播放古典音樂的香港電台第四台,1977 年的香港中樂團 香港話劇團 香港國際電影節 香港藝術中心 音樂統籌處,1979 年的香港芭蕾舞團等 然而, 走在前面的, 是職業化的香港管弦樂團, 於 1974 年 1 月 11 日的首演音樂會, 正式開啟了新紀元 The government s involvement in the arts in the 1970s had not been accidental. Hong Kong had begun to gain a new cultural identity just as the city was establishing itself as an influential international financial centre a change that saw the rise of a newly affluent middle class. Within a few years, many of the key cultural institutions we know today were launched: in 1974 came the classical music station, Radio 4, on Radio Television Hong Kong; in 1977, the Hong Kong International Film Festival, the Hong Kong Arts Centre, the Hong Kong Chinese Orchestra, the Music Office and the Hong Kong Repertory; in 1979 came the Hong Kong Ballet. However, leading the way, on January 11, 1974, was the HK Phil, when it launched its professional era with the inaugural concert. Veteran cultural official, Dr Darwin Chen, says the major reason for the proliferation of Hong Kong arts companies was the financial autonomy of the Urban Council in 1973, and the subsequent policy for the arts that followed this. It was no high-sounding philosophy, says Chen, but simply three things: good venues, good artists, and good audiences. We had no problem with venues and audiences. But we didn t have music companies of a high standard. So it was a matter of strategy to nurture 6

9 1970 年代中, 第一任音樂總監林克昌大師與當時港樂樂師 In the mid 1970s, Maestro Lim Kek-tjiang, the first Music Director of the HK Phi. 德高望重的文化高官陳達文博士回憶, 眾多文化機構呱呱墮地的主因是 1973 年市政局獲得財政獨立權, 影響接着的藝術政策 他說 : 我們所考慮的並非甚麼高深理論, 只有簡單的三個方面 : 好的場地 好的藝術家和好的觀眾 他接著說 : 場地 觀眾我們都沒問題, 只獨缺了高水平的音樂演出團體 因此從策略意義來講, 有需要扶植職業藝團 我們於是從現存的半職業樂團著手, 將之發展成職業樂團 1973 年首屆香港藝術節, 加上當年恆生指數千七點的蓬勃氛圍, 催生了新的管弦樂團 當香港管弦協會於 8 月 14 日正式註冊為有限公司時, 由樂團音樂總監林克昌親自考核招聘本地和海外樂團 professional companies. So we looked at the existing semi-professional groups and turned them into full professional companies. The first Arts Festival in 1973, plus a bullish atmosphere that year, provided the catalyst for the new orchestra. By the time the Hong Kong Philharmonic Society was set up on August 14, vigorous searches and auditions for local and overseas players were underway, led by Lim Kektjiang, the Music Director since 1969; by the end of the year he had acquired 27 musicians. Lim, an Indonesian-Chinese, had trained as a violinist in Amsterdam and Paris before moving to Beijing to conduct the Central Broadcast Symphony Orchestra. He had relocated to Hong Kong in 1968, to replace Arrigo Foa as the HK Phil s Principal Conductor; his début was the 1969 production of La Traviata directed by Lo King-man. As Lim recalled in his memoirs, 1. lim kek-tjiang 7

10 第一任音樂總監林克昌大師指揮港樂 Maestro Lim Kek-tjiang, the first Music Director of the HK Phil. 成員已經進行得如火如荼 到了 1973 年底, 成功招攬了二十七位全職樂師 自 1969 年便指揮香港管弦樂團的林克昌是位印尼華僑, 在阿姆斯特丹和巴黎學習小提琴, 五十年代末到北京, 擔任中央廣播樂團指揮,1968 年移居香港, 不久便取代富華教授, 出任香港管弦樂團首席指揮 他的首次演出, 是 1969 年由盧景文導演的威爾第著名歌劇 茶花女 中擔任指揮 據他多年後回憶, 這是他漫長的指揮生涯中唯一的歌劇演出 交響作品, 尤其是浪漫時期和中國作品, 始終是他的至愛 首任香港管弦協會常務委員會於 1973 年 12 月 28 日選出, 距離職業 this would be the only opera production he ever conducted: symphonic repertoire, especially that from the romantic period and new Chinese works, would be his forte. The first HK Phil board had been set up on December 28, 1973, only two weeks before the inaugural concert. Alex Wu, an opera aficionado, was elected Chairman of the first General Committee. Working under it were three subcommittees: the Management Committee, chaired by Darwin Chen; the Programme Committee under Maestro Lim; and the Fundraising Committee under Klaus Heymann. Nearly four decades later, Heymann, now boss of Naxos, recalls how he got involved: I was organising classical concerts to promote hi-fi equipment, which I was importing to Hong Kong, he says. I was doing pretty 8

11 化香港管弦樂團首演僅僅兩個星期 首屆主席是酷愛中西歌劇的吳樹熾太平紳士 常務委員會下設三個小組委員會, 分別是由陳達文主持的管理委員會 林克昌領導的節目小組委員會, 以及夏希文為首的小組籌款委員會 近四十年後, 已貴為拿索斯唱片公司主席的夏希文回憶他參與港樂的過程 : 當時我從事進口音響器材, 因而經常組織古典音樂會, 銷情不錯 有一天, 林克昌給我打電話, 當時他是半職業港樂的指揮, 他問我有沒有興趣加入董事會 本來對於半職業樂團, 我的興趣不大, 但即管試試吧 這樣我就成為籌款委員會主席 委員之中有一位認識城中所有富豪, 還把我介紹給他們 我就把首個樂季的擬定節目, 向他們推介 大約半年後 我們籌得足夠資金進行樂師招聘 這便是整個過程的始末 首演的盛況跟今天相比絕對不遑多讓 南華早報 一次在頭版作報導, 特別指出樂團增加了二十位海外音樂家, 進行全職排練, 結果是 演出水平突飛猛進 報導接著說, 改善從開場的貝多芬 艾格蒙序曲 就已經很明顯 由阿根廷女鋼琴家卡撒貝姆演出 相當享受 的貝多芬 皇帝 鋼琴協奏曲後, 這篇頭版新聞形容下半場演出的柴可夫斯基第五交響曲 : 亮麗的預示著港樂將要帶來美好事物 樂評對弦樂組特別讚譽有加 它說 : 整體協調 齊奏和音色大有進步 樂師們在掌握力度的成就, 效果刺激 The news that the orchestra had turned professional was announced in a local newspaper. well. Then out of the blue, I got a phone call from Lim Kek-tjiang, conductor of the then semi-professional HK Phil. He asked whether I would like to join the board. I wasn t interested in a semi-professional group, but I felt I d like to give it a try, so I became the Fundraising Committee chair. One committee member knew all the big shots in Hong Kong, and got me introduced to them. Then I drew up the imaginary programme for the first concert season, and went around to sell. After about six months, we got enough money and began to hire musicians. That s how the thing happened. The first concert was fêted at the time just as much as it is today. The South China Morning Post reported that the orchestra now joined by about 20 overseas musicians and rehearsing full-time produced a very much improved standard of playing. It said the change was noticeable from the opening bars of Beethoven s Egmont Overture, which began the concert. After an enjoyable performance of Beethoven s Emperor Piano Concerto with Argentine pianist Sylvia Kersenbaum, the newspaper said that Tchaikovsky's Fifth Symphony, in that second half, showed the bright promise of good things to come by the HK Phil. 1. lim kek-tjiang 9

12 現任第二小提琴首席范丁是 1974 年樂師團隊中唯一仍留任的成員 他回憶當時總監兼老師林克昌要求所有第一小提琴樂師們拉奏第四樂章結束部分時, 要完全背譜演奏 他說 : 就是這樣, 我們能夠以極速和刺激地演奏這首作品 當時的樂隊首席是總監林克昌的胞弟林克定 南華早報 樂評用以下一段話對首演音樂會作結 : 通過時間的塑造和磨合 排練和建設強大的團隊, 能圓屬於我們自己的一流樂團的夢想指日可待 年首個職業音樂季一共演出十二套節目 三十三場音樂會 雖然樂團當時只有四十五位全職樂師, 以及二十位合約演出者, 所演出的卻是難度甚高的作品, 包括拉赫曼尼諾夫第二交響曲 蕭斯達高維契第五交響曲等 另外還有十場室內樂音樂會, 以及另外十場當時稱為 逍遙音樂會, 演出普及古典曲目 The review singled out the strings as most impressive. The overall co-ordination and attack improved as did the tone, the report said. The players achieved a range of dynamics that was exciting. Fan Ting, the incumbent Principal Second Violin, the orchestra s only remaining member from the 1974 roster recalls Lim, the Music Director as well as his violin teacher, had the first violin section play the coda in the fourth movement from memory. As a result, everyone, including myself, could play very fast and in an exciting way, he says. The Concertmaster at the time was Lim Kek-tin, Maestro Lim s younger brother. The Post s review ended: With time to meld and mould, to rehearse and to build up a strong membership, the fulfillment of the promise of a first-class orchestra of our own will not be far off. The first professional season, in , featured a total of 33 concerts from 12 programmes. Although the orchestra started with only 45 full-time 1962 年, 港樂在剛落成的新香港大會堂演出 The orchestra performing at the newly rebuilt Hong Kong City Hall in

13 首季請來的客席音樂家, 包括鋼琴家畢比達 安里華斯, 小提琴家西崎崇子 賀斯雅等 按當時的做法, 每套節目演出三次, 即三個晚上 雖然票價不算貴, 由二元到十元, 但音樂會只賣出百分之五十到七十五的門票 這跟 1975 年下半年世界經濟不景不無關係 然而, 樂團在第二屆香港藝術節演出的全中國作品音樂會卻非常成功 由林克昌指揮兼獨奏, 樂團演出 梁山伯與祝英台 小提琴協奏曲 ( 該曲由白爾德醫生執棒 ), 以及香港首演上海著名作曲家丁善德的 長征 交響曲 三場音樂會門票全部售罄, 加開兩場, 同樣一票難求 有鑑於此, 樂團於翌年第三屆藝術節再接再厲, 推出更多中國管弦作品, 包括瞿維的 節日序曲 白毛女交響詩 等, 另外亦演出柴可夫斯基第四交響曲和格拉祖諾夫小提琴協奏曲, 同樣由林克昌擔任獨奏 雖然經濟不景, 政府對港樂的支援未減 樂團的經費亦由第一年的一百八十萬元遞增到次年的二百一十萬元和第三年的二百五十萬元 可是私人贊助則下跌近半, 導致樂團原來在 樂季提升為全職業化的計劃被迫延期 為保持運作正常, 樂團採納若干開源節流的措施 其中節流措施之一是將每套節目演出三場改為兩場 這項改變一直維持至今 至於開源方面, 樂團進行了一系列的籌款活動, 例如由港督作東道的維也納舞會 日本歌劇演唱 professional musicians, plus 20 freelance players, it performed a demanding repertoire, including both Rachmaninov s Second Symphony and Shostakovich s Fifth Symphony. There were also 10 chamber concerts and another ten promenade concerts, as they were known then, of light classical music. 畢比達 Rudolf Buchbinder Guest performers included renowned pianists Rudolf Buchbinder and Agustin Anievas, and violinists Takako Nishizaki and Ulf Hoelscher. It was customary then for one programme to be performed three times. Despite fairly modest ticket prices, ranging from HK$2 to HK$10, concerts were only about per cent full possibly because of the worldwide economic depression in However, the all-chinese programme had better luck at the Second Hong Kong Arts Festival. Led by Lim Kek-tjiang as soloist and conductor, all three scheduled concerts plus two additional ones sold out instantly. The programme included The Butterfly Lovers Violin Concerto, with Dr Bard conducting, and the Hong Kong première of the Long March Symphony by Shanghai veteran composer Ding Shande. This success led to further appearances at the 1975 Arts Festival. Apart from more Chinese works, such as Qu Wei s Festival Overture and White-haired Girl Symphonic Poem, the HK Phil performed Tchaikovsky s Fourth Symphony and Glazunov s Violin Concerto, with Lim playing the solo part. Despite the economic woes, government support remained committed: the annual budget was increased from the initial HK$1.8 million to HK$2.1 million, and to HK$2.5 million for the second and third seasons. But private sponsorship fell by half. It meant the original plan for a fully-professional orchestra by had to be postponed. 1. lim kek-tjiang 11

14 家盛會 以及在文華酒店舉行的蘇富比籌款拍賣等 但如果以創意來算, 所有這些活動都比不上把小提琴家帕爾曼請來演出籌款音樂會的手法 想出絕橋的, 是港樂首任總經理蘇孝良 他回憶說 : 當時我對帕爾曼的經理人說, 我們負擔不起請他來的高昂演出費 但我們知道他非常喜歡吃中菜 因此我就說, 如果他真的來香港, 雖然我們付不起錢, 但可以保證他吃到全世界最好的中菜 那便是帕爾曼最終到香港首演的經過 蘇孝良繼續回憶說 : 他非常幽默 當我到啟德機場接他時, 他問我第一個問題是 : 這次來是要演奏那首協奏曲? 結果他演出不是一首, 而是兩首協奏曲, 分別是孟德爾遜和柴可夫斯基, 指揮是郭美貞 To sustain the orchestra s operations, some cost-cutting measures were thought necessary. The three-concert performance for each programme, for example, was reduced to two a practice that lasts to this day. Many fundraising schemes took place, including a Viennese Ball hosted by the Governor, an operatic gala with Japanese opera stars, and a gala auction preceding sales by auctioneers Sotheby s at the Mandarin Hotel. But no idea was more ingenious than the one that led violinist Itzhak Perlman to perform a fundraising concert in Hong Kong. The mastermind was So Hau-leung, the first HK Phil General Manager. I told Perlman s agent we couldn t afford his usual fee, So says. But we knew he s a great lover for Chinese food. I said, if he came to perform in Hong Kong, even if we couldn t pay his high fee, we d promise him the best Chinese food in the world. That s how we got Perlman to give his début performance here. He s a very funny guy. The first question he asked me when I picked him up at Kai Tak Airport 12

15 拿索斯唱片公司主席夏希文與太太小提琴家西崎崇子 Klaus Heymann, Honorary General Manager and Chairman of the Fundraising Committee in the two years before the first professional concert in January 1974, and his wife, violinist Takako Nishizaki 年 6 月舉行的這場籌款音樂會結果總共籌得二十五萬三千元純利, 使樂團收支平衡得以保持穩定, 免受全球股市危機影響 郭美貞是首位贏得密托普羅斯指揮大賽的華人, 此後更出任紐約愛樂指揮大師伯恩斯坦的助手 她在港樂時是兩位恆常客席指揮之一 另一位是來自德國的蒙瑪 這位由中提琴手轉任指揮的大師在港樂客席指揮工作的一切費用由歌德學院支付 這對經濟拮据的樂團可以說是雪中送炭 范丁記得蒙瑪的學院派風格對訓練年資尚淺的港樂來說非常合適 當時在香港中文大學音樂系任教的紀大衛教授對這一點表示同意, 他在一篇關於蒙瑪指揮伴奏鋼琴家費朗高演出莫扎特第二十四鋼琴協奏曲的樂評中說 : 港樂在客席指揮蒙瑪領導下顯出優良紀律的作風 樂隊整體表現進步, 弦樂在音色幅度的控制更為游刃有餘 蒙瑪指揮的另一專長是領導樂團演出極為受歡迎的普及古典音樂會, 例如在海運大廈舉行的 逍遙音樂會, 不止引來大批聽眾, 更由電視台所拍攝, 在節目中播出 帕爾曼與客席指揮郭美貞商討演出細節 Itzhak Perlman and Guest Conductor Helen Quach discussing performance details. was What concerto am I supposed to play? At the end he played not one, but two concertos, Mendelssohn and Tchaikovsky. The conductor was Helen Quach. Perlman s fundraising concert in June 1976 raised a net profit of HK$253,000, which helped to keep HK Phil in good shape during the sweeping stock market crash. Quach, once an assistant to conductor Leonard Bernstein after winning the Mitropoulous Conducting Competition, was one of two regular Guest Conductors during the second season; the other, Hans Günter Mommer, a violist-turnedconductor from Germany, initially conducted HK Phil for free, thanks to the Goethe Institute. Fan Ting says Mommer s academic style was ideal for brushing up the young orchestra s playing. The Chinese University of Hong Kong music professor David Gwilt agreed in a review of the German Maestro performing Mozart s 24th Piano Concerto with Peter Frankl: The HK Phil gave more evidence of having been drawn towards a more disciplined outlook by their resident Guest Conductor Hans Günter Mommer. The ensemble continues to improve, and the strings begin to show the benefits in an ability to command an ever-wider range of tonal control. Another advantage of the German Maestro was the hugely popular Musical Fairs of light classical music he conducted at the Ocean Terminal, which drew both appreciative crowds and the media, including television coverage. However, in December 1975, the HK Phil received a setback with Lim Kek-tjiang s resignation. It caught many people by surprise, only a month after rave reviews for Lim s Brahms Fourth Symphony and the Dvořák s concerto with renowned French cellist André Navarra. 1. lim kek-tjiang 13

16 II. 蒙瑪大師 Maestro Hans Günter Mommer ( ) 1975 年 12 月, 港樂遭受首次挫折 : 林克昌突然宣布辭去音樂總監一職 這是一個讓人感到非常意外的消息 事關此前僅僅一個月, 林氏指揮港樂演出的布拉姆斯第四交響曲備受讚譽, 同場還有法國著名大提琴家尼華拉, 演出德伏扎克的大提琴協奏曲 由於事出突然, 林克昌原來檔期的音樂會全部由客席指揮們代替演出 例如 1976 年首屆亞洲藝術節和 1977 年香港藝術節的開節演出, 俱由郭美貞執棒 所演曲目不少是本地作曲家的作品, 包括林聲翕的 西藏風光 和林樂培的 獅子山下 等 同樣是 1977 年的香港藝術節, 蒙瑪指揮演出 梁祝 小提琴協奏曲 他更於翌年與港樂灌錄這首作品, 由林克昌的另一位胞弟林克漢擔任獨奏 這張名為 中國管弦作品 的唱片, 既記錄了這個只有四周歲樂團的聲音, 也是處子之作, 亦開啟了蒙瑪身為港樂音樂總監的年代 Planned concerts went ahead with the guest conductors sharing Lim s workload. Helen Quach conducted the opening concert of the First Asian Arts Festival in 1976, and the 1977 Hong Kong Arts Festival, featuring works by Hong Kong Chinese composers, including Lin Sheng-shih s Tibetan Sketches and Doming Lam s Under the Lion Rock. Also at the 1977 Arts Festival, Hans Günter Mommer conducted a concert of his own, including The Butterfly Lovers Violin Concerto. A year later, he recorded it with violinist Lim Kek-han, younger brother of HK Phil s former conductor. This was the début album, documenting the four-year-old orchestra s sound. With a new orchestra logo and a new title for the conductor, the album, entitled Chinese Orchestral Works, ushered in the era of Mommer as Music Director. The season proved unusually long literally and figuratively. It was extended to run from March 1978 to June 1979 to match those of Western orchestras, which run mostly from September to the following summer. Top international soloists, including pianist Andor Foldes, violinist Christian Ferras and cellist Pierre Fournier, made their débuts with the HK Phil. A new three-metre-long Steinway, selected by renowned pianist Fou Ts ong in Hamburg, made its début with top local 14

17 樂季比一般的都長 它由原來的三月份開始, 一直伸延到翌年的六月, 好讓 1979 年九月份開始新樂季, 自此跟西方樂團秋季到翌年夏季的樂季對齊 在這個特長樂季期間, 多位國際一流獨奏家先後來港與港樂作處子演出, 這包括鋼琴家霍迪斯 小提琴家費拉斯 大提琴家福尼爾等 同樣在這個樂季期間, 由著名鋼琴家傅聰在德國漢堡親自挑選的一台三米長的史坦威鋼琴進駐大會堂音樂廳, 由香港頂級鋼琴家羅乃新以蕭邦第一鋼琴協奏曲作開光首演, 指揮是後來到新加坡創建樂團的朱暉 如此盛事卻未見對票房有所刺激 樂團在這個樂季可謂處於低潮, 入座率曾錄得只有三成 壓力亦來自當時媒體負面報導, 針對包括種族歧視 資源浪費等敏感議題 最終導致樂團總經理與音樂總監在 1978 年底前相繼辭職 情況很快有所轉機 1978 年 12 月 8 日, 美籍華裔指揮董麟以客席指揮身份領導港樂演出德伏扎克 新世界 交響曲, 全院滿座之餘, 樂評亦十分正面 此後不久, 這位原籍上海的費城指揮便走馬上任, 成為港樂的第三任音樂總監 任命公布後, 他對 明報 記者說 : 香港管弦樂團是有條件成為國際水準的樂團 一個月後, 曾任職英國倫敦廣播電台和蘇格蘭歌劇院的杜輝尊亦到任港樂, 出任新總經理 由上至下 : 第二任音樂總監蒙瑪 霍迪斯 費拉斯 福尼爾 傅聰 朱暉 From top: The second Music Director Hans Günter Mommer, Andor Foldes, Christian Ferras, Pierre Fournier, Fou Ts ong, Choo Hoey. pianist Nancy Loo at the keys. She performed Chopin s First Piano Concerto under the baton of Choo Hoey, the future Singapore Orchestra s founding conductor. Sadly, the concerts failed to boost ticket sales; sometimes only 30 per cent of seats were sold. A series of media reports about contentious issues, including racism and wastage, made matters worse; both the general manager and the music director resigned before end of the year. Yet hope arrived when American-Chinese conductor Ling Tung was named the new Music Director shortly after a sold-out performance of Dvořák s New World Symphony on December 8, The HK Phil has the potential to become an orchestra of international standing, Tung told Ming Pao. A month later, a former BBC and Scottish Opera employee, John Duffus, took on the HK Phil s administration as the new General Manager. II. Hans Günter Mommer 15

18 16 第三任音樂總監董麟 The third Music Director, Ling Tung.

19 III. 新時期的開始 董麟大師 A NEW ERA Maestro Ling Tung ( ) 好消息接踵而來 政府為 樂季增加百分之九十的贊助, 達一百九十萬元 1979 年 5 月, 董麟以候任總監身份連續三個星期指揮港樂演出三套節目, 包括白遼士 幻想交響曲 柴可夫斯基第五交響曲 孟德爾遜第三交響曲和亨德密特 韋伯主題交響變形曲 等 一一精彩的演繹, 讓人感到樂團新時期的開始 董麟出任港樂音樂總監的三年, 見證着樂團整體演奏水平穩步發展 為此, 他引進一定數量的新作品和請來高水平的首席樂師 後者包括樂隊首席嘉秉寧和副首席顧品德 他們來港前在倫敦愛樂管弦樂團擔任同樣領導職位, 而且更在董麟指揮港樂前夕, 在他棒下灌錄了拉赫曼尼諾夫第二交響曲, 口碑不俗 另外, 此時加盟的還有大提琴首席韓美敦 他領導港樂大提琴聲部一直到 1993 年離團, 由鮑力卓繼任 董麟任內一個重要發展, 是全新演出場地陸續建成, 從港島 九龍到新界都有 例如浸會學院 ( 今浸會大學 ) 的大專會堂便是上述董麟演出柴可夫斯基第五交 樂團於 1980 年亞洲之旅在曼谷留影 Bangkok was one of the Asian Tour cities in When the government increased funding for the season by about 90 per cent to HK$1.9 million, things looked set for an improvement. When Tung returned in May and performed three programmes in a row, including Berlioz s Symphonie Fantastique, Tchaikovsky s Fifth Symphony, Mendelssohn s Third Symphony, and Hindemith s Symphonic Metamorphosis of Themes by Weber, the dynamic reading left no doubt that the HK Phil had entered a new era. Tung s three-year tenure as Music Director saw a steady growth in ensembleship. He achieved this by introducing new repertoire and quality principal players. The new Concertmaster and his Deputy, Carl Pini and Benedict Cruft respectively, were key members of the renowned Philharmonia Orchestra in London, with which Tung had recorded Rachmaninov s Second Symphony before his Hong Kong début. The new Cello Principal, Jay Humeston, who led the section up to 1993, also joined. A major development during Tung s time was the opening of new performing venues in Kowloon and the New Territories. The Academic Community Hall, at the then Hong Kong Baptist College, in Kowloon Tong, was where Tung performed a rousing Tchaikovsky s Fifth. In February 1980, the Tsuen Wan Town Hall, a replica of the City Hall Concert Hall, opened as the first major venue in the New Territories. Tung led the HK Phil to perform there at the Fifth Asian Arts III. Ling Tung 17

20 響曲的場館 1980 年 2 月, 荃灣大會堂隆重開幕, 成為新界第一所正統音樂廳, 其設計仿照中環大會堂音樂廳 當年在那裡舉行的第五屆亞洲藝術節, 董麟領導樂團與年僅十三歲本地小提琴苗子陳浩堂演出拉羅 西班牙交響曲 此外, 樂團亦首演林樂培的 李白夜詩三首, 由著名女高音費明儀獨唱那三首短而難的作品 該現場演出後來收錄在飛利浦唱片, 成為港樂在董麟時期留下來的唯一錄音 港樂在荃灣大會堂另一重要演出是與音樂統籌處轄下的青年交響樂團, 聯合演出貝多芬第七交響曲 可是兩個樂團的音量還不如在灣仔伊利沙白體育館 ( 伊館 ) 音樂會, 由英國指揮普利斯曼領導演出的貝多芬 威靈頓勝利曲, 其中那預錄的炮聲把在場的三千五百觀眾炸得大呼過癮 這場 1981 年復活節普及音樂會並非港樂在多功能的伊館的首次演出 早於 1980 年 10 月, 即該館開幕後幾個月, 樂團為倫敦皇家沙德勒. 威爾斯芭蕾舞團伴奏 吉賽爾 等演出, 在指揮華斯維夫領導下, 連演六場 那其實是港樂首次海外巡演後的尾站, 此前在吉隆坡 檳城 曼谷演出 芭蕾演出後, 樂團在聖誕期間再度在伊館演出三場 彌賽亞, 同台演出的有新組建的港樂合唱團 但如果以觀眾人數計算,1979 年 12 月在沙田馬場的戶外演出引來逾萬聽眾是當時的一項紀錄 這種形式預示近年備受歡迎的太古 港樂. 星夜. 交響曲 左 :1980 年亞洲之旅, 樂團在吉隆坡的演出 Left: HK Phil s 1980 Asia Tour performance in Kuala Lumpur. 右上 : 董麟與港樂在大會堂排練 Top right: Ling Tung rehearsing with HK Phil at the Hong Kong City Hall Concert Hall. Festival. Aside from accompanying the 13-year old Hong Kong violinist Ivan Chan in Lalo s Symphonie Espagnole, the HK Phil also premièred Doming Lam s celebrated Three Night Songs, inspired by the great Tang poet Li Bai. Soprano Barbara Fei delivered the short but difficult works with great poise. The live performance featured in a commercial release the only document of the HK Phil s sound under Tung. Another memorable concert at Tsuen Wan Town Hall was the joint performance of Beethoven s Seventh Symphony by the HK Phil and the Youth Orchestra under the Music Office. But the sound of combined forces was no match for the taped cannon blast in Beethoven s Wellington s Victory, under the baton of British conductor Brian Priestman, at the new 3,500-seat Queen Elizabeth Stadium. However, the 1981 Easter pops concerts were not the first time the HK Phil had performed at the multi-purpose stadium. In October 1980, a few months after its launch, the HK Phil performed on the final leg of London s Sadler s Wells Royal Ballet s Asian Tour. Led by conductor Barry Wordsworth, about 40 HK Phil musicians performed the music of Giselle in Malaysia and Thailand before re-running it here over six shows. The HK Phil returned to the Stadium over Christmas with the newly formed the HK Phil chorus for three performances of Messiah. The outdoor performance of light classics by Bizet, Tchaikovsky and the like for families and friends foreshadowed today s Swire Symphony Under the Stars. Yet no concert audience could top the 10,000-strong December 1979 crowds at Sha Tin Racecourse. 右 :1979 年 12 月港樂在沙田馬場演出 Right: HK Phil performing at Sha Tin Racecourse in December

21 III. Ling Tung 19

22 20 第四任音樂總監施明漢 The fourth Music Director, Kenneth Schermerhorn.

23 IV. 眾望所歸 施明漢大師 WIDELY APPLAUDED Maestro Kenneth Schermerhorn ( ) 董麟完成 1981 年的合約後, 港樂開始沒有音樂總監的日子, 一直到 年樂季由美國指揮施明漢接任總監 這段時期乃樂團成長期的關鍵定型時期 在新任常務委員會主席郭志權博士主持下, 樂團草擬一份甚為進取的五年發展計劃, 包括成立基金會以支援一個逾八十人的職業樂團, 成立國際音樂顧問委員會, 邀請倫敦交響樂團 紐約愛樂樂團等行政主管提供專業意見 至於本樂團行政班子亦有所擴充, 為擴大樂團與社會的互動 海外演出和錄音計劃作後勤支援 如果要選出一場足以把港樂列入國際古典版圖的音樂會,1982 年 1 月的蕭斯達高維契家族三代同堂音樂會可算其一 二十世紀偉大作曲家蕭斯達高維契的指揮家兒子麥森, 及孫子杜文齊演出蕭氏第二鋼琴協奏曲, 成為城中佳話 須知不足一年前, 在 1981 年 4 月, 兩代蕭氏後人及家人與莫斯科電台交響樂團在德國巡演期間投奔西方, 震驚國際 上述麥森指揮港樂的演出乃第十屆香港藝術節開幕音樂會, 全俄 左下 : 麥森. 蕭斯高維契 ( 左 ) 及施明漢 Bottom left: Maxim Shostakovich (left) and Kenneth Schermerhorn. Tung s contract was not renewed after the end of 1981, and the HK Phil had no music director until the season, when the American conductor Kenneth Schermerhorn took over. The period in between proved crucial, formative years, which helped shape the orchestra into what it is today. Steered by Dr Philip Kwok, the new General Committee Chairman, an ambitious five-year development plan was drafted, including the setting up of an endowment fund to support a full professional orchestra of more than 80 players. An international music advisory panel was set up, with top executives from orchestras including the London Symphony and New York Philharmonic, giving their expert advice. The administration team was expanded, too, as the orchestra made plans to increase its interaction with the community, overseas tours and recordings. The one concert that put the HK Phil on the world map of classical music, is probably the January 1982 performance featuring all three generations of the Shostakovich family in one concert. Maxim Shostakovich and his son, Dmitri, performing with the HK Phil, stunned the city with their all-russian programme to open the 10th Hong Kong Arts Festival. The conductor, Maxim, and his pianist son had made global headlines since defecting to the West during a tour with the Moscow Radio Symphony in April IV. Kenneth Schermerhorn 21

24 羅斯作品專場, 包括柴可夫斯基 羅密歐與朱麗葉幻想序曲 和下半場的主打曲目蕭氏第九交響曲 演出備受中 英媒體讚譽 新晚報 稱之為 精彩的演繹 英文虎報 更譽之為 港樂簡史中最轟動的事件 雙方合作愉快, 麥森更獲任命為港樂首席客席指揮,1982 年 9 月生效 同樣是 1982 年 1 月, 港樂在荃灣大會堂首次完成錄音, 開啟了數碼錄音年代 錄音由時任克里夫蘭樂團助理指揮甄健豪執棒, 演出十二首為管弦樂隊編曲的著名中國音樂, 包括以之為唱片主題的 彩雲追月, 由拿索斯前身的香港唱片出版 4 月面世後, 短短三個月便售出一萬張 到了 1984 年夏, 在亞洲的銷售總數已達五萬, 成為港樂的第一張白金唱片 另一張 著名電視主題曲 亦贏得金唱片 時任香港唱片老闆的夏希文說 : 港樂已經成為一支值得為之錄音的國際樂隊, 跟眾多歐洲老牌錄音樂隊不遑多讓 甄健豪 Kenneth Jean 唱片有價, 甄健豪亦水漲船高, 不久便獲任命為另一位首席客席指揮, 執棒港樂一直到九十年代 由於銷情理 想, 港樂在 1982 年 9 月簽訂一份三年錄音計劃, 每個樂季進行六次錄音, 包括實況錄音 當時鐳射唱片剛剛出台, 成為一眾愛樂者的寵兒, 而港樂的入座率亦因此大幅提高 The concert began with Tchaikovsky s Romeo and Juliet Fantasy Overture, followed by Shostakovich s Second Piano Concerto, which the composer Maxim s father had written for him; Maxim had premièred it in 1957, aged 19. A quarter of a century later in Hong Kong, the composer s grandson, Dmitri, at just 18, was the soloist. Maxim also closed the Festival with another Russian programme, which included his father s Ninth Symphony. These performances drew rave reviews both from Chinese and English media. A marvelous interpretation, the New Evening Post review said. The Hong Kong Standard went further, and said it was the greatest event in the Philharmonic s fairly brief history. The huge success led Maxim to take on the title of Principal Guest Conductor of the HK Phil, from September Also in January 1982, the HK Phil entered the digital recording era with its first album recorded at Tsuen Wan Town Hall. Under the baton of Kenneth Jean, then an assistant conductor at the Cleveland Orchestra, 12 famous Chinese short pieces arranged for orchestra were featured on the album, Colourful Clouds. Soon after its April release on Hong Kong Records, the forerunner of Naxos, 10,000 copies had been sold. By the summer of 1984, sales of 50,000 had been reached, and the HK Phil had gained its first Platinum Record. Another album, Most Famous TV Themes, won a Gold Disc. Hong Kong Records Managing Director Klaus Heymann, said: The Philharmonic is now an international orchestra worth recording, an orchestra that compares favourably with many popular European recording orchestras. 右 : 港樂與歌星關正傑於 1982 年在伊館演出 Right: HK Phil and pop singer Michael Kwan performing at the Queen Elizabeth Stadium in

25 港樂與關正傑合演的流行音樂會現場錄音贏得白金唱片 The live recording of the HK Phil s Pops Concert with singer Michael Kwan won a Platinum Award. 時任港樂籌募及宣傳經理的鄭新文回憶說 : 當時我們每年舉行四到六套普及音樂會, 最初在伊利沙伯體育館 ( 伊館 ), 後來在 1983 年啟用的香港體育館 ( 紅館 ) 演出的是管弦樂版本的中國音樂或者是百老匯音樂, 有時由流行歌手演唱 頭三場通常售罄, 我們就加推一到兩場 每次我們都賣出四 五萬張票, 全年加起來就是二十四萬了, 其中大概八萬是古典音樂場次 港樂與流行歌星的首次合作是 1982 年 9 月關正傑在伊館的六場音樂會, 場場滿座, 成為當時的記錄 這項合作背後的主腦是富才製作公司主管周梁淑怡 在梅艷芳 張學友冒起前, 關氏當時紅透半邊天, 演出後抒發感受時說 : 我從未想過會有與香港管弦樂團合作的機會 如果在錄音室錄音唱錯, 可以再唱, 但在演唱會就不行了 那次演出亦被錄成唱片, 後來更為港樂添上另一張白金唱片 The success saw Jean appointed Coprincipal Guest Conductor; he would lead the HK Phil regularly up until the early 1990s. A new recording contract signed in September 1982 led the HK Phil to make up to six recordings each season for three years, including live performances. It was the early years of Compact Discs, and each release sold rapidly. This led to a rise in concert ticket sales. Tseng Sun-man, then head of the HK Phil s promotion and publicity, says: We had four to six pops concerts a year, first in Queen Elizabeth Stadium, then the Hong Kong Coliseum, when it opened in They featured orchestral versions of Chinese melodies or Broadway themes, with or without a Canto popstar. The three scheduled concerts were normally sold out, so we added one to two extra shows to meet demand. We sold about 40,000 to 50,000 tickets per event, and reached an annual total of 240,000 tickets, of which 80,000 were for classical music concerts. Six consecutive, sold-out concerts with Canto popstar Michael Kwan, at Queen Elizabeth Stadium in September 1982, was the first of many Cantopop-HK Phil collaborations. The jointproject with Brainchild Productions was masterminded by media veteran Selina Chow. Kwan, at the peak of his career before the rise of new stars such as Anita Mui and Jacky Cheung, said, In my wildest dreams I never thought the day would come when I would sing with the orchestra. Unlike in the studio, I knew there would be no second take at these concerts. The live recordings of these concerts won the HK Phil another Platinum Award. IV. Kenneth Schermerhorn 23

26 然而港樂的招牌還是通過古典音樂來擦亮的 1983 年 1 月, 史特拉汶斯基 春之祭 由港樂作香港歷史性首演, 指揮是美國猶他交響樂團總監 V. 高治亞, 其胞弟 M. 高治亞剛取替嘉秉寧出任樂隊首席 演出沒有像七十年前在巴黎首演時引起騷動 港樂八十二位職業樂師, 連同十七位特約樂手為香港音樂創造歷史 現於香港中文大學音樂系任教的余少華在 新晚報 有如下的評語 : 史特拉汶斯基的音響幻想, 活現大會堂音樂廳, 像一齣有畫面的舞劇, 呈現聽眾腦海中 另一場重要演出是布拉姆斯 德意志安魂曲, 由法國指揮達尼確為 1983 年香港藝術節作閉幕 樂評人周凡夫寫道 : 第三樂章最後 的持續 D 音的配合下, 相信睡著了的靈魂也會甦醒過來 港樂連續成功演出古典巨著, 說明水平已達一定高度, 進行外訪時機已到 從規模和意義來講, 港樂 1983 年亞洲巡演遠遠高於蒙瑪時期的澳門之行, 或為倫敦皇家沙德勒. 威爾斯芭蕾舞團作伴奏的東南亞之旅 這次 4 月 日的十天行程, 樂團在新加坡 曼谷及大阪演出兩套不同的曲目 六場音樂會的指揮是曾任伯恩斯坦助理 在米爾沃基交響樂團擔任總監十二年的施明漢 除了演出柴可夫斯基第四交響曲和西貝遼士第二交響曲外, 樂隊亦伴奏祖籍波蘭的韓愛達演奏布拉姆斯小提琴協奏曲, 以及日本鋼琴家清水和音演奏柴可夫斯基 B 小調鋼琴協奏曲 巡演曲目還有香港作曲家林樂培的 太平山下 這首作品要求多於樂隊的兩位敲擊樂手 Yet it is the HK Phil s classical music performances that show its true worth locally and abroad. In January 1983, Hong Kong premièred The Rite of Spring, the notorious orchestral warhorse by Stravinsky which led to a riot at its début performance in Paris seventy years earlier. Under Guest Conductor, Utah Symphony Maestro Varujan Kojian (whose younger brother, Miran, succeeded Carl Pini as concertmaster in 1982), the HK Phil s 82 professional musicians and a contingent of 17 extra players created an historic first for Hong Kong. Stravinsky s musical imagination came to life at the City Hall Concert Hall, almost as if a visible dance drama unfolded in the audience s mind, wrote Yu Siu-wah, now a music professor at the Chinese University of Hong Kong, in the New Evening Post. After a rousing performance of Brahms s Ein deutsches Requiem under French conductor Jacques Delacote that closed the 1983 Hong Kong Arts Festival, critic Chow Fan Fu wrote that the Third Movement, ending on a long D, was powerful enough to wake up many a sleeping soul. The HK Phil had shown it was now on top form, and finally ready for its first major overseas tour. In scale and significance, previous tours to Macau, under Mommer, and the Asian tour with the Sadler s Wells Royal Ballet could not compare with the 1983 Asian tour. Over 10 days, from April 11 to 19, the orchestra showcased two different programmes in Singapore, Bangkok and Osaka. With no music director, Kenneth Schermerhorn, an assistant to Bernstein and former Music Director of the Milwaukee Symphony Orchestra 韓愛達 Ida Haendel 清水和音 Kazune Shimizu 林樂培 Doming Lam 24

27 為此, 出身敲擊樂的巡演助理指揮列頓義務相助, 作曲家為之大悅 加奏的兩首作品是樂團剛剛與甄健豪錄音的 彩雲追月 和布拉姆斯的 匈牙利舞曲 巡演獲得空前的成功, 尤其是在大阪, 港樂跟美國國家交響樂團和維也納愛樂樂團作為三支獲邀的海外樂隊, 慶祝該市第二十五屆國際音樂節 朝日新聞 報導說 : 職業化後不用十年便把多國成員融合成如此優秀樂團, 值得稱之為東南亞音樂的驕傲 樂團揚名海外, 正是成立基金會的最佳時機, 籌款目標為五千萬元 只是當時國際經濟衰退, 加上香港前途不明朗, 過程比預計困難 但國際星級大師卻紛至沓來 除了上述麥森. 蕭斯達高維契外, 著名合唱指揮韋覺斯爵士帶同倫敦的巴赫合唱團, 在 1982 年復活節期間連續演出韓德爾 彌賽亞 巴赫 馬太受難曲 布烈頓 戰爭安魂曲, 和白遼士 安魂曲 等, 帶來震撼 此外, 鋼琴家阿殊堅納西演出布拉姆斯第二鋼琴協奏曲 甘祈頓拉奏布氏小提琴協奏曲 已屆高齡七十九的狄伯特爵士更親自指揮自己的 D 大調 查理斯王子誕辰組曲, 為 1984 年香港藝術節開幕 其他首次與港樂同台演出的還有指揮家告魯斯爵士 施華 鄭明勳, 小提琴家林昭亮 明茨, 鋼琴家富高斯尼 懷特, 長笛家尼高利等 對於施明漢出任港樂第四任音樂總監, 相信沒有人表示驚訝 1983 年 11 月郭志權博士公佈這個消息, 指長達兩年半尋覓總監過程結束時, 南華早報 形容 for 12 years, was Guest Conductor for all six concerts, performing Tchaikovsky s Fourth Symphony and Sibelius Second Symphony, plus accompanying violinist Ida Haendel in the Brahms concerto and pianist Kazune Shimizu in Tchaikovsky s B minor concerto. The local work in the tour repertoire, Doming Lam s Tai Ping Shan Panorama, required more members than the existing percussion section of two. So Andrew Litton, the assistant conductor for the tour and a trained percussionist, became the extra hand, much to the composer s delight. The choice for encores also worked well with the latest releases, such as Colourful Clouds and Brahms Hungarian Dances, recorded with Kenneth Jean. The tour s great success was unprecedented, especially in Osaka, where the HK Phil played beside the National Symphony from Washington DC and the Vienna Philharmonic Orchestra to celebrate the 25th anniversary of the Japanese city s international music festival. Deservedly called the musical pride of Southeast Asia, this multinational body of players has developed, in less than ten years after its reorganisation on a professional basis, into a well-integrated symphony orchestra, Osaka s Asahi Evening News wrote. Rave reviews appeared to make it the ideal moment to launch the endowment fund appeal for an initial HK$50 million; the global economic recession and the general uncertainty about the future of Hong Kong proved less than helpful. However, the HK Phil s new international stature helped to attract some top global stars of classical music to play with it during the years without a music director. Aside from Maxim Shostakovich, internationally sought-after artists to make their HK Phil début included famous choral conductor Sir David Willcocks, who brought the London Bach Choir to perform the St Matthew IV. Kenneth Schermerhorn 25

28 這是個 鮮有得到那麼多人贊同的決定 到現時為止, 沒有多少人可以比得上施明漢上任前的三年期間, 指揮港樂二十二次, 包括海外巡演的記錄 遴選總監需時, 大概有鑑於任命董麟的先例 對於新任總監所擔負的使命和條件, 郭志權明確要求一位 經驗豐富 能力顯著而充滿熱誠為香港及香港管弦樂團工作的音樂大師擔任音樂總監 對五十三歲的紐約漢子施明漢來說, 這些要求幾乎是為他度身定做 這從施氏首場以總監身份指揮的選曲, 便可見一斑 1984 年 10 月 5 日, 施明漢以陳永華的新作 慶典 揭開他的總監任期, 同時亦慶祝港樂十周年 當時陳氏正在多倫多攻讀碩士學位 其實在樂季開始前, 自己亦從事作曲的施明漢一連指揮兩場香港作曲家翹楚陳培勳的 清明祭, 這首意境深邃的巨著曾在中國贏得全國作曲大獎 其實對中國管弦作品的重視, 港樂職業化後一直如此 到了施明漢時期似乎更有系統地委約更多本地作曲家進行創作, 在他任內由港樂首演的包括曾葉發的 管弦樂序曲 陳培勳為高胡和樂隊而寫的 廣東音樂幻想組曲 董麗誠的 月黑 羅永暉的琵琶協奏曲 陳錦標的 樂章 ( 為樂隊而作 ) 等 自中國改革開放, 湧現一批新的音樂尖子, 港樂成為他們展示非凡才能的演奏平台 1984 年中英聯合聲明敲定香港九七回歸, 亦為中港的音樂互動順水推舟 1986 年國際柴可夫斯基大賽銀獎得主小提琴家薛偉正是這 韋覺斯爵士 Sir David Wilcocks Passion, Britten s War Requiem and Berlioz s colossal Requiem Mass with the HK Phil during Easter Pianist Vladimir Ashkenazy also made his début with the Brahms Second Piano Concerto, as did Gidon Kremer with the Brahms Violin Concerto. Sir Michael Tippett, at 79, conducted his own Suite in D Major to open the 1984 Hong Kong Arts Festival. Other collaborating artists included guest conductors Sir Charles Groves, Gerard Schwarz, and Myung-whun Chung, violinists Cho-liang Lin and Shlomo Mintz, pianists Rudolf Firkusny and Earl Wild, and flautist Aurèle Nicolet. Kenneth Schermerhorn s appointment as the HK Phil s fourth Music Director should not have surprised anyone. Rarely has an appointment met with more approval, the South China Morning Post said in November 1983 after Dr Philip Kwok revealed a two-and-a-half year search was over. Few candidates, either then or now, could hope to match Schermerhorn s track record of having conducted 22 HK Phil concerts, including those on tour, over a period of three years, prior to his appointment. Lessons had been learned from Ling Tung s short tenure, which had followed a hasty decision; the HK Phil s clear mandate had been to find someone who is a first-class musician and conductor, has the proven ability to train and develop an orchestra, and one who would become involved with all aspects of music in Hong Kong. Such criteria were almost tailor-made for the 53-year old New York-born Schermerhorn. Nothing was more indicative than the work with which Schermerhorn launched his HK Phil music directorship. On October 5, 1984, he opened the orchestra s 10th anniversary season with the première of a commissioned work, Celebration, by Chan Wing-wah, then studying for a master s degree in Toronto. Even before the season s official 26

29 ( 左起 ) 郭志權博士 施明漢大師 沙利士 霍士傑 馮秉芬爵士 白爾德醫生 (From left) Dr Philip Kwok Chi-kuen, Maestro Kenneth Schermerhorn, Mr A. de O. Sales, Mr H. M. G. Forsgate, Sir Kenneth Ping-Fan Fung, Dr Solomon Bard. 一批最早與港樂合作的內地音樂家之一 1985 年他在伊館演出柴可夫斯基小提琴協奏曲, 連滿三場 但也不及在紅館亦連滿三場的 梁祝, 演出是作曲家專門為鋼琴獨奏而改編的版本, 由首位魯賓斯坦鋼琴大賽華人得主許斐平擔綱演出 在施明漢執棒下的精彩演出已成絕響, 可幸由香港唱片錄音保存 此時中國指揮亦相繼與港樂演出 最為轟動的莫過於指揮大帝卡拉揚入室弟子湯沐海的亮相, 尤其是他伴奏長笛巨擘雷波爾, 演出雷氏自己改編的哈察都量小提琴協奏曲, 成為經典 另外來港指揮港樂演出的還包括中央樂團的李德倫 上海交響樂團的侯 薛偉 Xue Wei 許斐平 Hsu Fei-ping opening, the American Maestro a composer in his own right conducted two concerts featuring local veteran composer Chan Pui-fan s Ching Ming Sacrifice, a work that won him a top composition prize in China. The vogue for Chinese music and composers had started before Schermerhorn, but it was during his tenure that a conscious effort was made to feature works by local composers, leading to a series of premières, such as Richard Tsang s Overture for Orchestra, Chan Pui-fan s Suite Fantasia on Cantonese Music for gaohu and orchestra, Tung Lai-shing s orchestral piece Moon Dark, Law Wing-fai s Pipa concerto, and Joshua Chan s Movement for Orchestra. Noting China s reforms and the new wave of mainland musical talent since opening up, the HK Phil became an important platform for these young virtuosos to display their prize-winning skills. Hong Kong s 1997 handover to China, signed into effect in the 1984 Sino-British Joint Declaration, set the scene for Hong Kong-China music interaction. Violinist Xue Wei, the silver medallist at the 1986 Tchaikovsky Competition, IV. Kenneth Schermerhorn 27

30 潤宇, 還有三藩市交響樂團的林望傑等 1986 年 2 月, 施明漢以精彩演繹柴可夫斯基第五交響曲, 為第十四屆香港藝術節開幕不久, 港樂全團首次步入神州大地, 在北京 上海 杭州進行十一天巡演 此行主要目的是到開幕僅僅一個月的北京音樂廳演出, 成為首隊非內地樂團在該廳演奏 所演出的兩套節目和合作的獨奏家都經過深思熟慮, 為樂團中國處子演出留下歷史意義 例如開場是曾葉 湯沐海 Tang Muhai 雷波爾 Jean-Pierre Rampal 發的 管弦樂序曲, 藉此介紹香港音樂作品 接著是貝多芬第三鋼琴協奏曲, 獨奏是上海的李堅 ( 即首演 梁祝 的小提琴家俞麗拿的公子 ), 寓意中港聯手合演 這次巡演更得到 音樂美國 雜誌作為頭版報導, 圖文並 was the first of a long list of mainland musicians to début with the HK Phil. His three concerts, featuring the much-beloved Tchaikovsky s Concerto, at Queen Elizabeth Stadium in March 1985, were eclipsed in terms of scale by The Butterfly Lovers Concerto at the Hong Kong Coliseum three months later. Arranged for the piano from the original score for violin solo, the crowd-pleasing piece attracted packed audiences for three consecutive shows. The piano soloist was Hsu Fei-ping, the first Chinese winner of the Arthur Rubinstein Piano Competition. With Schermerhorn conducting, the piece and the HK Phil s mid-1980s sound are faithfully preserved in a Hong Kong Records recording. Chinese conductors took turns to lead the HK Phil, too. First and foremost was the charismatic Tang Muhai, the only Chinese protégé of the late Herbert von Karajan. His performance with the all-time great Jean-Pierre Rampal on his own transcription of Aram Khachaturian s violin concerto for flute would remain legendary. Other mainland Maestros who conducted the HK Phil during this period included Central Philharmonic s Li Delun and Shanghai Symphony s Hou Runyu. Jahja Ling, an assistant conductor to Edo de Waart at the San Francisco Symphony, also made his début at the HK Phil during this time. 28

31 茂 各場演出在國內引起的影響不小, 尤其是對一眾正摩拳擦掌的未來巨星 中國巡演後四個月, 香港舉行第一屆中國現代作曲家音樂節 這是一次空前也可能是絕後的盛會, 讓一大批頂尖華人作曲家濟濟一堂, 白天論樂, 晚上到音樂廳聽演奏 對任何樂團來說, 這是一次可遇而不可求的榮譽, 由一眾作曲家親自排練甚至指揮自己的力作 這份名單包括譚盾 陳其鋼 郭文景 瞿小松 陳怡 周龍 葉小剛 黃安倫, 還有香港的林樂培 曾葉發 陳永華等 在施明漢執棒下, 港樂在新建成的香港演藝學院歌劇院進行了一場不一般的演奏, 而且有錄音為證 一年後, 港樂亦舉行了一次香港作品音樂會, 連續演奏林樂培 曾葉發 陳永華 羅炳良 羅永暉 陳能濟等作曲家的作品 指揮是 1985 年贏得法國貝桑松指揮大賽冠軍的葉詠詩 她自 1986 年出任港樂駐團指揮, 負責訓練 1984 年重組的合唱團 In February 1986, after Schermerhorn opened the 14th Hong Kong Arts Festival with a brilliant reading of Tchaikovsky s Fifth Symphony, the HK Phil went north for a three-city tour over 11 days. The reason was the new Beijing Concert Hall launched only a month before. The HK Phil had the honour of being the first non-mainland orchestra to perform there. Both the programmes and the soloists were carefully planned to highlight the significance of the visit, which also covered Shanghai and Hangzhou. The opening work of the two programmes was Richard Tsang s Overture for Orchestra, showcasing the sound of Hong Kong. The ensuing Beethoven s Third Piano Concerto was undertaken by Shanghai pianist Li Jian, signifying Hong Kong-China collaboration. The tour put the HK Phil on the cover of Musical America, not a small achievement. But its impact was great in China, especially among the up-and-coming future Maestros and soloists. Four months after its China début, Hong Kong hosted the first festival of contemporary Chinese composers. It was the biggest event up to then in bringing major Chinese composers from the mainland and overseas together to discuss their new works during the day, followed by performances at night. It was a rare honour for any orchestra to rehearse and perform with a league of composers including Tan Dun, Chen IV. Kenneth Schermerhorn 29

32 Qigang, Guo Wenjing, Qu Xiaosong, Chen Yi, Ye Xiaogang, Huang Anlun, plus Hong Kong s Doming Lam, Richard Tsang, Chan Wing-wah, and the list goes on. With Schermerhorn conducting, the HK Phil had a wild night with these new works at the new Lyric Theatre of the Hong Kong Academy for Performing Arts. A year later, in 1987, the HK Phil staged its own all-hong Kong composers fanfare, featuring works by Doming Lam, Richard Tsang, Chan Wing-wah, Daniel Law, Law Wing-fai, and Chen Neng-chi. The concert was conducted by resident conductor Yip Wing-sie, who joined the HK Phil in 1986 after winning the Besançon Conducting Competition in France. Her main duty was to coach the new HK Phil chorus, formed in 葉詠詩 Yip Wing-sie 能夠掌握新作品不同風格和結構, 可見八十年代的港樂水平已達一定程度 事實上, 整個八十年代的香港藝術節都是由港樂作開幕演出, 這已反映樂團水平已受到相當承認 除了中國巡演外, 港樂亦分別在 1986 年和 1988 年獲邀到南韓 日本演出, 兩次都大受歡迎, 尤其是在日本四個城市的演出, 演完三首安哥後, 觀眾還是不走 施明漢要再演 彩雲追月, 之後拉著樂團首席離場才作罷 正是在這個高點上, 施明漢宣布提早結束與港樂第二期的三年 ( ) 合約, 返回他兼任總監的美國納士維爾交響樂團 1989 年夏, 通過鏗鏘的布魯克納第四交響曲和馬勒第五交響曲, 港樂第四任音樂總監結束了近五年的任期 在此之前的 2 月, 於 1986 年取替杜輝尊擔任樂團總經理的郭納智宣布, 樂季將由艾德敦出任新任音樂總監 It takes versatility to perform new repertoire, especially over a variety of styles and forms. In the mid-1980s, the HK Phil certainly displayed such quality; the orchestra opened the Hong Kong Arts Festival during most of the 1980s. However, its greatest recognition came from invitations to go on overseas tours. Aside from the China tour, the orchestra under Schermerhorn performed in South Korea and Japan, in 1986 and 1988 respectively. Both tours were highly acclaimed, especially the fourcity tour in Japan, where audiences refused to leave after three encores. Schermerhorn had to repeat the Colourful Clouds as the fourth encore and then grabbed the concertmaster to leave the stage. Schermerhorn cut short his second three-year contract ( ) with the HK Phil to return to the Nashville Symphony where he was also Music Director. Through the powerful notes in Bruckner s Fourth Symphony and Mahler s Fifth Symphony, the fourth Music Director bowed out in the summer of Earlier, General Manager Stephen Crabtree, who had succeeded Duffus in 1986, announced David Atherton s appointment as the next Music Director, for the season. 港樂於 1988 年在日本的演出獲得觀眾熱烈讚賞 HK Phil received overwhelming response when they toured Japan in

33 IV. Kenneth Schermerhorn 31

34 32 第五任音樂總監艾德敦 The fifth Music Director, David Atherton.

35 V. 跨越九七 艾德敦大師 Across 1997 Maestro David Atherton ( ) 劍橋大學畢業的艾德敦是位二十世紀音樂專家, 尤其是史特拉汶斯基作品 他創建倫敦小交響樂團, 也跟著名錄音公司錄製一系列現代作曲家作品 他曾擔任美國聖地亞哥交響樂團音樂總監, 也經常客席指揮倫敦各大樂團, 尤其倫敦愛樂, 即郭納智曾擔任樂師和爾後晉升為總經理的樂團 也許如此背景, 他免於與港樂合作而獲得任命 樂團常務委員會主席郭志權說 : 艾德敦是馳名傑出指揮 優秀音樂家及出色的樂團訓練人才 我們的樂手大部分都很年輕, 故需要像艾德敦這樣紀律嚴明的人訓練他們 這樣短期內委任總監, 有可能因為 1989 年 11 月香港文化中心開幕, 由英國查理斯王子和戴安娜公主蒞臨主持儀式 在長達一個月的開幕音樂節期間, 港樂與國際頂級音樂家同台演出, 包括女高音謝茜. 諾曼 ( 香港管弦樂團有很強的適應力 ) 另一女高音修德蘭和指揮丈夫波寧 ( 我感到滿意非常, 弦樂聲部拉得很優美, 管樂聲部精采之至! ) 曾於 1982 年首次來港的韋覺斯爵士再 One of the top conductors of 20th century music, particularly Stravinsky, Cambridge-trained Atherton is founder of the London Sinfonietta and made critically acclaimed recordings for major labels. He had been Music Director of the San Diego Symphony in the US, and conducted regularly with leading London orchestras, including the London Philharmonic, where Crabtree had been Managing Director before joining the HK Phil. Such credentials may explain why the board appointed him despite him never having worked with the orchestra. David Atherton has a great reputation as an outstanding conductor, an excellent musician and a good trainer of orchestras. Our players are mostly very young and need a disciplinarian like David, Dr Philip Kwok, General Committee Chairman of the HK Phil said. The rush to appoint Atherton appeared necessary because of the forthcoming opening of the Cultural Centre Concert Hall in November 1989, by Britain s Prince Charles and Princess Diana. The new venue was launched with a month-long International Celebrations of the Arts, in which the HK Phil hosted some of the world s top musicians, including soprano Jessye Norman ( the Hong Kong Philharmonic is a very flexible orchestra ), soprano Joan Sutherland and her conductor husband Richard Bonynge ( I am 左 :1989 年, 英國查理斯王子和戴安娜公主主持香港文化中心的揭幕儀式 Left: Prince Charles and Princess Diana officiating the opening ceremony of the Hong Kong Cultural Centre in 右 : 謝茜. 諾曼 修德蘭 波寧 Right: Jessye Norman, Joan Sutherland, Richard Bonynge. V. David Atherton 33

36 次率領倫敦巴赫合唱團與港樂合作, 發現樂隊大有改進的同時, 更碰上一位老朋友 他說 : 我在皇家音樂學院時已認識艾德敦, 他當時是一名單簧管手 他不單是一名出色的指揮, 他還有一副精密的頭腦, 且替世界很多樂團帶來非凡的成就 艾德敦在港樂的十一年, 讓他成為到現在為止港樂年資最長的音樂總監, 期間既是本世紀最後十年, 亦是英國在香港管治的最後幾年, 而且跨越到香港作為中華人民共和國首個特別行政區的頭三年 跟香港整體一樣, 作為旗艦樂團不可能免受歷史大潮的影響, 例如更多與中國音樂家合作演出, 這在艾德敦正式上任前就有跡可尋 在他首次擔任音樂總監演出的莫扎特 - 史特拉汶斯基音樂節六套演出前, 艾氏率先演奏何訓田的 夢四則, 擔任二胡獨奏是王國潼大師 首樂季結束時, 這位英國指揮首次嘗試在萬人紅館演出的滋味, 演出 梁祝 協奏曲的高胡獨奏版本, 由當時香港中樂團樂隊首席黃安源領銜演出 九十年代見證了眾多在八十年代到海外發展的中國音樂家到 completely delighted with them, lovely strings, excellent winds ). Sir David Willcocks returned with the London Bach Choir to find a much improved HK Phil since his 1982 début, and an old friend: I knew David [Atherton] at the Royal College when he was a clarinetist. He s not only a good conductor, he has a brilliantly organised mind and he has done miraculous things for many orchestras the world over. Atherton s 11-year-term at the HK Phil makes him the longest-serving music director a period that marked the last decade of the century, the end of British rule in Hong Kong, a return to mainland sovereignty and also the first three years of the Special Administrative Region era. Like everything else, the city s flagship orchestra was not exempt from the historic trend. The engagement of more Chinese composers and artists, for example, was conspicuous even before day one. A week before the six-concert series of Mozart-Stravinsky Festival to kick off his official Hong Kong début, Atherton led the HK Phil to perform Four Dreams by mainland composer He Xuntian, with erhumaster Wang Guotong as soloist. At the end of his first season, the British Maestro had a taste of the Hong Kong Coliseum by conducting The Butterfly Lovers concerto with Wong Onyuan, concertmaster of the Hong Kong Chinese Orchestra, as the gaohu soloist. 34