香港小交響樂團由香港特別行政區政府資助Hong Kong Sinfonietta is financially supported by the Government of the Hong Kong Special Administrative Region

香港小交響樂團為香港大會堂場地伙伴Hong Kong Sinfonietta is the Venue Partner of the Hong Kong City Hall

指揮／小號 Conductor/Trumpet

赫登伯格Håkan Hardenberger

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13.11.2015(星期五 Fri) 8pm

香港演藝學院香港賽馬會演藝劇院

HK Jockey Club Amphitheatre, HK Academy for Performing Arts

節目

海頓 降E大調小號協奏曲，Hob VIIe:1快板行板終曲：快板

浦羅哥菲夫 D大調第一交響曲，作品25，「古典」快板小廣板加沃特舞曲：不太快的快板終曲：十分活潑的

－中場休息15分鐘－

拉威爾 《庫普蘭之墓》前奏曲：活潑的福爾蘭舞曲：小快板小步舞曲：中庸的快板里戈東舞曲：相當活潑的

普拉尼爾 小號協奏曲 (1966)寬廣地－生動而有節奏地－緩慢而甚為寧靜地－活潑地、歡愉而輕快地

米歇爾/彭迪南編 《一體兩面》

龍格蘭/彭迪南編 《海鷗》

Programme

Haydn Trumpet Concerto in E-flat, Hob VIIe:1AllegroAndanteFinale: Allegro

Prokofiev Symphony No 1 in D, Op 25, “Classical”AllegroLarghettoGavotte: Non troppo allegroFinale: Molto vivace

- 15-minute intermission -

Ravel Le Tombeau de Couperin Prélude: VifForlane: AllegrettoMenuet: Allegro moderatoRigaudon: Assez vif

Robert Planel Concerto for Trumpet & Strings (1966) Largement – Animé et bien rythmé –Lent et très calme – Vivace, gai et léger

Joni Mitchell/Pöntinen arr Both Sides, Now for Trumpet & String Orchestra

Jan Lundgren/Pöntinen arr The Seagull for Trumpet & String Orchestra

各位觀眾：

為求令表演者及觀眾不致受到騷擾，請將鬧錶、傳呼機和手提電話的響鬧裝置關上。同時請勿在場內飲食或擅自攝影、錄音或錄影。多謝合作。

Dear Patrons,To avoid undue disturbance to theperformers and other members ofthe audience, please switch off thebeeping devices on your alarmwatches, pagers and mobile phonesbefore the performance. We alsoforbid eating and drinking, as wellas unauthorized photography, audioor video recordings in the auditorium.Thank you for your co-operation.

香港演藝學院Hong Kong Academy for Performing Arts

香港灣仔告士打道一號1 Gloucester Road, Wanchai, Hong Kong

吳嘉美 Kathleen Ng客戶服務部經理 Customer Services Manager電話 Tel: 2584 8500圖文傳真 Fax: 2584 8739

場地規則 House Rules

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香港小交響樂團是香港的旗艦樂團之一。樂團與音

樂總監葉詠詩一直致力拉近古典音樂與普羅大眾間

的距離，銳意「培育文化新一代」，並以富創意的

節目及充滿熱忱的演奏見稱。

自1999年起，香港小交響樂團經常與國際知名音

樂家及藝團合作，包括亞殊堅納西、杜明高、杜

美、傅聰、譚盾、霍活特、巴伐洛堤、彭德雷茨

基、蘇嘉文、美國芭蕾舞劇院、英國皇家芭蕾舞

團、馬林斯基大劇院芭蕾舞團、莫斯科大劇院芭蕾

舞團、英國國家芭蕾舞團、斯圖加特芭蕾舞團及翩

娜．包殊烏珀塔爾舞蹈劇場等。樂團亦經常應邀與

本地藝術節及藝團合作，如香港藝術節、法國五

月、香港芭蕾舞團及香港歌劇院等。

樂團全年無休，每樂季演出逾100場次，自2009年起是香港大會堂的場地伙伴。除了傳統的管弦樂章

外，樂團每年均委約作曲家為樂團譜新曲，亦銳意

與不同界別的藝術家製作嶄新的跨界節目，自

2006年起更舉辦「駐團藝術家」計劃，由音樂總

監親自邀請本地藝術家與樂團緊密合作及交流，培

育新一代藝術家之餘更為古典音樂創造新的可能

性。樂團灌錄過多套鐳射唱片，收錄了不少華人作

曲家的優秀作品；由DECCA發行的《就是古典音

樂》系列，2014年11月推出第三集，不及兩個月

便取得金唱片佳績。

樂團深明培育下一代的重要性，針對不同年齡的觀

眾，舉辦多套別樹一格的普及音樂會。《我的音樂

日記》及由葉詠詩主持的《古典音樂速成》、《古

典音樂知多少》和《我個名叫麥兜兜．古典音樂小

計劃》等節目，創辦至今深受歡迎，大大拓展古典

音樂觀眾的層面。另外，樂團的《樂聚》系列，包

括在音樂廳以外的場地舉行室樂及跨界音樂會，為

觀眾提供更多節目選擇。

除本地演出外，樂團常應邀作客海外，包括：美

國紐約林肯中心羅斯劇院、加拿大多個以出色音

效著稱的音樂廳；南美洲的巴西、阿根廷及烏拉

圭；在歐洲計有法國的聖里奇音樂節、漢斯夏季

音樂會及普羅旺斯拉羅克．昂迪榮國際鋼琴音樂

節、意大利的米凱朗傑利國際音樂節和維琴察音

樂節、立陶宛的兩個音樂節及波蘭華沙愛樂音樂

廳；北京第二屆中國交響樂之春（國家大劇院）、

中國上海國際藝術節（世博會「香港活動周」閉

幕節目）及上海之春國際音樂節等。樂團自2006

年起五度獲邀參加日本東京《 》音樂祭，

並於2015韓國統營國際音樂節作韓國首演，10月

於瑞士首演。

樂團音樂總監葉詠詩享譽亞洲樂壇，2010年獲英

國皇家音樂學院頒授院士榮銜（FRCM）。她曾獲

法國貝桑松第35屆國際青年指揮家大賽冠軍和

「金豎琴」獎、哥士域斯基獎學金、小澤征爾獎學

金以及第八屆東京國際指揮大賽獎項，並曾隨小

澤征爾、伯恩斯坦、米亞、羅徹迪霍斯基及狄瑪

爾等大師學藝。

香港小交響樂團 Hong Kong Sinfonietta音樂總監 Music Director: 葉詠詩 YIP Wing-sie首席客席指揮 Principal Guest Conductor: 柏鵬 Christoph POPPEN

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Hong Kong Sinfonietta is one of Hong Kong’s

flagship orchestras. With Yip Wing-sie as Music

Director, the orchestra has brought music closer

to the community, and has achieved significant

recognition locally and internationally for its

pass ionate per formances and innovat ive

programming.

Since 1999, Hong Kong Sinfonietta has

collaborated with an illustrious array of international

musicians and groups, including Vladimir

Ashkenazy, Plácido Domingo, Augustin Dumay, Fou

Ts’ong, Christopher Hogwood, Luciano Pavarotti,

Krzysztof Penderecki, Pinchas Zukerman, The Royal

Ballet, Mariinsky Ballet, Bolshoi Ballet, English

National Ballet, American Ballet Theatre, Stuttgart

Ballet and Tanztheater Wuppertal Pina Bausch. The

orchestra has also been a regular participant at all

the major festivals in Hong Kong including the

Hong Kong Arts Festival, Le French May, Hong

Kong International Film Festival and festivals

presented by the Hong Kong Government. It also

partners regularly with Hong Kong Ballet and Opera

Hong Kong in their staged productions.

The orchestra performs year-round with over 100

performances a season and has been the Venue

Partner of the Hong Kong City Hall since 2009.

Apart from standard orchestral repertoire, Hong

Kong Sinfonietta, as an avid believer of keeping

music alive and contemporary, commissions and

performs new works every year and ventures into

crossover concerts both at the City Hall and at the

residency at ArtisTree. Launched in 2006, the HKS

Artist Associate scheme provides a platform for

intensive collaboration with local artists from

different arts disciplines to expand the horizon of

classical music. The orchestra’s discography includes

CDs of works by Chinese composers on HUGO and

three double-CD albums This is Classical Music on

DECCA. The third album has been awarded a Gold

Record since its release in November last year.

On the educational front, Hong Kong Sinfonietta

has pioneered specially-designed concerts for

different age groups. New concepts on the Hong

Kong concert stage, Good Music for Kids, Good

Music for Babies, Know Your Classical Music,

Short-cut to Classical Music and HKS McDull Music

Project have provided a new realm in audience

development. Since 2010, Hong Kong Sinfonietta’s

chamber music concerts have continued to break

down barriers between music and audience as we

perform at unconventional spaces.

On tour, Hong Kong Sinfonietta has been invited to

perform in North America in Canada and New York

City; in Brazil, Argentina and Uruguay in South

America; in Europe at the prestigious Festival

International de Piano La Roque d’Anthéron,

Les Flâneries Musicales d’Été de Reims and

Saint-Riquier Festival in France, Festival Pianistico

Internazionale Arturo Benedetti Michelangeli and

Settimane Musicali al Teatro Olimpico in Italy, Warsaw

Philharmonic Concert Hall in Poland and in Lithuania;

in China at the Shanghai Spring International Music

Festival and China Shanghai International Arts

Festival (Expo 2010 Shanghai), in Beijing at the

National Centre for the Performing Arts; in Japan in

Nagano and at La Folle Journée in Tokyo and Niigata.

In 2015, the orchestra was invited to perform in

Korea at the Tongyeong International Music Festival

and made its début in Switzerland in October.

Music Director Yip Wing-sie, one of Asia’s most

respected conductors, was the winner of the First

Prize and LYRE d’OR in the 35th Concours

International de Jeunes Chefs d’Orchestre de

Besançon, the Koussevitsky Scholarship, the Seiji

Ozawa Fellowship Award and a prizewinner in the

8th Tokyo International Conducting Competition.

She has studied with Seij i Ozawa, Leonard

Bernstein, Gustav Meier, Gennady Rozhdestvensky

and Norman Del Mar.

香港小交響樂團有限公司是註冊之慈善團體。The Hong Kong Sinfonietta Limited is a registered charity.

香港灣仔譚臣道98號運盛大廈3樓3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong

電話 Tel : (852) 2836 3336電郵 Email: enquiries@hksinfonietta.org網址 Website: www.HKSL.org

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小號 / 指揮 Trumpet / Conductor

赫登伯格 Håkan Hardenberger

赫登伯格是當今最偉大的小號演奏家，演繹經典曲

目已是超凡入聖，亦是推廣很多重要小號新作的先

鋒，備受國際尊崇。

赫登伯格經常與世界頂尖樂團演出，包括紐約愛樂

樂團、維也納愛樂樂團、倫敦交響樂團、巴伐利亞

電台交響樂團、瑞典電台交響樂團，並與著名指揮

布萊茲、哈汀、帕佛．約菲和冼文等合作。不少作

曲家特別為赫登伯格譜寫新作，包括帕特、伯特威

斯爾、亨策和馬丁遜，其中葛魯伯的作品《空靈》

今年已經由赫登伯格及柏林愛樂作第70次演出。

今年夏天，赫登伯格再度參與鄧肯活音樂節，之後

與尼爾遜斯指揮的波士頓交響樂團分別於BBC逍遙

音樂會、琉森國際音樂節和科隆愛樂音樂廳巡演，

後者更是赫登伯格於該音樂廳2015/2016駐場計劃

的首個音樂會。這樂季他還會回到科隆與馬勒室樂

團演奏特奈奇以他名字命名的小號協奏曲，另外又

與瑞典室樂團演奏巴赫。赫登伯格將於倫敦愛樂管

弦樂團的「號聲響起」音樂會系列作開季演出，為

觀眾帶來不同種類的音樂會，並會在皇家音樂學院

舉行大師班。2015/2016樂季其他演出包括世界首

演佩庫的小號協奏曲和祖拉斯的雙協奏曲，馬爾默

新音樂廳的開幕音樂會，以及與德累斯頓國家樂

團、奧地利藝術家樂團和香港小交響樂團的合作。

指揮也是赫登伯格音樂生涯中的重要一環，他曾指

揮德累斯頓愛樂、BBC愛樂和馬爾默交響樂團等。

此外，他又分別與鋼琴家潘提納和敲擊樂手卡瑞合

作，經常舉辦二重奏音樂會。

赫登伯格為不少知名唱片公司錄製唱片，最近推出

的有華林的《漁王》協奏曲，早前的其他錄音包括

與聖馬田樂團合作的電影音樂及流行曲，以及葛魯

伯和施威爾特斯克的作品。

赫登伯格生於瑞典馬爾默，他自八歲起跟尼爾頌學

習小號，及後在巴黎音樂學院和洛杉磯分別跟小號

大師堤博和史蒂文斯進修，他現時亦是馬爾默音樂

學院的教授。

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Håkan Hardenberger is the greatest trumpet soloist

today. Alongside his phenomenal performances of

the classical repertory, he is also held in high regard

as a pioneer of significant and virtuosic new

trumpet works.

Hardenberger performs with the world’s leading

orchestras, including the New York Philharmonic,

Vienna Philharmonic, London Symphony,

Symphonieorchester des Bayerischen Rundfunks

and Swedish Radio Symphony. Conductors he

regularly collaborates with include Pierre Boulez,

Daniel Harding, Paavo Järvi and David Zinman. The

works written for and championed by

Hardenberger include those by Arvo Pärt, Sir

Harrison Birtwistle, Hans Werner Henze, Rolf

Martinsson and HK Gruber’s concerto Aerial, which

has received its 70th performance by Hardenberger

with Berlin Philharmonic this year.

In summer 2015, Hardenberger returned to the

Tanglewood Music Festival, followed by tour

concerts with Boston Symphony and Andris

Nelsons at the BBC Proms, Lucerne Festival and

Philharmonie Cologne. The latter concert marked

the opening of Hardenberger’s Residency at the

Philharmonie in 2015/2016. He will return to

Cologne with Mahler Chamber Orchestra playing

Mark-Anthony Turnage’s trumpet concerto Håkan

and Bach with Swedish Chamber Orchestra. He will

open The Trumpet Shall Sound series by the

Philharmonia Orchestra with various concerts and a

public masterclass at the Royal College of Music.

Further highlights in 2015/2016 present the world

premières of Thierry Pécou’s trumpet concerto and

Betsy Jolas’ double concerto; the opening concert

of Malmö’s new concert hall and with Dresdner

Staatskapelle, Tonkünstler Orchestra and Hong

Kong Sinfonietta.

Conducting has become an integral part of

Hardenberger’s music making. He conducts

orchestras such as Dresden Philharmonic, BBC

Philharmonic and Malmö Symphony. In recital, he

has duo partnerships with pianist Roland Pöntinen

and percussionist Colin Currie.

His extensive discography on the Philips, EMI,

Deutsche Grammophon, BIS and Ondine labels

includes his latest recording of Rolf Wallin’s

concerto Fisher King. Previous discs feature the

Academy of St Martin in the Fields with new

arrangements of film and pop melodies as well as a

disc of works by Gruber and Schwertsik.

Hardenberger was born in Malmö, Sweden. He

began studying the trumpet at the age of eight

with Bo Nilsson in Malmö and continued his

studies at the Paris Conservatoire, with Pierre

Thibaud and in Los Angeles with Thomas Stevens.

He is a professor at the Malmö Conservatoire.

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首席客席指揮／主持Principal Guest Conductor/Presenter

柏鵬 Christoph Poppen• Principal Conductor, Cologne Chamber Orchestra• Artistic Director, Marvão International Music Festival, Portugal• Music Director, Deutsche Radio Philharmonie (2007-2011)• Artistic Director, Munich Chamber Orchestra (1995-2006)

凡同時購買1月7及9日音樂會之正價門票，可獲8折優惠20% discount when you purchase full-price tickets to both concerts on 7 & 9.1.2016

* 位於香港會議展覽中心、香港演藝學院、演藝學院古蹟校園-伯大尼、藝穗會、亞洲國際博覽館、九龍灣國際展貿中心及K11 Select的售票處，以及遍佈全港的通利琴行。* HK Convention & Exhibition Centre, The HK Academy for Performing Arts, The Academy's Landmark Heritage Campus-Bethanie, Fringe Club, AsiaWorld-Expo, KITEC, K11 Select and Tom Lee Music Stores.適合6歲或以上觀眾 For ages 6+快達票將額外收取每張門票的顧客服務費 HK Ticketing applies a customer service fee to all tickets purchased via its network. The fee is additional to the face value of the ticket and is payable upon purchase of tickets.

購票熱線 Ticket Booking: 31 288 288 | www.hkticketing.com節目查詢 Programme Enquiries: 2836 3336 | info@hksinfonietta.org香港小交響樂團保留更改節目及表演者之權利 Hong Kong Sinfonietta reserves the right to change the programme and artists

“Enlightening and immensely rewarding.”

BBC Music Magazine

“Having Christoph Poppen on the conductor’s podium makes

an inspiring picture.”Opus

門票由11月14日起於快達票售票網*公開發售Tickets NOW available at all outlets* from 14.11.2015

7

香港小交響樂團為香港大會堂場地伙伴Hong Kong Sinfonietta is the Venue Partnerof the Hong Kong City Hall

香港小交響樂團由香港特別行政區政府資助Hong Kong Sinfonietta is financiallysupported by the Government of the Hong Kong Special Administrative Region

7.1.2016 (星期四 Thu) 7:30pm

香港演藝學院 香港賽馬會演藝劇院HK Jockey Club Amphitheatre, HK Academy for Performing Arts$250 $180 (英語講解 In English)

室樂篇 Chamber works by Brahms降B大調第一弦樂六重奏，作品18：第一樂章D小調第三鋼琴及小提琴奏鳴曲，作品108：第一樂章*

B小調單簧管五重奏，作品115：第一樂章降E大調圓號三重奏，作品40：第四樂章G小調第一鋼琴四重奏，作品25：第四樂章*

String Sextet No 1 in B-flat, Op 18: 1st movement

Sonata for Piano & Violin No 3 in D minor, Op 108: 1st movement*

Clarinet Quintet in B minor, Op 115: 1st movement

Horn Trio in E-flat, Op 40: 4th movement

Piano Quartet No 1 in G minor, Op 25: 4th movement*

鋼琴 Piano (只演 7.1.2016 only)*

李嘉齡 Colleen Lee(駐團藝術家 HKS Artist Associate 2010/2011)

9.1.2016 (星期六 Sat) 7:30pm

香港演藝學院 香港賽馬會演藝劇院HK Jockey Club Amphitheatre, HK Academy for Performing Arts$280 $220 (英語講解 In English)

交響樂篇 Symphonic works by BrahmsG小調第五匈牙利舞曲學院節慶序曲，作品80海頓主題變奏曲，作品56a（選段）

C小調第一交響曲，作品68：第一樂章E小調第四交響曲，作品98：第四樂章

Hungarian Dance No 5 in G minor

Academic Festival Overture, Op 80

Variations on a Theme of Joseph Haydn, Op 56a (excerpts)

Symphony No 1 in C minor, Op 68: 1st movement

Symphony No 4 in E minor, Op 98: 4th movement

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節目介紹

海頓（1732–1809）

降E大調小號協奏曲，Hob VIIe:1

快板

行板

終曲：快板

海頓對交響曲、鋼琴奏鳴曲和弦樂四重奏等曲式的

發展均作出了很大的貢獻，但相比之下，他的協奏

曲作品數量不多。不過所謂的少量，其實估計也超

過了30首，但有約三份之一的作品卻遺佚或不能

確定是否海頓所作了。我們可以確定的是三首小提

琴、兩首大提琴（一首在40年前才被重新發現）、

11首鋼琴（儘管只有三首毫無疑問是出自海頓之

手，其中一首的樂譜上有作曲家經鑒定過的手

跡）、一首圓號和今晚聽到的這一首著名的小號協

奏曲，以及為雙簧管、巴松管、小提琴和大提琴撰

寫的一首交響協奏曲。此外還有不少於五首為兩把

里拉風琴（Lira Organizzate）撰寫的作品，這種弦

樂器有點像輪擦提琴（hurdy-gurdy），但早已被遺

忘多時了。

除了在第一次造訪倫敦時寫下的交響協奏曲外，小

號協奏曲是海頓後期唯一一首協奏曲作品。1796

年海頓剛完成了第二次倫敦之行返回維也納，皇家

宮廷樂團的小號手韋丁格爾（Anton Weidinger）

便委約他撰寫一首協奏曲。這亦是海頓最後一首純

管弦樂作品，之後他埋首創作他的合唱作品，當中

包括多首彌撒曲及神曲《創世紀》和《季節》。

這首小號協奏曲充份顯示了64歲的作曲家仍喜歡

創新。韋丁格爾是新式開孔小號的擁戴者（有說他

是發明者）。這種小號有一列小孔，可以透過加裝

按鍵來控制氣流，因此可以吹出傳統的自然音列小

號（natural trumpet）做不到的半音。但作品寫成

後，韋丁格爾卻要等了四年之後才敢在1800年3月

20日的一場慈善音樂會上首演。此事或許證明了

海頓可能比韋丁格爾更清楚這種樂器的潛力。

作為有史以來最著名的小號協奏曲之一，海頓的作

品充份展示了小號清越而輝煌的音色，並在第二樂

章中，帶出小號難得一見的詩性一面。這個樂章亦

由降A調轉移到極罕見的降C調，讓韋丁格爾能向世

人誇耀他這種新式小號的靈活性。作品的首尾兩個

樂章—尤其是終曲耳熟能詳、充滿動力的迴旋曲

主題—甚能迎合當時聽眾的口味。而整體上作品

也概括了海頓後期管弦樂作品的風格，它始於海頓

造訪倫敦的時期，在音樂會經理沙洛蒙（Peter

Salomon）那較大型的樂隊，以及韋丁格爾新式樂器

的幫助下而逐漸成形。類似這樣炫耀一件「新樂器」

特性的作品，要到100多年後才再出現。當時兩個不

同的豎琴製造商各自推出了以不同方式操作的新豎

琴，並分別請拉威爾和德布西為其創作新曲（可以

想像他們之間的競爭）；但這是另一個故事了。

此樂曲的樂隊編制

弦樂： 第一及第二小提琴、中提琴、大提琴、低音大提琴

木管樂： 長笛 (2) 、雙簧管 (2)、巴松管 (2)

銅管樂： 圓號(2)、小號 (2)

定音鼓

小號獨奏

這場音樂會先後有兩首小號協奏曲，一首來自18世紀，一首來自50年前。中間夾著兩首受前人

啟發的20世紀作品，它們所營造的音樂世界都相當宜人。最後再加上兩首由赫登伯格合作多年

的音樂夥伴、瑞典鋼琴家/作曲家彭迪南改編的小品。這兩首小品的創作年份離我們更近，一首

是加拿大女歌手米歇爾的名曲，另一首是瑞典爵士鋼琴家龍格蘭的作品。所有作品都展示出在

赫登伯格的手中小號是如何的變化多端。

9

浦羅哥菲夫（1891-1953）

D大調第一交響曲，作品25，「古典」

快板

小廣板

加沃特舞曲：不太快的快板

終曲：十分活潑的

我們往前推進大概120年，迎來俄國作曲家浦羅哥

菲夫，但他營造的聲音世界卻和之前那首相近。大

家可能理所當然地期待浦羅哥菲夫的作品會反映出

他的時代氛圍，但在1917年，即浦羅哥菲夫創作

量最豐富的時候，他的多數作品卻像完全與充滿破

壞力的蘇俄革命毫不相干。其中最著名的一首，大

抵就是他的第一交響曲，或簡稱「古典」。

這首作品和第一小提琴協奏曲的配器都在鄉郊寧靜

的環境下完成，那時二月革命剛發生不久，他的居

所也沒有鋼琴。在其簡短的自傳中，浦羅哥菲夫形

容當時的環境說：

「在那之前，我一般都用鋼琴來創作，但我注

意到主題元素的創作在沒有鋼琴的幫助下質量

會比較好。當轉移到鋼琴上時，起初它的效果

會稍為奇怪，但重複了幾次之後就似乎切合所

需。我對於不用鋼琴去完成一整首交響曲甚感

興趣，用這種方式完成的作品，其色調很可能

會更為透明。

「所以這就是我想撰寫一首海頓風格交響曲的

原委。在跟隨齊爾品（Nikolai Tcherepnin）學

習之後，海頓的技巧對我來說越來越清晰。

如果我要撰寫同類風格的作品時，似乎不用

鋼琴，而直接創作會更為容易。假使海頓活

在當今的話，我想他仍會保持這種風格，但

也會吸收一些新的元素。這就是我打算創作

的一種交響曲：一首注滿新元素的古典風格

交響曲。之後，當它逐漸成形時，我將之改

稱為『古典』交響曲。我這樣稱呼它有幾個

原因：首先，因為它較為簡約；其次，是為

了趣味起見—所謂『開鵝群的玩笑』—同

時我私底下也希望可以證明，這首交響曲本

身的確會變成一首經典。」

（摘自羅賓遜著《浦羅哥菲夫》，東北大學出版

社，1987年初版，2002年重印，頁130-131）

起草完怪異的第三樂章「加沃特舞曲」（此曲後來

再在其芭蕾舞劇《羅密歐與茱麗葉》中出現）之

後，浦羅哥菲夫在1916年動筆撰寫第一和第二樂

章，然後要到1917年6月至7月才在當時的彼得格

勒（Petrograd，即聖彼得堡，一次大戰初易名，

後來改為列寧格勒）市郊撰寫終樂章，而且為了挑

戰自己，棄用所有的小調和弦。稍後竣筆的總譜，

手稿開頭題上了「1917年8月5日」的字樣，結尾

則寫上「9月10日」。作品的首演在次年4月21日

（俄國舊曆為4月8日）於彼得格勒舉行，由浦羅哥

菲夫親自指揮。當時連續三個晚上都是浦羅哥菲夫

的作品演奏會，首兩晚他自己彈奏了最近期的鋼琴

奏鳴曲和20首小品《瞬息的幻想》。

第一交響曲全長只有約15分鐘，按照古典時期的

四樂章結構，樂隊編制也一如古典時期的式樣，沒

有長號和大號，敲擊樂部也只有定音鼓。輕快的第

三樂章加沃特舞曲，則與海頓常用的小步舞曲不

同。第一和第四樂章都是典型的奏鳴曲式。前者有

兩個對比鮮明的主題，第一個在洶湧的前奏後出

現，弦樂不可壓抑地嘎嘎前進，及後木管樂將氣氛

舒緩。第二主題因為獨奏巴松管的伴奏而顯得較為

尖刻。兩個主題或以齊奏的方式混合，或像互相追

逐的賦格曲一樣前後出現，結束前則回到開頭洶湧

的段落。

在弦樂的支持下，輕柔的小廣板帶出了甜美高音的

小提琴主題，長笛稍後將之接過。第一段插曲同樣

由突出的巴松管引領，在低音弦樂的撥弦伴隨下，

加進了定音鼓和拉奏弦樂，並帶出美妙的大提琴主

題，感覺既寬廣又舒緩。樂章的餘下部份以不同的

伴奏形式悄悄回顧了各個主題，最後由開首的弦樂

將樂章帶到漸漸稀釋的尾聲。

加沃特舞曲頗有莊重的一面，中段的木管樂由沉重

的定音鼓伴隨，雙簧管在其上編織出魔幻般的樂

音，直至長笛再次奏出主題，樂章隨即消失於無

形。興高采烈的終樂章令人喘不過氣來，急速的附

點節奏和嬉鬧的配器，像歡快活潑的樂音一樣，未

及讓人細細咀嚼便結束了。

10

此樂曲的樂隊編制

弦樂： 第一及第二小提琴、中提琴、大提琴、低音大提琴

木管樂： 長笛 (2) 、雙簧管 (2)、單簧管 (2)、巴松管 (2)

銅管樂： 圓號 (2)、小號 (2)

定音鼓

拉威爾（1875–1937）

《庫普蘭之墓》前奏曲：活潑的

福爾蘭舞曲：小快板

小步舞曲：中庸的快板

里戈東舞曲：相當活潑的

第一次世界大戰爆發時，法國軍方認為拉威爾體質

不符合要求而拒絕他的入伍申請（雖然後來他成為

了救護員），這使他非常失望。1914年10月在聖尚

德呂茨（Saint-Jean-de-Luz）時，他著手創作兩套

鋼琴組曲，但結果要等到三年後他母親去世以及他

搬到諾曼第之後才完成了一首。這就是他最後的鋼

琴獨奏曲、六個樂章的《庫普蘭之墓》。

這首樂曲有兩個創作目的：其一就是紀念庫普蘭這

位法國古鍵琴家和作曲家，並且向法國的巴羅克音

樂致敬；其二是紀念拉威爾在戰爭中喪生的朋友

們，他們的名字出現在鋼琴譜的每個樂章的開頭。

鋼琴獨奏版本在1919年4月11日首演，由瑪格麗

特．隆（Marguerite Long）彈奏。次年拉威爾將四

個樂章（去掉了賦格曲和觸技曲）改編成管弦樂曲

版本的《庫普蘭之墓》。這首室樂作品在1920年首

演，樂器中包括了豎琴和難度極高的雙簧管部份。

拉威爾的配樂技巧圓熟，樂感豐富動人，將巴羅克

時期的音樂風格以全新的手法呈現出來，像史達拉

汶斯基仿古而創新的「新古典主義」作品一樣。

前奏曲題獻給夏洛特中尉（Jacques Charlot），他

曾經將拉威爾的鋼琴二重奏《鵝媽媽》（Ma Mère

l’Oye）改編成鋼琴獨奏曲。開首是雙簧管和單簧

管飛快的音符交替，繼而是弦樂。拉威爾表示不願

寫感覺太沉重的音樂，因為他認為「死者在他們永

恆的寂靜中已夠悲慘」了。但樂曲高潮之前仍有一

閃而過的幽暗感覺，接著是一下驟降，和豎琴最後

的上升音符。

隨後的福爾蘭舞曲紀念的是巴斯克畫家德呂克

（Gabriel Deluc）。它有著躊躇的附點節奏，木管尤

其是英國管仍是焦點所在。中段雀躍的長笛、豎琴

和雙簧管則顯得更為嬌氣。

小步舞曲中悠揚的雙簧管再次成為主角。這個樂章

紀念的是德賴夫斯（Jean Dreyfus），拉威爾在退伍

後曾經在他家住過一段日子。開首由低音的撥弦襯

托，感覺頗為慵懶，像悶熱的夏天。平和的單簧管

以及裝了弱音器的小號，使音樂更為晦澀，直至出

現了弦樂向高潮進發的全力拉奏。之後剩下的單簧

管和小號將雙簧管喚回，最後是豎琴鐘鈴般迴蕩不

已的下行音符。

來自普羅旺斯地區的里戈東舞曲充滿活力，它紀念

的是被同一顆炮彈擊斃的高丹兄弟（Pierre and

Pascal Gaudin）。這個採用了二拍子的樂章節奏快

速，粗獷與婉轉的段落交替出現。較慢的中段有滴

嗒的撥弦伴奏，雙簧管在其上徘徊顧盼，接著將旋

律傳遞給長笛和單簧管。

此樂曲的樂隊編制

弦樂： 第一及第二小提琴、中提琴、大提琴、低音大提琴

木管樂： 長笛 (2) 、短笛 (1)、雙簧管 (2) 、英國管 (1)、

單簧管 (2)、巴松管 (2)

銅管樂： 圓號 (2)、小號 (1)

豎琴

11

普拉尼爾（1908–1994）

小號協奏曲（1966）寬廣地－生動而有節奏地－

緩慢而甚為寧靜地－

活潑地、歡愉而輕快地

我們的最後一首協奏曲同樣來自法國，它由不大著

名的普拉尼爾（他甚至沒有出現在最新的《格羅夫

音樂及音樂家辭典》中）所創作。他的父親在家鄉

蒙特利馬爾（Montélimar）設立了第一所音樂學

校，而他最早的音樂演奏經驗就是隨父親一起乘火

車到里昂彈奏拉威爾的《圓舞曲》鋼琴二重奏版。

後來他在巴黎學藝，曾在市內最早成立的一些電影

院內拉奏小提琴，為無聲電影伴奏。像很多他的前

輩作曲家一樣，普拉尼爾在1933年贏得了羅馬大

獎（但拉威爾卻從來沒贏過），接著到羅馬師隨伊

貝爾（ Jacques Ibert），並認識了到訪的羅素

（Roussel）和奧涅格（Honegger）等作曲家。回到

巴黎後，普拉尼爾一邊作曲，一邊從事教學工作：

他先是一位教授，後來又擔任巴黎市和塞納省的音

樂教育督學。

小號協奏曲創作於1966年，題獻人是法國小號演

奏家安德烈（Maurice André）。作品在1967年11

月15日於巴黎嘉禾音樂廳（Salle Gaveau）首演，

由安德烈和奧巴多（Fernand Oubradous）指揮的

樂團演奏。像浦羅哥菲夫的「古典」交響曲一樣，

作品揚棄了當時的前衛風格，而師法20世紀早期

的音樂，格調接近德布西和拉威爾。它由三個傳統

的快－慢－快樂章組成，每一樂章之間沒有停頓。

這首對技巧要求極高的新古典主義協奏曲，理應獲

得更多演出的機會。

一段上升的小號號曲主題動機，激發了弦樂的加

入。它們與小號一起重複，越攀越高，然後帶出了

弦樂喀嚓的伴奏，襯托著小號擴展的主題以及較柔

和的第二主題，它就像在夜幕降臨的巴黎咖啡座閒

坐時，看著塞納河靜靜流過一樣。樂章底層的節奏

有點柯普蘭的影子（這位美國作曲家曾在1921至

1924年間在巴黎隨布朗潔 [Nadia Boulanger]學

藝）。一段獨奏小提琴和之後深沉的大提琴將樂曲

帶到苦澀的結尾，節奏也在最後幾小節慢下來。

慢樂章的開首，小號加上了弱音器，輕聲細語而綿

長的旋律由柔和的弦樂襯托著，後者短暫地接過主

題，直到小號的重現。接著張力加強，主題變得充

滿疑惑。突然，拿下弱音器的小號奏響了光明的調

子，但只維持了一剎那。輕柔的開頭段落再次出

現，音樂漸漸消散，彷彿越走越遠，留下的弦樂則

忽而奏出較強力的樂音，直接進入了終樂章。

小號��在��不�的終樂章���自�的�題。

較緩慢的第二主題稍顯詩性，但很快又讓位給一個

切分音段落，小號在此變得頗為躊躇。然而這也是

稍縱即逝，樂曲再次興奮起來，回到開頭較為輕快

的段落，接著在恰如其份的弦樂引導下，來到開闊

的華采段。弦樂之前一直都不由自主地簇擁著小

號，直到它嘗試了四次後才放手讓它獨自炫耀。及

後弦樂再次插入，戲仿華采段的開頭，並在亮麗的

結句前與獨奏此起彼落地爭鳴。

此樂曲的樂隊編制

弦樂：第一及第二小提琴、中提琴、大提琴、低音大提琴

獨奏小號

12

米歇爾（1943年生）

彭迪南（1963年生）編

《一體兩面》結束音樂會之前，我們演奏兩首摘自赫登伯格在

2012年推出的唱片中的作品。該套專輯以其中收

錄的第一首作品命名，那就是由彭迪南改編、米歇

爾作曲的《一體兩面》。

米歇爾在上個星期（11月6日）剛度過她的72歲生

辰（赫登伯格的生日是再早一個星期， 10月27

日）。米歇爾是北美民謠界獨具一格的歌手之一，

出道近半世紀，她在1968年推出了處女作唱片

《給海鷗的歌》（Song to a Seagull），之後她在南加

州定居。那時她已寫下了一些她最著名的歌曲，都

由別人演唱。《一體兩面》首次收錄於茱迪．哥蓮

絲（Judy Coll ins）1967年推出的專輯《野花》

（Wildflowers），同年樂隊費爾波特協作（Fairport

Convention）也錄製了一個試音版，但要到30多

年後才面世。米歇爾在自己的第二張專輯《雲朵》

（Clouds，1969）中收錄了《一體兩面》，2000

年，在她的第17張同名專輯中再以管弦樂版翻唱

了這首作品。50多年來，翻錄《一體兩面》的歌

手多得數不勝數。

雖然我們演奏的版本沒有文字，但彭迪南和赫登伯

格卻能把歌詞深奧的含意美妙地演繹出來。我們可

以感覺到分別在天上和地下看著雲朵的不同之處

（米歇爾的靈感即來自乘搭飛機時看到的雲層，還

有回到地面往上看的感覺），再將之與愛情扣上，

而且作品也能完美無瑕地表現出小號憂怨、實而不

華的一面。

此版本的樂隊編制

弦樂：第一及第二小提琴、中提琴、大提琴、低音大提琴

獨奏小號

龍格蘭（1966年生）

彭迪南（1963年生）編

《海鷗》爵士鋼琴家龍格蘭和赫登伯格以及編曲者彭迪南一

樣，都是瑞典人。他在1990年於馬爾默（Malmö）

音樂學院畢業，並成為該校的講師。此外他又成立

了一個爵士三重奏，1997年他們開始在樂壇打響

名堂。隨後，他發行了將近50張唱片，包括2007

年推出，與意大利小號演奏家法拉素（Paolo Fresu）

和法國手風琴家格里安諾（Richard Galliano）合作

的《我們的海》（Mare Nostrum），其中一首作品

就是《海鷗》。

唱片的標題無疑和海有直接的關聯，但《海鷗》一

曲起初卻是為一部全新製作的契訶夫（Chekhov）

戲劇《海鷗》所撰寫的插曲（劇中海鷗遭到射

擊）。低音大提琴的撥弦很緩慢地帶出波浪般的畫

面，其後小號奏出哀怨的主題，海鷗最終展翅高

翔。高音弦樂部繼而加入（用弓而不是撥弦），描

繪出蹣跚、晃動的畫面，小號在上面緩緩盤旋。這

種情調一直維持到結尾，最後幾小節的泛音似乎讓

海鷗的結局顯得更加撲朔迷離。

此版本的樂隊編制

弦樂：第一及第二小提琴、中提琴、大提琴、低音大提琴

獨奏小號

英文節目介紹：Nick Breckenfield英國作家Nick Breckenfield專門撰寫節目介紹，

曾任whatsonwhen.com的古典音樂及歌劇版編輯13年，

現於支持青年音樂家的博萊蒂-布托妮信托基金會工作。

中文翻譯：行之

13

Programme Notes

Two trumpet concertos – the first from the 18th century, the second from 50 years ago – flank

two early 20th century works which look back to the past for their inspiration and genial sound-

worlds. Topping all four of these works are two arrangements by tonight’s soloist/conductor’s

Swedish compatriot, pianist/composer Roland Pöntinen of two even more recent melodies by

Canadian songstress Joni Mitchell and Swedish jazz pianist Jan Lundgren. All in all it goes to

show how versatile the trumpet is in the hands of Håkan Hardenberger.

Joseph Haydn (1732–1809)

Trumpet Concerto in E-flat,Hob VIIe:1

Allegro

Andante

Finale: Allegro

Despite his importance in the development of the

symphony, piano sonata and the string quartet, it is

perhaps odd that Joseph “Papa” Haydn seems to

have been fair ly inferti le when it comes to

concertos. As it happens he was probably

responsible for some 30 of them but a third are

either lost or not firmly authenticated. Those we do

have are three for violin, two for cello (one only

discovered in the last 40 years), 11 for keyboard

(although only three are without question

authenticated as being by Haydn, one by a

verifiable autograph score), one for horn, the

famous trumpet concerto that we hear tonight and

the Sinfonia Concertante for oboe, bassoon, violin

and cello, as well as no fewer than five written for

two Lira Organizzate, a string instrument like a

hurdy-gurdy (now obsolete).

Apart from the Sinfonia Concertante, composed

for Haydn’s first visit to London, the Trumpet

Concerto is the only other late concertante work in

Haydn’s output. Indeed, composed in 1796 (after

Haydn’s return to Vienna from his second London

sojourn) to a commission by a trumpeter from the

Imperial Court Orchestra, Anton Weidinger, it was

his last orchestral work (concentrating for his last

decade on choral works, both his annual masses

and the great oratorios The Creation and The

Seasons).

It shows the 64-year-old composer still open to – in

fact revelling in – new possibilities, as Weidinger

was an exponent, if not the inventor, of a new type

of trumpet – the organisierte Trompete (“organised

trumpet”) with a series of holes covered by pads

that allowed the instrument for the first time to get

chromatic notes, unobtainable on natural

trumpets. The fact that it took four years for

Weidinger to play the work in public – its première

was on 20 March 1800 at a benefit concert at

Vienna’s Burgtheater – may point to the fact that

Haydn was more aware of the instrument’s

possibilities than its inventor and that it took

Weidinger a lot of practice before he dared show it

off in public.

One of the most famous trumpet concertos, it

displays both the brittle edged brilliance, for which

the trumpet had always been noted, as well as a

new lyricism, particularly in the slow movement

which moves from A-flat to the extremely rare C-flat

to show off just how flexible Weidinger’s new

instrument was. The outer movements play to the

gallery – especially the Finale with its scintillating

rondo theme, propulsive to the last – and the

whole concerto encapsulates both Haydn’s late

orchestral style, developed in London with the help

of Salomon’s generous orchestral forces, and

Weidinger’s new-fangled instrument. Not for over

100 years would the creation of a new instrument

produce such a fine new work to display technical

prowess, when Ravel and Debussy both produced

works to order in favour of two different operating

systems for that most stately of instruments (over

which it is difficult to imagine a war), the harp; but

that is another story…

Instrumentation of this piece

Strings: 1st & 2nd violins, violas, cellos, double basses

Woodwinds: flutes (2), oboes (2), bassoons (2)

Brass: horns (2), trumpets (2)

Timpani

Solo trumpet

Sergei Prokofiev (1891–1953)

Symphony No 1 in D,Op 25, “Classical”

Allegro

Larghetto

Gavotte: Non troppo allegro

Finale: Molto vivace

We move forward 120 years or so, but stay –

largely – in the same sound world, as we meet

Sergei Prokofiev. You might reasonably expect

Prokofiev’s music would match the tenor of those

times he lived in, but in 1917 – one of Prokofiev’s

most prolific years – most of his compositions

sound as if they were completely unaware of the

earth-shattering events of the Russian Revolution

happening around him. Perhaps the most famous

of these is his First Symphony, simply known as the

“Classical”.

Indeed, the Classical Symphony and the work on the

orchestration for his First Violin Concerto took place

in a rural idyll after the February Revolution, without

the aid of a piano. In his brief autobiography,

Prokofiev described the situation as follows:

“Up to that time, I had usually composed at

the piano, but I had noticed that thematic

material composed without the piano was

often better in quality. When transferred to

the piano, it sounds strange for a moment,

but after a few repetitions it seems that this is

exactly the way it should have been written. I

was intrigued with the idea of writing an

entire symphonic piece without the piano. A

composition written this way would probably

have more transparent colours.

“So this was how the project of writing a

symphony in the style of Haydn came about –

Haydn’s technique had become particularly

clear to me after working with [composer

Nikolai] Tcherepnin and it seemed it would be

easier to dive into the deep waters of writing

without the piano if I worked in a familiar

14

15

setting. If Haydn had lived to our era, I

thought, he would have retained his

compositional style but would also have

absorbed something from what was new.

That’s the kind of symphony I wanted to

compose: a symphony in the classical style.

Then, when it started to come together, I

renamed it the ‘Classical’ Symphony. I called it

that for several reasons: first of all, because it

was simpler; and, secondly, for the fun of it –

to ‘tease the geese’ – and in the secret hope

that I would prove to be right if the symphony

really did turn out to be a classic.” (quoted

from Harlow Robinson’s biography Sergei

Prokofiev, 1987, reprinted Northeastern

University Press, 2002, pp130-131).

Having sketched the quirky Gavotte third

movement first (much later it would reappear in his

ballet Romeo and Juliet), Prokofiev was working

through the first and second movements in 1916,

before composing the final movement – challenging

himself to remove all minor chords – in June and

July 1917, in the country outside Petrograd

(renamed from St Petersburg at the beginning of

the First World War, and later to become

Leningrad). The scoring was complete a little later –

the manuscript headed “5 August 1917,

Yessentuki” and ended with “10 September”. The

work was given its première, with Prokofiev

conducting, on 21 April (8 April in Russia’s old

calendar) in Petrograd, the third night of a trio of

Prokofiev concerts, on the first two of which he had

been the pianist in his latest piano sonatas and the

20 miniatures, the Visions Fugitives.

Cast in a typically classical four movements, with the

third movement a delightful Gavotte as opposed to

Haydn’s more usual minuet, Prokofiev’s First

Symphony lasts barely 15 minutes and requires a

classical-sized orchestra, with no trombones or tuba

and only timpani as percussion. The first and last

movements are expertly structured in sonata form;

the former with contrasting themes, first – after a

surging few bars of introduction – with strings in

irrepressibly chugging form later smoothed by the

wind; the second spikier (courtesy of the solo

bassoon accompaniment), and both coming together

either in unison tuttis or, memorably, off-kilter like a

fugue just one-step behind, before a return to the

opening surge to herald the final chord.

The soft string pulse of the Larghetto ushers in

sweet, high violins with the main theme, later

taken by the flute. The first episode is again led

distinctively by the bassoon, here with pizzicato

lower strings, which, with added timpani and now

arco (“bowed”) strings, leads to the gorgeous cello

theme, spacious and relaxed. The rest of the

movement falls back quietly, reviewing the themes,

with differing accompanying clothing before the

end, with just the opening string pulse dying away.

There is a stately aspect to the ensuing Gavotte,

with its central wind section accompanied by

tramping timpani beats, over which the oboe

weaves its magic spell, before the flute returns to

the main theme and the music simply evaporates.

In bursts the Finale, a study in breathless haste with

its rushing dotted rhythms and playful

orchestration that would be long over if any

detailed analysis was attempted to explain the

music’s exhilarating and unstoppable effervescence.

Instrumentation of this piece

Strings: 1st & 2nd violins, violas, cellos, double basses

Woodwinds: flutes (2), oboes (2), clarinets (2), bassoons (2)

Brass: horns (2), trumpets (2)

Timpani

16

Maurice Ravel (1875–1937)

Le Tombeau de CouperinPrélude: Vif

Forlane: Allegretto

Menuet: Allegro moderato

Rigaudon: Assez vif

When deemed unfit for military service at theoutbreak of the First World War, refined Frenchcomposer Maurice Ravel was bitterly disappointed,although he did become an ambulance mantending for the wounded. In October 1914 whileat Saint-Jean-de-Luz he also worked on two sets ofpiano pieces, of which only one – the last solopiano work he composed, the six-movement LeTombeau du Couperin – was completed, althoughit had to wait three years, after the death of hismother and his move to Normandy.

Because of the war, it came to have two purposes:the first signified by its title – literally “the tomb ofCouperin” – which is not only a homage to theFrench harpsichordist and composer, but to FrenchBaroque music in general; the second a memorialto friends who had been killed during the war,whose names appear at the head of each piece ofthe piano score.

Marguerite Long gave the première of the solopiano work on 11 April 1919, and the followingyear Ravel orchestrated four of the pieces (droppingthe Fugue and Toccata) and reordered them to formhis orchestral Tombeau. This delicate chamberversion, including harp and a virtuosic oboe part waspremiered in 1920 and, like many of Stravinsky’s“neo-classical” works, the past and musical past arehonoured, here through Ravel’s own refinedinstrumentation, both evocative and brilliant.

The Prélude was dedicated to the memory of

Lieutenant Jacques Charlot (who had transcribed

Ravel’s two-piano Ma Mère l’Oye for solo piano). It

was a fleet-fingered opener, oboe and clarinet

tumbling in alteration before the strings enter,

confirming Ravel’s wish not to write overtly sombre

pieces, remarking “the dead are sad enough, in

their eternal silence”. There is a hint of darker

reaches in the middle before a climax and then a

plunge before one final, harp-led rise to end.

The halting, dotted rhythm of the following Forlane,

composed in memory of Lieutenant Gabriel Deluc (a

Basque painter from Saint-Jean-de-Luz), is more

individual, but again highlighting the wind (making

particular use of the English horn), with answering

string phrases. The central section (chirping flute

and harp, then oboe) is daintier still.

Lyrical oboe is again the focus of the calm Menuet,

composed in memory of Jean Dreyfus, whose home

Ravel had stayed in after being demobilised. The

opening is languorous, like a hot, still summer’s day,

underpinned by bass pizzicato pulse. Smooth

clarinets, then with muted trumpet, darken the still-

soft music until the full strings surge louder, building

to a central climax, leaving clarinets and trumpets to

usher the oboe back in, before ending with a

descent of bells and the harp’s resonant tolling.

Finally, the jaunty, spirited Rigaudon takes this old

Provençal dance in duple time and fashions a

scintillating fast piece alternating strident phrases

with sinewy running passages, all in memory of

brothers Pierre and Pascal Gaudin, tragically killed

by the same shell. The slower central section (“less

fast”) has a tick-tock pizzicato accompaniment,

over which the oboe holds the platform before

handing over to the flute and clarinet.

Instrumentation of this piece

Strings: 1st & 2nd violins, violas, cellos, double basses

Woodwinds: flutes (2), piccolo (1), oboes (2),

English horn (1), clarinets (2), bassoons (2)

Brass: horns (2), trumpet (1)

Harp

17

Robert Planel (1908–1994)

Concerto for Trumpet andStrings (1966)

Largement – Animé et bien rythmé –

Lent et très calme –

Vivace, gai et léger

We stay in France for our final concerto, by little-

known composer Robert Planel (he does not even

rate an entry in the latest edition of Grove

Dictionary of Music and Musicians), one of whose

earliest musical experiences was travelling by train

to Lyon with his father (who had set up the first

music school in Montélimar, where Robert was

born) to play Ravel’s four-hand version of La Valse.

He later studied in Paris, when he also played violin

in some of the city’s first cinemas, accompanying

silent films. Like many composers before him

(though unlike Ravel, who never won), Planel won

the Prix de Rome in 1933 and studied in the Italian

capital under Jacques Ibert, while associating with

the likes of Roussel and Honegger on their visits

there. Back in Paris, Planel’s career was split

between composition and educational work: first

as professor and then as inspector of musical

education for the City of Paris and Département de

la Seine.

Composed in 1966 and dedicated to French

trumpeter Maurice André, Planel’s Concerto for

Trumpet and String Orchestra was premiered by its

dedicatee on 15 November 1967 at Paris’ Salle

Gaveau under Fernand Oubradous and his

orchestra. Like Prokofiev’s Classical Symphony it

ignores the avant-garde style of the time and looks

further back to the earlier years of the 20th

century, to a musical milieu more akin to Debussy

and Ravel. In established three-movement form –

fast, slow, fast, with each following without a

break, it is a nimble-fingered neoclassical concerto

that should be heard more often.

A rising trumpet fanfare motif encourages the

strings to enter. Repeated with the trumpet getting

even higher, this leads into a chugging

accompanying tread set up by the strings as a base

for the trumpet’s expansion of the theme, and its

smoother second theme – as if stopping as

darkness falls at a Parisian café and watching the

Seine slowly ebb by. There is something of Aaron

Copland’s rhythmic impetus underlying the

movement (remember that the American studied in

Paris with Nadia Boulanger between 1921 and

1924). A solo violin and then sombre cellos offer a

more poignant end, slowing to the final bars.

The slow movement’s opening section has the

muted trumpet musing with a long-breathed

melody gently accompanied by the strings, which

briefly take the theme before the trumpet returns.

A tension begins to swell and the theme becomes

more questing. Suddenly, the now unmuted

trumpet shines more brightly – but only for a

moment; the softer tread of the opening returns

and the music gradually disappearing as if moving

out of range, only for the strings to change

direction and become more forceful to lead straight

into the Finale.

The trumpet seems to answer its own questions in

the to-and-fro of the Finale, though a slower

second theme is more lyrical even though it quickly

makes way for a syncopated passage where the

trumpet is more hesitant in its halting steps. But it

is only a passing phase and the excitement builds

up to a return of the more buoyant opening and

then to the extended cadenza, suitably heralded by

surging strings who cannot help supporting the

trumpet’s solo attempts four times before he is

allowed free, virtuosic reign. They interrupt once

again before the stylish ending which apes the start

of the cadenza in its alternating solo and string

flourishes.

Instrumentation of this piece

Strings: 1st & 2nd violins, violas, cellos, double basses

Solo trumpet

18

Joni Mitchell (born 1943)

Arranged by Roland Pöntinen (born 1963)

Both Sides, Nowfor Trumpet & String Orchestra To end we have two numbers from Håkan

Hardenberger’s 2012 album which takes its title

from the first piece – Joni Mitchell’s Both Sides,

Now as arranged by Roland Pöntinen.

Joni Mitchell celebrated her 72nd birthday just last

week (on 6 November; note that Håkan

Hardenberg’s birthday was just a week before that,

on 27 October). For nearly five decades one of the

most distinctive voices in North American folk, she

released her début album (Song to a Seagull) in

1968, before settling in Southern California. But by

then she had already composed some of her most

famous songs, which were originally sung by

others. Both Sides, Now was recorded in 1967 by

Judy Collins (on Wildflowers), although Fairport

Convention had recorded a demo of it that same

year which was not released for over 30 years.

Mitchell herself sang it on her second album

Clouds (1969), before returning to it in orchestral

guise for her 17th studio album, named after the

song, in 2000. It has been covered countless times

over the last five decades.

Although wordless, Pöntinen and Hardenberger’s

version beautifully conjures up the ambiguous

nature of the lyrics – equating looking at clouds

(inspired by Mitchell on a plane seeing clouds from

above, as well as – from the ground – from below)

to looking at love. It perfectly matches the

trumpet’s plaintive, unshowy side.

Instrumentation of this arrangement

Strings: 1st & 2nd violins, violas, cellos, double basses

Solo trumpet

Jan Lundgren (born 1966)

Arranged by Roland Pöntinen (born 1963)

The Seagullfor Trumpet & String Orchestra Like Hardenberger and arranger Pöntinen, jazz

pianist Jan Lundgren is Swedish. After studying at

Malmö’s Academy of Music and graduating in

1990, he became a lecturer there, but also formed

a jazz trio, which had its first success in 1997.

Subsequently he has released nearly 50 albums,

including – in 2007 – Mare Nostrum with Italian

trumpeter Paolo Fresu and French accordionist

Richard Galliano, from which comes The Seagull.

Despite the title of the album, perhaps suggesting

a link directly with the sea, The Seagull started life

as incidental music for a production of Chekhov’s

play The Seagull (where the bird gets shot). Bass

pizzicati very slowly start a putative rocking motion,

after which the trumpet presents the mournful

theme, before eventually spreading its wings and

expanding its range. The higher strings join in

(bowed not pizzicato) developing the halting,

rocking motion over which the trumpet slowly

spirals and turns. The mood is upheld to the end,

becoming perhaps even more enigmatic by the

harmonic uncertainty of the closing bars.

Instrumentation of this arrangement

Strings: 1st & 2nd violins, violas, cellos, double basses

Solo trumpet

© Nick Breckenfield, 2015

British programme-note writer Nick Breckenfield was theClassical Music and Opera Editor for whatsonwhen.com for 13 years

and now works for the Borletti-Buitoni Trustwhich awards young classical music artists

20

長笛 Flute上杉晃代

雙簧管 Oboe● 金勞思

福原真美

單簧管 Clarinet● 方曉佳

陳秋媛

巴松管 Bassoon● 秦慶生

田口美奈子

圓號 Horn● 包文慶

東出真澄

岑慶璋

關山明

小號 Trumpet● 黃山

丹尼路

長號 Trombone● 羅澤基

陳學賢

低音長號 Bass Trombone江子文

大號 Tuba● 林榮燦

定音鼓 Timpani● 村本曉洋

敲擊樂 Percussion● 周展彤

小山理惠子

豎琴 Harp● 黃士倫

鍵琴 Keyboard● 朱偉恆

Akiyo UESUGI

Marrie Rose KIMMami FUKUHARA

FONG Hiu-kai Johnny CHEN Chiu-yuan

CHIN Hing-sangMinako TAGUCHI

PAW Man-hing HermannMasumi HIGASHIDESHUM Hing-cheungBenny KWAN

HUANG ShanDanilo DELFIN

Christopher RODGERSCHAN Hok-yin

KONG Tze-man Jason

LAM Wing-tsan

Akihiro MURAMOTO

CHAU Chin-tungRieko KOYAMA

Ann HUANG

Alan CHU

小提琴 Violin格德霍特

樂團首席

張文蕊副樂團首席

李海南第二小提琴首席

蔡路第二小提琴助理首席

蔡柏沂

馮佳

���子

賈舒晨

顧洛臻

呂灝然

羅蔚敏

彭曉筠

佐 木智佳子

楊宇思

葉紹羲

★ 陳劭楠

★ 周止善

★ 許榮臻

中提琴 Viola● 陳子信

▼ 劉琛彥

陳敏聰

錢江

顏星安

大提琴 Cello● 張培節

▼ 貝樂安

何國芝

朴詩媛

吳迎盈

葉俊禧

低音大提琴 Double Bass● 永井雅美

▼ 高斯達

★ 鄭曉文

James CUDDEFORDConcertmaster

CHEUNG Man-yui KittyAssociate Concertmaster

LE Hoai-namSecond Violin Principal

TSAI LooSecond Violin Assistant Principal

CAI Pak-yiFENG JiaEiko HOSAKAJIA Shu-chenJohn KRUERAmbrose LUILUO Wei-minPANG Hiu-wanChikako SASAKIYANG Yu-siYIP Siu-hayCHAN Shaw-nan SharonKiann CHOWMark HUI

CHAN Tsz-shun ElvisLAU Sum-yinRingo CHANCHIN KongNGAN Sing-on

CHANG Pei-chiehLaurent PERRINHO Kwok-chee KareyPARK Si-wonWU Yin-yinYIP Chun-hei Eric

Masami NAGAI Santiago COSTA MARTÍNEZCHENG Hiu-man Phoebe

● 首席 Principal▼ 助理首席 Assistant Principal★ Orchestral Associate

Notes – Freelance Musicians: Brian CHAN (陳子俊), Cecilia HO (何永妍).

香港小交響樂團 Hong Kong Sinfonietta音樂總監 Music Director: 葉詠詩 YIP Wing-sie首席客席指揮 Principal Guest Conductor: 柏鵬 Christoph POPPEN

21

Honorary Governors

Mrs Alice KING

Mr SHIH Wing-ching

Ms Serena YANG

Board of Governors

Mr Y K CHAN (Chairman)

Dr Patrick S C POON (Treasurer)

Mr Patrick CHAN

Dr CHUNG See-yuen

Mrs Shirley CHUNG

Mr JAT Sew-tong

Dr Steven LAM

Ms LAU Man-man Lisa

Mr Stephen TAN

Prof C K Michael TSE

Mr Patrick YEUNG

Honorary Company Secretary

Tricor Tengis Limited

Honorary Legal Consultant

Hogan Lovells

Honorary Orthopaedic Surgeon

Dr Dan HOOLEY

榮譽監察委員

金董建平女士

施永青先生

楊雪姬女士

監察委員會

陳鋈鋆先生（主席）

潘燊昌博士（司庫）

陳育明先生

鍾思源醫生

鍾陳碧璋女士

翟紹唐先生

林煥樟博士

劉文文女士

陳智文先生

謝智剛教授

楊偉添先生

義務公司秘書

卓佳登捷時有限公司

義務法律顧問

霍金路偉律師行

義務骨科專科醫生

傅偉俊醫生

駐團藝術家 HKS Artist Associates

石家豪 Wilson SHIEH (2015-2016)

��� CHU Pak-him (2014-2015)

麥淑賢 MAK Su-yin (2014-2015)

羅詠媞 Wendy LAW (2013-2014)

盧思泓 LOO Sze-wang (2012-2013)

伍宇烈 Yuri NG (2011-2013)

李嘉齡 Colleen LEE (2010-2011)

黎志華 Jason LAI (2009-2011)

楊嘉輝 Samson YOUNG (2008-2009)

伍卓賢 NG Cheuk-yin (2006-2008)

樂團行政 Administration

行政總裁 Chief Executive Officer: 楊惠 Margaret YANG

總經理 General Manager: 李浩儀 LEE Ho-yee

行政秘書 Executive Assistant to CEO: 何淑娟 Rose HO

會計經理 Accounting Manager: 李靄玲 Judith LEE

辦公室助理 Office Assistant: 楊瑞遠 YANG Jui-yuan

市場推廣及發展 Marketing & Development

公關及市場推廣經理PR & Marketing Manager: 莫皓明 Amanda MOK

業務拓展經理 Development Manager: 陳曉茵 Cynthia CHAN

助理市場推廣經理Assistant Marketing Manager: 何珮鈴 Pauline HO

市場推廣主任 Marketing Officer: 梁凱文 Carmen LEUNG

音樂總監

葉詠詩

首席客席指揮

柏鵬

Music Director

YIP Wing-sie

Principal Guest Conductor

Christoph POPPEN

樂團事務及節目Orchestra & Programme

樂團經理 Orchestra Manager: 陳成美 Marylu CHAN

節目經理 Special Projects Manager: 李莉 Lily LEE

譜務主任 Library Officer: 陳藹晴 Ivy CHAN

節目主任 Project Officer: 黃紫菱 Athena WONG

節目主任 Programme Officer: 丘靄雪 YAU Oi-suet Icy

樂團事務主任 Orchestra Officer: 陳靄婷 Tobie CHAN

舞台經理 Stage Manager: 楊植生 Bobby YEUNG

當代音樂研究Contemporary Music Research: 鄺展維 Charles KWONG

香港小交響樂團有限公司Hong Kong Sinfonietta Limited

我們相信古典音樂適合所有人。

香港小交響樂團一直致力拉近古典音樂與普羅大眾

間的距離。除了常規音樂會，樂團亦積極以富創意

及別樹一格的手法把古典音樂帶給觀眾。因為我們

深信，以熱誠奏出的音樂能觸動和激勵人心。

有賴您的支持，我們的音樂才可接觸更多的市民。

請捐款支持樂團或學生票資助計劃！

年度捐款 HK$100 或以上？謝謝！我們會為您準備收據作申請扣稅之用。

年度捐款 HK$1,000 或以上？

謝謝！我們會為您準備收據作申請扣稅之用，並在樂團一年內舉辦的主要音樂會的場刊中，

鳴謝 HK$1,000 或以上的捐款。

查詢 Enquiries : fundraising@hksinfonietta.org or (852) 2836-3336.

WE BELIEVE THAT CLASSICAL MUSIC IS FOR EVERYONE.

Apart from standard orchestral repertoire, we go an extra mile to design special concerts tailor-made for di­ erent music lovers because we believe good music delivered with passion can touch, move and inspire our society.

Hong Kong Sinfonietta relies on public support. Please donate to our General Fund or Student Ticket Scheme!

Planning to donate over HK$100?Thank you! We will prepare an o­ icial receipt for you for tax deduction.

Planning to donate over HK$1,000?Thank you! We will prepare an o­ icial receipt for you for tax deduction AND your name will be acknowledged for one year in house programmes of major ticketed Hong Kong Sinfonietta concerts.

This is Hong Kong Sinfonietta.

This is ALSO Hong Kong Sinfonietta.

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2015/2016 樂季贊助機構 Sponsors of the 2015/2016 Season

主要贊助機構 Major Sponsors

酒店伙伴 Partner Hotel

商業機構贊助計劃 Corporate Members白金會員 Platinum Members

Serena Yang

Hong Kong Economic & Trade Office in SingaporeThe Government of the Hong Kong Special Administrative Region

謝謝！Thank You Partners!

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贊助人及捐款者 Patrons & Donors

SuperSTAR Patrons (HK$100,000 to HK$499,999)

亞洲保險有限公司 Asia Insurance Co Ltd

陳鋈鋆先生 Mr Chan Yuk-kwan

潘燊昌博士及夫人 Dr & Mrs Patrick S. C. Poon

唐柏泉醫生 Dr Patrick Tong

STARplus Donors (HK$30,000 to HK$99,999)

陳嘉何醫生夫人 Dr & Mrs Chan Ka Ho

Mr Patrick Chan

Lowell and Phyllis Chang

Dedicated Violinist Fund

梁烈安先生及夫人 Mr & Mrs Leung Lit On

施永青基金有限公司 Shih Wing Ching Foundation Ltd

Mr Eric Tsang

多位無名氏 Anonymous

謝謝！Thank You!香港小交響樂團對以下的捐款者及機構致以衷心謝意。Thank you to the following donors and organisationswho have supported us with a donation in the past year.

STAR Donors (HK$10,000 to HK$29,999) Donors (HK$1,000 to HK$9,999)

BELIEVING MUSIC CAN加拿大琴行 Canada Piano CoDr Eugene K ChanJonman, Monika & Joel Chan FamilyMr Chan Si Nang陳燕婷Mrs Elizabeth ChaoMs Laura Chen張綺華小姐 Ms Helen Cheung張玉堂先生Kenyon & Leonard ChowMr Lewvis ChoyMs Amanda Chui閃電仔仔 Flash馮新健先生 Mr John Sun-kin Fung馮元志 Louis Fung何靖邦先生 Mr Ho Ching PongMs Rose HoMrs Elsie Hui高靜芝 Sophia KaoMs Betsy LaiMr Jackson Lam

Ms Lisa LauMs Anna Lo馬宗傑先生 Mr Tony MaHayden Majajas & Andy ChenPhilippe de Marcillac大通會計事務所

Masterpoint Professional LtdMr Anthony Nappi吳志強先生Ms Jane NgPoon Shing Chi and Liao E WenDr John SandersonMs Eunice TongMr Paul Tsang曾健鵬先生夫人 Mr & Mrs Paul TsangWig the PigMr Wong Ho Ming AugustineMr Peterson Wong葉紹羲先生 Mr Yip Siu-hay徐閔女士 Ms Helen Zee多位無名氏 Anonymous

北山堂基金Bei Shan Tang Foundation

Prof T M Chan周愛琳醫生 Dr Irene ChauDr Polly Cheung張�昌博士

Dr Thomas H C CheungDr Vivian Cheung張黎慧文

Vivian W M Cheung鍾思源醫生

Dr Chung See YuenMr Eugene Fung關卓然先生

Mr William Kwan Cheuk Yin

Mr Allan LeungMrs Adeline Lui莫扎特迷 Mozart’s Fan彭嘉碧女士

Ms Rotina PangRuth & Sidney冼為堅先生

Mr David Sin Wai-kinMr and Mrs Robert C. TangMs Veronica Wai曹延洲醫生

Dr Tsao Yen-chowDr & Mrs

Arthur Van Langenberg多位無名氏 Anonymous

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學生票資助計劃 Student Ticket Scheme DonorsDiamond Donors (>HK$100,000)

Ms Cecilia Fok潘燊昌博士及夫人 Dr & Mrs Patrick S. C. Poon芝蘭基金會 Zhilan FoundationJade Donors (HK$50,000 to HK$99,999)

CLP Holdings Limited

中原電器行有限公司

無名氏 Anonymous

Ruby Donors (HK$30,000 to HK$49,999)

陳求德醫生 Dr Chan Kow Tak

鍾思源醫生 Dr Chung See Yuen

Premium Friends張�昌博士

Dr Thomas H C Cheung林煥樟博士

Dr Steven Woon-cheong Lam李韶博士及李梅以菁博士

Dr Lee Shiu & Dr Jennie Mui Lee羅榮生 Vincent W S Lo冼為堅先生 Mr David Sin Wai-kinMr T L Tsim萬美宜 Christine Van多位無名氏 Anonymous

亞洲保險有限公司Asia Insurance Co Ltd

Mr Patrick Chan

周愛琳醫生 Dr Irene Chau

張德賢博士伉儷Dr & Mrs Douglas Cheung

郭立成律師

林柏年醫生夫人 Dr & Mrs Samuel Lam

Mr and Mrs Lam Ting Kwok Paul

Nathaniel Foundation Limited

彭嘉碧女士 Ms Rotina Pang

孫永輝及施熙德 Edith and Stephen Sun

偉華基金 Wai Wah Foundation

王永平教授

多位無名氏 Anonymous

BELIEVING MUSIC CAN

Mr Iain Bruce

Dr Eugene K Chan

Jonman, Monika & Joel Chan Family

Miss Julia Chan

Mr Chan Kwan Ho

Ms Anastasia Chao

Prof David Clarke

席信 Mr Paul Jackson

Luca, Caterina, Maurien, Joseph Jacobelli

Tasha Lalvani

紀念劉葉珍女士

李樹榮博士 Dr Ernest Lee

廖炳輝醫生 Dr Liu Bing Fai

陸文靜小姐 Ms Anna Luk

Prof Mak Su-yin

莫嫣小姐 Miss Jennifer Mok

吳思博伉儷 Mr & Mrs Nigel & Winny Ng

吳榮奎先生 Mr Ng Wing Fui Nicholas

魏玉華小姐 Ms Winnie Ngai

蘇國輝先生

Ms Amy Tam

Mr Mark Tong

曾健鵬先生夫人 Mr & Mrs Paul Tsang

詹德隆先生 Mr T L Tsim

Dr Wong Hin Yeuk

黃乃禧先生 Mr Wong Nai Hay

王煒東先生

Mr Marcus Woo

Ms Alice Yeung

徐閔女士 Ms Helen Zee

多位無名氏 Anonymous

Pearl Donors (HK$10,000 to HK$29,999) Opal Donors (HK$1,000 to HK$9,999)

感謝以下各機構對香港小交響樂團一直的支持!Thank you to the following parties for their continued support!

CASH音樂基金 CASH Music Fund

法國駐港澳總領事館Consulat Général de France à Hong Kong et Macao

民政事務局 Home Affairs Bureau

康樂及文化事務署Leisure and CulturalServices Department

香港電台Radio Television Hong Kong

太古地產 Swire Properties

通利琴行 Tom Lee Music Co Ltd

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捐款表格 Donation Form

銀行自動轉賬 Autopay Direct Debit (只適用於每月捐款 Monthly Donation Only)

收款之一方（受益人）Name of Party to be Credited (The Beneficiary) 香港小交響樂團有限公司 Hong Kong Sinfonietta Limited銀行號碼 Bank No. 分行號碼 Branch No. 賬戶編號 Account No.

004 168 165066 001

本人（等）在結單/存摺上所記錄的名稱 本人（等）的銀行及分行的名稱My/Our Name(s) as recorded on Statement/Passbook My/Our Bank Name and Branch(in block letters) 銀行號碼 分行號碼 本人（等）的戶口號碼

Bank No. Branch No. My/Our Account No.

本人（等）在結單／存摺上所記錄的地址 My/Our Address as recorded on Statement/Passbook若與上方地址相同，不需要填寫 if different from above 本人（等）銀行戶口的簽署 My/Our Bank Account Signature(s)

日期 Date

信用卡 Credit Card□匯財卡 Visa □萬事達卡 Mastercard

如選擇每月定期信用卡捐款For monthly credit card donation:本人授權香港小交響樂團有限公司由本人之信用卡賬戶內每月定期扣除上述之帳款，直至本人另行通知為止。本人同意此授權書於本人之信用卡有效期後及獲續發新卡時繼續生效，並無需另寫授權書。（如需要取消或更改本授權書，請於取消或更改生效日期十個工作天前通知香港小交響樂團有限公司。）

I hereby authorize the bank to debit my credit card account to make a monthly donation ofthe above stated amount to the Hong Kong Sinfonietta Limited until further notice. I agreethe validity of this agreement will continue before or after the expiry date of my credit cardaccount. Cancellation or variation of this authorization shall be given to the Hong KongSinfonietta Limited ten working days prior to the date on which such cancellation orvariation is to take effect.

信用卡號碼 Card Number

有效日期 Expiry Date

發卡銀行 Issuing Bank

信用卡持有人姓名 Cardholder’s Name on Card

信用卡持有人簽署 Cardholder’s Signature

日期 Date

□美國運通卡 American Express此卡只適用於一次性捐款 This card is for one-off donation only.

請將回條寄回香港灣仔譚臣道98號運盛大廈3摟，或傳真至2783 9819。Please return this form to 3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong or fax to 2783 9819.

先生／小姐／女士／博士／教授 Mr/Miss/Mrs/Ms/Dr/Prof

中文姓名 Surname First Name 電話 Tel 電郵 E-mail

地址 Address

刊登於場刊之鳴謝姓名Name to be acknowledged in house programme (如捐款超過港幣1,000元 if donation is more than HK$1,000)

（中文）先生／小姐／女士／博士／教授 (Eng) Mr/Miss/Mrs/Ms/Dr/Prof □無名氏 Anonymous

閣下提供的個人資料，香港小交響樂團有限公司將絕對保密，只用作郵寄回條及其他通訊之用。

Your personal data will be treated as strictly confidential and will be used for issuing official receipts and other communication purposes.

捐款人資料 DONOR INFORMATION

此欄不用填寫 For Official Use Only 本機購專用 For Hong Kong Sinfonietta Use Only (Donor’s Ref. #)

銀行專用 For Bank Use Only (Signature(s) verified)

捐款方式 DONATION METHOD

• 現授權本人（等）的上述銀行，（根據收款人或其往來銀行及/或代理行不時給予本人（等）銀行的指示）自本人（等）的戶口內轉賬予上述收款人。惟每次轉賬金額不得超過以上指定的限額。

• 本人（等）同意本人（等）的銀行毋須證實該等轉賬通知或沖銷通知是否已交予本人（等）。

• 如因該等轉賬而令本人（等）的戶口出現透支（或令現時的透支增加），本人（等）願共同及個別承擔全部責任。

• 本人（等）明白本人（等）須在指定的轉賬日期（即根據本人（等）的銀行從收款人或其往來銀行及/或代理行不時收到的指示）前一個營業日（分行辦公時間內），在戶口內備有足夠款項以便支付該等授權轉賬。本人（等）並同意如本人（等）的戶口並無足夠款項支付該等授權轉賬，本人（等）的銀行有絕對酌情權不予轉賬，且本人（等）的銀行可收取慣常的收費，並可隨時取消該等授權轉賬且毋須通知本人（等）。為避免疑問，本人（等）的銀行可隨時自行決定取消該等授權轉賬且毋須通知本人（等）。

• 本直接付款授權書將繼續生效直至另行通知為止或直至上列到期日為止（以兩者中最早的日期為準）。本人（等）同意如本人（等）已設立的直接付款授權的戶口連續三十個月內未有根據本授權而做出過賬的記錄，本人（等）的銀行保留權利取消本直接付款安排而毋須另行通知本人（等），即使本授權書並未到期或未有註明授權到期日。

• 本人（等）同意，本人（等）取消或更改本授權書的任何通知，須於取消/更改生效日最少兩個工作天之前交予本人（等）的銀行。

• I/We hereby authorize my/our above named Bank to effect transfers from my/ouraccount to that of the above named beneficiary in accordance with such instructions asmy/our Bank may receive from the beneficiary and/or its banker and/or its banker’scorrespondent from time to time provided always that the amount of any one suchtransfer shall not exceed the limit indicated above.

• I /We agree that my/our Bank shall not be obliged to ascertain whether or not notice ofany such transfer or reversal notice has been given to me/us.

• I/We jointly and severally accept full responsibility for any overdraft (or increase inexisting overdraft) on my/our account which may arise as a result of any suchtransfer(s).

• I/We understand that I/we must maintain sufficient funds in the account one businessday (before the close of branch banking hours) before the transfer date (as specified inthe instructions received by my/our Bank from the beneficiary and/or its banker and/orits banker’s correspondent from time to time) for the transfer authorized herein. I/Weagree that should there be insufficient funds in my/our account to meet any transferauthorized herein, my/our Bank will be entitlted, at its absolute discretion, not to effectsuch a transfer in which event the Bank may levy its usual charges and may cancel thisauthorization at any time without notification to me/us. For the avoidance of doubt, theBank may cancel this authorization at its sole discretion at any time without prior notice.

• This direct debit authorization shall have effect until further notice or until the expirydate written above (whichever shall first occur). I/We agree that if no transaction isperformed on my/our account under such authorization for a continuous period of 30months, my/our Bank reserves the right to cancel the direct debit arrangement withoutprior notice to me/us, even though the authorization has not expired or there is noexpiry date for the authorization.

• I/We agree that any notice of cancellation or variation of this authorization which I/wemay give to my/our Bank shall be given at least two working days prior to the date onwhich such cancellation/variation is to take effect.

支票 Cheque本人附上劃線支票作一次性捐款予「香港小交響樂團有限公司」。I enclose a cheque of the above stated amount as my one-off donation to the “Hong Kong Sinfonietta Limited”.

我樂意支持香港小交響樂團培育文化新一代，現捐助 □ 每月定期捐款I would like to support the Hong Kong Sinfonietta with HK$ __________________ monthly donation

以支持樂團的 for its □日常經費 General Fund □ 一次性捐款□學生票資助計劃 Student Ticket Scheme one-off donation

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