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

In collaboration with

8.8.2015(星期六 Sat) 8pm

香港大會堂音樂廳Hong Kong City Hall Concert Hall

合唱指導 Chorus Masters

趙伯承 Patrick Chiu孫子承 Felix Shuen

合唱團 Choruses

聲蜚合唱學院及2015青年合唱團SingFest Choral Academy and

2015 Youth Chorus

女高音 Soprano

華格納Julia SophieWagner

女低音 Alto

寇蒂斯Lidia VinyesCurtis

男高音 Tenor

葛勞比茨BenjaminGlaubitz

男低音 Bass

貝恩特Tobias Berndt

指揮 Conductor

里霖 Helmuth Rilling

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BACH 330 獲香港特別行政區政府「藝能發展資助計劃」的資助BACH 330 is financially supported by the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region

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各位觀眾 Dear Patrons,

為了令大家對今次演出留下美好印象，我們希望各位切勿在場內攝影、錄音或錄影，亦請勿吸煙或飲食。在節目進行前，

請關掉手提電話、其他響鬧及發光的裝置。多謝各位合作。

In order to make this performance a pleasant experience for the artists and other members of the audience, please refrain from recording,filming, taking photographs, and also from smoking, eating or drinking in the auditorium. Please ensure that your mobile phones and anyother sound and light emitting devices are switched off before the performance. Thank you for your kind co-operation.

場地規則 House Rules

節目 Programme

節目

巴赫：B小調彌撒曲，BWV232《彌撒曲》《慈悲經》《榮耀經》

－中場休息20分鐘－

《尼西亞信經》

《聖哉經》

《和散那，降福經，羔羊經，請賜我們平安》

Programme

Johann Sebastian Bach: Mass in B minor , BWV232Missa

KyrieChriste

- 20-minute intermission -

Symbolum Nicenum Sanctus Osanna, Benedictus, Agnus Dei et Dona Nobis Pacem

合唱指導 Chorus Masters

趙伯承 Patrick Chiu孫子承 Felix Shuen

合唱團 Choruses

聲蜚合唱學院及 2015青年合唱團SingFest Choral Academy and 2015 Youth Chorus

指揮 Conductor

里霖 Helmuth Rilling

女高音 Soprano

華格納 Julia Sophie Wagner女低音 Alto

寇蒂斯 Lidia Vinyes Curtis男高音 Tenor

葛勞比茨 Benjamin Glaubitz男低音 Bass

貝恩特 Tobias Berndt

今晚之音樂會

由香港電台第四台

（FM97.6-98.9兆赫及www.rthk.hk）作現場直播，並將於2015年8月13日

（星期四）下午2時重播。

Tonight’s concert is broadcast liveon RTHK Radio 4 (FM Stereo 97.6 –

98.9 MHz and www.rthk.hk) with a repeat on

13 August 2015 (Thu) at 2pm.

節目內容並不反映香港特別行政區政府的意見 The content of this programme does not reflect the views of the Government of the Hong Kong Special Administrative Region.

2

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、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、紐約市芭蕾舞團、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

將首度出訪瑞士。

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

3

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,

Pinchas Zukerman, The Royal Ballet, Mariinsky

Ballet, Bolshoi Ballet, English National Ballet,

American Ballet Theatre, New York City Ballet,

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 has been invited to perform in

Korea at the Tongyeong International Music Festival

and will make 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傳真 Fax : (852) 2783 9819網址 Website: www.HKSL.org

4

指揮 Conductor

里霖 Helmuth Rilling

里霖1933年生於德國斯圖加特，為蜚聲國際的指揮

家及音樂教育家，更是當代最權威的巴赫學者。

1954年，他創辦了加辛格合唱團；11年後，成立其

長期的管弦樂合作夥伴斯圖加特巴赫樂團，並開始

廣泛演出巴赫的音樂。於1970年，里霖創辦了現被

公認為美國最享負盛名的音樂節之一的俄勒岡巴赫

音樂節，並擔任藝術總監多年，現為音樂節的榮譽

總監。此外，里霖亦致力推廣較受忽略的浪漫時期

合唱音樂，並不時委約及演繹現代作曲家的作品。

里霖個人及其樂團的足跡遍佈歐洲、美國、加拿

大、亞洲及南美洲等。他曾與多個舉足輕重的樂團

合作，包括維也納愛樂、紐約愛樂及日本NHK交響

樂團等。過去30多年來，里霖更與以色列愛樂樂

團合作無間，加辛格合唱團已與該樂團合作演出逾

100場音樂會。

與世界各地的年輕音樂家合作，一直是里霖工作的

重點。他於1981年於德國成立斯圖加特國際巴赫

學院，並時常於學院主持大師班及工作坊，包括斯

圖加特節日樂團及斯圖加特青年巴赫樂團，學生來

自世界各地。里霖近年在日本、美國、西班牙、意

大利、台灣及香港等地的教育計劃中指揮音樂會，

並將與他的「里霖巴赫合奏團」在德國及俄羅斯演

奏巴赫的重要作品。

里霖用之不竭的創造力，從他所灌錄的數百張唱片

及電台電視節目演出中可見一斑。他是全球首位灌

錄巴赫全套清唱劇的音樂家，為紀念巴赫年

（2000年）而灌錄的巴赫作品全集（共172張唱

片），在國際上贏得極高評價。同年，里霖憑彭德

雷茨基的《信經》摘下格林美獎，翌年再憑里姆的

《受難曲》獲得提名。近年灌錄的作品包括海頓及

韓德爾的樂曲、顧白杜琳娜《巴赫的耶穌基督受難

與復活曲》（2008年ECHO古典大獎）、布列頓《戰

爭安魂曲》現場錄音（英國《留聲機》雜誌編輯之

選）、桑德斯特倫《彌賽亞》（由里霖委約創作）、

威爾第《安魂彌撒曲》，以及於2013年出版了收錄

奧涅格《火刑堆上的聖女貞德》之唱片。

里霖曾獲多項國際殊榮，其中包括1994年聯合國

教科文組織的國際音樂大獎及1995年的賀伊斯

獎，並於2003年獲選為美國藝術科學院的榮譽會

員。2008年，里霖更於其75歲壽辰，獲德國巴登-

符騰堡授予最高榮譽斯陶法金章。他於2011年獲

巴登-巴登節日音樂廳頒發的卡拉揚音樂獎，再一

次表揚其在音樂界崇高的地位。而於2013年，里

霖獲德國唱片工業協會頒贈ECHO古典終生成就

獎，表彰他在推展巴赫音樂及教育方面的貢獻。

里霖為香港聲蜚合唱節的藝術總監。

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5

Born in Stuttgart in 1933, Helmuth Rilling is known

throughout the world as an acclaimed conductor,

pedagogue and Bach scholar. In 1954, he founded

his internationally-recognized chorus – the

Gächinger Kantorei, and the Bach-Collegium

Stuttgart was added as the choir’s regular

orchestral partner 11 years later. It was then that

Rilling began his intensive work with the music of

Bach. He is also co-founder and currently a Director

Emeritus of the Oregon Bach Festival, which was

established in 1970 and now recognized as one of

America’s most prestigious music festivals. An

equally fervent advocate of neglected Romantic

choral music, Rilling has also regularly commissioned

and presented contemporary choral music by

significant composers of our time.

Together with his own ensembles or as a guest

conductor, Rilling performs throughout Europe, the

USA, Canada, Asia and South America. He has

appeared with many of the most important

orchestras in the world including Vienna

Philharmonic, New York Philharmonic and NHK

Symphony Orchestra. He has cultivated a special

friendship with Israel Philharmonic for more than

30 years, and performed with this orchestra and his

Gächinger Kantorei in more than 100 concerts.

Working with young musicians from around the

globe has always been a central focus of Rilling’s

work. In 1981, he founded the Internationale

Bachakademie Stuttgart, and also presents

workshops for students in all parts of the world in

his international Bach Academies, including his

Festivalensemble Stuttgart and Junge Stuttgarter

Bach-Ensemble. Rilling recently conducted concerts

in education projects in Japan, the USA, Spain,

Italy, Taiwan and Hong Kong; and he looks forward

to performing Bach's major works in Germany and

Russia with his own "Bach Ensemble Helmuth

Rilling".

Ril l ing’s inexhaustible, creative activity is

documented in hundreds of CD, radio and

television productions. He was the first to record all

cantatas by Bach, and was the artistic vision behind

the Internationale Bachakademie’s critically-

acclaimed project to record all Bach’s works,

released as 172 CDs during the Bach anniversary

year in 2000. In the same year, Rilling won the

coveted Grammy Award for his recording of

Penderecki's Credo, and was again nominated in

2001 for his recording of Wolfgang Rihm's Deus

Passus. Recent recordings include works by Haydn,

Handel and Gubaidulina (ECHO Klassik Award in

2008), as well as a live recording of Britten’s War

Requiem (Gramophone Editor's Choice Award),

Messiah by Sven-David Sandström (commissioned

by Rilling), and Verdi’s Messa da Requiem. His

recording of Honegger’s Jeanne d'Arc au Bûcher

was published in 2013.

A recipient of numerous international awards,

Rilling received the UNESCO International Music

Prize in 1994 and the Theodor Heuss Prize (Deeds

of Reconciliation) in 1995. In 2003, he became an

Honorary Member of the American Academy of

the Arts and Sciences, and in 2008 – on the

occasion of his 75th birthday – he was awarded

the Staufer Gold Medal, the highest award of the

State of Baden-Württemberg. His stature in the

music world was further acknowledged when he

received the Festspielhaus Baden-Baden Herbert-

von-Karajan Prize in 2011 and the ECHO Klassik

Lifetime Achievement Award in 2013.

Rill ing is the Artistic Director of Hong Kong

SingFest.

6

女高音 Soprano

華格納 Julia Sophie Wagner

華格納自2002年

於慕尼黑赫拉克

勒斯廳首演後旋

即成為灸手可熱

的歌唱家，曾與

不少知名樂團合

奏，包括萊比錫

布業大廳樂團、

柏林電台交響樂

團、美國國家交

響樂團、都靈廣

播樂團、斯圖加

特及慕尼黑的巴

赫學院樂團，又和多倫多的泰菲宴樂巴羅克樂團等

巴羅克組合合作，當中不少演奏會更獲電台及電視

台錄音。她的首張唱片與德國國家電台合作出版，

收錄了舒曼夫婦、孟德爾遜及葛利格的藝術歌曲。

華格納於世界各地巡演，足跡遍及整個歐洲、美

國、南美和日本，她演出過的場地有柏林愛樂音樂

廳、蘇黎世音樂廳、華盛頓甘迺迪中心和布宜諾斯

艾利斯的科隆劇院。華格納經常獲邀參加國際音樂

節，例如俄勒岡巴赫音樂節、萊比錫巴赫音樂節，

佛羅倫斯五月音樂節、萊茵高音樂節和拉謝斯迪約

音樂節。

華格納與里霖合作緊密，繼在德國巡演巴赫的B小

調彌撒曲，她又獲邀於意大利演出一連串巴赫獨唱

清唱劇，及後更連同斯圖加特巴赫學院樂團前往南

美巡演。

華格納曾於魏瑪李斯特音樂學院、加拿大蒙特利爾

的麥基爾大學和萊比錫孟德爾遜音樂戲劇學院學

習。她在國際比賽屢獲大獎，其中包括布拉格莫扎

特國際大賽、柏林所羅門-林伯格聲樂大賽的現代

歌曲組別和萊比錫的洛爾青聲樂大賽。她曾獲萊比

錫歌劇院頒發獎學金，又於該歌劇院演唱。

Julia Sophie Wagner made her professional début in2002 with Carl Orff ’s Carmina Burana atHerkulessaal, Munich. Since then she has workedwith orchestras including Leipzig GewandhausOrchestra, Berlin Radio Symphony Orchestra,National Symphony Orchestra Washington, RaiOrchestra Torino as well as with leading baroqueensembles such as Bach-Collegium Stuttgart andTafelmusik. Many of these concerts were recordedfor radio and television and her first CD of Lieder bySchumann, Mendelssohn and Grieg was publishedin collaboration with Deutschlandradio Kultur.

Concert tours and guest appearances have broughtWagner all over Europe as well as to the USA, SouthAmerica and Japan, where she performed in venueslike Philharmonie Berlin, Tonhalle Zürich, KennedyCenter and Teatro Colón in Buenos Aires. Wagner isfrequently invited to international festivals such asOregon Bach Festival, Bachfest Leipzig, MaggioMusicale Fiorentino, Rheingau Musik Festival andFestival de la Chaise-Dieu.

Wagner enjoys a fruitful musical friendship withHelmuth Rilling. After a successful Germany tour ofBach’s Mass in B Minor in Stuttgart and Baden-Baden, she was invited to sing a series of concertsof Bach solo cantatas in Italy, followed by a tour inSouth America with the ensembles of InternationaleBachakademie Stuttgart.

Wagner studied at Hochschule für Musik FranzLiszt in Weimar, McGill University in Montreal andHochschule für Musik und Theater FelixMendelssohn Bartholdy in Leipzig. She has wonprizes in national and international competitions,including the International Mozart Competition inPrague, Paula Salomon-Lindberg Competition forcontemporary song in Berl in and LortzingCompetition Leipzig. She has been awardedscholarships from the DAAD and the Leipzig Opera,where she sang in several productions.

© L

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7

女低音 Alto

寇蒂斯 Lidia Vinyes Curtis

寇蒂斯自於2013

年斯圖加特國際

巴赫學院的巴赫

音 樂 節 中 勝 出

後，與指揮大師

里霖合作無間，

演出過多套巴赫

作品，包括《聖

馬太受難曲》（莫

斯科、德國及南

美洲巡迴演出）、

《 聖 約 翰 受 難

曲》、《聖誕神曲》、B小調彌撒曲及多套清唱劇。

寇蒂斯出生於巴塞隆拿，於當地兩所音樂學院學習

小提琴，後於法國圖盧玆國家音樂學院考獲古樂及

巴羅克小提琴演奏的學位。她其後於巴塞隆拿接受

聲樂訓練，師隨施雲拿，並赴瑞士巴塞爾古樂學院

進修。

寇蒂斯於2010年的法國昂布羅奈音樂節作正式首

演，其後曾與不少知名指揮如薩巴爾、傑斯特、約

翰森及彼埃羅等在歐洲多個巴羅克音樂節中亮相，

並曾於慕尼黑藝術文化中心愛樂廳及巴黎香榭麗舍

劇院演出。寇蒂斯2014年首度與西班牙國家樂團

合作，演出法雅的《亞特蘭蒂斯》，並於今年再度

一起演繹莫扎特《安魂曲》。此外，她亦將與指揮

庫伊肯在比利時合作演出巴赫的清唱劇。

Since becoming a winner at the Bachwoche 2013,

Internationale Bachakademie Stuttgart, Lidia Vinyes

Curtis has worked closely with Maestro Helmuth

Rilling in St Matthew Passion in Moscow and on

tour in Germany and South America, St John

Passion in Chile, Christmas Oratorio and cantatas in

Germany, and Mass in B Minor in Germany and

Hong Kong.

Born in Barcelona, Vinyes Curtis studied violin at

the two Barcelona Conservatoires of Music, and

Ancient Music and Baroque Violin at Conservatoire

Nationale de Région de Toulouse, France. She then

received vocal training in Barcelona with her

principal teacher Maestro Jorge Sirena, and

continued her studies at Schola Cantorum

Basiliensis in Switzerland.

Since her professional début at Le Festival

d’Ambronay in 2010, Vinyes Curtis has collaborated

with conductors such as Jordi Savall, Martin Gester,

Kay Johannsen and Philippe Pierlot in various

baroque music festivals in Europe, and has

performed at notable venues including Philharmonie

am Gasteig in Munich and Théâtre des Champs

Elysées in Paris. In 2014, Vinyes Curtis made her

début with National Spanish Orchestra in Falla’s

L’Atlantida, and was invited to perform with the

orchestra again in Mozart’s Requiem in 2015.

Upcoming performances include Bach cantatas

with Sigiswald Kuijken in Belgium.

8

男高音 Tenor

葛勞比茨 Benjamin Glaubitz

葛勞比茨生於德

國開姆尼茨，最

早期的音樂訓練

始於世界上最古

老和知名的德累

斯頓聖十字合唱

團，並於2005年

獲 該 團 的 獎 學

金。他於德累斯

頓韋伯音樂學院

學習聲樂，師承

特拉佩-維爾及貝

爾，又曾參加費

沙-狄斯考、施賴爾、萊曼、歐狄紐斯和胡伯的大

師班。

葛勞比茨多次與歐洲著名樂團演出，包括蘇黎世音

樂廳樂團、德累斯頓愛樂、漢堡愛樂、哈雷國家樂

團、德累斯頓巴羅克樂團和布拉格交響樂團等。他

又與不少指揮大師合作，例如里霖、馬奇、顧特

勒、凱茲納、克勒姆等。

葛勞比茨的演唱曲目豐富，有巴赫、莫扎特以至孟

德爾遜的神曲和彌撒曲，以及藝術歌曲等。他與鋼

琴家三枝博音是長期的合作伙伴，一同演出過舒曼

《詩人之戀》，舒伯特《美麗的磨坊少女》和布拉姆

斯《愛之歌圓舞曲》等。

葛勞比茨於2014/2015樂季演出行程緊湊，他與里

霖一同於南美巡演《聖約翰受難曲》，在慕尼黑藝

術文化中心愛樂廳演唱貝林格指揮的莫扎特《安魂

曲》，於巴塞爾演唱韓德爾的《伊斯塔》等。此

外，他還會演出不同的受難曲和巴赫《聖誕神

曲》、海頓的《四季》和《創世紀》，以及幾場藝術

歌曲音樂會。

Born in Chemnitz, German tenor Benjamin Glaubitz

received his first musical education at Dresdner

Kreuzchor, one of the world’s oldest and most

famous boys’ choirs, where in 2005 he received the

“Rudolf Mauersberger Scholarship”. He studied with

Margret Trappe-Wiel and Olaf Bär at Hochschule für

Musik Carl Maria von Weber in Dresden. In addition,

he has taken masterclasses with Dietrich Fischer-

Dieskau, Peter Schreier, Charlotte Lehmann, Lothar

Odinius and Gerold Huber.

Benjamin Glaubitz has performed with orchestras

around Europe like Tonhalle Orchester Zürich,

Dresden Philharmonic, Hamburg Philharmonic,

Staatskapelle Halle, Dresdner Barockorchester,

Symphony Prague and sung under the baton of

conductors such as Helmuth Rilling, Alessandro De

Marchi, Ludwig Güttler, Wolfgang Katschner,

Ekkehard Klemm, Roderich Kreile, Hans-Christoph

Rademann and Jörg-Peter Weigle.

His repertoire consists of all great oratorios and

masses from Schütz, Bach to Mozart and

Mendelssohn, as well as songs accompanied by the

piano. He is sharing a long and successful

partnership with Hiroto Saigusa and performed

amongst others Schumann’s Dichterliebe, Schubert’s

Die Schöne Müllerin and Brahms’ Liebeslieder

Walzer.

In 2014/2015 he toured South America with St John

Passion under the baton of Helmuth Rilling and sang

Mozart’s Requiem under Karl-Friedrich Beringer at

Philharmonie am Gasteig in Munich, Händel’s Esther

in Basel, Messiah at Tonhalle Zürich, various passions

and Christmas Oratorio of Bach, The Seasons and

The Creation of Haydn and several lied recitals.

9

男低音 Bass

貝恩特 Tobias Berndt

柏林出生的貝恩

特早期於德累斯

頓聖十字合唱團

接受音樂訓練，

其後考進萊比錫

及曼海姆音樂學

院，並曾隨費沙-

狄斯考、夸斯托

夫、保士達及比

亞奈學習。貝恩

特贏過不少獎學

金及國際獎項，

當中包括2008年

布拉姆斯國際音樂比賽及2009年於德國拜羅伊特

舉行的國際抒情曲歌唱比賽（音樂會組別）冠軍，

同時亦是2009年柏林國際藝術歌曲比賽亞軍（冠

軍從缺）。

貝恩特曾與不少著名指揮合作，包括里霖、赫雷韋

格、拉德曼、史培靈、桑特寧、包列伊科、克雷提

茲及馬爾肯等。他曾於柏林愛樂音樂廳、蘇黎世音

樂廳、阿姆斯特丹音樂廳、萊比錫布業大廳及慕尼

黑赫拉克勒斯廳中演出，並曾於多個重要的國際音

樂節中亮相，包括布拉格春季音樂節、法國拉謝斯

迪約音樂節、萊比錫巴赫音樂節、哈雷韓德爾音樂

節，以及哥廷根和萊茵高音樂節。

貝恩特亦曾於歐洲、美國、南非、俄羅斯、亞洲及

南美洲巡迴演出，當中包括與柏林RIAS室樂合唱團

以及由赫雷韋格指揮的根特聲樂合唱團合作。其他

曾合作的樂團包括柏林音樂廳樂團、斯圖加特國際

巴赫學院、丹麥國家交響樂團、法國阿基坦波爾多

國家樂團、巴塞爾巴羅克樂團、音樂永恆合奏團及

國立莫斯科學院愛樂樂團。

Berlin-born Tobias Berndt began his musical

training at the Dresdner Kreuzchor, before going

on to the Hochschule für Musik in Leipzig and in

Mannheim. His teachers included Dietrich Fischer-

Dieskau, Thomas Quasthoff, Hermann Christian

Polster and Rudolf Piernay. He has won several

scholarships and prizes at international

competitions including the First Prizes at the

International Johannes Brahms Competition in

2008 and the International Cantilena Competition

in Bayreuth in 2009 (Concert category), as well as

the Second Prize at Das Lied International Song

Competition in Berl in, 2009 (First Prize not

awarded).

As an established singer, Berndt has worked with

such conductors as Helmuth Rilling, Philippe

Herreweghe, Hans-Christoph Rademann, Christoph

Spering, Michael Sanderling, Andrey Boreyko,

Teodor Currentzis and Andrea Marcon. He has

performed at renowned venues including

Philharmonie Berlin, Tonhalle Zürich, Amsterdam

Concertgebouw, Gewandhaus Leipzig and

Herkulessaal in Munich, and has appeared at major

international festivals such as Prague Spring

Festival, Festival de la Chaise-Dieu, Bachfest

Leipzig, Halle Handel Festival, as well as the

Göttingen and Rheingau Musik Festivals.

Berndt has toured in Europe, the USA, South

Africa, Russia, Asia and South America, including

performances with Collegium Vocale Gent under

the baton of Philippe Herreweghe, and RIAS

Chamber Choir. He has also collaborated with

Berlin Konzerthaus Orchestra, Internationale

Bachakademie Stuttgart, Danish National

Symphony Orchestra, L’Orchestre National

Bordeaux Aquitaine, La Cetra Baroque Orchestra

Basel, Musica Aeterna Ensemble and Moscow State

Academic Philharmonic Orchestra.

© P

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K

10

孫子承乃香港其中一

位新晉的年青指揮，

除了於香港有豐富的

指揮經驗外，亦曾於

北京、紐約、及多倫

多等國際舞台演出。

他於2007年作其香港

指揮首演後，先後擔

任過多個合唱團的指

揮，包括拔萃男書院

的多個合唱團、香港

青唱、香港和聲、及

伊士曼音樂學院的多個合唱團。他剛於2014年成

功帶領拔萃男書院男聲合唱團，於世界合唱大賽的

青年男聲合唱組奪得世界冠軍。他亦在最近兩年的

聲蜚合唱節中與指揮大師里霖緊密合作，並為合唱

團擔任合唱指導，演出大獲好評。

孫子承現於其母校拔萃男書院擔任音樂科科主任一

職，他於美國伊士曼音樂學院取得指揮碩士學位，

師隨韋納德、史格特戴及盧布曼。

Since 2007, Felix Shuen has been conductingextensively in Hong Kong, and has also madeappearances on international stages includingChina, the USA and Canada. He has served asdirector and conductor in various ensemblesincluding the Diocesan Boys’ School Choirs, HongKong Young People’s Chorus, Hong Kong Voices,Eastman Repertory Singers, and several Eastmanvocal ensembles. Under his direction, the DiocesanBoys’ School Choir was awarded the Youth MaleChoir Championship and Gold Medal in the recentWorld Choir Games held in Riga, Latvia. He alsoreceived critical acclaim as one of the two chorusmasters in SingFest 2013 and 2014, working closelywith world-renowned maestro Helmuth Rilling.

Shuen is currently working in his alma mater,Diocesan Boys’ School, as the Head of MusicDepartment. He holds a Master of Music degree atthe Eastman School of Music, studying conductingunder William Weinert, Mark Scatterday, andBradley Lubman.

合唱指導 Chorus Master

孫子承 Felix Shuen

© K

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LEM

MON

趙伯承為合唱指揮，

生於香港。曾旅居維

也納，參與當地的專

業演出，並隨維也納

音樂學院的教授學

習，後獲獎學金赴美

國入讀辛辛那堤大學

音樂學院，取得指揮

碩士學位。於歐美期

間曾跟從各地的音樂

大師學習，計有里

霖、利雲及基斯杜化

士等，並獲卡拉揚音樂獎學金赴各音樂節演出。

2010年，趙伯承指揮香港旋律於世界合唱大賽摘

下兩項金獎，並獲頒2012香港藝術發展獎的藝術

新秀獎。趙伯承現為香港首個專業無伴奏劇團一舖

清唱的藝術總監及聲蜚合唱節的創辦人。

Patrick Chiu is a choral conductor born in HongKong. During his period of residency in Vienna, hehas participated in various local professionalperformances and received tuition from professors atthe Vienna Conservatory. Later he earned ascholarship to study at the University of Cincinnati’sCollege-Conservatory of Music, where he receivedhis master’s degree in choral conducting. During hisstay in Europe and the USA, he has worked with andstudied under world-renowned maestros includingHelmuth Rill ing, James Levine and HarryChristophers. In 2010, Chiu and the Hong KongMelody Makers won two Gold Awards in the WorldChoir Games. He was a recipient of the Award forYoung Artist in the Hong Kong Arts DevelopmentAward 2012. Chiu is currently the Artistic Director ofHong Kong’s first professional a cappella theatrecompany, the Yat Po Singers, and the founder of theHong Kong SingFest.

合唱指導 Chorus Master

趙伯承 Patrick Chiu

© J

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11

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

金普玹

顏星安

大提琴 Cello● 張培節（休假）

▼ 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 KongKIM Bo-hyun NGAN Sing-on

CHANG Pei-chieh (on leave)

Laurent PERRINHO Kwok-chee KareyPARK Si-wonWU Yin-yinYIP Chun-hei Eric

Masami NAGAI Santiago COSTA MARTÍNEZCHENG Hiu-man Phoebe

Notes1. Guest Principal Cello – LIM Hee-young (林希映).2. Freelance Musicians:

LEE Yi-wei Angus (李一葦), MAN Hay (文曦), Gordon YAP (葉乃堅).

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

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

12

聲蜚合唱學院及 2015青年合唱團SingFest Choral Academy & 2015 Youth Chorus合唱指導 Chorus Masters: 趙伯承 Patrick CHIU, 孫子承 Felix SHUEN

排練伴奏 Rehearsal Pianist: 張力安 Leona CHEUNG

聲蜚合唱學院 SingFest Choral Academy女高音 Soprano陳基望 CHEN Chi-wang 郭岍 Rachel KWOK ◇@< 羅芷盈 LAW Tsz-ying 吳彥彥 NG Yen-yen 蘇筠婷 Queenie SO % 曾麗婷 Kenix TSANG ^

女低音 Alto周曉晴 Lora CHOW 何復加 Karis HO ^ 劉思敏 Ruth LAU 邱倩婷 Mandy YAU 姚曉嵐 Hanna YIU

男高音 Tenor勞展霖 Roger LO 伍家寬 Francis NG 謝迦密 Carmel TSE ^

男低音 Bass陳煜文 Irwin CHAN 韓進豐 Andrew HON 黃浩進 Gilbert WONG ^

2015青年合唱團 2015 Youth Chorus女高音 Soprano陳維寧 Linda CHAN * 陳銘妍 Mavis CHAN SPCC △ 卓沅儀 Chloe CHEUK SPCC △ 趙愷晴 Anna CHIU ~劉卓盈 Rainbow LAU YLL △ 劉欣彤 Venice LAU YLL △ 梁韻曦 Stephanie LEUNG BPS △ 吳詩琪 Amanda NG {歐陽靖 Victoria O-YOUNG MSS △ 施雅文 Arina SZE MSS △ 鄧碧琪 Peggy TANG ^ 謝霈如 TSE Pui-yu ^黃健怡 Winky WONG 姚安盈 Angela YIU

女低音 Alto陳熙文 CHAN Hei-man 張菀青 CHEUNG Yuen-ching ^ 程巧詩 Elsie CHING +& 周曉恩 Bona CHOW 徐芷琦 Jackie CHUI ^ 何敏知 Charlotte HO 許芷瑜 Cherrie HUI SPCC △ 許芷榕 Daisy HUI DGS △

伍心怡 Christina NG SSC △ 薛凱晴 Cynthia SIT BPS △ 徐希臨 TSUI Hei-lam TSK △ 王紀旼 Gabbie WONG BPS △

游佩珊 YAU Pui-shan ^ 姚翊淇 Stella YIU ^≤ 袁千雅 Lianna YUEN MSS △

男高音 Tenor劉梓聰 Marco LAU YLL △ 李家澍 Justin LI 林哲 LIN Zhe WYK △ 麥千融 Tony MAK WYK △

蘇哲 Adrian SO YWC △ 曾可正 Michael TSANG 黃瀚恩 Howard WONG DBS △ 黃伊韜 Sheldon WONG SPCC △

男低音 Bass鄭文偉 Michael CHENG >◇@ 張毓穎 Justin CHEUNG 梁銘軒 Benson LEUNG WYK △ 梁博文 Ted LEUNG DBS △

文浩然 Holdon MAN 吳柏綸 Paul NG DBS △ 鄧天樂 Thomas TANG SPCC △ 黃諾恆 Douglas WONG YWC △

王俊謙 Samuel WONG 楊知行 Gideon YEUNG YWC △

BPS 庇理羅士女子中學 Belilios Public School DBS 拔萃男書院 Diocesan Boys' School DGS 拔萃女書院 Diocesan Girls' School MSS 瑪利曼中學 Marymount Secondary School SPCC 聖保羅男女中學 St Paul's Co-educational College SSC 聖士提反書院 St Stephen's College TSK 聖公會鄧肇堅中學 Sheng Kung Hui Tang Shiu Kin Secondary School WYK 九龍華仁書院 Wah Yan College, Kowloon YLL 基督教香港信義會元朗信義中學 The ELCHK Yuen Long Lutheran Secondary School YWC 英華書院 Ying Wa College

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13

巴赫（1685–1750）

B小調彌撒曲，BWV232這是一首謎一樣的巨作，巴赫創作B小調彌撒曲的

背景為何，讓人難以判定。我們不知道什麼原因促

使巴赫創作此曲，或更確切地說，他在1748和

1749年（他去世前一年）之間為何「整理」了全

套樂曲。據我們所知，他在生時，作品並沒有公

演。沒有證據顯示他是受人委約，而樂隊龐大的陣

容，肯定超過了他在萊比錫可以調動的人力。作品

在最終完成後可知的首次公演（只是部份），是在

1786年，即巴赫去世後36年，前一年恰好是巴赫

和韓德爾的百年冥壽，韓德爾的作品也在該場音樂

會上演奏。巴赫的次子CPE巴赫，演出了作品的第

三部份《尼西亞信經》（Symbolum Nicenum），而

我們較為熟悉的名稱是《信經》（Credo）。

四年後，在整埋其父作品的清單時，CPE巴赫把作

品的四部份合稱為「偉大的天主教彌撒曲」。在此

我們又遇上一個問題：巴赫是個虔誠的路德教徒，

該教的祈禱經文是採用白話的。這並不表示拉丁文

的彌撒曲已經完全絕跡；在重要的節日，《垂憐經》

（K y r i e）、《榮耀經》（G l o r i a）、《聖哉經》

（Sanctus）和《聖母頌歌》（Magnificat）等拉丁經

文仍會被採用。作為萊比錫聖托馬斯教堂的樂長，

巴赫必定對這些作品有所認識，並曾演奏它們。事

實上他的音樂收藏便包括不少作曲家有關這些經文

的創作。然而巴赫辭世前撰寫的整套彌撒曲，卻不

像會用於禮拜場合，因為這套作品陣容龐大，在教

會的儀式中上演是不切實際的。雖然較後期的彌撒

曲，例如貝多芬的《莊嚴彌撒曲》（M i s s a

Solemnis），樂隊的陣容更為龐大，但B小調彌撒曲

的演奏時間幾近兩小時，是有史以來最長的彌撒曲

之一。

由此看來，巴赫似乎是出於個人原因創作這首彌撒

曲，可能是作為生命臨近盡頭的一個重要表白：那

代表了他音樂創作的最高峰，或許他創作時並沒有

任何宗教目的，而是為音樂會演出而進行的一項藝

術工程（現時的演出便多數在音樂廳舉行）。事實

上它充滿了個人的想像，當時沒有公演的實質計

劃；也許它是巴赫獻給未來的一份禮物。

在CPE巴赫演出了作品的選段之後，在18世紀末和

19世紀初巴赫的音樂被重新發現的那段時期，B小

調彌撒曲成為矚目的作品。孟德爾遜是巴赫音樂的

重要倡導者，在《聖馬太受難曲》（St Matthew

Passion）面世一世紀後，孟德爾遜在1829年3月

11日與柏林歌唱學院（Berlin Singakademie）重新

演繹了這首作品。海頓擁有一份B小調彌撒曲的手

抄本，貝多芬也試圖搜尋一份，卻遍尋不獲。

足本彌撒曲預定最早在1818年7月出版，此事由出

版商尼格里和波萊考（Hans Georg Nägeli and

Georg Polechau）宣佈。結果作品要分兩部份出

版，第一部份在1833年，第二部份在尼格里去世

後九年才出版，即12年後的1845年。在尼格里和

波萊考宣佈出版的七年前，作曲家策爾特（Carl

Friedrich Zelter）稱彌撒曲「可能是世上所見最偉

大的音樂藝術品」，而他也有可能在柏林的私人場

合演奏過全套樂曲。繼策爾特之後擔任柏林歌唱學

院院長的倫恩哈根（Carl Friedrich Rungenhagen），

在1834年用了兩個晚上演出了全套彌撒曲，當時

作品的名聲已傳遍歐洲（作品的選本之後在各地俱

有演出，包括1838年在英國的倫敦和約克，1841

年在萊比錫，1845年在維也納，1849年在杜塞爾

多夫）。

B小調彌撒曲另一個令人讚歎的特色是，作品大部

份都是根據之前的創作改寫的。有研究指出，26

節音樂中有10節被確定是「仿作」（即借用了其他

作品），另外八節也可能如此，只有八節是全新創

作的。儘管如此，這八段「新作」部份也是全盤挪

用了巴赫早期的作品。例如彌撒曲最開頭的《慈悲

經》，是在1733年創作的；《聖哉經》早在1724年

撰寫。似乎在完成作品的編彙後，巴赫最後撰寫的

是第三節—《尼西亞信經》—的《聖靈化身》

節目介紹

14

（Et Incarnatus Est）；而《尼西亞信經》一曲則促

使了巴赫重寫之前一章《唯一之上帝基督》（Et in

Unum Dominum Jesum Christum）的聲樂部。之

後巴赫把各章節的原稿串聯起來，加入了另外三部

份重新撰寫的版本，樂譜上的筆跡顯示他的視力日

益衰退。到了1750年3月和4月，巴赫接受了英國

「眼科醫生」約翰．泰勒（John Taylor）的白內障

手術，不幸卻變成完全失明，直到7月中的一個早

上巴赫才赫然發現他又可以看東西了。不過，當天

稍後他便中了風，過了兩個星期，他便在7月28日

辭世了。

由於作品開頭的《慈悲經》採用了B小調，因此整

套彌撒曲便以此命名。巴赫自己並沒留下其他吸引

眼球的標題，它也可以被稱為D大調彌撒曲（D調

是樂曲餘下部份的主要樂調，而B小調是D大調的

關係小調），正如貝多芬的《莊嚴彌撒曲》那樣。

明亮的D大調在加上了小號和定音鼓之後，自然被

充份利用，以達到其最佳的效果，而巴赫也將合唱

部份寫成五聲部（在標準的四聲部外加上第二女高

音），在《聖哉經》更擴展為六聲部（加入了第二

女低音），最後一章甚至變為兩組合唱（即女高

音、女低音、男高音和男低音各兩部）。此外還有

女高音兩名、女低音、男高音和男低音各一名的獨

唱部份（但今天的音樂會慣例，女聲部份則經常由

一名女高音和一名女低音演唱）。

要閱讀全套彌撒曲的音樂分析，或許比聽作品本身

花的時間還要長。巴赫聖樂著名的擁戴者嘉狄拿爵

士（Sir John Eliot Gardiner）最近在其有關巴赫的

著作《天����的音樂》（Music in the Castle of

Heaven，Allen Lane，2013年）一書中，便寫了45

頁關於B小調彌撒曲的介紹。因此我們只會簡單地

描述一下作品的結構。

《慈悲經》分為三個段落，在中間的《基督垂憐》

（Christe Eleison）有兩位女高音的一段二重唱。接

著是分為兩部、每部九節的對等樂章：《榮耀經》

以D大調開始和結束，小號在前後兩段合唱中加入

了響亮的吹奏；還有《尼西亞信經》或我們一般稱

為《信經》的段落。

D大調的《聖哉經》獨自成章，它一般包括了D大

調的《和散那》（Osanna）和B小調的《降福經》

（Benedictus），巴赫在此選擇將之與G小調的《羔

羊經》（Agnus Dei）和D大調的《請賜我們平安》

（Dona Nobis Pacem）連為一體，將全套彌撒曲帶

往結尾，在緩緩展開的、雄壯的樂章中祈求平安，

並加上了響亮而又充滿優美巴羅克風格的小號聲。

歌辭見第17至19頁

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 (3)、柔音雙簧管 (2)、巴松管 (2)

銅管樂： 圓號 (1) 、小號 (3)

定音鼓、管風琴

獨唱女高音、女低音、男高音、男低音；合唱團

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

15

Johann Sebastian Bach (1685–1750)

Mass in B minor , BWV232 Something of an enigmatic masterpiece, theinspiration behind Bach’s Mass in B Minor ispeculiarly difficult to fathom. We do not know whyBach composed – or, rather more exactly in Bach’scase, “collated” – his full mass setting in 1748 and1749 (the year before his death) and we know ofno performance in Bach’s lifetime. There is no firmevidence of it being commissioned, although theorchestral forces he wrote for certainly suggestsmore than the limited resources he would be ableto muster in Leipzig. Indeed the first knownperformance of any part of the Mass (after it wasbrought into its complete form) was not until 36years after Bach’s death, when in the spring of1786 – a year late for both his father’s andHandel’s centenary (whose music was also includedin the concert) – the composer’s second son, CarlPhilipp Emmanuel Bach gave a performance of thethird part, the Symbolum Nicenum – which weknow better as the Credo (Bach’s name referring tothe Nicene Creed).

Four years later, in his inventory of works in hispossession, C P E Bach termed the four parts of thework collectively as “the great Catholic Mass”. Andyet again we meet a conundrum, in that Bach wasa committed Lutheran, where most of the liturgywas in the vernacular. That is not to say the Latinmass had died out completely – on high feast daysthere would be use for such settings as the Kyrie,Gloria, Sanctus and Magnificat, and in his positionas Thomaskantor in Leipzig, Bach would haveknown and performed such works – indeed hislibrary was stocked with various composers’settings. Yet the full Mass that Bach worked on inthe years before his death could never have beenintended for a liturgical setting, as it is so expansivethat it would be impractical to mount within anactual church service. Indeed, at nearly two hours,

it is one of the longest mass settings even if morerecent masses, such as Beethoven’s Missa Solemnis,are more orchestrally heavyweight.

So it seems likely that Bach himself worked on thisMass for his own purposes, perhaps as a majorstatement towards the end of his l ife: aculmination of his music that was perhaps neverintended for liturgical purposes, but rather anartistic project meant for the concert hall (where itis now most often performed). In essence it was aprivate fantasy – with no realistic chance of it beingperformed or, perhaps, Bach’s gift to the future.

After C P E Bach’s partial performance, it became anotable work amidst the late 18th- and early 19th-century Bach “rediscovery” (spectacularly aided byMendelssohn’s revival after a century of theSt Matthew Passion, with the Berlin Singakademieon 11 March 1829). Haydn owned a copyist’smanuscript score of the work, and Beethoven triedvaliantly to source one, but could not. The firstcomplete publication was slated as early as July1818, announced by Hans Georg Nägeli and GeorgPolechau (this seven years after composer CarlFriedrich Zelter – who may well have given privateperformances in Berlin of the complete work – hadconsidered the work to be “probably the greatestmusical work of art the world has ever seen”), butit eventually came out in two parts, the first in1833, the second – nine years after Nägeli’s death– 12 years later. Zelter’s successor at the BerlinerSingakadamie, Carl Friedrich Rungenhagen,performed the Mass over two evenings in 1834 asthe work began to spread across Europe (sectionswere performed in England, both in London andYork in 1838, Leipzig in 1841, Vienna in 1845 andDüsseldorf in 1849).

Another fascinating feature of Bach’s B Minor Massis that much of the work is based on previouslycomposed music. It has been suggested that, while10 of the 26 separate sections of the B Minor Mass

Programme Notes

are authenticated “parodies” (not to beunderstood in the modern English sense of theword, but simply the borrowing from an extantwork), another eight are suspected of being so,leaving only eight “newly” composed. Having saidthat, some of these last eight were adoptedwholesale from earlier works – as such was thevery opening, the Missa (Kyrie and Christe), whichwas composed in 1733, and the Sanctus,composed as early as 1724. It appears that after hiswork of compilation, the last section that Bachcomposed to complete the Missa Tota was the EtIncarnatus Est in the third section, the SymbolumNicenum, which necessitated Bach to re-score thevocal lines of the preceding section (Et in UnumDominum Jesum Christum). Having made hiscompilation, Bach bundled the original score of theMissa together with newly written out versions ofthe other three parts, where his writing sometimesdisplaying his ever-diminishing eyesight, whichended in two cataract operations by English“ophthalmiater” John Taylor in March and April1750, unfortunately leading to complete blindnessuntil one morning in mid-July when Bach found hecould see again. He had a stroke later that sameday and died a couple of weeks later on 28 July.

Now known by the key of the opening Kyrie, Bachhimself left no over-riding title for his Mass – and itcould be just as well known as his Mass in D (themain key throughout the rest of the work: B minorbeing D’s relative minor key), like Beethoven’s MissaSolemnis. Certainly the bright D major is utilised tofull effect with the addition of trumpets andtimpani and Bach sets the choral sections for five-part choir (a second soprano line joining thestandard four-part choir), enlarging this to a six-part choir for the Sanctus (with a second alto choir)and then to a double chorus (two groups ofsopranos, altos, tenors and basses) for the finalpart. In addition there are solo parts for twosopranos, alto, tenor and bass (whereas in today’sconcert practice, the upper voices are oftenperformed by one soprano and one alto).

A musical analysis of the work would take longerto read than listening to the work. Sir John EliotGardiner – a notable exponent of Bach’s sacredworks – writes 45 pages about the B Minor Mass inhis recent book on the composer, Music in theCastle of Heaven (Allen Lane, 2013). So here is justa very brief guide to the scheme of the work.

Following the Kyrie, which falls into three sectionswith a duet for the two soprano soloists in thecentral Christe Eleison, there are two nine-sectionsymmetrical movements: the Gloria, starting andending in bright D major, with trumpets addingtheir distinctive clarion call to the flankingchoruses, and the Symbolum Nicenum, which weknow better as the Credo.

The D major Sanctus stands alone, where often itincludes the Osanna (D major) and Benedictus (Bminor), which here Bach opts to join with theAgnus Dei (G minor) and Dona Nobis Pacem (Dmajor), bringing the whole Mass to a close, suingfor peace in a slowly unfolding majestic movementtopped with pealing trumpets in the finest baroquefashion.

Instrumentation of this piece

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

Woodwinds: flutes (2), oboes (3), oboe d’amore (2),

bassoons (2)

Brass: horn (1), trumpets (3)

Timpani, organ

Solo soprano, alto, tenor, bass; chorus

© Nick Breckenfield, 2015British programme-note writer Nick Breckenfield was the

Classical Music and Opera Editor for whatsonwhen.com for 13 yearsand now works for the Borletti-Buitoni Trust

which awards young classical music artists

16

17

Johann Sebastian Bach

Mass in B Minor, BWV232Kyrie1 Coro

Kyrie eleison.

2 Duetto (soprani I & II)Christe eleison.

3 Coro Kyrie eleison.

Gloria 4 Coro

Gloria in excelsis Deo.

5 CoroEt in terra pax hominibus bonae voluntatis.

6 Aria (soprano II )Laudamus te,Benedicimus te,Adoramus te,Glorificamus te.

7 Coro Gratias agimus tibi propter magnam gloriam tuam.

8 Duetto (soprano I & tenore) Domine Deus, Rex coelestis,Deus Pater omnipotens,Domine Fili unigenite,Jesu Christe altissime, Domine Deus, Agnus Dei, Filius Patris.

9 Coro Qui tollis peccata mundi,Miserere nobis,Qui tollis peccata mundi,Suscipe deprecationem nostram.

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

Johann Sebastian Bach

Mass in B Minor, BWV232Kyrie 1 Chorus

Lord, have mercy.

2 Duet (sopranos I & II )Christ, have mercy.

3 ChorusLord, have mercy.

Gloria4 Chorus

Glory be to God on high.

5 ChorusAnd on earth peace to men of good will.

6 Aria (soprano II)We praise thee,We bless thee,We worship thee,We glorify thee.

7 ChorusWe give thanks to thee for thy great glory.

8 Duet (soprano I & tenor)O Lord God, heavenly King,God the Father Almighty,O Lord, the only-begotten Son,Jesus Christ, the Most High,O Lord God,Lamb of God,Son of the Father.

9 ChorusThou that takest away the sins of the world,have mercy upon us.Thou that takest away the sins of the world,receive our prayer.

10 Aria (alto)Thou that sittest at the right hand of theFather, have mercy upon us.

巴赫

B小調彌撒曲，BWV232《慈悲經》

1 合唱

上主，��垂憐。

2 二重唱（女高音 I及II）基督，��垂憐

3 合唱

上主，��垂憐。

《榮耀經》

4 合唱

榮耀歸於上帝。

5 合唱

平安歸於地上善良百姓。

6 詠嘆調（女高音II）我們���。

我們���。

我們���。

我們榮耀�。

7 合唱

��無尚榮耀，我們�上��。

8 二重唱（女高音II及男高音）

上主，上天之王，

全能之天父上帝，

上主，唯一聖子，

耶穌基督，至高無尚，

上主，

上帝之羔羊，

天父之子。

9 合唱

�������，

垂憐我們。

�������，

接受我們禱告。

10 詠嘆調（女低音）

��於天父��，垂憐我們。

18

11 Aria (basso) Quoniam tu solus sanctus,Tu solus Dominus,Tu solus altissimus Jesu Christe.

12 Coro Cum Sancto Spiritu in gloria Dei Patris.Amen.

Symbolum Nicenum13 Coro

Credo in unum Deum.

14 Coro Credo in unum Deum,Patrem omnipotentem,Factorem coeli et terrae,Visibilium omnium et invisibilium.

15 Duetto (soprano I & alto)Et in unum Dominum Jesum Christum,Filium Dei unigenitum.Et ex Patre natum ante omnia saecula.Deum de Deo, lumen de lumine,Deum verum de Deo vero,Genitum, non factum,Consubstantialem Patri;Per quem omnia facta sunt.Qui propter nos homines,Et propter nostram salutem descendit de coelis.

16 Coro Et incarnatus est de Spiritu Sancto ex Maria

virgine,Et homo factus est.

17 Coro Crucifixus etiam pro nobis, sub Pontio

Pilato passus,Et sepultus est.

11 詠嘆調（男低音）

皆��是唯一神聖，

�是唯一上主；

�是唯一，�高無�，

耶穌基督。

12 合唱

與聖靈同在天父上帝榮耀之中。

阿孟。

《尼西亞信經》13 合唱

我們信唯一之上帝。

14 合唱

我們信唯一之上帝。

全能之天父，

創造天地，

與乎一切有形無形之物。

15 二重唱（女高音I及女低音）

唯一之上主，耶穌基督，

上帝唯一聖子，

在永世之前為聖父所生；

是神中之神，光中之光，

真神中之真神；

是受生而非被造，

與天父同一本質；

萬物皆由彼所造。

彼為我們，

並為拯救我們，降臨世上。

16 合唱

透過童貞女馬利亞之聖靈，

化身成人。

17 合唱

並在本丟彼拉多手下，

被釘於十字架，

為我們受難，埋葬。

11 Aria (bass)For thou only art holy;Thou only art the Lord;Thou only art most high,O Jesus Christ.

12 Chorus With the Holy Ghost in the glory of God the Father.Amen

Symbolum Nicenum13 Chorus

I believe in one God.

14 ChorusI believe in one God,The Father Almighty,Maker of heaven and earth,Of all things visible and invisible.

15 Duetto (soprano I & alto)And in one Lord Jesus Christ,The only begotten Son of God,And born of the Father before all worlds.God of God, light of light,Very God of very God,Begotten, not made,Of one substance with the Father, by whom allthings were made.Who for us men And for our salvation came down from heaven.

16 Chorus And was incarnate by the Holy Ghost of theVirgin Mary,And was made man.

17 Chorus And was crucified also for us underPontius Pilate,Suffered and was buried.

19

18 Coro Et resurrexit tertia die, secundum scripturas,et ascendit in coelum, sedet ad dextram Dei

Patris.Et iterum venturus est cum gloria judicare

vivos et mortuos, cujus regni non erit finis.

19 Aria (basso) Et in Spiritum Sanctum Dominum et vivificantem, Qui ex Patre Filioque procedit; Qui cum Patre et Filio simul adoratur et

conglorificatur; Qui locutus est per Prophetas. Et unam sanctam catholicam et apostolicam

ecclesiam.

20 Coro Confiteor unum baptisma in remissionem

peccatorum.

21 CoroEt expecto resurrectionem mortuorum,Et vitam venturi saeculi.Amen.

Sanctus 22 Coro

Sanctus, sanctus, sanctus Dominus Deus SabaothPleni sunt coeli et terra gloria ejus.

Osanna, Benedictus,Agnus Dei, Dona Nobis Pacem 23 Coro

Osanna in excelsis.

24 Aria (tenore) Benedictus qui venit in nomine Domini.

25 Coro Osanna in excelsis.

26 Aria (alto) Agnus Dei qui tollis peccata mundi,

miserere nobis.

27 Coro Dona nobis pacem.

18 合唱

正如聖經所言，彼於第三日復

活，升天，坐於天父右側。

將來必再榮耀降臨，審判活者

死者；其王國必將永壽無疆。

19 詠嘆調（男低音）

我們相信聖靈、賜生命之上主，

從聖父而出之聖子，

與聖父及聖子同受謨拜及

尊崇。

彼亦透過先知傳話。

我們信唯一之聖大公及使徒

教會。

20 合唱

我們承認能使罪獲赦免之唯一

洗禮。

21 合唱

我們盼望死者復活，

以及來世之生命。

阿孟。

《聖哉經》

22 合唱

聖哉，聖哉，聖哉，

萬物之主上帝，

榮光充滿天地。

《和散那，降福經，羔羊經，

請賜我們平安》

23 合唱

和散那在至高之處。

24 詠嘆調（男高音）

祝福彼以主之名而來者。

25 合唱

和散那在至高之處。

26 詠嘆調（女低音）

上帝之羔羊，免去世上之

罪�，����我們。

27 合唱

請賜我們平安。

18 ChorusAnd the third day he rose again according to theScriptures, and ascended into heaven,sitteth at the right hand of the Father.And shall come again with glory to judge the quickand the dead; whose kingdom shall have no end.

19 Aria (bass)And in the Holy Ghost, the Lord and giverof life,Who proceedeth from the Father and the Son;Who with the Father and the Son together isworshipped and glorified;Who spake by the prophets.And in one holy catholic and apostolic Church.

20 ChorusI acknowledge one baptism for the remission ofsins.

21 Chorus And I look for the resurrection of the dead,And the life of the world to come.Amen.

Sanctus22 Chorus

Holy, holy, holy,Lord God of hosts,Heaven and earth are full of his glory.

Osanna, Benedictus,Agnus Dei, Dona Nobis Pacem 23 Chorus

Hosanna in the highest.

24 Aria (tenor) Blessed is he who cometh in the name of the Lord.

25 Chorus Hosanna in the highest.

26 Aria (alto) O Lamb of God, that takest away the sins of theworld, have mercy upon us.

27 ChorusGrant us peace.

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.

2121

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

謝謝！Thank You Partners!

2222

贊助人及捐款者 Patrons & Donors

MegaSTAR Patron (>HK$500,000)

施永青基金有限公司

Shih Wing Ching Foundation Ltd

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

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.

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

陳嘉何醫生夫人Dr & Mrs Chan Ka Ho

Mr Patrick Chan

Dedicated Violinist Fund

梁烈安先生及夫人Mr & Mrs Leung Lit On

Mr Eric Tsang

多位無名氏 Anonymous

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 LoMr Ambrose Lui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 Amy TamMs 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 YinMr Allan Leung

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-kinMrs Lisa SiuMr and Mrs Robert C. TangPatrick & Selena TsangMs Veronica Wai曹延洲醫生

Dr Tsao Yen-chowDr & Mrs

Arthur Van Langenberg多位無名氏 Anonymous

2323

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

Ms Christine Yip

多位無名氏 Anonymous

BELIEVING MUSIC CANMr Iain BruceDr Eugene K ChanJonman, Monika & Joel Chan FamilyMiss Julia ChanMr Chan Kwan HoMs Anastasia ChaoMr P L ChoyProf David ClarkeMr Paul JacksonLuca, Caterina, Maurien, Joseph JacobelliStephanie & Amelie JatTasha 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 LukProf 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

Mr Mark Tong曾健鵬先生夫人 Mr & Mrs Paul Tsang詹德隆先生 Mr T L TsimDr Wong Hin Yeuk黃乃禧先生 Mr Wong Nai Hay王煒東先生

Mr Marcus WooMs 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

24

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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Student_Tix_2015_p24.pdf 1 27/6/15 11:01

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

門票：城市售票網 Tickets at URBTIX 2111 5999 | www.URBTIX.hk節目查詢 Programme Enquiries: 2836 3336適合6歲或以上觀眾 For ages 6+

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

© B

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JAM

IN E

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節目Programme

史達拉汶斯基 D大調弦樂協奏曲蕭斯達高維契 C小調室樂交響曲，作品110a浦羅哥菲夫 E小調交響協奏曲，作品125

Stravinsky Concerto in D for String OrchestraShostakovich Chamber Symphony in C minor, Op 110aProkofiev Sinfonia Concertante in E minor, Op 125

for Cello & Orchestra

“Wispelwey’s playing is at once supremelylyrical and furiously intense.”

The Guardian

“His playing is flawless.”Gramophone

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E C

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大提琴 Cello

威斯帕維Pieter Wispelwey

音樂總監／指揮Music Director/Conductor

葉詠詩Yip Wing-sie

19.9.2015(星期六 Sat) 8pm

香港大會堂音樂廳Hong Kong City Hall Concert Hall

$340 $220 $140

28

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

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

Mr JAT Sew-tong

Dr Steven LAM

Ms LAU Man-man Lisa

Prof C K Michael TSE

Mr Stephen TAN

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

翟紹唐先生

林煥樟博士

劉文文女士

謝智剛教授

陳智文先生

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