verdi - rthkrthk9.rthk.hk/culture/magazine/finemusic201310/finemusic... · 2013-09-25 · verdi’s...

VerdiHappy Birthday

威爾第，生日快樂！

OCTOBER 2013 二零一三年十月號

Verdi’s Bicentenary

Aida was my first taste of a Verdi opera. To this day, my most memorable scene remains the final ten minutes or so. Aida hides herself in the vault which is soon to be sealed to bury Radamès. The lovers reunite and sing an extraordinary love duet, departing the world and its sorrow. With leaps of some uncommon intervals (major seventh, augmented fourth, etc.) in the melody, high and muted strings, an off-stage chorus, and the Egyptian princess Amneris’s dark and sombre lament over the death of the one she loves, the composer skilfully creates an ethereal scene.

Verdi excels in musical scene-painting. I have a feeling that in La traviata, the frequent use of the waltz rhythm is to set the scene of a glamorous social circle. The famous drinking song and Violetta’s bravura aria, ‘Sempre libera’, are set to a dazzling waltz rhythm. ‘Un di, felice’ and ‘Parigi, o cara’ are also waltzes but with a different treatment. The hesitant three-beat tempo, sudden tonal change from major to minor, and the chromatic passages seem to be the composer’s way to depict the tragic romance in a decaying high society.

Verdi handles drama exceptionally well. In the final act of Rigoletto, as the vengeance-filled jester is going to open a sack to examine the corpse of the Duke whom he has paid to murder, when he hears the Duke’s infamous signature aria, ‘La donna è mobile’, wafting in the air. ‘Who, then, could that be inside the sack…?’ It turns out to be Gilda, Rigoletto’s own daughter, who has given herself up in sacrifice for the man she loved and the man her father hated. It’s one of the most dramatic moments in the history of opera.

Verdi’s music has such emotional and expressive power, and I am glad to tell you that the composer’s bicentenary is celebrated on Radio 4 - Rupert Chan will host a four-part Cantonese series entitled Viva Verdi to showcase some memorable moments from Verdi’s operas. In Live on 4, you can hear some lesser-known works by Verdi, as well as the opera Simon Boccanegra with Plácido Domingo as baritone singing the title role. Two Verdi aficionados, Lo King-man and Carol Lin, will appear in Musical Exchange (in Cantonese) to share their love of Verdi’s music. Prof. Lo has also scheduled Verdi’s last opera, Falstaff, as the last Sunday Opera programme of the month. But, our Verdi celebration does not end here. In December, we will record and broadcast the Leisure and Cultural Services Department’s presentation of Rigoletto, directed by Professor Lo King-man. Incidentally, Professor Lo appears in this month’s Coda!

Jimmy Shiu Head, Radio 4

掌台人隨筆From The Desk of HR4

威爾第誕生200週年

《阿依達》是我第一齣接觸的威爾第歌劇，時至今日仍記憶猶新的，是全劇最後十數分鐘 — 阿依達藏身神廟的地牢，那裡將成為拉達美斯的葬身地。一對戀人重逢，帶來一首十分獨特的二重唱。當中的旋律線條是非一般的音程 (如大七度和增四度)、高音並加了弱音器的弦樂、從後台傳來的合唱歌聲，再加上埃及公主安奈莉斯以低沉而陰暗的聲線為愛人唱出輓歌，令整體氣氛既飄逸迷離，又淒美窩心。

威爾第擅長營造氣氛。我認為他可能是透過《茶花女》中的圓舞曲節奏，帶樂迷到一個高貴的社交圈子。劇中著名的〈飲酒歌〉和讓女主角盡展技巧的〈永遠自由〉均為輝煌的圓舞曲。〈快樂的一天〉和〈我們將離開巴黎〉也是圓舞曲，不過音樂語言就各有不同：略帶躊躇的三拍子、突然從大調轉到小調、充滿半音的句子⋯⋯威爾第彷彿正描寫一齣在糜爛的上流社會發生的愛情悲劇。

威爾第處理戲劇情節的手法很高明。在《弄臣》的最後一幕，弄臣的心燃起著復仇的烈火，正要打開布袋，看看被他買兇謀殺的公爵的屍首之際，突然傳來〈女人皆善變〉的歌聲。「那麼袋中是誰？」原來那是他心愛的女兒！在歌劇歷史中，這是最富戲劇性的時刻之一。

威爾第的音樂甚具情感和表達力，在作曲家誕生200週年之際，第四台會安排慶祝活動 — 陳鈞潤將於威威！威爾第中分享至愛的歌劇片段。在第四台音樂會中，亦有好些較少聽到威爾第的作品，包括由杜鳴高以男中音身份擔任西蒙‧波卡尼格拉中的主角。兩位熱愛威爾第的朋友盧景文和連皓忻將亮相於談天論樂，大談威爾第！而盧�授亦會在本月最後一集的歌劇世界，送上威爾第最後一齣歌劇《法爾斯塔夫》。

不過，我們的威爾第慶祝活動尚未完結。12月份，第四台將轉播由康文署製作，盧景文�授執導的《弄臣》。今期《美樂集》的Coda剛巧是盧�授大談歌劇製作呢！

第四台節目總監　蕭樹勝

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FOREWORD 前言

October 2013 | FINE MUSIC 1

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October 2013 二零一三年十月號

CONTENTS 目錄

13

01 FROM THE DESK OF HEAD, R4掌台人隨筆

SPECIAL FEATURES 特稿05 In Conversation with Philip Pickett

COVER STORY 封面故事08 Viva Verdi! Emotionally and Passionately!

感性論盡威爾第

13 Verdi & Wagner: You Are What You Spend? 威爾第及華格納的財聚財散

COLUMNS 專欄19 Sunday Opera 歌劇世界

22 Sunday Morning on 4 週日早晨

25 Jazzing Up 爵士靈感

31 Songs of the Earth 大地之歌

33 All or Nothing 情有獨鍾

35 Musical Exchange 談天論樂

36 New Releases 碟碟不休

39 Concert Highlights 音樂會轉播精選

43 Friends of Radio 4 第四台之友

45 Main Programme Chart 節目時間表

46 Programme Highlights 節目精華

55 ‘FM’ Classified Board 《美樂集》分類廣告

56 Coda

美樂集FINE MUSIC

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華格納威爾第

vs October 2013 | FINE MUSIC 3

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Music Written with Story, Emotion or Tale

P : Almost all Baroque music is descriptive of something. For

example we all know the programme for the Vivaldi Four Seasons.

But most of the music was written with some kind of story,

emotion, or there is a logical tale behind it. They imitated nature

and I really go for the pieces where the interpretation is clarified

because the composer actually told us what the piece was about.

Here we have Biber’s piece Battalia (The Battle), describing first

of all, a camp of mercenary soldiers who are stamping about

and then they all get drunk in the night and they all sing the

different folk songs from their own countries because they are

mercenaries all at the same time. So it’s utter cacophony, and

then there’s a fencing match which is followed by a fife and drum

very clearly depicted, and then we have exercises with horses,

galloping at each other and practising the clash of arms. Then

there’s the remembering of loved ones at home and how sad it

is to be away from them, then we have battle itself with cannon

shots and clashes of arms then finally a lament for the dead and

wounded. All that in quite a short space of time. We also have

a piece by Vivaldi called La notte (The Night), and that is about

a very disturbed night. It’s like a gothic horror movie, but taken

back three hundred years or so. The flute and strings play this

wonderfully evocative music where you feel the horrors and the

shifts in the night.

J : A kind of creepy soundtrack.

P : Exactly!

Handel and Bach – A Feel for the Theatre

J : One knows about Vivaldi and, of course, Handel, too. These

were composers with tremendous theatrical flair, weren’t they?

P : They were, and the Handel piece with which we open the

programme (Overture to the Occasional Oratorio) is one of those

pieces for a great occasion. It’s not played very often but it’s a bit

like a French Overture with a slow and a quick movement and it

ends after a beautiful oboe lament in the slow movement which

is a military march. We’re ending with Bach’s Orchestral Suite

No. 3, blazing trumpets and drums, wonderful stuff.

J : Bach too had a feel for the theatre, didn’t he, although it came

out in rather different kinds of sacred works.

P : Yes, but we mustn’t forget how secular Bach’s upbringing and

education were. He went to the Lateinschule and the Gymnasium

where they learnt a lot about rhetoric, symbolism and mythology

and they thought about music in a very rhetorical way. For

example one of the pieces in the Bach suite we are performing

is a Bourrée. It’s a dance form and one of Bach’s contemporaries

described the way you play it as to evoke a fat lady dancing at her

wedding. It’s all very theatrical indeed!

J : It is really unearthing the details that make it such a delight.

P : It is. I think that is the advantage in having people like me. We

spend our lives trying to understand the details that we are

talking about, how every little figure actually meant something,

rhetorically or symbolically, or from what we call the affect, the

passion or the emotion of the moment. So the trick is to live with

all this music for many, many years until you really begin to have

a feel for it. And then you realise and understand in the first place

that this kind of approach is the only one which makes any sense

in terms of the way they were thinking of their music and the way

they composed it and the way they performed it. So, with those

many years of experience, I think I see many things in the detail

of the music which help to bring it to life. Otherwise, I’ve always

found Baroque music to be rather boring, if you don’t actually

look for the detail in the figures and try to bring them out. And as

P : Philip Pickett J : Jonathan Douglas

World-renowned Baroque expert Philip Pickett, also Founder and Musical Director

of the New London Consort and Musicians of the Globe embarks on an enlightening

conversation with Jonathan Douglas about the hidden yet fascinating details in Baroque

music, and shares his pioneering ideas on presenting Baroque opera. He was in Hong

Kong to direct the Hong Kong Sinfonietta in a Baroque programme.

SPECIAL FEATURES 特稿


Radio 4 will broadcast the Hong Kong Sinfonietta’s programme featuring a selection of specially picked Baroque music on 25 October (Fri) at 8pm. Presenting an array of contrasting moods and narratives, the concert will open with Handel’s seldom-played Overture to the ‘Occasional Oratorio’, followed by Biber’s highly descriptive Battalia, Marcello’s famous Oboe Concerto, Locatelli’s Concerto Grosso, the frightening La notte Flute Concerto by Vivaldi and concluding with Bach’s stately Orchestral Suite No. 3 in D.

10月25日(星期五)晚上8時，第四台會播放由英國指揮畢克特領導香港小交響樂團的音樂會，演奏多首巴羅克時期的旋律，包括韓德爾的《慶典神曲》序曲、拜伯的《戰爭》、馬徹奴的雙簧管協奏曲、羅卡泰利的大協奏曲、韋華第的長笛協奏曲「夜」和巴赫的D大調第三管弦組曲。不容錯過。

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you say and I’ve said, every moment something new is coming

forward and you have to realise it and project it.

J : The theatre was at the centre of music making for so many of

these composers, wasn’t it?

P : Yes. Absolutely, opera. I think of every instrumental piece as a

mini opera you know!

Performing Music without the Plays

J : Clearly you are very drawn to the theatre and theatrical

presentation. Would that be a fair comment?

P : I think that would be very fair. In fact over the last 5 or 6 years

with my group in England, I’ve been working through those

wonderful semi-operas by Purcell and his contemporaries, trying

to find ways to perform the music from them without the plays

to which the music was attached, because opera in England

was basically a play with an awful lot of music and sometimes

the music had not too much to do with the plot, it was there to

make a spectacular evening. But on other occasions the music

was more carefully integrated. I’m not talking about Dido and

Aeneas which was a through-composed opera. I’m talking about

the Fairy Queen, the Indian Queen, the Judgement of Paris by

Eccles, or one of the other composers who set it. Things like that,

where you have a lot of play, and you have a lot of music. It

all started with somebody called Matthew Locke who wrote the

music for Psyche and integrated the music into the play so well

that one can actually almost perform the music as an on-going

suite and the story is more or less intact. So we’ve been exploring

ways of presenting the music, trying to make a context for it,

which explains what it was about because, for example, Fairy

Queen, which I think has been our greatest success, is really

incomprehensible if you only just go to the concert of the music

and if the music is played in the order in which it appears in the

source material. You have a very nice concert, but what on earth

are those fairies doing there? They only appear once and there’s

something about Oberon, very briefly, and actually it sounds as

if it was written for the court of Louis XIV, he was the Sun King,

etc., etc. So we took the music for Fairy Queen and I re-arranged

the order so that the text made a kind of Arcadian story. Then we

had a wonderful Mexican director come along and help me put

together this new masque so it’s now a through-composed opera,

and no longer do people leave the hall saying ‘Oh it was jolly

good wasn’t it, but what on earth was it about?’

SPECIAL FEATURES 特稿


Verdi - My Favourite Opera Maestro

Jimmy Shiu earlier asked me to do a bicentennial programme on Wagner, but I declined, saying I didn’t like him (I mean

Wagner, not Jimmy!). Chatting with Emma Liu on air about Die Walküre some years ago, I also stated my preference for

passionate operas of the Latin races in the south, as compared to the bleak and bitter myths of Central/Northern Europe.

Nevertheless, Opera Hong Kong got me to translate surtitles and talk on The Flying Dutchman, their October production.

No problem at all, I constantly face the crises of shopping with the wife as she sets her eyes on a dress, pair of shoes

or bejewelled accessory, and me, powerless to avert danger simply by saying ‘I don’t like it’. I must do my homework

beforehand, and be able to pinpoint the flaws convincingly. Likewise, without the emotional burden, I can do a rational

critique of Wagner operas dispassionately.

But not so when I planned the Radio 4 October series, with Kathy Lam, about my favourite Italian opera maestro Giuseppe

Verdi, who was also born in that same year of 1813. It is like talking about my wife, children or grandchild, I can only

say I love them, they are lovely! No rational analysis is possible, just an emotional sharing of my affection, or should I

say, infatuation.

Rupert Chan

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COVER STORY 封面故事


Gesamtkunstwerk vs Italian Opera Tradition

Wagner’s greatness (and the reason of my aversion) lies in

his toppling the mainstream Italian opera tradition of the

predominance of singing. He composed and wrote the libretti of

his own operas, dispensing with melodious arias, using instead

continuous recitatives and leitmotifs, matched by a massive

orchestra, to create new ‘music dramas’. He created unified

works so his audience may appreciate the ‘Gesamtkunstwerk’ or

‘total work of art’ of poetry, vocal and symphonic music, as well

as stage design all rolled in one. Conversely, emotions aside,

I hope to be up to highlighting the exact opposite, of where

Verdi’s greatness lies (and why I love him). Far from dumping the

two and a half centuries of Italian opera tradition he inherited,

Verdi built on this solid foundation with its intrinsic value, and

brought Italian opera to new heights, through evolution rather

than revolution, a constructive rather than nihilistic process. The

bel canto opera heritage reached an even loftier plane in Verdi’s

innovative arias, while at the same time he also exhibited no less

innovative and seamlessly synergized dramatic and symphonic

effects in his operas. In the words of Manrico, singing ‘Di quella

pira’ in Il trovatore, ‘I am your lover, but my mother’s son first

of all!’ In adorning his bride, the new Verdi opera, Verdi never

disowned, but rather honoured further, his mother, the Italian

opera tradition!

Viva Verdi

And so, in the four one-hour episodes of Viva Verdi, I will

endeavour to introduce Verdi’s immortal arias. These will include

the solo numbers for tenor and baritone, soprano and mezzo,

the duets which are the most common building blocks of his

operas, and of course, the ingenious ensembles and grandiose

choruses, hallmarks of Grand Opera, that he left for posterity

to be admired with reverence and affection. I will take the

opportunity to tell all the interesting anecdotes: how it was that,

in face of the deaths of his wife and children hurling him into

the nadir of his career, the chance breeze turning the libretto

to the page showing the line ‘Va, pensiero sull’ali dorate’ (Fly,

imagination, on wings of gold) that inspired and heartened him

to complete his first successful work Nabucco. How he gave the

aria ‘La donna è mobile’ to the tenor only at the very last minute

on the opening night of Rigoletto to learn and render on the spot,

and when the audience could sing along on the second night,

how he went on to score one up on them… In short, share my

beloved Verdi with my audience, emotionally and passionately!

▲ Stage setting for the 1851 première of Verdi’s opera, Rigoletto (Act 1, Scene 2)

▲ Nabucco in Israel (2010)

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Rupert will play for you some of his favourite Verdi compositions

Han

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華格納偉大之處(也是我不喜歡他之處)，是推翻意大利主流歌劇傳

統，以歌唱為最重要，自己作曲兼編劇作詞，捨棄旋律悅耳的詠歎

調，以連綿不斷的宣敘調和主導動機，配合強大管弦樂團，創造詩

歌、聲樂、交響樂、舞台設計融合一體的「樂劇」，讓觀眾欣賞

「整體藝術」。因此感性之餘，我希望也能道出威爾第恰恰相反的

偉大之處，也是我喜愛他作品的原因：他並不揚棄之前兩個半世紀

的意大利歌劇傳統，而是在這結實又有其內在價值的基礎上，把意

大利歌劇帶上更高層次，是進化而不是革命，是建設性而不是未立

先破！意大利主流美聲歌唱，在他創新的詠歎調中更上一層樓，但

是他的作品同時也表現創新的戲劇效果和交響樂的無縫配合。正如

《遊唱詩人》男主角唱〈烈焰飛騰〉那一句：「我是你的愛人，但

首先我是我媽媽的兒子！」威爾第的新娘子 — 創新歌劇 — 並沒有

數典忘祖，而是把母親的傳統發揚光大。

於是我要在四集「威威！威爾第」中，介紹他的不朽名曲：男女主

角、高音中音的經典獨唱曲；他恆常用作砌成歌劇的基本組件 — 二

重唱；和他留給後世多首精彩紛呈、大歌劇之大者 — 大型合唱曲。

我可以在推介分享之中，詳述他怎樣在喪妻喪子的人生最低潮，因

為新劇本恰巧風吹、翻到那句「讓想像乘著金色翅膀飛翔」，而得

到鼓勵感召寫出成名作《拿布果》；怎樣在《弄臣》首演夜最後一

刻，才把〈女人皆善變〉曲子交給男高音即學即唱，再和次晚已跟

著唱的觀眾鬥法⋯ 。總之，感性地、熱情地與你分享！

陳鈞潤

1 8 1 3 年萊比錫發生兩件大事：拿破崙徹底打敗仗及華格納出生。蕭樹勝叫我做一輯華格納200冥壽的節目，我拒絕了，說我不喜歡他 (華格納，不是台長！)。年前和廖碧楨談

《女武神》，也說過我喜歡南歐拉丁民族的熱情歌劇，多於中北歐苦寒之地的冷酷神話！但是終於答應香港歌劇

院，為他們10月的《漂泊的荷蘭人》中譯字幕又做講座。不難：常面對的危機，是太太逛公司看中時裝皮鞋飾

物，我不能只說「不喜歡」就逃過一劫：早已做足功課，能說出那處不好、怎樣不好！因此，講沒有感情包袱的

華格納，可以理性地評論其作品。

相反地，跟世侄女林家琦籌劃10月的節目，同是200冥壽，我卻喜愛「威威！威爾第」，就像要講太太、子女、

孫女一樣，總之就是很愛，覺得很可愛，卻不可能用理性去分析，只能感性地分享那份熱愛、偏愛！

▲ 在威爾第歌劇《阿依達》的場景 (1876)

漫畫中的威爾第▲



Verdi & Wagner You Are What You Spend?

Just like Bach and Handel, arguably the two greatest composers of the Baroque era, Verdi and Wagner, undoubtedly the two greatest opera composers of the 19th century, were born in the same year.

Celebrating their bicentenary allows us to delve into their personal differences.

William Lau

威爾第及華格納的財聚財散

威爾第及華格納同為最偉大的歌劇作曲家，今年是他們誕生200週年紀念。在音樂以外，

不妨看看他們對錢財如何殊異。簡單而言，威爾第擅長賺錢；

華格納則是花錢能手 — 花別人的錢。

劉偉霖


再談：威爾第 vs 華格納Verdi vs Wagner, AgainVerdi and Wagner are always paired when we discuss the world’s romantic operas, but, in a sense, they couldn’t be more different. In May,

when we celebrated Wagner’s Bicentenary, Verdi was brought in as an inspiring comparison. This month, as we celebrate Verdi’s Bicentenary,

Wagner again makes an appearance. Their juxtaposition only makes us appreciate their differences all the more!

威爾第及華格納的浪漫歌劇經常被相提並論，但各有千秋。在過去的5月，第四台慶祝華格納誕生200週年，

在《美樂集》刊登過兩位作曲家相映成趣的比較。本月的主角是威爾第，當然也少不了華格納的一份！

華格納威爾第

FINE MUSIC | October 201313

靠個人努力與揮霍不改

威爾第為貧農之子，靠個人努力成才。在創作第一齣歌劇《奧伯

托》至第二齣歌劇《一日國王》期間，他一貧如洗，同時他的第

一任妻子亦因腦炎去世。至第三齣歌劇《那布果》以後，威爾第

的經濟愈趨好轉，邀約一齣接一齣，威爾第前二十三齣歌劇，在

他創作生涯頭二十年完成。往後四十餘年只寫了五齣，跟他一早

財政獨立不無關係。

既避通緝，又避債主?

華格納成名前曾到巴黎碰運氣，山窮水盡，連溫飽都成問題。

《黎恩濟》於德累斯頓的成功首演解救了他，他也在當地覓得指

揮一職，但揮霍習慣不改，債台高築。華格納因為參加革命被通

緝，要遠走瑞士，人家笑他既避通緝，又避債主。去到瑞士華格

納繼續依賴他人接濟，他覺得自己有偉大任務在身，花別人的錢

是天公地道。之後他受巴伐利亞國王路德維二世賞識，國王既從

私人帳戶，也從國庫支付華格納的使費。

仗義疏財

威爾第賺錢本事，但也會仗義疏財。為他撰寫劇本的比亞費中風

後喪失工作能力，威爾第照顧其家人生活，更為其女兒的日後生

活綢繆，比亞費的葬禮也是由他付賬。威爾第投資農地，但田租

比別人便宜，他更出錢為農民設立醫院。他有感不少音樂家退休

後孤苦無依，於是

出錢在米蘭為他們

建安老院，並將他

死後的版稅都捐給

安老院。安老院開

啟百年至今仍繼續

運作。

Verdi Made Money and Wagner Spent it All

Both composers were justly celebrated in their own times and understandably, both enjoyed a certain degree of material comfort. Yet financially, they were opposites. Simply put, Verdi made money and Wagner spent it all.

Verdi was a farmer’s son and went through much to fulfill his calling as a composer. Although his first opera Oberto was a success, the period between this work and the next one Un giorno di regno was marked by poverty, and his first wife died of encephalitis. Verdi’s fortunes improved with the success of his third opera Nabucco and what followed were what Verdi described as the ‘galley years’, years spent ceaselessly working. He took and fulfilled commissions, turning out new operas year after year. In the first 20 years of his creative life, he completed 23 operas. He still had 42 years to live but only wrote 5 more operas. His financial independence finally enabled a more relaxed pace.

Went on Exile to Evade his Creditors?

Wagner had an extravagant lifestyle but it was accomplished through spending other people’s money. He, too, knew poverty in his early career. He could barely pay for his food during his job-seeking stay in Paris. The immense success of Rienzi in Dresden saved him from possible starvation. He obtained a conductor’s post in Dresden but hadn’t learned financial prudence from his Paris experience. He kept spending and accumulated debt after debt. It was widely said at the time that he went into exile not to avoid arrest for his revolutionary activities in 1848 but to evade his creditors.

Seducing his Sponsor’s Beautiful Wife

Wagner had no problem accepting loans or gifts from admiring benefactors. Either way, he had no intention of repaying the loans. Receiving the hospitality of Otto Wesendonck didn’t stop Wagner from seducing his sponsor’s beautiful wife Mathilde. Wagner held the belief that all this spending and borrowing went to the creation of his great operas. He later found the support of King Ludwig II of Bavaria who backed him up sometimes through his royal account, sometimes through government funds.

▲ Caricature of Wagner 漫畫中的華格納

▲ Casa Verdi, Milan 在米蘭的威爾第安老院

Dr.

Nor

bert

Hei

denb

luth



Radio 4 is celebrating Verdi’s Bicentenary this month. Stay tuned to Live on 4 every Tuesday at 8pm with Verdi’s instrumental and vocal pieces, Falstaff in Sunday Opera on 27 October (Sun) at 2pm and Viva Verdi (in Cantonese) hosted by Rupert Chan every Sunday at 10am.

威爾第誕生200週年的慶祝活動，包括逢星期二晚上8時在

第四台音樂會選播威爾第的器樂及聲樂作品、於10月27日

(星期日)下午2時的歌劇世界中播放《法爾斯塔夫》，以及逢

星期日上午10時，陳鈞潤會在威威！威爾第分享他心愛的威爾

第名作。


威爾第 vs 華格納，或是兩者兼愛

威爾第和華格納都為歌劇界帶來翻天覆地的變革，他們都知道

對方深受世人愛戴，但他們又怎看對方呢？自大的華格納不把

威爾第放在眼內，紐倫堡市選了威爾第《遊唱詩人》為路德維

二世慶祝，華格納深感不滿。他晚年在威尼斯聽到貢多拉船夫

哼出威爾第的旋律，邊聽邊罵。威爾第第一次聽到華格納的作

品，就是《湯豪舍》序曲，他的評語是：「瘋狂！」。1871年

《羅恩格林》在博洛尼亞上演，是第一齣在意大利上演的華格

納歌劇，威爾第靜悄悄地坐火車去，卻在車站被認出，看劇時

在樂譜寫下憤怒的評語。其實威爾第及華格納，或華格納及威

爾第並不相尅，共存世上是樂迷之福。

Rot

ateb

ot

Verdi, the Philanthropist

Making a fortune early on didn’t make Verdi a miser. Verdi showed more human warmth than Wagner in dealing with people less fortunate. His frequent librettist Francesco Maria Piave suffered a paralysing stroke that left him unable to work for the 8 years until his death. In the meantime, Verdi paid Piave’s family expenses, settled an estate on Piave’s daughter, and eventually paid for Piave’s funeral. Being a farmer’s son, Verdi had the instinct to put his earnings into land acquisition. Far from being a bloodsucking landowner, Verdi lowered his rents, improved irrigation systems, and built a hospital using his own money. Verdi’s works of charity did not stop here. He built retirement home in Milan that catered to retired musicians. In his eighties, Verdi supervised the building of the home and endowed it with his posthumous royalties. The home, affectionately known as Casa Verdi, is still in operation and was the subject of the brilliant documentary, Tosca’s Kiss.

Verdi or Wagner, or Both

Verdi and Wagner pushed the opera genre to previously unknown heights and both were conscious of each other’s impact. Wagner never saw Verdi as his equal and was irate that the city of Nuremberg chose Il trovatore to entertain King Ludwig II. In his final stay in Venice, he jeered at a Verdi tune as sung by a gondolier. Verdi first heard Wagner’s music in 1865: the overture of Tannhäuser. His verdict: matto (mad). He felt insulted when a Parisian critic said he became a Wagnerian with Don Carlos. Verdi thought Wagner had to make his own path because he couldn’t write good melodies. Still, Verdi was curious. The first performance of a complete Wagner opera took place in Bologna in 1871. Verdi travelled incognito but was recognized at the train station. The work was Lohengrin and Verdi was applauded at the opera house. Verdi scribbled his angry comments on a score. Would he bring a score other than Lohengrin? Nevertheless, it is possible to love at the same time Verdi and Wagner, or Wagner and Verdi if you prefer it that way. The world is large enough for them both.

▲ Italian librettist Francesco Maria Piave意大利劇作家比亞費

威爾第

華格納


Sundays 2:00pm

Lo King-man

In October, Sunday Opera will present Wagner’s first international success and Verdi’s final crowning glory. In between are two works of exquisite beauty, a melodious masterpiece of the bel canto era, and a rare lyrical romance on a classical theme.

The representative setting of Die fliegende Holländer – the ship

Mary Stuart, Queen of Scots Beverly Sills singing the title role of Queen Mary

SUNDAY OPERA

COLUMNS 專欄

13 October : Donizetti’s Maria Stuarda

With some 70 works produced on stage during his relatively short life, Gaetano Donizetti (1797-1848) is possibly the most prolific composer of operas in music history. Born in Bergamo and educated at the Conservatory of Music in Naples, Donizetti’s extraordinary talent and creative facility became known by the time he was 20 years old. His most popular works demonstrate a musical style solidly founded on the Italian bel canto tradition and characterized by brilliant and graceful melodies created chiefly for virtuoso singers.

Maria Stuarda (Mary Stuart), an opera in three acts set to a libretto by Giuseppe Bardari, is loosely based on the final year of the life of Mary, Queen of Scots, and is a highly romanticized story, with the introduction of a fictional love-triangle relation involving Queen Mary, Queen Elizabeth I, and the Earl of Leicester, and a fiery meeting between the two cousin Queens that comes straight from the librettist’s imagination.

6 October : Wagner’s Die fliegende Holländer

In his fourth opera, Die fliegende Holländer (The Flying Dutchman), Richard Wagner (1813-1883) at last found his true voice. It is a work of passionate genius in which the composer’s basic aesthetic principles and techniques, though still not yet fully mature, are displayed with encouraging results. The opera’s main themes: a curse, redemption, and the desire for love unto death, remain fundamental to all his music dramas thenceforth.

Based on a 15th-century Nordic fable as retold by the poet Heinrich Heine in one of his novels, the story of Die fliegende Holländer was taken up by Wagner. He wrote the libretto in 1841 and composed the music in six weeks in the spring of 1842. In the story, a sea captain is condemned by the devil to sail the seas till the Day of Judgment, unless he can find a woman who loves him until death. He falls in love with Senta who proves her faithfulness and reverses the devil’s curse.

Bass-baritone Norman Bailey and soprano Janis Martin are the lovers in our recording. They are supported by the Chicago Symphony Orchestra and Chorus, conducted by Georg Solti.

The work failed to get pass the censors due to its unfavourable treatment of royal personages. The authors had to demote the status of the protagonists and change the title to Buondelmonte in order to have the opera produced in Naples in 1834. The name Maria Stuarda was restored when the opera was performed at La Scala of Milan in defiance of the censors the following year.

In our recording, the title role is sung by soprano Beverly Sills. Elisabetta (Queen Elizabeth) is sung by soprano Eileen Farrell, and Roberto (the Earl of Leicester) is sung by tenor Stuart Burrows. The London Philharmonic Orchestra and the John Alldis Choir participate under the direction of Aldo Ceccato.


Prof. Lo King-man, producer and director of numerous opera productions in Hong Kong.

COLUMNS 專欄

An engraving showing the chaotic scene near the end of Act II in the première of Falstaff

20 October : Fauré’s Pénélope

Gabriel Fauré (1845-1924) was recognized in his own country as the leading French composer of his generation. He was a great melodist and an innovator in harmony. Maurice Ravel credited him with saving the French art song from the dominance of the German Lied; and Arnold Copland cited many of his over a hundred mélodies as the most beautiful and perfect examples of the genre. Fauré also wrote many sets of piano pieces and chamber works, a famous Requiem, several suites based on his incidental music for the theatre, and some orchestral music sparingly scored.

Gabriel Fauré composed two operas. The first, Prométhée, was completed early in 1900 and first performed in that summer in the open-air arena of Béziers. Based on the Greek myth of Prometheus, the work took the form of a grand cantata in costumes. It was never produced again after a handful of initial performances.

Pénélope is Fauré’s second opera. Composed during 1907-1912 and first performed in Monte Carlo in 1913, the music is set to a libretto by René Fauchois based on Homer’s Odyssey. Although considered one of the French composers least influenced by Wagner, Fauré borrowed the German master’s ideas of the leading motif and continuous musical flow. The story tells how Pénélope, the faithful wife of Ulysses, having waited for ten years for the return of her husband from the Trojan War, finally rejoins him to defeat her insolent suitors.

Our recording features soprano Jessye Norman as Pénélope, tenor Alain Vanzo as Ulysses, and tenor Jean Dupouy as Antinoüs, the leader of the suitors. The vocal ensemble Jean Laforge and the Monte Carlo Philharmonic Orchestra are conducted by Charles Dutoit.

A sketch by Delaroche on a moment in Pénélope in 1913

27 October : Verdi’s Falstaff

This is the last opera of Giuseppe Verdi (1813-1901), the final crowning jewel of his long and illustrious career. For this masterpiece, Arrigo Boito - a brilliant intellectual who was both a man of letters and a competent composer-constructed a wonderful libretto on the character of the fat, genial knight who appears in Shakespeare’s Henry IV and The Merry Wives of Windsor.

Verdi immediately recognized the exceptional merits of Boito’s text. The result of this collaboration was a marvelous comic opera of profound humanity and magnanimity with which the old composer, at the age of 80, bade farewell to his long creative career.

The title role, Sir John Falstaff, is taken by the great baritone Dietrich Fischer-Dieskau. He is supported by baritone Rolando Panerai (Ford), sopranos Ilva Ligabue (Alice Ford), mezzo-soprano Regina Resnik (Mistress Quickly), and tenor Juan Oncina (Fenton) portraying the other principal characters. Leonard Bernstein conducts the Chorus of the Vienna State Opera and the Vienna Philharmonic Orchestra.


20 October

‘No puede ser’ (It cannot be so!)Zarzuela : La Tabernera del Puerto (The Tavern Keeper of the Port) Libretto : Federico Romero and Guillermo Fernández Shaw Composer : Pablo Solozábal

Ángel Garralda

Sunday Morning on 4 - More than Words

Sundays 8:30am

Zarzuela is Spain’s great contribution to lyric theatre. It is a special mixture of operatic and popular song, dance, and spoken

word, that emerged in the mid-17th century. Its Golden Age came two centuries later as zarzuela became the blend of tears and

laughter that portrayed Spanish life in the 19th and early 20th centuries. Spanish singers generally love zarzuela because it is in

their genes. When sung by these operatic voices with an understanding of the essential Spanish flavour and style, they’re as striking

and diverse as anything in Italian opera. Join me each week from now through December to listen to some of zarzuela’s most

notable songs. With brief plot synopses and translated lyrics, you can truly enjoy these pieces of music and - learn a few words

and phrases in Spanish, too! Much more information will be provided on the Sunday Morning on 4 Programme Archive pages at

rthk.hk. This month you’ll be able to hear the exceptional voices of Teresa Berganza, Plácido Domingo, and José Carreras.

6 October

‘De España vengo…’ (I come from Spain)

Zarzuela : El Niño Judío (The Jewish Boy) Libretto : Antonio Paso and Enrique García Álvarez Composer : Pablo Luna

▲ Granada

▲ La Tabernera del Puerto

’De un apacible rincón de Madrid’ (From this peaceful neighbourhood of Madrid)

Zarzuela : Luisa Fernanda Libretto : Federico Romero and Guillermo Fernández Shaw Composer : Federico Moreno Torroba

This is Pablo Solozábal’s most popular zarzuela. There is a new tavern in a port run by the beautiful Marola, a young woman of dubious repute. A young sailor named Leandro falls in love with Marola and wonders if a girl as beautiful as she could be such a bad woman.

This is a song taken from one of the greatest romantic zarzuelas of all time. The plot revolves around the relationship between the title character and a wealthy farmer. He loves her, and she loves another. Passion, politics, and epic emotions intertwine with personal lives against the spectacle of 1860s revolutionary Spain.

El Niño Judío is a good example of the operetta style of zarzuelas dealing with exotic themes and highly-coloured theatrical styles. The plot tells the story of Samuel, a poor Jewish youngster, who is in love with Concha, a Spanish girl. Concha’s father is opposed to their relationship because Samuel has no means of making a living, however, he changes his mind when he hears that Samuel may be the son of a rich Jew from Aleppo. The story unfolds when Samuel and Concha travel to the Middle East to claim his inheritance…

13 October Granada Composer : Agustín Lara

One of two popular songs to be covered in the series that are not from a zarzuela. Granada was written in 1932 by the Mexican composer Agustín Lara. The song pays homage to the Spanish city of

Granada, the heartland of Spain’s last Moorish k ingdom, conquered by the Christian armies i n 1 4 9 2 . G ra n a d a ’s exoticism is evoked in the song as a sunbathed dreamland populated by beautiful women and gypsies, where bullfights take place.

COLUMNS 專欄


27 October

‘Por el humo se sabe dónde está el fuego’ (By smoke we know where there is fire)

Zarzuela : Doña Francisquita Libretto : Federico Romero and Guillermo Fernández Shaw Composer: Amadeo Vives

「聽歌學西班牙文」由在香港城市大學任�西班牙文的安

喬主持，於星期日早上8時30分在週日早晨以英語播放。

聽眾可登入香港電台網頁(rthk.hk)，瀏覽節目中選播有關

「查瑞拉小歌劇」的原文及英文歌詞。

▲ Teresa Berganza ▲ José Carreras▲ Plácido Domingo

▲ Doña Francisquita

Arts Happenings 藝壇快訊

The Hong Kong New Music Ensemble, in collaboration with the Goethe-Institut Hong Kong is presenting The Modern Academy, a one-of-a-kind intensive course examining contemporary music. Financially supported by the Arts Capacity Development Funding Scheme of the Government of the HKSAR, The Modern Academy focuses on increasing skills of advanced students and young professional musicians in the performance and appreciation of music of the late-20th and early-21st centuries. The first Academy will take place during 3 - 9 January 2014. Sixty young string players, percussionists, conductors, and sound engineers from Hong Kong, Mainland China and overseas will be given the opportunity to work alongside world-class mentors to study modern masterpieces and freshly-written works.

This year, expertise comes from Germany in the form of the Ensemble Resonanz from Hamburg, conductor Manuel Nawri from Berlin, and sound engineer Sebastian Schottke from Karlsruhe. They will join mentors, who are also of international calibre, from local and abroad that include conductors and composers, as well as members from the HK New Music Ensemble, to perform and teach the academy students. Students will live in a training camp and work together in daily workshops, lessons and rehearsals. They will also be given tools to help them become well-rounded musicians of the 21st century. During the week of training, there will also be concerts so that participants will be inspired. Application closes at the end of this month. Fervent contemporary musicians are invited to become part of the music of the new century!

由香港創樂團主辦，與香港歌德學院聯合策劃的「現代學院」，旨

在提高樂手在演奏20世紀末和21世紀初音樂的技巧及鑑賞能力。

首屆的「現代學院」獲得香港特別行政區政府「藝能發展資助計

劃」的資助，於明年1月3至9日期間在香港舉行。六十位來自香

港、中國內地和海外的年青樂手及音響設計師將參加訓練營，在每

天的工作坊、課堂及排練中學習。學員更有機會與世界級名師一同

演奏和學習現代音樂大師的作品及新作。至於是次參與的「導師」

有鳴聲弦樂團(漢堡)、指揮家瑪努埃爾‧那利(柏林)和塞巴斯蒂安‧

蕭特克(卡斯魯厄)，還有來自本地和海內外的作曲家、指揮及香港

創樂團的成員。「現代學院」由現在起至本月底接受報名。

© T

obia

s S

chul

t

© S

heila

Roc

k

現代學院

Ensemble Resonanz from Hamburg is one of the overseas guests for this first Modern Academy

來自德國漢堡的鳴聲弦樂團，是參與首屆現代學院的海外團隊之一。

The story centres around Francisquita, who is in love with Fernando, but Fernando is infatuated with an actress who is not interested in him. Fernando’s father, a widower, has amorous feelings for Francisquita, but Francisquita’s widowed mother mistakenly assumes that she is the object of his affection. Fernando becomes horrified at the idea that Francisquita could instead become ‘Doña Francisquita’, his stepmother and realizes they may be right for one another after all. Fernando sings of being torn between two women…


Sundays 11:00pm

Tim Wilson

Sometimes it is good to reflect a little about how jazz

came to be, if only to guide us into feeling it more deeply.

Of course there are many opinions and perspectives on

that subject but a general consensus would hold that this

special music grew from the collusion of African and Europe

traditions as they came together in the Americas. Radio 4

being primarily a classical music station, I think we can take

the European part for granted. What then of Africa?

The Music Involves the Community

Though religious music of the ‘West’ certainly has a function in helping us to communicate with the powers beyond us, music for entertainment’s sake seems to prevail, be it popular or classical, in our culture. Music in the Africa of centuries ago was much more functional. No rain - do a song and dance, good harvest - do the proper ceremony of thanks; you’re sick - get the shaman to conduct the proper rite. Most aspects of life were associated with a particular type of music and, more importantly, the music (drumming, singing, dancing) involved the whole community; little separation between audience and performers.

A Music of Entertainment

How did this African tradition come to the Americas - through the importation of slaves, of course. We must think about the condition of slavery: the deliberate break-up of family, tribal and linguistic groups; the banning of drumming and traditional ceremonies; the status of a human being as a possession; and other social disasters in order to understand the mind-set of those who were able to combine the remnants of African culture with the world around them to create one of the greatest art forms in the world. That jazz has become a music of entertainment, often with joyful and relaxed connotations, is a tribute to the resilience and vitality of spirit in the musicians who make it.

A Feel for Functional Music

In this series of Jazzing Up programmes, we can share some music that has clear references to Africa and its culture, though we understand that all jazz owes a debt, at least in part, to this heritage.

Though I am by no means a musicologist, it might be good to hear some traditional African music if only to get a feel for this functional music and a village atmosphere. It is also good to hear the prevailing triple rhythms of many African styles and note their relationship to the ‘uneven’ quality of ‘swing’ in North American Jazz and the juxtaposition of three and two in the ‘clave’ rhythms of South America.

COLUMNS 專欄

Some Famous Names in African Jazz

At the opposite end of the spectrum, we will explore tributes to their African origins by some famous names in jazz. Much of Duke Ellington’s output leaves us in no doubt about where credit is due. Dizzy Gillespie and Max Roach have also revealed their influences in a number of excellent performances. Listening to jazz musicians who have made collaborations with modern African players should prove fruitful.

The first to gain international recognition was the South African trumpeter Hugh Masekela. We explore his early presence in the US (no jazz allowed in apartheid South Africa) and subsequent work in his homeland. His wife, the singer Miriam Makeba, was also an important voice in African jazz as is the acappella vocal group Ladysmith Black Mambazo. The Elite Swingsters and the African Jazz Pioneers are significant musicians, too.

A South African jazz musician who has held world prominence throughout a long career outside (of necessity) and within his native land is Abdullah Ibrahim (Dollar Brand). In a variety of collaborations, with both South African musicians and many prominent artists from Europe and the Americas, he has consistently maintained his personal voice with strength, clarity and honesty.

The African music scene includes groups such as Khumbula who have rarely ventured out of South Africa, and others who have flourished in a European environment. Barungwa produces African music with help from musicians of their adoptive Britain and another important voice is the Cameroonian Brice Wassy whose recordings emanate from Paris.

Last but not least we will hear from Nogabe Randriaharimalala of Madagascar, who is now based in Britain. Those of you who have followed the jazz scene in Hong Kong over the years will remember his inspiring presence here not so long ago. I myself had the opportunity to play with him and also interview him at RTHK; things I am happy to have done!

於10月份逢星期日晚上11時，衛庭新在新一輯爵士情懷 (英語節目) 為聽眾尋根，追溯非洲音樂與爵士樂的微妙關係。

▲ Tim Wilson


Arts Happenings 藝壇快訊

Known as the ‘Father of McDonald’s’ of Hong Kong, philanthropist Dr. Daniel Ng passed away on 23 August, aged 76.

Born and raised in Hong Kong, Daniel Ng furthered his studies in the United States and England, where he was awarded his doctoral degree in chemical engineering from the Imperial College of Science and Technology in London. Upon his return to Hong Kong, he brought the American fast food chain McDonald’s to Hong Kong in 1975, where he was the Managing Director until 1995. He established scholarships under his name, so as to nurture the young within the restaurant. The Big Mac Index used by the Economist that reflects purchasing power parity was initiated by him. Dr. Daniel Ng also established the Ronald McDonald House Charities of Hong Kong and was its Honourary Chairman.

Besides business, he was also a keen music lover. He was the Founder and Director of The Octavian Society, which holds the largest private collection of music manuscripts of Richard Strauss and the music library of pianist Paul Wittgenstein, and carries out archival, editing and scholarly work on these materials. He was also the Treasurer and member of the Board of Governors of the Hong Kong Philharmonic (HK Phil), and Chairman of the Board of Trustees of the Orchestra’s Endowment Trust Fund. He served on the Executive Committee of the Hong Kong Arts Festival Society and was the Treasurer of Yo-Yo Ma’s Silkroad Project. In 1997, he was instrumental in funding the Manhattan School of Music’s Recording and Distance Learning Programme, which was the pioneering teleconferencing centre for music education.

Dr. Ng actively supported the growth of the HK Phil and the development of the arts and culture in Hong Kong. Through his devoted contributions to the Orchestra, both financially and at the governance level, the HK Phil has been able to enrich the cultural life of the Hong Kong community through its music-making, with many concerts and education programmes presented free. He commissioned two works for the HK Phil: Journeys by Guo Wenjing in 2004, to mark Edo de Waart’s first concert as Artistic Director and, in 2013, the moving Ashes of Time Suite by Eli Marshall, based on the score by Eli Marshall with the assistance of Wu Tong for Wong Kar-wai’s 2008 film Ashes of Time Redux. He also commissioned Hong Kong Epilogue by Aenon Loo for the opening of the Asia Society Hong Kong Center in 2012. He made a unique contribution to the musical life of Hong Kong and will be sadly missed.

慈善家伍日照博士離世

有「香港麥當奴之父」之稱的伍日照博士，於8月23日在

家人的陪伴下與世長辭，終年七十六歲。

伍日照在香港土生土長，1960年代赴英美留學，取得倫敦

帝國學院化學工程博士學位。回港後，他在1975年把美

式快餐連鎖店「麥當勞」引入香港，並一直擔任香港「麥

當奴」餐廳董事總經理至1995年。他以自己的名義設立獎

學金，培育公司年輕一代。《經濟學人》用來反映不同地

區貨幣水平的「巨無霸指數」，更是由他構思。他又成立

「麥當勞叔叔之家慈善基金」，並出任其董事會榮譽主席。

伍博士是一位音樂「發燒友」，他是香港 The Octavian

Society的創辦人及總監。這機構蒐集了一系列李察‧史特

勞斯音樂作品的手稿和保羅‧維根斯坦的音樂藏品，並將

這些材料存檔、編輯及研究。多年來，他對推動本港藝術

及文化不遺餘力。他不但是「港樂」的董事局成員兼司庫

及贊助基金委員會主席，也積極參與「香港藝術節協會」

執行委員會的工作，和出任馬友友「絲綢之路項目」的司

庫。1997年，他更支持曼克頓音樂學院的錄音及函授學習

課程，實驗了以先進的通訊科技，支援音樂�育活動。

熱愛音樂的伍博士更一直致力支持「港樂」和本地文化藝

術的發展，並且慷慨贊助，讓「港樂」得以為市民舉辦

更多音樂會和免費�育項目，豐富香港人的藝術生命。他

在2004年委約郭文景創作《遠遊》，以慶賀迪華特出任

「港樂」藝術總監；並在2013年初委約美國電影音樂作曲

家伊淶及中國作曲家吳彤，為王家衛導演的《東邪西毒》

創作組曲。他更在2012年為「亞洲協會香港中心」的揭

幕，特別委約羅家恩創作《香港后記》。伍日照博士對本

地音樂界實在貢獻良多。


游慧姿

星期日中午12時

試邀你收聽逢星期日中午12時播出的

大地之歌，與游慧姿一起探索世界不

同地區的音樂。

Join Janet Yau for a new series of Songs of the Earth every Sunday at 12pm to enjoy folk music and some popular tunes from South America, Taiwan, Mongolia and Tuva.

COLUMNS 專欄

大地之歌－城市中的世界音樂

▲ 香港探戈舞者朱永康及鄭勵於阿根廷布宜諾斯艾利斯的探戈舞會場地Club Gricel表演

▲ Capoeira Batuque在2005年洛杉磯的世界音樂節的閉幕禮上表演巴西戰舞。

1980年代初，唱片商為方便向樂迷推廣，把既非西方古典音

樂，又非歐美流行樂的音樂一律歸類為「世界音樂」，自此之後這一

詞就被廣泛使用。在廣義上，不論是中國的江南絲竹、印尼的嘉美蘭

(Gamelan)，還是巴西嘉年華必備的森巴 (Samba)，以至印度寶萊塢

電影音樂或粵語流行曲，通通可列作「世界音樂」。

民族音樂學 (Ethnomusicology) 是以研究「世界音樂」為主的學科，

這詞本身帶有異國或獵奇的味道，這的確跟民族音樂學的起源有關。

至於在人類學、社會學和民俗學等範疇內亦有學者著述與「世界音

樂」相關的文章，但是研究的方法和著重的地方各有分別。民族音樂

學多以田野考察的方式，實地觀摩音樂活動或表演，亦會訪問音樂

家，從音樂本身的背景、脈絡 (Context) 出發，了解其角色和功能。

節目中會播放的田野考察錄音，便是指這些現場錄音的記錄。

或許有人認為流行音樂只是為迎合大眾口味，和滿足娛樂需求所創作

的商品，批評其藝術價值，沒有認識或研究的理由。但對民族音樂

學學者來說，流行音樂能廣受歡迎，有些曲調更是街知巷聞，琅琅上

口，成為大眾的集體回憶，是因為它能表現大眾當時的情感，引起

共鳴。觸動人心的音樂，自然有其價值。音樂作品的價值不應局限在

作品本身，而是樂曲對表演者及聽眾的意義，甚至由它引發的文化現

象。流行音樂應佔一席位。

在「大地之歌」中，除了介紹各地的傳統音樂之外，亦會分享一些

曾經盛極一時，大部分都是與舞蹈有關的流行音樂，希望為你帶來

多種不一樣的聲音。我所揀選的，包括有來自阿根廷探戈黃金時期

(1935s-1950s) 的探戈樂隊、巴西的森巴及巴西戰舞 (Capoeira) 音

樂、墨西哥的街頭樂隊 (Mariachi)、拉丁美洲盛行的騷莎舞 (Salsa)、

夏威夷的小結他 (Ukulele)、令「雲門舞集」創辦人林懷民「希望來

生是鄒人」的鄒族之歌，以及台灣原住民的歌曲、蒙古溫柔的草原情

歌及圖瓦 (Tuva) 一人同時唱出雙音的泛音演唱等等。

▼ 圖瓦聲樂組 Chirgilchin在2005年洛杉磯的世界音樂節上表演


石家灃

星期六下午5時至7時

奧地利的滄海遺珠以至不朽名

作，會在10月份由蕭程佳明和

彭禮傑主持的「情有獨鍾」為

你送上。

The music of Haydn, Mozart,

Beethoven and Schuber t

dominated the Viennese

musical scene in the 18th

and early 19th centuries. On

a more popular note, Joseph

Lanner and the Strauss family

established a genre that is

uniquely Viennese - the waltz.

Join Rebecca Siu and Ben

Pelletier in All or Nothing on

Saturdays from 5pm to 7pm

to get a taste of the classical

Austrian flavour.

情有獨鍾

維也納學派的「四大天王」

當荀伯克、魏本和貝爾格這三位20世紀作曲家被公認和統稱為「第二維也納學

派」之時，我們反而較少去考慮誰是「第一維也納學派」的作曲家。其實答案很簡

單，海頓和莫扎特正是維也納學派的始祖。事實上，這兩位巨匠的作品已經雄霸了

18世紀的歐洲樂壇，他倆的音樂幾乎已概括了我們所謂18世紀的「古典音樂」。此

外，曾師事海頓、從二十二歲起一直定居和活躍於維也納的貝多芬，以及「歌曲之

王」舒伯特亦應被納入為維也納學派的中堅分子。這「四大天王」於每一樂種均貢獻

出永垂不朽之作，成就可謂震古鑠今。

極受歡迎的進行曲和舞曲

19世紀的奧地利另有一個別樹一格的音樂範疇，當中包括一些節奏輕快的進行曲和舞

曲，如圓舞曲、波爾卡舞曲、加洛舞曲 (galop) 等。這類音樂成為了奥國古典音樂的

最大特色。史特勞斯一門四傑便是箇中的佼佼者，包括父親老約翰，兒子小約翰、約

瑟和愛德華。能與史特勞斯家族分庭抗禮的還有約瑟‧蘭納 (Joseph Lanner) ，他被

尊為圓舞曲的始創人，亦是老約翰‧史特勞斯的勁敵。除了這些比較短編的作品外，

奧地利亦出產不少輕歌劇。蘇佩 (Suppé) 創作了接近五十部輕歌劇，可惜今天除了

《輕騎兵》和《詩人與農夫》兩首序曲外，大部分已無人問津。擁有一半奧地利血統

的里夏（Lehár）亦創作了大量輕歌劇，其中《風流寡婦》和圓舞曲《金與銀》仍然

受到當代聽眾歡迎。

奧地利舉足輕重的音樂家

當布魯克納和馬勒還未活躍於樂壇之前，若談及18至19世紀初的奧地利作曲家，

我們絕對不能忽略一批二、三線的重要人物，其中包括莫扎特的父親 (Leopold

Mozart) 及海頓的弟弟 (Michael Haydn)，另外產量極多但又鮮為人知的迪特斯多夫

(Dittersdorf) ，還有瓦根塞爾 (Wagenseil)、鋼琴演奏家兼作曲家徹爾尼 (Czerny)、莫

扎特名副其實的「入室弟子」亨密爾 (Hummel)、曾是貝多芬及亨密爾的老師亞伯士

比加 (Albrechtsberger) 等。事實上，他們都是昔日奧地利舉足輕重的音樂家，曾在奧

地利光輝的音樂史上散發雖不算是最燦爛，但卻是不可掩蓋的光芒。

▲ 在維也納Burggarten公園的莫扎特雕像

COLUMNS 專欄


賴建群音符之間悠然增值談天論樂

星期一晚上8時正

由11月起，「談天論樂」會暫別大氣電波。想重温過去多集的節目內容，歡迎登入rthk.hk。

COLUMNS 專欄

7/10 威爾第

2013年10月9或10日是意大利

作曲家威爾第誕生200週年紀

念。節目中特別邀請曾留學意

大利、熱愛威爾第歌劇的盧景文，以及經常到訪意大利的本

港年輕女中音連皓忻，一起交

流欣賞威爾第作品的心得。

28/10 唱片有價？

電台節目除了介紹美樂，也會談到由不同表演者詮釋同一首樂曲，其藝術表現可以大相逕庭。即使是同一個演繹版本，同是CD制式，也有不同時期、不同產地的製作。你有否比較過它們的聲音？會否有很大區別？有人言之鑿鑿，說「頭版」聲音最好；亦有人認為科技越趨進步，沒可能舊聲勝新聲。坊間的舊CD (有甚麼「西德版」、「銀圈版」的名稱) 有「炒賣價」，有人追捧，也有人嗤之以鼻。連公仔箱劇集，都講原版黑膠唱片 (LP) 有價。原版碟除了「歷史價值」與「物以罕為貴」之外，還有其他不可取代的魅力麼？有些人不僅情迷黑膠，還專誠搜尋單聲道唱片、器材去欣賞。「黑膠」真是特別動聽嗎？

這一集節目除了樂評人劉志剛外，還請來對黑膠唱片有非一

般心得的劉浩濓醫生，為大家逐一剖析。

14/10 採風奇遇

民族音樂學學者其中一項重

要任務，就是外出搜集音樂材

料，其中的方法就是錄音。

兩位匈牙利作曲家巴托和高大

宜亦曾進行這種採風活動。

在巴托的音樂中，我們就能

找到不少具特蘭西瓦尼亞

(Transylvania) 或其他地區特

色的風格。

「採風」一詞在過往比較多

用，今天較常用的術語是田野

工作或實地考察。在考察的範

圍內，學者除了要留意音樂素

材，更要深入了解外在和內在

因素 — 文化和生活、時間和

空間相互的關係等。

出發前要有甚麼準備、期間的

過程如何、搜集得來的資料又

會怎樣處理⋯⋯兩位民族音樂

學學者余少華和林詠璋會與你

詳盡講解。

盧�授說威爾第是結合音樂和戲劇的能手，並讚賞他處理不同場合和處境的技巧，手法一氣呵成，角色的性格亦表現得十分鮮明。連皓忻則認為，不論由奴隸至君王，在威爾第筆下的每個角色都是充滿生命力。作曲家透過音樂，刻劃出角色的獨特形象和複雜的內心世界。

21/10 雅集 vs 夾 Band

那些年，青年人流行彈結他組

樂隊唱歌叫「夾Band」，正

所謂「Friend過打Band」。

「夾Band」是交友聯誼的活

動，與昔日文人雅士三五知己

共享絲竹音樂、品茗兼唱曲的

「雅集」性質一樣。但今時今

日兩者皆面對同樣的困難－

Band房難找又貴，「啱key」

的Band友又難尋。大家忙於工

作生活，或「有頭家」之後就

更容易「散Band」。再者，打

Band更要講求各人的功力和

水平。其實懂得中西樂器的朋

友，兩三人走在一起就已經可

以「雅集打Band」一番。

三位分別擅長演奏胡琴、琵琶

和笛子的杜泳、何耿明和陳子

晉，會從粵樂祖宗秀才何柳堂

說起，暢談文化人雅聚玩曲。

杜泳更會親述當年在大躍進後

的飢荒，夜半挑燈，關門閉

戶，三五知己輕聲樂聚，苦中

求樂的依稀往事。

連皓忻

盧景文

余少華

劉浩濓醫生


COLUMNS 專欄

Calvin Lai and a group of music critics guide you through some of the most interesting new releases to keep you in touch with the latest in fine music recordings.

The segments are also available on Radio 4’s website for streaming: radio4.rthk.hk

賴建群和多位樂評人在「碟碟不休」中，為你介紹最新推出的影音製作。

環節更可於網上重溫：radio4.rthk.hk

Calvin Lai 賴建群New Releases 逢星期一至五下午5時30分Monday to Friday 5:30pm

碟碟不休

October 7-11

October 1-4


October 14-18

October 21-25

October 28-31

COLUMNS 專欄


Date 日期 Highlights 重點推介

11/10 (Fri 五) 8:00pm

16/10(Wed 三) 2:00pm

Repeat 重播

Vienna Boys’ Choir The Season-opening Concer t of the City Chamber Orchestra of Hong Kong features the world-renowned Vienna Boys’ Choir under Choirmaster Oliver Stech and Jean Thorel, Chief Conductor of CCOHK, who will lead the two groups in a most exciting star t of the season.

維也納兒童合唱團

香港城市室樂團於本年度的樂季開幕音樂會中，將與蜚聲國際的維也納兒童合唱團合作，在合唱團指揮施特希及樂團首席指揮尚‧托勞的領導下，為新樂季揭開序幕。

12/10 (Sat 六)

Live 現場直播

17/10(Thu 四) 2:00pm

Repeat 重播

Great Violin Concertos - Iskandar Widjaja Plays WieniawskiIskandar Widjaja, a child prodigy well known for both his techniques and expressiveness, will be giving his Hong Kong debut in this concer t with Wieniawski’s Violin Concer to No. 2 in D minor with the Hong Kong Sinfonietta. The concer t also marks the world première of Gravitation in Time, composed by GayBird, an active local composer well known for his innovations and cross-media creations.

《最愛小提琴》韋家雅香港首演

印尼裔小提琴家韋家雅在港首度公演，與香港小交響樂團合作，以技術精湛且富感染力的琴音，送上波蘭作曲家兼小提琴家維尼奧夫斯基的D小調第二小提琴協奏曲，同場亦有梁基爵的《地心》作世界首演。梁基爵自90年代起活躍於香港樂壇，多年來把豐富的創造力融入跨媒體音樂創作之中。

18/10 (Fri 五)

Live 現場直播

23/10(Wed 三) 2:00pm

Repeat 重播

Jaap’s Beethoven 5 Under the direction of Jaap van Zweden, the great rhythmic passion of Beethoven, the soothing gentleness of Schuber t, and the deep emotion of Richard Strauss merge and transcend into a remarkable musical journey. Matthias Goerne will also be making his HK Phil debut with his enchanting baritone voice per forming lieder including Schuber t’s charming An Silvia and Richard Strauss’ poignant Morgen.

梵志登的貝五

在音樂會中，觀眾將參與由梵志登帶領，扣人心弦的音樂之旅，享受貝多芬的激情、舒伯特的柔情，以及李察‧史特勞斯的抒情。世界頂級歌唱家葛納將首度與「港樂」合作，演出優美動人的藝術歌曲，包括舒伯特的〈誰是蕭菲亞〉以及李察‧史特勞斯的〈明晨〉。

音樂會轉播精選 HIGHLIGHTS OF CONCERT BROADCASTS

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© M

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Iskandar Widjaja, violin 小提琴：韋家雅

Jaap van Zweden, conductor 指揮：梵志登

Matthias Goerne, baritone 男中音：葛納

Vienna Boys’ Choir 維也納兒童合唱團

Oliver Stech, choirmaster 合唱團指揮：施特希

Jean Thorel, conductor 指揮：尚‧托勞

COLUMNS 專欄


Mon - Fri 星期一至五 : 7:55am, 12:55pm, 5:55pm, 10:55pmWeekends 週末 : 9:55am, 4:55pm, 10:55pm

– be in touch in 3 minutes —三分鐘錦囊

Topic 內容 Host 主持

星期一 : 威威！威爾第陳鈞潤

星期二 : 大地之歌游慧姿

Wed : Arts News Oliver Chou

Thu : Arts News Jonathan Douglas

星期五 : 今日話當年馬盈盈

Sat : Operetta Lo King-man

星期日 : 碟碟不休賴建群

Date 日期 Highlights 重點推介

19/10 (Sat 六) 8:00pm

24/10(Thu 四) 2:00pm

Repeat 重播

Verdi’s Simon BoccanegraIn the course of his long operatic career, Plácido Domingo has per formed over 130 tenor roles, but in his much-anticipated first appearance as a baritone at the Proms 2010, he took on one of Verdi’s greatest characters, Simon Boccanegra. Boccanegra was a man of the people, who was elected the first Doge of Genoa in 1339, at the centre of intrigues and uprisings among the rulers and people of Genoa. The opera, Simon Boccanegra, has a tremendously complex and sympathetic title character, and contains some of the most beautiful music Verdi ever wrote.

威爾第的《西蒙•波卡尼格拉》

杜鳴高以男高音身份演唱超過一百三十個角色。2010年，他在英國廣播公司逍遙音樂會的演出更令樂迷期待不已。當年他首次以男中音身份擔任威爾第《西蒙‧波卡尼格拉》的主角。這位富同情心的領袖，被捲入由熱那亞人民及領導者策劃的詭計，加上歌劇中其他主角的性格十分複雜，令故事曲折離奇，而威爾第所寫的音樂更是精彩絕倫。

25/10 (Fri 五) 8:00pm

30/10(Wed 三) 2:00pm

Repeat 重播

Philip Pickett’s Baroque FavouritesHong Kong Sinfonietta, together with Philip Pickett, Founder and Music Director of the world renowned ensembles The New London Consor t and Musicians of the Globe, creates a Baroque night per forming Maestro Pickett’s favourite music from the 17th and 18th centuries. With Principal Flutist Kate Lawson and Principal Oboist Marrie Rose Kim, the Sinfonietta per forms Baroque masterpieces including Vivaldi’s Flute Concer to in G minor, RV439, La notte, and Marcello’s Oboe Concer to in C minor.

最愛巴羅克

香港小交響樂團與畢克特合作，帶來優雅動人的巴羅克音樂之夜。畢克特創辦了享負盛名的新倫敦古樂團及環球音樂家樂團，一直致力於提倡復古演奏。節目包括由樂團長笛首席羅琛琪，以及雙簧管首席金勞思，分別演繹韋華第的G小調長笛協奏曲，RV439，「夜」和馬徹奴的C小調雙簧管協奏曲等樂曲。

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Plácido Domingo, tenor / baritone 男高音 / 男中音：杜鳴高

Philip Pickett, conductor 指揮：畢克特

Marrie Rose Kim, oboe 雙簧管︰金勞思

Kate Lawson, flute 長笛︰羅琛琪

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Thursday星期四

Friday星期五

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Sunday星期日

Aubade 晨曲

Morning Call with Jonathan Douglas 清晨妙韻杜格尊

Music Infusion 樂樂無窮Ben Pelletier

彭禮傑

Sunday Morningon 4

週日早晨 Stacey Rodda

盧迪思

Minutes That Matter

Non-stop Classics美樂無休

Bethan Greaves / Stacey Rodda / Ben Pelletier 紀碧琳 / 盧迪思 / 彭禮傑

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高德儀

Viva Verdi 威威！威爾第

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News at One

Music à la Carte (Tue, Thu : Chinese Music) 午間精點 (星期二及四：中樂篇) Jenny Lee / Tina Ma / Daphne Lee / Kathy Lam 李嘉盈 / 馬盈盈 / 李德芬 / 林家琦

Live on 4 第四台音樂會

(Repeat 重播)

Music of Friends 室樂雅聚 (Repeat 重播)

R4 Buddies四台插班生

Raymond Chung / Carmen Leung

鍾子豪 / 梁倍嘉

Sunday Opera歌劇世界Lo King-man

盧景文

Rupert Chan 陳鈞潤

(1st Sunday 首個週日）

(1st b/c: Wed) (首播：星期三)

(1st b/c: Thu) (首播：星期四)

(1st b/c: Fri) (首播：星期五)

(1st b/c: Sat) (首播：星期六)

Music from China樂在神州

Chu Siu-wai 朱紹威

Four for Classics with Calvin Lai 四時行樂

賴建群

Collage點指美樂

All or Nothing情有獨鍾

Ben Pelletier / Rebecca Siu 彭禮傑 / 蕭程佳明

Children’s Corner 親親童樂日

Nancy Loo 羅乃新New Releases 碟碟不休 News at Six

Arts News 藝壇快訊Tunes to

Remember人約黄昏後

Emma Liu 廖碧楨

Happy Hour Jazzy Hour 爵士‧路上

Happy Hour Classic Hour 古典‧路上

All or Nothing情有獨鍾

Cantilena 自投羅網

Nancy Loo 羅乃新

Musical Exchange談天論樂Calvin Lai

賴建群

Live on 4 第四台音樂會

Music of Friends 室樂雅聚

Sunday Divertimento

星夜樂逍遙Wendy Ng

伍穎文

Nocturne with Tina Ma 夜心曲馬盈盈

Chamber Fragrance

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彭禮傑 / 蕭程佳明 Jazzing Up Tim Wilson

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* Reflections 晚禱 Mon-Fri (星期一至五)11:57pm

RTHK Radio 4 香港電台第四台 FM Stereo 97.6-98.9MHz http://www.rthk.org.hk

with Kathy Lam

林家琦

MAIN PROGRAMME CHART 節目時間表


1/10/2013 (Tue 星期二)11:00am MOZART 莫扎特Piano Concerto No. 20 in D minor, K. 466 31’ Jenő Jandó (p)Concentus Hungaricus / Andras LigetiD小調第二十鋼琴協奏曲，K. 466珍盧‧恩度（鋼琴）匈牙利獨奏者 / 利格第

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播） JAZZ AT LINCOLN CENTER - Masters of the Mallet Three modern masters of the mallet take the stage at Dizzy’s Club Coca-Cola for one solid hour of good vibes. Vibraphonists Bobby Hutcherson leads his quartet, Joe Locke pays tribute to Henry Mancini, and Stefon Harris plays solo.

爵士派對@林肯中心－敲擊棒大師三位現代敲擊棒大師在Dizzy’s Club Coca-cola爵士樂廳演出了一小時的精彩節目。顫音琴手克卓臣帶領其四重奏及洛其向亨利‧曼西尼致敬；還有史提芬‧哈利斯的獨奏演出。

8:00pm LIVE ON 4 第四台音樂會Ernst Simon Glaser (vc)Gothenburg Sym. Orch. / David AfkhamTommie Haglund: Cello Concerto, ‘Flaminis Aura’ 37’Shostakovich: Symphony No. 10 in E minor, Op. 93 53’

安斯特‧西門‧格拉沙（大提琴）哥德堡交響樂團 / 亞法甘凱格倫：《薩滿微風》大提琴協奏曲蕭斯達高維契：E小調第十交響曲，作品93

2/10/2013 (Wed 星期三)11:00am BERLIOZ 白遼士 Symphonie Fantastique (excerpts) 17’ Berlin Phil. / Herbert von Karajan 幻想交響曲（選段）柏林愛樂樂團 / 卡拉楊

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Alina Ibragimova (v) Cédric Tiberghien (p)Beethoven: Violin Sonata No. 3 in E flat, Op. 12, No. 3 20’ Violin Sonata No. 6 in A, Op. 30, No. 1 24’ Violin Sonata No. 9 in A, Op. 47, ‘Kreutzer’ 35’

Presented by Premiere Performances of Hong Kong. Recorded at Hong Kong City Hall Concert Hall on 22/9/2013.

4/10/2013 (Fri 星期五)11:00am SCHUMANN 舒曼Humoreske, Op. 20 26’ Radu Lupu (p)幽默曲，作品20盧甫（鋼琴）

2:00pm MUSIC OF FRIENDS (REPEAT) 室樂雅聚（重播）James Brawn (p)Mussorgsky: Pictures at an Exhibition 35’

Recorded at RTHK Studio 2 on 11/10/2012.

布朗（鋼琴）穆索斯基：圖畫展覽會

2012年10月11日香港電台二號錄播室錄音。

8:00pm LIVE ON 4 第四台音樂會Elizabeth Coupe, Grace Chiang (s) Ray Chan, Keith Pun (ct) Christopher Leung (t)Alan Tsang (br) Caleb Woo (b) Die KonzertistenCity Ch. Orch. of Hong Kong / Jonathan CohenHandel: Israel in Egypt, HWV54

Presented by Die Konzertisten. Recorded at Hong Kong Cultural Centre Concert Hall on 8/9/2013.

吳莉嫺、蔣頌恩（女高音）陳思光、潘子健（假聲男高音）梁路安（男高音）曾宇軒（男中音）胡永正（男低音） Die Konzertisten香港城市室樂團 / 鍾拿芬‧高恩韓德爾：以色列人在埃及，HWV54

Die Konzertisten主辦。2013年9月8日香港文化中心音樂廳錄音。

5/10/2013 (Sat 星期六)8:00pm LIVE ON 4 第四台音樂會LIVE AT THE WIGMORENicola Benedetti (v) Alexei Grynyuk (p)Beethoven: Violin Sonata No.7 in C minor, Op. 30 No .2 26’ Brahms: Violin Sonata No.1 in G, Op. 78 28’

威格摩音樂廳的迴響賓納迪蒂（小提琴）君玉克（鋼琴）貝多芬：C小調第七小提琴奏鳴曲，作品30，第二首布拉姆斯：G大調第一小提琴奏鳴曲，作品78

6/10/2013 (Sun 星期日)2:00pm SUNDAY OPERA 歌劇世界Wagner: Der fliegende Hollȁnder 145’Der Holländer: Norman Bailey (b-br)Senta: Janis Martin (s)Erik: René Kollo (t)Daland: Martti Talvela (b)Chicago Sym. Orch. & Cho. / Georg Solti

伊貝拉紀莫娃（小提琴）堤伯肯恩（鋼琴）貝多芬：降E大調第三小提琴奏鳴曲，作品12，第三首 A大調第六小提琴奏鳴曲，作品30，第一首 A大調第九小提琴奏鳴曲，作品47，「克魯采」

飛躍演奏香港主辦。 2 0 1 3 年 9 月 2 2 日香港大會堂音樂廳錄音。

8:00pm LIVE ON 4 第四台音樂會CARNEGIE HALL LIVEBelcea QuartetBeethoven: String Quartet No. 12 in E flat, Op. 127 37’ String Quartet No. 13 in B flat, Op. 130 52’

卡奈基音樂廳的迴響貝切雅四重奏貝多芬：降E大調第十二弦樂四重奏，作品127 降B大調第十三弦樂四重奏，作品130

3/10/2013 (Thu 星期四)11:00am GADE 加特Symphony No. 6 in G minor, Op. 32 26’Danish Nat. Radio Sym. Orch. / Christopher HogwoodG小調第六交響曲，作品32丹麥國家電台交響樂團 / 賀活特

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Angela Denoke (s) Katarina Karnéus (ms) Jeffrey Lloyd-Roberts, Simon O’Neill (t) Neal Davies (b-br)BBC SingersCrouch End Festival Cho.New London Ch. Cho.BBC Sym. Orch. & Cho. / Jukka-Pekka SarasteSchoenberg: Gurrelieder 117’

德諾奇（女高音）卡蕾絲（女中音）萊羅拔士、奧尼爾（男高音）戴維斯（低男中音）英國廣播公司合唱團伏尾節日合唱團新倫敦室樂合唱團英國廣播公司交響樂團及合唱團 / 沙華斯達荀伯克：古雷之歌

8:00pm LIVE ON 4 第四台音樂會JAZZ AT LINCOLN CENTER - Cyrus Chestnut, Russell Malone, and Christian McBride Cyrus Chestnut (p), Russell Malone (g), and Christian McBride (db) - keepers of the jazz flame - propel their own groups from the stage at Dizzy’s Club Coca-Cola.

爵士派對@林肯中心－徹斯特勒、馬龍及麥博萊特徹斯特勒（鋼琴）、馬龍（結他）及麥博萊特 (低音大提琴) －爵士樂火焰的守護者－在 Dizzy’s Club Coca-Cola爵士樂廳中熱烈彈奏。

PROGRAMME HIGHLIGHTS 節目精華

節目精華Programme Highlights



華格納：漂泊的荷蘭人荷蘭人：諾曼‧比爾利（低男中音）珊塔：贊尼斯‧馬田（女高音）艾力：高勞（男高音）達蘭：達維拉（男低音）芝加哥交響樂團及合唱團 / 蘇提

8:00pm MUSIC OF FRIENDS 室樂雅聚Ang Li (p)Blais: Es ist genug 9’Brahms: Fantasies, Op. 116 26’


李昂（鋼琴）比拉斯：已經足夠布拉姆斯：幻想曲，作品116


7/10/2013 (Mon 星期一)11:00am GLAZUNOV 格拉祖諾夫Scènes de ballet Op. 52 28’Scottish Nat. Orch. / Neeme Järvi芭蕾景觀，作品52蘇格蘭國家樂團 / 約菲

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 2/10/2013, 8pm節目與2013年10月2日晚上8時相同

8/10/2013 (Tue 星期二)11:00am MOZART 莫扎特Concertone for Two Violins and Orchestra in C, K. 190 27’Cho-Liang Lin, Jaime Laredo (v)English Ch. Orch. / Raymond LeppardC大調雙小提琴與樂團協奏曲，K. 190林昭亮、拉雷杜（小提琴）英國室樂團 / 力柏特

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播） Prog. as 3/10/2013, 8pm節目與2013年10月3日晚上8時相同

8:00pm LIVE ON 4 第四台音樂會Adriana Damato (s)La Scala Orch. & Cho. / Daniel BarenboimVerdi: String Quartet in E minor (arr. for String Orch.) 24’ Four Sacred Pieces 38’

Ang Li 李昂

達瑪圖（女高音）史卡拉樂團及合唱團 / 巴倫邦威爾第：E小調弦樂四重奏（為弦樂團改編）四首聖歌

9/10/2013 (Wed 星期三)11:00am PREVIN 普列文Honey and Rue 26’Kathleen Battle (s)Orch. of St. Luke’s / André Previn蜜糖與芸香芭圖（女高音）聖路加樂團 / 普列文


8:00pm LIVE ON 4 第四台音樂會CARNEGIE HALL LIVEElisabeth Meister(s) Jennifer Johnston (ms) Michael Spyres (t) Matthew Rose (b)Orch. Révolutionnaire et Romantique / John Eliot GardinerBeethoven: Missa Solemnis in D, Op.123 85’

卡奈基音樂廳的迴響美斯達（女高音）珍妮花‧莊士敦（女中音）斯柏爾斯（男高音）馬太‧羅西（男低音）革命浪漫樂團 /嘉狄拿貝多芬：D大調莊嚴彌撒曲，作品123

10/10/2013 (Thu 星期四)11:00am SALIERI 沙利烈Triple Concerto 25’Heinz Holliger (ob) Thomas Füri (v) Thomas Demenga (vc)三重奏協奏曲漢斯‧賀力加（雙簧管）富利（小提琴）達文嘉（大提琴）


8:00pm LIVE ON 4 第四台音樂會JAZZ AT LINCILN CENTER - Joey DeFrancesco TrioThis Hammond B3 specialist and his trio are joined by three hard-driving tenor sax players - Vincent Herring, John Nugent and the late David ‘Fathead’ Newman, in one of his last performances. They burn up blues classics.

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爵士派對@林肯中心－祖爾狄法蘭卓高三重奏這位哈蒙特琴B3專家及其三重奏帶領三位中音色士風手：雲遜‧哈榮、約翰‧盧爵特及已故的大偉‧「肥頭」‧紐曼（此為其最後演出）表演經典藍調。

11/10/2013 (Fri 星期五)11:00am ENESCU 艾尼斯高Violin Sonata No. 3 in A minor, Op. 25 26’Laurent Korcia (v) Georges Pludermacher (p)A小調第三小提琴奏鳴曲，作品25葛西亞（小提琴）布魯特麥瑞亞（鋼琴）

2:00pm MUSIC OF FRIENDS (REPEAT) 室樂雅聚（重播）Prog. as 6/10/2013, 8pm節目與2013年10月6日晚上8時相同

8:00pm LIVE ON 4 第四台音樂會Vienna Boys’ ChoirCity Ch. Orch. of Hong Kong / Jean Thorel, Oliver StechBuxtehude: Cantate DominoCaldara: Excerpts from Ego sum panis vivusVivaldi: GloriaMozart: Ave Verum Corpus, K. 618Schoenberg: NocturneCasals: Song of the Birds Franck: Panis AngelicusCarl Orff: ‘O Fortuna’, from ‘Carmina Burana’Bartók: Rumanian Dances, Sz. 58Komzak: Moto PerpetuoJosef Strauss: Feuerfest Polka, Oo. 269 and more

Presented by City Chamber Orchestra of Hong Kong. Recorded at the Hong Kong City Hall Concert Hall on 5/10/2013.

維也納兒童合唱團香港城市室樂團 / 尚‧托勞、施特希布斯泰烏德：向主高歌卡爾達拉：我是生命的糧選段韋華第：榮耀頌莫扎特：聖體頌，K. 618荀伯克：夜曲卡索斯：雀鳥之歌法郎克：天使之糧柯夫：「啊，命運」，選自《布朗尼之歌》巴托：羅馬尼亞舞曲，Sz. 58康扎克：常動曲約瑟夫‧史特勞斯：防火波爾卡舞曲，Oo. 269及其他曲目

香港城市室樂團主辦。2013年10月5 日香港大會堂音樂廳錄音。

12/10/2013 (Sat 星期六)8:00pm LIVE ON 4 第四台音樂會Iskandar Widjaja (v)Hong Kong Sinfonietta / Yip Wing-sieGayBird: Gravitation in Time Wieniawski: Violin Concerto No. 2 in D minor, Op. 22 Dvořák: Symphony No. 7 in D minor, Op. 70

Presented by Hong Kong Sinfonietta. Live from Hong Kong City Hall Concert Hall.


韋家雅（小提琴）香港小交響樂團 /葉詠詩梁基爵：地心維尼奧夫斯基：D小調第二小提琴協奏曲，作品22 德伏扎克： D小調第七交響曲，作品70

香港小交響樂團主辦。香港大會堂音樂廳現場直播。

13/10/2013 (Sun 星期日)2:00pm SUNDAY OPERA 歌劇世界Donizetti: Maria Stuarda 154’Maria Stuarda: Beverly Sills (s)Queen Elisabetta: Eileen Farrell (s)Leicester: Stuart Burrows (t)John Alldis Choir London Phil. Orch. / Aldo Ceccato

唐尼采第：瑪莉亞‧絲度雅達瑪莉亞．絲度雅達：蕭斯（女高音）伊莉莎白皇后：費莉爾（女高音）里薩斯達：布魯士（男高音）約翰奧迪斯合唱團倫敦管弦樂團 / 捷加圖

8:00pm MUSIC OF FRIENDS 室樂雅聚Hyunjung Choi (baroque v) Sonia Lee (hc)Leonarda: Sonata for Violin and Continuo in D minor, Op. 16, No. 2 9’Biber: Passacaglia for Unaccompanied Violin, from ‘The Rosary Sonatas’ 9’Mattheson: Violin Sonata in E minor, Op. 7, No. 9, ‘Der Brauchbare Virtuoso’ 9’


崔賢晶（巴羅克小提琴）李敏琪（古鍵琴）利奧納特：D小調小提琴與持續低音奏鳴曲，作品16，第二首拜伯：無伴奏小提琴帕薩加牙舞曲，選自《玫瑰奏鳴曲》馬達臣：E小調小提琴奏鳴曲，作品7，第九首，「實際大師」


14/10/2013 (Mon 星期一)11:00am BRAHMS 布拉姆斯Clarinet Quintet in B minor, Op. 115 37’Emanuel Hurwitz, Ivor Mcmahon (v) Cecil Aronowitz (va) Terence Weill (vc) Gervase de Peyer (cl) B小調單簧管五重奏，作品115賀域治、伊科‧麥馬漢（小提琴）契絲‧亞倫諾域茲（中提琴）特倫斯‧懷爾（大提琴）派也（單簧管）


15/10/2013 (Tue 星期二)11:00am VAUGHAN WILLIAMS 佛漢威廉士Symphony No. 4 in F minor 33’London Phil. Orch. / Bernard HaitinkF小調第四交響曲倫敦管弦樂團 / 凱亭


8:00pm LIVE ON 4 第四台音樂會Orch. della Svizzera Italiana / Nello SantiVerdi: Overtures from ‘Joan of Arc’, ‘La battaglia di Legnano’, ‘Atilla’, and others 114’

瑞士意大利語區樂團 / 珊堤威爾第：選自《聖女貞德》，《尼加諾的戰爭》，《雅蒂娜》的序曲，及其他樂曲

16/10/2013 (Wed 星期三)11:00am VIVALDI 韋華第Four Seasons 38’Simon Standage (v) The English Concert / Trevor Pinnock四季史丹特治（小提琴）英國古樂團 / 班諾克


8:00pm LIVE ON 4 第四台音樂會CARNEGIE HALL LIVELeonidas Kavakos (v)Philadelphia Orch. / Yannick Nézet-SéguinRavel: La Valse 13’ Szymanowski: Violin Concerto No. 2, Op. 61 21’Shostakovich: Symphony No. 5 in D minor, Op. 47 45’

卡奈基音樂廳的迴響卡伐確斯（小提琴）費城樂團 / 尼薩—碩觀拉威爾：圓舞曲史曼諾夫斯基：第二小提琴協奏曲，作品61蕭斯達高維契：D小調第五交響曲，作品47

17/10/2013 (Thu 星期四)11:00am HAYDN 海頓Symphony No. 103 in E flat, ‘Drumroll’ 30’New York Phil. / Leonard Bernstein降E大調第一百零三交響曲，「鼓聲」紐約愛樂樂團 / 伯恩斯坦


Hyunjung Choi 崔賢晶

8:00pm LIVE ON 4 第四台音樂會JAZZ AT LINCOLN CENTERA concert and ceremony held at Jazz at Lincoln Center in New York where the National Endowment for the Arts recognized its 2010 Jazz Masters - pianists Kenny Barron and Cedar Walton, vibraphone and marimba master Bobby Hutcherson, pianist/composer Muhal Richard Abrams and, international music pioneer Yusef Lateef , among others.

爵士派對@林肯中心國家藝術贊助基金會在林肯中心舉辦了頒獎禮及音樂會，以表揚2010年的爵士樂大師－鋼琴家堅尼‧巴倫及斯達‧華頓、鋼片琴及馬林巴琴家克卓臣、鋼琴家及作曲家慕亞‧洛查‧亞巴姆斯，還有國際音樂先鋒如契夫‧拉提夫等等。

18/10/2013 (Fri 星期五)11:00am FIELD 費爾特Piano Concerto No. 4 in E flat, H. 28 33’Benjamin Frith (p) Northern Sinfonia / David Haslam降E大調第四鋼琴協奏曲，H. 28費夫（鋼琴）北部交響樂團 / 赫士林


8:00pm LIVE ON 4 第四台音樂會Matthias Goerne (br)Hong Kong Phil. / Jaap van ZwedenSchubert: ‘An Silvia’, ‘Greisengesang’, ‘Im Abendrot’, and ‘Tränenregen’ R. Strauss: ‘Traum durch die Dämmerung’, ‘Das Rosenband’, ‘Freundliche Vision’, ‘Heimliche Aufforderung’, ‘Ruhe’, ‘meine Seele’, ‘Allerseelen’, and ‘Morgen’ Beethoven: Symphony No. 5 in C minor, Op. 67

Presented by Hong Kong Philharmonic. Live from Hong Kong Cultural Centre Concert Hall.

葛納（男中音）香港管弦樂團 / 梵志登舒伯特：「誰是蕭菲亞」、「老人之歌」、「餘暉」及「淚雨」李察‧史特勞斯：「黃昏之夢」、「玫瑰花環」、「親切的夢境」、「秘密之約」、「歇息，我的靈魂」、「萬靈節」及「明晨」貝多芬：C小調第五交響曲，作品67

香港管弦協會主辦。香港文化中心音樂廳現場直播。

19/10/2013 (Sat 星期六)8:00pm LIVE ON 4 第四台音樂會Marina Poplavskaya (s)Joseph Calleja (t) Plácido Domingo (br)Cho. & Orch. of the Royal Opera House / Antonio PappanoVerdi: Simon Boccanegra 133’

PROGRAMME HIGHLIGHTS 節目精華PROGRAMME HIGHLIGHTS 節目精華


墣拉夫絲嘉雅（女高音）卡利亞（男高音）杜鳴高（男中音）皇家歌劇院樂團及合唱團 / 柏巴奴威爾第：西蒙‧波卡尼格拉

20/10/2013 (Sun 星期日)2:00pm SUNDAY OPERA 歌劇世界Fauré: Pénélope 124’Pénélope: Jessye Norman (s)Ulysse: Alain Vanzo (t)Eumée: José van Dam (br)Euryclée: Jocelyne Taillon (ms)Ensemble Vocal Jean Laforge Orchestre Philharmonique de Monte-Carlo / Charles Dutoit

佛瑞：佩內洛普佩內洛普：諾曼（女高音）由莉絲：華索（男高音）艾枚：達姆（男中音）由妮崎莉：泰容（女中音）拉佛格聲樂團蒙地卡羅管弦樂團 / 杜托華

8:00pm MUSIC OF FRIENDS 室樂雅聚Le Réunion MusicaleCima: Sonata for Violin, Cello and Continuo, from ‘Concerti ecclesiastici’ 4’Biber: Sonata No. 1 for Violin and Continuo, ‘The Annunciation’ 6’Pedrini: Sonata for Violin and Continuo in B flat, Op. 3, No. 9 8’Vivaldi: Trio Sonata in C minor, RV 83 8’


美樂雅匯古樂團斯馬：小提琴、大提琴及持續低音奏鳴曲，選自《�堂協奏曲》拜伯：第一小提琴及持續低音奏鳴曲，「天使宣告」皮連尼：降B大調小提琴及持續低音奏鳴曲，作品3，第九首韋華第：C小調三重奏奏鳴曲，RV 83


21/10/2013 (Mon 星期一)11:00am R. STRAUSS 李察‧史特勞斯Four Last Songs 20’Cheryl Studer (s) Staatskapelle Dresden / Giuseppe Sinopoli最後四首藝術歌曲絲杜迪 (女高音) 德累斯頓管弦樂團 / 仙奴浦利


22/10/2013 (Tue 星期二)11:00am BACH 巴赫Peasant Cantata, BWV212 27’Acad. of Ancient Music / Christopher Hogwood農民清唱劇 BWV212古樂學院合奏團 / 賀活特


8:00pm LIVE ON 4 第四台音樂會Leah Crocetto (s)Joseph Calleja (t) Radio France Cho.Orch. Nat. de France / Daniele GattiVerdi: Sinfonia from ‘Aida’ 6’Verdi (Berio trans.): Eight Romances for Tenor and Orchestra 25’Dutilleux: Mystère de l’instant 15’Verdi: ‘Ave Maria’ from ‘Otello’ 5’ ‘Libera me, Domine’, from ‘Requiem’ 5’

告洛切杜（女高音）卡利亞（男高音）法國電台合唱團法國國家樂團 / 加地威爾第：交響曲，選自《阿依達》威爾第（貝里奧筆錄）：八首為男高音及樂團而寫的浪漫曲迪蒂耶：神秘瞬間威爾第：「聖母頌」，選自《奧賽羅》「耶和華啊，救我」，選自《安魂曲》

23/10/2013 (Wed 星期三)11:00am SCHUBERT 舒伯特Mass in B flat, D. 324 27’Alexander Nader (s) Georg Leskovich (a) Jörg Hering (t) Harry van der Kamp (b)Orch. of the Age of Enlightenment / Bruno Weil降B大調彌撒曲，D. 324娜達（女高音）妮斯歌維契（女低音）希寧（男高音）金普（男低音）啟蒙時期樂團 / 偉爾


8:00pm LIVE ON 4 第四台音樂會CARNEGIE HALL LIVEDiana Damrau (s) Kate Lindsey (ms) Piotr Beczala (t) René Pape (b)Westminster Sym. Cho. West-East Divan Orch. / Daniel BarenboimBeethoven: Symphony No. 2 in D, Op. 36 35’ Symphony No. 9 in D minor, Op. 125, ‘Choral’ 75’

卡奈基音樂廳的迴響丹露（女高音）蓮斯（女中音）比卡澤拿（男高音）帕佩（男低音）西敏寺交響合唱團東西合集管弦樂團 /巴倫邦貝多芬：D大調第二交響曲，作品36 D小調第九交響曲，作品125，「合唱」

24/10/2013 (Thu 星期四)11:00am KODÁLY 高大宜Háry János Suite 24’Laurence Kaptain (cimbalom) Chicago Sym. Orch. / Neeme Järvi哈利亞諾斯組曲卡伯頓（秦巴隆琴）芝加哥交響樂團 / 約菲


8:00pm LIVE ON 4 第四台音樂會JASS AT LINCOLN CENTER - 70 Years of Blue Note: Hard Bop and BeyondIn the middle of the 20th century, the sound and soul of hard bop were captured in recordings by Milt Jackson, Dexter Gordon, Lou Donaldson, and Horace Silver on the Blue Note label. In House of Swing, singer Dianne Reeves and saxophonist Joe Lovano join the Jazz at Lincoln Center Orchestra to honour the past and glimpse the future of that label on its seventieth anniversary.

爵士派對@林肯中心－藍調品牌七十年：硬博普樂20世紀中期，藍調大師如米特‧積遜、迪斯托‧哥頓、洛‧當奴遜、哈雷斯‧蕭華已跟藍調品牌灌錄過帶有騷靈與硬博普樂色彩的唱片。這次，歌手黛安‧瑞芙及色士風手喬‧羅范奴加入林肯中心的爵士派對，向藍調品牌致敬過去，展望未來，紀念其七十週年。

25/10/2013 (Fri 星期五)11:00am SHOSTAKOVICH 蕭斯達高維契Symphony No. 9 in E flat, Op. 70Vienna Phil. / Georg Solti降E大調第九交響曲，作品70維也納愛樂樂團 / 蘇提


8:00pm LIVE ON 4 第四台音樂會Kate Lawson (f) Marrie Rose Kim (ob)Hong Kong Sinfonietta / Philip PickettHandel: Overture to ‘Occasional Oratorio’, HWV62 Biber: Battalia Marcello: Oboe Concerto in C minor Locatelli: Concerto Grosso in D, Op. 1, No. 9 Vivaldi: Flute Concerto in G minor, RV439, ‘La notte’Bach: Orchestral Suite No. 3 in D, BWV1068

Presented by Hong Kong Sinfonietta. Recorded at Hong Kong City Hall Concert Hall on 31/8/2013.

Sonia Lee 李敏琪

Yu Ka-wai 余嘉維



羅琛琪（長笛）金勞思（雙簧管）香港小交響樂團 / 畢克特韓德爾：《慶典神曲》序曲，HWV62 拜伯：戰爭馬徹奴：C小調雙簧管協奏曲羅卡泰利：D大調大協奏曲，作品1，第九首韋華第：G小調長笛協奏曲，RV439，「夜」巴赫：D大調第三管弦組曲，BWV1068

香港小交響樂團主辦。2013年8月31日香港大會堂音樂廳錄音。

26/10/2013 (Sat 星期六)8:00pm LIVE ON 4 第四台音樂會Hui Cheung-wai: June’s Poems 33’ Peter Chan (f) Stephen Chau (g)許翔威: 六月詩陳國超（長笛），周啟良（結他）

Hui Cheung-wai: Vigorous Winds and Tough Strings 11’Martin Choy (cl) Jensen Lung (v) Peter Chan (f) Stephen Chau (g) / Hui Cheung-wai許翔威: 疾風．勁草蔡國田（單簧管）龍向輝（小提琴）陳國超（長笛）周啟良（結他） / 許翔威

Recorded at City Hall Theatre on 6/6/2013.2013年6月6日香港大會堂劇院錄音。

Joyce Beetuan Koh: Water Burns 16’Hilary Summers (a)The Nieuw Ensemble / Ed Spanjaard許美端：水燃森馬斯（女低音）新音樂合奏小組 / 史班約特

Recorded at The Concertgebouw, Amsterdam, on 5/10/2005.2005年10月5日阿姆斯特丹音樂廳錄音。

Joyce Beetuan Koh: Accordion Concerto ‘Divergent Plates’ 33’Frode Haltli (accordion)Norway Stavanger Sym. Orch. / Susanna Mälkki許美端：手風琴協奏曲「分離板塊」蒿締（手風琴）挪威斯塔雲格交響樂團 /瑪爾基

Recorded at Stavanger Symphony Hall, Norway, on 9/10/2003.2003年10月9日挪威斯塔雲格交響音樂廳錄音。

27/10/2013 (Sun 星期日)2:00pm SUNDAY OPERA 歌劇世界Verid: Falstaff 124’Falstaff : Dietrich Fischer-Dieskau (br)Mistress Quickly: Regina Resnik (a)Alice Ford: Ilva Ligabue (s)Ford: Rolando Panerai (br)Vienna Phil. / Leonard Bernstein

威爾第：法爾斯塔夫法爾斯塔夫：費沙－狄斯高（男中音）欺琪莉女士：利斯尼克（女低音）愛莉絲：利嘉寶（女高音）福特：彭尼拉（男中音）維也納愛樂樂團 / 伯恩斯坦



8:00pm MUSIC OF FRIENDS 室樂雅聚Stephen Ng (t) Yu Ka-wai (vc) Sonia Lee (hc)Caccini: Armailli 3’Schütz: O Jesu nomen dulce, SWV308 3’Telemann: Excerpts from Sonata in A minor for Viola da Gamba and Continuo, TWV41:a6 8’Purcell: ‘Come All Ye Songsters’, from ‘Fairy Queen’ 3’ ‘I’ll Sail upon the Dog-star’, from ‘A Fool’s Preferment’ 1’ Sweeter than Roses 3’Handel: Excerpts from Sonata in C for Viola da Gamba and Obbligato Harpsichord 6’Rameau: ‘Ces lieux brillent déjà d’une vive clarté’ and ‘Ce n’est plus le poids de ma chaîne’, from ‘L’Impatience’ 5’

Recroded at RTHK Studio 2 on 28/6/2012.

吳智誠（男高音）余嘉維（大提琴）李敏琪（古鍵琴）卡契尼：阿瑪維妮舒池：奉耶穌的名，SWV308 泰利文：A小調古大提琴及持續低音奏鳴曲選段，TWV41:a6浦賽爾：「來吧，歌者們」，選自《仙后》「我會向天狼星航去」，選自《一個愚者的控訴》比玫瑰更甜美韓德爾：C大調古大提琴及古鍵琴伴奏奏鳴曲選段拉摩：「這些地方已經閃耀明亮的光線」及「這不是我鎖鏈的重量」，選自《不安》


28/10/2013 (Mon 星期一)11:00am RAVEL 拉威爾Gaspard de la nuit 21’Andrei Gavrilov (p)夜之加斯巴加利洛夫（鋼琴）


29/10/2013 (Tue 星期二)11:00am VIVALDI 韋華第Gloria in D, RV589 29’Judith Nelson, Emma Kirkby (s) Carolyn Watkinson (a) Paul Elliott (t) David Thomas (b)Cho. of Christ Church Cathedral, Oxford Acad. of Ancient Music / Simon PrestonD大調榮耀頌，RV589尼爾遜、卻比（女高音）屈靈遜（女低音）艾略特（男高音）湯馬士（男低音）牛津基督�堂合唱團古樂學院合奏團 / 柏爾斯頓


8:00pm LIVE ON 4 第四台音樂會Natalian Gavrilan (ms)Fabio Capitanucci (t)Piero Terranova (br)other vocalistsLa Scala and Toscanini Foundation Academies / Corrado RovarisVerdi: Un giorno di regno 112’

加費爾蘭（女中音）卡比達路茲（男高音）締拉諾伐（男中音）其他歌唱家史卡拉及托斯卡尼尼音樂學院基金會合奏團 / 羅法利士威爾第：一日國王

30/10/2013 (Wed 星期三)11:00am RIMSKY-KORSAKOV 林姆斯基－高沙可夫Symphony No. 2 in F sharp minor, Op. 9, ‘Antar’ 33’Pittsburgh Sym. Orch. / Lorin Maazel 升F小調第二交響曲, 作品9，「安塔爾」匹茲堡交響樂團 / 馬錫爾


8:00pm LIVE ON 4 第四台音樂會CARNEGIE HALL LIVEAfro-Cuban singers, vocal soloists and dancersSongs of Solomon Ensemble, other ensemblesLa Pasión Orch. / Robert SpanoGolijov: La Pasión según San Marcos 87’

卡奈基音樂廳的迴響非洲古巴歌舞團、歌者及舞者所羅門之歌合奏團、其他合奏團帕信樂團 / 史班路歌利可：聖馬可受難曲

31/10/2013 (Thu 星期四)11:00am FINZI 費茲Clarinet Concerto in C minor, Op. 31 27’Emma Johnson (cl) Royal Phil. Orch. / Charles GrovesC小調單簧管協奏曲, 作品31愛瑪‧莊遜（單簧管）皇家管弦樂團 / 告魯斯


8:00pm LIVE ON 4 第四台音樂會JAZZ AT LINCOLN CENTERArtistic Director of JALC, Wynton Marsalis leads his quintet in a revisit of some of his most enduring compositions.

爵士派對@林肯中心林肯中心爵士樂團藝術總監溫頓‧馬沙里斯帶領他的五重奏演奏其膾炙人口的作品。

1/11/2013 (Fri 星期五)11:00am FRANCK 法朗克Piano Quintet in F minor 38’Sviatoslav Richter (p) Borodin QuartetF小調鋼琴五重奏力克特（鋼琴）鮑羅丁四重奏


8:00pm LIVE ON 4 第四台音樂會LIVE AT THE WIGMORE Joyce DiDonato (ms)Julius Drake (p)Rossini: La regata veneziana 10’Head: Three Songs of Venice 13’Faure: Cinq Chansons de Venise 14’Hahn: Venezia – Chansons en dialecte Vénetien 18’

威格摩音樂廳的迴響迪當娜圖（女中音）特歷克（鋼琴）羅西尼：威尼斯的賽船會赫特：三首威尼斯之歌佛瑞：五首威尼斯之歌漢安：威尼斯－方言歌曲

2/11/2013 (Sat 星期六)8:00pm LIVE ON 4 第四台音樂會LIVE AT THE WIGMOREVienna Piano TrioHaydn: Piano Trio in E flat 16’Schubert: Piano Trio in E flat, D. 897, ‘Nocturno’ 8’Shostakovich: Piano Trio No. 2 in E minor, Op. 67 26’

Stephen Ng吳智誠



Radio Television Hong Kong • Music Office • Hong Kong Cultural Centre • Hong Kong Cultural Centre • Hong Kong City Hall • Shatin Town Hall • Tsuen Wan Town Hall • Tuen Mun Town Hall • Kwai Tsing Theatre • Yuen Long Theatre • 香港電台 • 音樂事務處 • 香港文化中心 • 香港大會堂 • 沙田大會堂 • 荃灣大會堂 • 屯門大會堂 • 葵青劇院 • 元朗劇院 •• Tom Lee Music Co. Ltd. Retail branches including: Tsimshatsui, Kowloon Bay, Causeway Bay, Wanchai, Quarry Bay, Aberdeen, Western District, Shatin, Tai Po, Tsuen Wan, Ma On Shan, Sheung Shui, Tuen Mun, Yuen Long, Telford • Olympic City, Luk Yeung Galleria

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www.finemusic.org.hk

RTHK Radio 4 香港電台第四台 FM Stereo 97.6-98.9 MHz radio4.rthk.hk


威格摩音樂廳的迴響維也納鋼琴三重奏海頓：降E大調鋼琴三重奏舒伯特：降E大調鋼琴三重奏，D. 897，「夜曲」蕭斯達高維契：E小調第二鋼琴三重奏，作品67

3/11/2013 (Sun 星期日)2:00pm SUNDAY OPERA 歌劇世界Bizet: Les pêcheurs de perlesLeila: Barbara Hendricks (s)Nadir: John Aler (t)Zurga: Gino Quilico (br)Nourabad: Jean-Philippe Courtis (b)Choeurs et Orchestre du Capitole de Toulouse / Michel Plasson

比才：採珠的漁夫莉娜：巴巴拉‧韓迪絲（女高音）拿迪：亞利爾（男高音）祖加：真盧‧基利哥（男中音）羅勒巴：哥達斯（男低音）土魯斯市政大廈樂團及合唱團 / 比拉遜

8:00pm MUSIC OF FRIENDS 室樂雅聚Allison McCann (v) Jacqueline Leung (p) Kreisler: Liebeslied 3’ Schön Rosmarin 2’Gluck (Kreisler arr.): Melodie (Dance of the Blessed Spirits), from ‘Orfeo ed Euridice’ 3’Schumann: Abegg Variations, Op. 1 8’Beethoven: Violin Sonata No. 7 in C minor, second mov’t. 10’Elgar: Salute d’Amore, Op. 12 3’


麥莉心（小提琴）梁維芝（鋼琴）克賴斯勒：愛的悲傷美麗的羅絲瑪琳格魯克（克賴斯勒編曲）：旋律（聖靈的舞蹈），選自《奧爾歐與尤麗迪采》舒曼：阿貝格變奏曲，作品1貝多芬：C小調第七小提琴奏鳴曲，第二樂章艾爾加：愛的禮讚，作品12


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Vienna Piano Trio 維也納鋼琴三重奏


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▲ LKM and all the hard working singers from this Die Konzertisten’s production 盧大導與Die Konzertisten一眾演出者合照

Veteran Radio 4 presenter Prof. Lo King-man (LKM) is much known for his opera productions. Recently, he directed Die Konzertisten (DK) in their production of Purcell’s Dido and Aeneas. LKM said although DK is a relatively young music group, they are dedicated and have a high respect for music. Their singing is of a very high standard and they share the same value in music making. Therefore, he was very willing to work with them.

LKM has already directed Dido and Aeneas twice. The first time was in 1968 in Benevento, Italy, and the second was in 2006 with The Hong Kong Academy for Performing Arts. Knowing the expense of putting on an opera, LKM was able to present it in an economical and attractive way. He believes it is more essential to bring out the beauty of the music, rather than simply having a glamorous stage. What’s more, LKM believes that music comes first in an opera, and that the Music Director should be paid more than the director.

Few of DK’s singers had professional musical training, but they were very well-prepared and serious about the music. They managed to put this opera on stage after only nine rehearsals.

Kathy Lam

神級大導林家琦

人稱「盧校長」的盧景文，除了是香港演藝學院的前任校長外，也是一位本港最資深的

歌劇導演。這位第四台「歌劇世界」主持，早前在百忙中為Die Konzertisten演出浦賽

爾的歌劇《狄多與依尼阿斯》擔任導演工作！

問：你和Die Konzertisten的緣份從何而來？

答：是Die Konzertisten主動跟我聯絡，問可否幫他們一把。我對半歌劇、半音樂會形

式的演唱不太主張，卻又明白合唱團的經濟困難，因此我以一個最簡單和省錢的方

法助他們把歌劇搬上舞台。我曾導演《狄多與依尼阿斯》兩次，第一次是1968年

在意大利南部城市貝內文托，第二次是2006年和香港演藝學院合作，兩次都用上

最簡單的佈景。有了那些經驗，是次演出也以簡潔為主。合唱團成員穿上黑色的演

出服，只有五位男女主角穿上色彩較燦爛的戲服來突出自己。至於故事背景則搬到

現代，令處理更合理化。我認為歌劇最重要的是音樂，金錢不應花在一些對音樂沒

長遠價值的事上。因此，近十年來由我製作的歌劇，舞台佈景都傾向簡潔。我寧願

在劇中帶出精要的歌劇元素，也不想花費在豪華的佈景上。

問：你是「神級」導演，你的身價會否很高？

答：我並沒有跟Die Konzertisten提出酬金，只說低於指揮就行了。在歌劇中，我

認為音樂是最重要的，因此在我的製作，音樂總監的名字必定在我之上，所

以他的籌勞亦應比我多。我很樂意跟一些重視音樂、細心和要求高的團體合

作。Die Konzertisten對音樂處理很認真、價值觀亦與我相近，跟他們合作令我很

安心。雖然團員們不是每位都接受過專業的音樂訓練，但他們準備充足，只需九次

綵排便能踏上舞台演出。我給他們的表現有八十分！

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On 19 & 26 October (Sat) at 2pm, R4 Buddies (in Cantonese) will talk to the passionate members of Die Konzertisten about the experience of putting an opera together. Excerpts of Dido and Aeneas will also be played on air. Don’t miss it!

在10月19及26日(星期六)下午2時的四台插班生

節目中，主持人將與多位曾參加演出和製作的

Die Konzertisten 成員分享把歌劇《狄多與依尼

阿斯》搬上舞台的興奮經歷，亦會播出歌劇的精

彩片段，萬勿錯過。

COLUMNS 專欄


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