（左起）羅乃新、郭嘉特、譚家傑及劉綺華(From left) Nancy Loo, Gabriel Kwok, Tam Ka-kit and Eva Lue

承蒙通利琴行贊助兩台施坦威演奏三角鋼琴供演出之用。Two Steinway concert grand pianos used in this concert are sponsored by Tom Lee Music Co., Ltd.

音樂會由香港電台現場錄音，並由香港電台第四台（FM 97.6 - 98.9 兆赫及 radio4.rthk.hk）�於 2019 年12 月31日（星期二）晚上 8 時播出。

The concert is recorded by RTHK and will be broadcast on RTHK Radio 4 (FM Stereo 97.6 - 98.9 Mhz and radio4.rthk.hk) on 31 December 2019 (Tuesday) 8pm.

1989

2009

2019

GENK© Chan Pui-ching

節目 Programme

巴赫� A 小調四鋼琴協奏曲，BWV 1065� � 鋼琴：譚家傑、劉綺華、羅乃新及郭嘉特� � 演藝愛樂���� � 指揮：蔡敏德

布拉姆斯� 匈牙利舞曲，WoO 1 之第一、四及五首� � 鋼琴：羅乃新、蔡崇力、潘翠芬及吳恩樂

德伏扎克� 斯拉夫舞曲，作品七十二之第二及七首� � 鋼琴：郭嘉特、林敏柔、黃懿倫及吳恩樂

威伯格� 比才《卡門》主題幻想曲� � 鋼琴：譚家傑、蔡崇力、林敏柔及胡景臨

~ 中場休息 20 分鐘 ~�

羅森布拉特� 日本主題幻想曲� � 鋼琴：劉綺華、潘翠芬、黃懿倫及胡景臨

拉維尼亞克� 加洛進行曲吉洛克� 《香檳》觸技曲皮亞梭拉� 自由探戈� � 鋼琴：郭嘉特、劉綺華、羅乃新及譚家傑

郭品文� 喜三拾（世界首演）� � 鋼琴：�蔡崇力、郭嘉特、羅乃新、劉綺華、林敏柔、潘翠芬、�� � � 譚家傑、胡景臨、黃懿倫及吳恩樂

J.S. Bach Concerto in A minor for 4 Pianos, BWV 1065 Piano: Tam Ka-kit, Eva Lue, Nancy Loo and Gabriel Kwok Philharmonia APA Conductor: Sharon Choa

Brahms Hungarian Dances, WoO 1, Nos. 1, 4 & 5 Piano: Nancy Loo with Choi Sown-le, Poon Chui-fun and Enloc Wu

Dvořák Slavonic Dances, Op. 72, Nos. 2 & 7 Piano: Gabriel Kwok with Margaret Lynn, Eleanor Wong and Enloc Wu

Wilberg Fantasy on Themes from Bizet’s Carmen Piano: Tam Ka-kit with Choi Sown-le, Margaret Lynn, and Betty Woo

~An intermission of 20 minutes ~

Rosenblatt Fantasy on Japanese Themes Piano: Eva Lue with Poon Chui-fun, Eleanor Wong and Betty Woo

Lavignac Galop - MarcheGillock Champagne ToccataPiazzolla Libertango Piano: Gabriel Kwok, Eva Lue, Nancy Loo and Tam Ka-kit

Julie Kuok Merry Collage 3X (world premiere) Piano: Choi Sown-le, Gabriel Kwok, Nancy Loo, Eva Lue, Margaret Lynn, Poon Chui-fun, Tam Ka-kit, Betty Woo, Eleanor Wong and Enloc Wu

節目長約 1 小時 30 分鐘，包括中場休息 20 分鐘。The concert will run for about 1 hour and 30 minutes including a 20 minute intermission.

（左起）羅乃新、郭嘉特、譚家傑及劉綺華(From left) Nancy Loo, Gabriel Kwok, Tam Ka-kit and Eva Lue

承蒙通利琴行贊助兩台施坦威演奏三角鋼琴供演出之用。Two Steinway concert grand pianos used in this concert are sponsored by Tom Lee Music Co., Ltd.

音樂會由香港電台現場錄音，並由香港電台第四台（FM 97.6 - 98.9 兆赫及 radio4.rthk.hk）�於 2019 年12 月31日（星期二）晚上 8 時播出。

The concert is recorded by RTHK and will be broadcast on RTHK Radio 4 (FM Stereo 97.6 - 98.9 Mhz and radio4.rthk.hk) on 31 December 2019 (Tuesday) 8pm.

郭嘉特 Gabriel Kwok 鋼琴 Piano

郭嘉特自1989年起為香港演藝學院鍵盤樂系主任，於2 0 0 3 年被推選為英國倫敦皇家音樂學院院士，並在2014年獲�香港特別行政區政府頒授榮譽勳章以表揚他

對鋼琴教育的貢獻。他現為深圳藝術學校、西安音樂學

院、星海音樂學院、武漢音樂學院及中國音樂學院客席

教授，並多次在內地、台灣、新加坡、韓國、英國 、

德 國 、 荷 蘭 、 葡 萄 牙 、 美 國 、 加 拿 大 、 澳 洲 及 新西

蘭主持大師班。

Gabriel Kwok has been Head of Keyboard Studies at The Hong Kong Academy for Performing Arts since 1989. He was awarded Medal of Honour by the Hong Kong Special Administrative Region Government in 2014 for his contribution to piano education. A Fellow of the Royal Academy of Music in London since 2003, he is also visiting professor at the Shenzhen Arts School, Xian Conservatory of Music, Xinghai Conservatory of Music, Wuhan Conservatory of Music and China Conservatory of Music. He has given masterclasses in the Mainland China, Taiwan, Singapore, South Korea, the United Kingdom, Germany, the Netherlands, Portugal, the United States, Canada, Australia and New Zealand.

劉綺華 Eva Lue 鋼琴 Piano

劉 綺 華 早 年 獲 取 獎 學 金 遠 赴 英 國 皇 家 音 樂 學 院 完 成

音 樂 課 程 並 取 得 多 個 獎 項 ， 回 港 後 應 邀 為 香 港 管 弦

樂團、香港中樂團、香港小交響樂團及其他多個樂團

擔任協奏曲獨奏。她除了活躍於演奏外，近年致力於

鋼琴教學，特別是教授鋼琴伴奏的技巧，同時亦在各

主 要 公 開 比 賽 中 擔 任 評 審 ， 現 任 教 於 香 港 演 藝 學 院

鍵盤樂系。

Eva Lue received musical education from the Royal College of Music in London, being the recipient of scholarships and prizes. Since her return to Hong Kong, she has appeared as concerto soloist with the Hong Kong Philharmonic Orchestra, Hong Kong Chinese Orchestra, Hong Kong Sinfonietta and many other orchestras. She has devoted much of her time in pedagogic and adjudicating work in recent years. She is currently a teaching staff of the Department of Keyboard at The Hong Kong Academy for Performing Arts.

2

羅乃新 Nancy Loo 鋼琴 Piano

羅乃新是本 港其中一位最多面的藝術家：她既是鋼琴

家，亦是電台節目主持、戲劇演員和作家。她於19 78年

獲選為十大傑出青年。作為鋼琴演奏家，她曾在英國、

歐 洲、北美洲及東 南亞各地舉 行演奏 會及與不同樂團

合作。她 現任教 於香 港 演藝 學院 及香 港中文 大學，並

經常應邀主持音樂講座、大師班和出任鋼琴比賽評判，

亦為香港電台第四台主持音樂節目《弦外之音》和兒童

古典音樂節目《親親童樂日》。

Nancy Loo is one of Hong Kong’s most versatile artists, as pianist, radio programme hostess, actress and writer. She was a recipient of the Ten Outstanding Young Persons in 1978. As a pianist, Loo has given solo recitals and performed with orchestras in the United Kingdom, Europe, North America and Asia. She currently teaches the piano at The Hong Kong Academy for Performing Arts and The Chinese University of Hong Kong, and is often invited to host music talks and masterclasses and to serve as a juror for piano competitions. She is the hostess of a music programme ‘Belle Nuit’ and a classical music radio show for children, ‘Children’s Corner’, on Radio 4 of the Radio Television Hong Kong.��

譚家傑 Tam Ka-kit 鋼琴 Piano

譚家傑現居於加拿大，曾任英國皇家北方音樂學院的

鋼琴教授。他一直以來活躍於本地演奏，經常跟香港

管弦樂團、香港中樂團、香港小交響樂團及泛亞交響

樂團合作演出。他亦經常以獨奏、室樂或合奏演奏家

身份在世界各地演出，足跡遍及英國、法國、德國、

意大利、匈牙利、美國、加拿大、內地及台灣。

Tam Ka-kit is a former piano professor at the Royal Northern College of Music in the United Kingdom, now residing in Canada. He has made various concerto appearances with the Hong Kong Philharmonic Orchestra, Hong Kong Chinese Orchestra, Hong Kong Sinfonietta and Pan Asia Symphony Orchestra. He played extensively in many parts of the world as soloist, chamber musician and accompanist. Performances have taken him to many places including the United Kingdom, France, Germany, Italy, Hungary, the United States, Canada, the Mainland China and Taiwan.

3

吳恩樂 Enloc Wu 鋼琴 Piano

吳恩樂的演出經驗豐富，參與無數音樂會和香港電台的直

播節目，她曾與倫敦莫扎特演奏家樂團及曼徹斯特莫扎特

管 弦 樂 團 合 作 ， 擔 任 獨 奏 。 多 年 來 ， 她 屢 獲 殊 榮 ， 包 括

查普爾金獎、彼得．莫里森獎、皇家海外聯盟英聯邦獎，

以及英國全國音樂協會聯盟大賽冠軍。

Enloc Wu has performed in numerous concerts and on-air programmes for the Radio Television Hong Kong. She was a soloist with the London Mozart Players and Manchester Mozart Orchestra. Her accolades include the Chappell Gold Medal, Peter Morrison Prize, Royal Overseas League Commonwealth Prize and first prize in the National Federation of Music Societies’ Contest.

林敏柔 Margaret Lynn 鋼琴 Piano

林敏柔是前香港演藝學院音樂學院副院長及課程總監，擁

有薩里大學音樂碩士學位及布里斯托大學教育博士學位。

她曾與小百合．岸岡 – 德布斯基、馬丁．蓋特、科林．帕爾等

多位國際音樂家一起演出。她是嬉遊曲鋼琴三重奏成員之

一，三重奏組合每年在英國舉行超過30場音樂會。

Margaret Lynn was the former Associate Dean and Director of Studies of the School of Music of The Hong Kong Academy for Performing Arts. She holds a Master of Music degree from the University of Surrey and a Doctor of Education degree from the University of Bristol. As a member of the Divertimento Piano Trio which presents over 30 concerts each year in the United Kingdom, she has performed with many international artists such as Sayuri Kishi-Debski, Martin Gatt and Colin Parr.

胡景臨 Betty Woo 鋼琴 Piano

胡 景 臨 擁 有 史 丹 福 大 學 音 樂 藝 術 博 士 學 位 ， 曾 於 北 京 、

上海、香港演出及主持大師班和講座，於美國加州舉行多

場 個 人 音 樂 會 及 演 奏 協 奏 曲 ， 並 與 雙 簧 管 好 手 海 因 茲．

霍利格、大提琴家珍妮佛．庫爾普及三藩市交響樂團成員�

演出室樂。

Betty Woo holds a Doctor of Musical Arts degree from the Stanford University. She has performed, conducted masterclasses and given lectures in Beijing, Shanghai and Hong Kong, and also made numerous recital and concerto appearances in California, the United States. As a chamber music player, she has performed with oboist Heinz Holliger, cellist Jennifer Culp and members of the San Francisco Symphony.

4

黃懿倫 Eleanor Wong 鋼琴 Piano

黃懿倫是香港演藝學院鍵盤樂高級講師及駐院藝術家、深圳

藝術學院和武漢音樂學院的客席教授，以及天津音樂學院

的榮譽教授，現為香港鋼琴教師協會主席。她於2 0 1 4年獲

香港特別行政區政府頒授榮譽勳章。

Eleanor Wong is the Senior Lecturer and Artist-in-Residence of The Hong Kong Academy for Performing Arts. She is a visiting professor at the Shenzhen Arts School and Wuhan Music Conservatory, an honorary professor of the Tianjin Music Conservatory, and the Chairperson of the Piano Teachers’ Association in Hong Kong. She was awarded Medal of Honour by the Hong Kong Special Administrative Region Government in 2014.

潘翠芬 Poon Chui-fun 鋼琴 Piano

潘 翠 芬 畢 業 於 英 國 皇 家 音 樂 學 院 ， 主 修 鋼 琴 演 奏 ， 曾 在

香港演藝學院任職，其後於1 9 9 4年移居美國，於德克薩斯

鋼琴國際學院及藝術節任總監助理達2 4年。她憑藉豐富的

國際經驗，於2 0 1 6年獲邀擔任北京首屆魯賓斯坦國際鋼琴

比賽少年組的行政總監。

A graduate of the Royal College of Music in Piano Performance, Poon Chui-fun was on the faculty of The Hong Kong Academy for Performing Arts before she resettled in the United States in 1994. She was Assistant to the Director of the Piano Texas International Academy & Festival for 24 years. With her rich international experience, she was invited to be the Executive Director of the First Junior Rubinstein International Piano Competition in Beijing in 2016.

蔡崇力 Choi Sown-le 鋼琴 Piano

蔡崇力畢業於英國皇家音樂學院及日內瓦音樂學院，曾與

麥森．蕭斯塔高維契、理察．奧斯丁及福村芳一這三位指揮

合 作 演 出 ， 並 曾 以 獨 奏 的 身 份 與 瑞 士 羅 曼 德 管 弦 樂 團 、

布拉格室樂團及前中國中央樂團同台亮相。他現為香港鋼

琴音樂協會主席及藝術總監。

A graduate of the Royal College of Music in London and the Conservatoire musique de Genève, Choi Sown-le has performed with conductors Maxim Shostakovich, Richard Austin and Yoshikazu Fukumura, and appeared as soloist with the Orchestre de la Suisse Romande, Prague Chamber Orchestra and the former Central Philharmonic Orchestra in Beijing. He is currently Chairman and Artistic Director of the Hong Kong Piano Music Association.

5

郭品文 Julie Kuok 作曲家 Composer

郭品文現為香港演藝學院及香港中文大學鋼琴系導師，同時�

是 施 坦 威 藝 術 家 ， 活 躍 於 表 演 丶 作 曲 及 教 學 。 她 於 美 國

歐柏林音樂學院、香港演藝學院及英國倫敦皇家音樂學院�

接受音樂專業訓練，師承郭嘉特、羅斯坦、彼雅斯．蓮和�

露芙．娜。她曾應邀多間機構或團體的委約作曲，如康樂及

文化事務署、香港管弦樂團、香港兒童合唱團、德望學校、華人女作曲家協會

及香港長笛藝術學校等。

Teaching at The Hong Kong Academy for Performing Arts (HKAPA) and The Chinese University of Hong Kong, Julie Kwok is a Steinway artist active in performance, composition and music education. Graduated from the Oberlin Conservatory of Music, the HKAPA and Royal Academy of Music in London, she benefited much from the tutelage of Gabriel Kwok, Sedmara Rutstein, Piers Lane and Ruth Nye. She had been commissioned to write music by several organisations such as the Leisure and Cultural Services Department, Hong Kong Philharmonic Orchestra, Hong Kong Children’s Choir, Good Hope School, Chinese Woman’s Composers Association and Hong Kong Flute Academy.

蔡敏德 Sharon Choa� 指揮 Conductor

蔡敏德現為香港演藝學院音樂學院院長。她曾獲英國藝術

協會、英國學院、藝術人文研究協會以及英國文化協會等

機構頒發多項個人資助。她於 2007 年獲提名為「全球具啟

發性傑出女性」，其畫像更在英國國家肖像畫廊展出。作為

指揮家，蔡氏曾與赫拉德茨 – 克拉洛韋愛樂樂團、耶拿愛樂

樂團、聖彼得堡室樂團、布拉格愛樂樂團、伍珀塔爾小交響樂團及香港小交響

樂團等合作演出。

Sharon Choa currently holds the position as Dean of the School of Music at The Hong Kong Academy for Performing Arts. She has been awarded many prizes including individual grants by Arts Council England, the British Academy, the Arts Humanities Research Council and the British Council. In 2007, she was nominated an ‘inspirational woman of the world’ with her portrait appearing in the National Gallery of the United Kingdom. In her career as a conductor, she has worked with orchestras such as the Hradec Kralove Philharmonic, Jena Philharmonic, St. Petersburg Camerata, Prague Philharmonia, Wuppertal Sinfonietta and Hong Kong Sinfonietta.

6

演藝愛樂 Philharmonia APA

演 藝 愛 樂 是 由 香 港 演 藝 學 院 音 樂�

學院歷屆精英畢業生組成的樂團。

香 港 演 藝 學 院 音 樂 學 院 自 成 立

三十五年來，培育出無數傑出的音

樂家。演藝愛樂的成立除了為畢業

生提供一個專業的演出平台外，更

建立起一個屬於演藝畢業生的強大網絡，連繫社區，將音樂帶到香港不同的角

落，藉此回饋社會。在成立的兩年內，演藝愛樂已活躍於本地及國際的舞台，

包括兩度獲邀遠赴維也納參與「香港 – 維也納音樂節」及作為 2017 和 2018 年

阿爾達米拉香港國際結他研討會協奏曲音樂會的演出嘉賓。

Philharmonia APA (PAPA) is an ensemble made up of young professional graduates of The Hong Kong Academy for Performing Arts (HKAPA). The formation of PAPA was inspired by the distinguished achievements of three decades of music graduates. PAPA continues to give high-caliber performances as established by the HKAPA-trained musicians, and also unites the networks of music graduates and serves the Hong Kong community by contributing to its arts scene. In two years of growth, PAPA has actively performed in local and international stages. Recent performances include the second invitation to the Hong Kong – Vienna Music Festival in Vienna and the concerti concerts in Altamira Hong Kong International Guitar Symposium and Competition in 2017 and 2018.

資料由表演者提供Information provided by the artists

第一小提琴� First Violin

鄭陽� Zheng Yang

蔡君賢� Vince Eliezer N. Chua

沈庭嘉� Shen Ting-chia Vivian

李珺君� Li Junjun Cecilia

第二小提琴 Second Violin

魏寧一� Wei Ningyi Felix

黎逸晞� Lai Yat-hei Sean

陳樹泉� Chan Shu-chuen Alvin

楊健文� Yeung Kin-man Sunny

中提琴� Viola

何珈樺� Ho Ka-wah Cass

楊帆� Yang Fan

林宇峰� Lam Yu-fung Edwin

大提琴 Cello

王翹𦑊� Wong Q-jing Juanita

徐婷� Xu Ting

低音大提琴 Double Bass

譚舒翹� Tam Shu-kiu Crystal

7

樂曲介紹

A小調四鋼琴協奏曲，BWV 1065� 巴赫 (1685-1750)

快板極緩板快板

從這首樂曲可以見到巴赫對韋華第的《和聲靈感》（作品三）有甚大的興趣。韋華第

這套樂曲於 1711 年出版，裏面包含 12 首弦樂器協奏曲，巴赫從中改編出六首

作品。今晚演出的協奏曲改寫自韋華第的作品三之第十首，原為 B 小調的四支

小提琴協奏曲，改編曲本來是寫成由四台古鍵琴同奏，用巴赫時代的古典弦樂

器伴和演出。今晚，四台三角鋼琴在室樂團伴奏下，將會為這首巴羅克時代的

樂曲賦與現代的聲音。

第一樂章由兩位鋼琴手帶領出場，點燃起雄偉的主題。四位鋼琴手在樂隊低調

的伴奏聲中，輪流展現自己的獨特性格和合作精神，為色彩繽紛又不斷交換的

內容帶來熱鬧興奮。到了第二樂章，樂隊用附點節奏抽噎地奏出 A7 和弦，每

位鋼琴手不停找尋主調，終於走遍每個敘述句後找到自己失去的靈魂。其後他

們一起潛進沉思和聲的泥沼中，直至到達 E 大調，才找到正確的鑰匙，在樂曲

告終時打開最後的命運之門。

匈牙利舞曲，WoO 1之第一、四及五首� 布拉姆斯 (1833-1897)

(編：凱勒)

完成於 1879 年的《匈牙利舞曲集》，百多年來一直是古典樂中的流行曲。原本

的四手聯彈版本非常暢銷，為布拉姆斯帶來一大筆收入，後來他為樂曲配上

管弦樂譜。其中幾首又被其他音樂家改編，供不同的樂器演奏。今日大家所

聽到的是四個人在四具鋼琴上演奏，原來的版本是凱勒改編的雙鋼琴八手聯彈

版本。

整集《匈牙利舞曲》包含 21 首三段曲式土風舞曲，展現出匈牙利人的獨立自主

精神。第一首的 G 小調開始時，旋律幽幽而有暖意，伴奏的音型一下一下的�

響起，可見到匈牙利人血液中的悲憫情懷。突如其來的節奏重音，是很典型

的匈牙利音樂重音，在以下兩首舞曲也可以找到。第四首的 F 小調輓歌前後夾著�

一 段 非 常 刺 激 又 很 幽 默 的 F 大 調 故 事。 第 五 首 用 上 升 F 小 調（ 在 管 弦 樂 版 本�

則是 G 小調），是曲集中最受樂迷喜愛的一首，擁有熱切的推動力、自由的�

感情表達，全曲充滿節日的氣氛。

8

斯拉夫舞曲，作品七十二之第二及七首� 德伏扎克 (1841-1904)

(編：鈴木英明)

1877 年，《匈牙利舞曲》樂譜熱賣，帶來蓬勃的出版業務，布拉姆斯向替他印

發樂譜的出版商史洛克引薦年輕的波希米亞作曲家德伏扎克。於是，德伏扎克�

應 史 洛 克 的 提 議， 寫 了 一 套 八 首 樂 曲， 名 為《 斯 拉 夫 舞 曲 集 》（ 作 品 編 號�

四 十 六 ）， 於 1878 年 出 版。 這 套 雙 鋼 琴 曲 贏 得 甚 高 評 價， 於 是 德 伏 扎 克 於1886 年再撰寫第二集（作品七十二）。當布拉姆斯是借用現成的曲調寫成一批匈

牙利舞曲，德伏扎克則是根據幾個斯拉夫國家的民樂元素而創作，不過後來也

配上了管弦樂譜，就像布拉姆斯那麼樣。

作品七十二之第二首是 3/4 拍子的三段曲式，屬於杜姆卡舞，整體氣氛憂鬱，

主題用上 E 小調，與之對比的是有如鳥兒啁啾的 E 大調樂段，和陽剛味濃的 C

大調和弦樂段。第七首是 2/4 拍子的 C 大調圓圈舞，活潑而激情，動力來自頻

密轉換節奏、大膽的轉換樂調（D 大調、降 D 大調、C 小調和降 E 大調），以及

聲量在 C 小調樂節陡然增強。今晚演出的四人彈奏四台鋼琴版本，源自鈴木英明

的雙鋼琴八手聯彈曲。��

比才《卡門》主題幻想曲� 威伯格 (生於1955)

比才的《卡門》寫於 1875 年，是一齣家喻戶曉的歌劇。故事說一個吉卜賽女郎

把一位士兵誘惑得神魂顛倒，為她捨棄一切，後來卻發現她撇了他，跟了一個

鬥牛士。終於，這個心碎的士兵把她殺死。今晚這首幻想曲融合了歌劇裏幾

首主題曲，由威伯格重新配上和聲，又用現代的曲調變化來開展。威伯格是

「美國鋼琴四重奏」樂團四位鋼琴演奏家之一，寫了多首樂曲供鋼琴合奏用。

這曲是為雙鋼琴八手聯彈而寫。

音樂由士兵在 2/4 拍子邁步前進開始，走過連串意想不到的換調，為場景帶來

更多色彩。音樂突然停下來，令觀眾把注意力集中於卡門進場。一個 4/4 拍子

的神秘樂段領出她那首含有挑逗意味的下行半音階詠歎調。威伯格在這裏用鬼

魅似的不協調和弦來重新演繹卡門。再來一次稍長的停頓，鬥牛士帶著他那3/8 拍子的主題進場，然後 3/4 拍子的快步吉卜賽舞把音樂帶到高潮。

9

日本主題幻想曲� 羅森布拉特 (生於1956)

跟剛才的《比才〈卡門〉主題幻想曲》一樣，這首《日本主題幻想曲》也是雙鋼琴

八手聯彈曲。羅森布拉特是位俄羅斯的鋼琴家兼作曲家，很喜歡採用不同國家

民族的音樂素材寫成鋼琴合奏曲，就如《俄羅斯主題幻想曲》、《猶太風格主題

幻想曲》，以及這首《日本主題幻想曲》，以幾段日本歌曲的旋律為主題，寫成

帶有不同爵士樂風格的樂曲。

本 幻 想 曲 採 用 的 歌 曲 包 括： 山 田 耕 筰（1886-1965）的《 紅 蜻 蜓 》、 成 田 為 三�

（1893-1945）的《海濱之歌》，以及日本最為人熟悉的傳統歌曲《櫻花》。羅森

布拉特以《紅蜻蜓》作為序樂，曲中隱藏《櫻花》樂句，然後用《海濱之歌》的主

題作為幻想曲的起頭與結尾。他把《櫻花》主題巧妙地織進過門樂段中，創作

出不同的變奏，或者作為其他主題的對位音樂。從這首樂曲可見作曲家是如何

結合幾種爵士樂風格，把它們在一首作品中精彩地綻放。

加洛進行曲� 拉維尼亞克 (1846-1916)

這是法國音樂學者兼作曲家拉維尼亞克一次幽默的嘗試，把四位鋼琴手的空間

壓縮在同一台鋼琴面前！無論這樣做是為提升他們的和諧親密感，抑或增加各

人對空間的競逐，全視乎四位鋼琴手的感覺。在整體視覺表現來說，這首樂曲

的確有把音樂會帶到反高潮的效果。

樂曲一開始就是飛快移動的主題，拉維尼亞克很聰明地把全部八隻手都用上，

跟著奏出一段歡快的 D 大調主題，接以笑意十足的主題，伴奏聲有如馬戲表

演。到了降 B 大調樂節，內容與前截然不同，只有兩位鋼琴手在自我陶醉地彈

奏一首可愛的四手聯彈。一些突發的對比素材不時出現，為音樂添加更多風趣

感，然後才回到歡快與笑意十足的兩段主題。��

�《香檳》觸技曲� 吉洛克 (1917-1993)

這首雙鋼琴八手聯彈的《香檳》觸技曲，可與拉維尼亞克的《加洛進行曲》互相

輝映，同樣是歡樂愉快，風格上卻流露不同的氛圍。千萬不要被曲名愚弄到，

雖然「觸技曲」通常是指技藝艱深的作品，對演奏者有極高的技巧要求，令演奏

者不時手忙腳亂，汗流浹背，不過這首觸技曲聽上去很輕鬆隨和。要知道吉洛

克這位美國音樂教育家兼作曲家非常喜歡為兒童寫鋼琴曲，青春味道從起頭的C 大調主題就流露出來。中央樂節的降 E 大調主題很像那些酒店大堂播放的音

樂。這首小曲可說是演奏者送給觀眾的輕鬆小點。

10

自由探戈� 皮亞梭拉 (1921-1992)

(編：山本京子)

關於皮亞梭拉，有個很有趣味的故事。他是位阿根廷作曲家兼班多紐手風琴

手，曾經一度對自少聽著長大的探戈深痛惡絕，一心要成為嚴肅的古典音樂

作曲家，遮掩自己認識探戈。不過，他的導師布蘭加鼓勵他珍惜自己真正的

實力，皮亞梭拉終於決定把自己改革探戈的願望釋放出來，把探戈結合爵士

樂與古典音樂元素，從此成為獨特的探戈作曲家，而且憑此聲名大噪。這首�

《自由探戈》似乎把他的古怪探戈精神釋放出來，將探戈的藝術水平提昇至另

一層次。這首樂曲是根據重複的節奏模式而即興演奏。

今晚幾位樂手演奏的是山本京子的雙鋼琴八手聯彈版本，在四台鋼琴上演出。

山本京子是位日本編曲家、作曲家兼鋼琴家，至今仍積極出版自己的著作，尤

其愛改編皮亞梭拉的作品。在這首改編曲中，需要用腳打拍子和用手敲鋼琴，

以強調樂曲中的節奏感覺，至於如何執行，則視乎當時的音響效果而定。

喜三拾（世界首演）� 郭品文

慶憶躍

本曲是應康樂及文化事務署的委約而創作，作為是次音樂會的閉幕曲。郭品文

以巴赫的《四鋼琴協奏曲》（本音樂會的開場曲）為參照，再以香港大眾熟悉的

中國調子為主，加插本音樂會的幾首樂曲，創作出這首拼貼音樂。「三拾」不

單是指用三種方法來處理這首中國調子，也指數目字「三十」，作為替香港文

化中心三十周年誌慶。

〈 慶 〉是 指 慶 祝 與 豐 收 的 時 節， 以 中 國 調 子 的 基 本 樂 旨， 加 上 從 巴 赫 和 羅 森

布拉特的樂曲取材，沿用巴赫的《四鋼琴協奏曲》第一樂章的整體結構寫成。

〈憶〉是指過去的出生與回想，整首以中國調子與德伏扎克的《斯拉夫舞曲》（作

品七十二之第二首）主題交織。〈躍〉是一首舞曲，象徵向未來躍進。這樂章

引用了一些舞曲如《自由探戈》、《匈牙利舞曲》第一首和第五首，甚至開開

心心的生日歌，與中國調子裝扮在一起。這首拼貼曲的主旨，是音樂並無疆

界，當我們珍惜機會，擁抱分歧，願意從過去學習，迎接未來，就可以熱情

洋溢地交流文化。

樂曲介紹由郭品文提供

11

Programme Notes

Concerto in A minor for 4 Pianos, BWV 1065 Johann Sebastian Bach (1685-1750)

AllegroLargo

Allegro

This piece is a manifestation of Bach’s interest in Antonio Vivaldi’s L’estro armónico (The Harmonic Inspiration), Op. 3, published in 1711. It consists of 12 concertos for stringed instruments from which Bach made a total of six transcriptions. The concerto performed tonight is adapted from No. 10 of Op. 3, originally a concerto for four violins in B minor. It was to be performed on four harpsichords accompanied by period stringed instruments during Bach’s time. Tonight, the four grand pianos accompanied by the chamber orchestra give you the modern sound of this baroque music.

Led by two pianists, the first movement sparks off with its majestic theme. The four pianists take turns in revealing their individuality and partnership with a little accompaniment by the orchestra, creating excitement in the colourful and textural changes throughout the movement. With the orchestra whimpering the opening A7 chord in dotted rhythm, the second movement seems to find its lost soul through the recitatives played by each pianist in the search for the tonic key. They later dive together into a swamp of meditative harmonies until they reach an E major chord, the right key to unlock the final destiny in conclusion.

Hungarian Dances, WoO 1, Nos. 1, 4 & 5 Johannes Brahms (1833-1897) (Arr. Robert Keller)

The Hungarian Dances, completed in 1879, have been among the classical pops for more than a century. They were originally written for duets, which were very well received and might have earned Brahms quite a fortune. He later had them orchestrated. Several arrangements for different instrumentations have been made by other musicians since then. Today, you are listening to the version for four pianists on four pianos, based on Keller’s arrangement for eight hands on two pianos.

The whole set consists of 21 folk dances in ternary form, expressing the free spirit of the Hungarian nation. No. 1 in G minor starts with the dark but warm tune accompanied by tingling figures revealing the compassion of Hungarian blood. The unexpected rhythmic accents are the typical Hungarian musical accents that you can also find in the next two dances. No. 4 shows the F minor lament sandwiching in between rather exciting and humorous stories in F major. No. 5 in F-sharp minor (G minor for the orchestral version) is the most popular one in the set with its fervent drive, freedom of expression and festive ambience.

12

Slavonic Dances Op. 72, Nos. 2 & 7 Antonín Dvořák (1841-1904) (Arr. Hideaki Suzuki)

As the Hungarian Dances brought great success to the publishing business in 1877, Brahms introduced the younger Dvořák to his publisher, Fritz Simrock. Requested by Simrock, the Bohemian composer wrote a set of eight dances known as the Slavonic Dances (Op. 46) for piano duet in 1878, which later became highly acclaimed. He continued to write the second set, Op. 72, in 1886. While Brahms borrowed existing folk tunes in his Hungarian dances, Dvořák composed his own based on the folk musical elements of the Slavic nations, but then had them orchestrated just like Brahms did.

No. 2 of Op. 72 is a 3/4 dance in ternary form. It is a dumka for its overall melancholy with the E minor theme contrasted with the chirping of birds in E major and a masculine chordal passage in C major. No. 7 is a vigorous 2/4 circle dance in C major, where excitement lies on the frequent change of rhythms, adventurous change of keys (D major, D-flat major, C minor and E-flat major) and dynamic swells in the C minor section. The version tonight for four pianists on four pianos is based on Hideaki Suzuki’s arrangement for eight hands on two pianos.

Fantasy on Themes from Bizet’s Carmen Mack Wilberg (b. 1955)

Composed in 1875, Bizet’s Carmen is a well-known opera about how a gypsy woman seduced a soldier, who eventually gave up everything for her just to find out later that she left him for a bullfighter. In the end, she was killed by this heart-broken soldier. This fantasy is the assimilation of a few significant tunes from the opera, which are reharmonised and extended with modern key changes made by Wilberg. As one of the four pianists in the American Piano Quartet, Wilberg wrote several pieces for piano ensemble. This piece is written for eight hands on two pianos.

The music commences with the march of soldiers in 2/4 time, undergoing an unexpected change of keys to bring more colour to the scene. A sudden halt draws attention to the entrance of Carmen upon the mysterious passage in 4/4 time that leads to her teasingly descending chromatic aria. Wilberg hereby re-interprets Carmen by using ghostly dissonance. With another big pause, the bullfighter enters with his theme in 3/8 time and leads the music to its climax with the fast gypsy dance in 3/4 time.

13

Fantasy on Japanese Themes Alexander Rosenblatt (b. 1956)

Like Fantasy on Themes from Bizet’s “Carmen”, the Fantasy on Japanese Themes is also written for eight hands on two pianos. Rosenblatt, a Russian pianist-composer, is interested in incorporating musical elements from different nations into his works for piano ensemble - as seen in his Fantasy on Russian Themes, Fantasia on Theme in Jewish Style, and the Fantasy on Japanese Themes, which was written based on themes of selected Japanese tunes in various jazz styles.

This fantasy uses several tunes including three famous themes: Akatonbo (Red Dragonfly) by Kosaku Yamada (1886-1965), Hamabe no Uta (Song of the Seashore) by Tamezō Narita (1893-1945) and Sakura (Cherry Blossom), the most popular Japanese traditional tune. Rosenblatt uses Akatonbo theme for the introduction with a hint of Sakura, and the Hamabe no Uta theme to mark the beginning and end of the fantasy. The way Rosenblatt tactfully weaves the Sakura theme in the transitional passages and creates different variations or disguises of it as a counterpart in the sections with other themes are evident. The resulting piece demonstrates how the composer assembles different jazz styles to make them bloom magnificently within one work.

Galop – Marche Albert Lavignac (1846-1916)

This is a humorous attempt of Lavignac, a French musicologist and composer, in limiting the space among the four pianists by having them all sit at just one piano! Whether it is to enhance the harmonious intimacy or to heighten the competition for space, it depends very much on how the four pianists see it. In the overall visual presentation, this music certainly leads the concert to its anti-climax.

Lavignac cleverly utilises all eight hands to kick off the introduction with the rocketing theme. This leads to a joyful D major theme, followed by a laughing theme with a circus-like accompaniment. A textural contrast appears in the B-flat major section, where there are only two of the pianists enjoying themselves in a lovely duet. Some sudden contrasting materials also add much humour to the music before it rounds up by recapitulating the joyful and laughing themes.

Champagne Toccata William Gillock (1917-1993)

The Champagne Toccata for eight hands on two pianos goes in parallel with Lavignac’s Galop - March in its cheerful but stylistically different ambience. Do not be fooled by the term “toccata”, which usually refers to a virtuosic piece that is highly demanding in technical skills, making the players sweat in labour. This toccata, in fact, appears to be rather light-hearted and relaxing. It is worth mentioning that Gillock, an American music educator and composer, is very fond of writing piano works for children. The youthfulness is reflected in the C major opening theme. The E-flat major theme in the middle section resembles hotel lounge music - a delightful little treat offered by the performers tonight.

14

Libertango Astor Piazzolla (1921-1992) (Arr. Kyoko Yamamoto)

There is an interesting story about Piazzolla, an Argentine tango composer and bandoneonist, who once felt sick of the tango that he grew up with and tried hard to hide it in his journey of becoming a serious classical composer. Not until when his mentor, Nadia Boulanger, encouraged him to treasure his real strength did he finally decide to liberate his desire to revolutionise tango by combining it with jazz and classical musical elements and became tremendously successful as a unique tango composer. Libertango seems to have liberated his eccentric tango spirit and elevated it to another artistic level. The music is improvisatory based on repetitive rhythmic patterns.

The performers will be playing this tango on four pianos based on Kyoko Yamamoto’s arrangement for eight hands on two pianos. Kyoko is a Japanese arranger, composer and pianist who is still very active in publishing her works and is particularly fond of arranging Piazzolla’s music. In her arrangement, foot tappings and hand tappings on the piano are required to highlight the rhythmic sensation. Players might vary the ways of execution according to the acoustics.

Merry Collage 3X (world premiere) Julie Kuok

Festive Lullaby Leap

Commissioned by the Leisure and Cultural Services Department to write a finale to the whole programme, Kuok models her piece on Bach’s Concerto for 4 Pianos with which the concert commences. Based on a Chinese tune familiar to all Hongkongers, she weaves several tunes from the programme tonight in creating this musical collage. “3X”, not only refers to the three ways of treating the Chinese tune, it also refers to the number “30” as the Hong Kong Cultural Centre celebrates its 30th Anniversary.

The Festive is the time for celebration and harvesting. It presents the basic motive of the Chinese tune with materials also taken from music by Bach and Rosenblatt, and follows the overall structure of the first movement in Bach’s Concerto for 4 Pianos. The Lullaby is the birth and reminiscence of the past, in which the complete Chinese tune interacts with the theme of Dvořák’s Slavonic Dance, Op. 72, No. 2. The Leap is a dance that symbolises the act of leaping forward to the future. Dances like Libertango and the Hungarian Dances Nos. 1 and 5, and even the happy birthday song are quoted as disguises along with the Chinese tune. The main idea of the collage is that music has no boundaries with the exuberant cultural exchange when we all treasure the opportunities, embrace the diversities, learn from the past and welcome the future.

Programme notes provided by Julie Kuok

15

各位觀眾：為求令表演者及觀眾不致受到騷擾，請關掉手提電話、其他響鬧及發光的裝置。同時請勿在場內飲食或擅自攝影、錄音或錄影。多謝合作。Dear Patrons,To avoid undue disturbance to the performers and other members of the audience, please switch off your mobile phones and any other sound and light emitting devices before the performance. We also forbid eating and drinking, as well as unauthorised photography, audio and video recordings in the Concert Hall. Thank you for your co-operation.

音樂會禮儀小錦囊 Concert Etiquette – Some Gentle Reminders

在音樂會開始前，請確認已關掉鬧錶及流動電話等響鬧裝置。Please ensure that all sound-emitting devices you carry with you, such as your alarm watch, mobile phone, have been switched off before the concert.

音 樂 會 進 行 期 間， 請 勿 使 用 可 發 光 的 裝 置， 因 屏 幕 發 出 的 光 會 影 響 附 近 的 觀 眾無法專心欣賞演出。Please do not use any light-emitting device during the concert, as the light would distract others from enjoying the performance.

為 尊 重 演 奏 者 及 場 內 觀 眾， 音 樂 會 進 行 期 間， 請 保 持 安 靜， 避 免 交 談 或 發 出 非必要的聲響（如撕開糖紙、打開膠袋等）。In consideration of the artists and other members of the audience, please avoid making any sounds during the concert such as conversing, unwrapping candies or opening plastic bags, etc.

音 樂 會 進 行 期 間， 請 勿 中 途 進 場 或 離 場。 如 要 中 途 離 場， 請 待 整 首 樂 曲 完 結，返回音樂廳時亦請按照場地工作人員指示。In due respect of the artists, please do not enter or leave the Concert Hall during the concert. If, however, there is indeed the urgency, please do so in between pieces, and only re-enter the Concert Hall as instructed by the venue staff.

如 樂 曲 有 多 個 樂 章， 請 於 樂 曲 終 結 後 才 鼓 掌。 若 不 熟 悉 樂 曲， 可 待 表 演 者 的 手已完全放下、面向觀眾，表示樂曲已完結才鼓掌。Please do not applaud between the movements of a piece. If you are not sure whether it is appropriate to applaud, a good indication is to wait until the artists has put their arms down and turned around to face the audience.

謝謝蒞臨欣賞「GENK與友人─百指樂聚慶生辰」音樂會。若你對這場演出或康樂及文化事務署的文化節目有任何意見，請將你的意見電郵至�cp2@lcsd.gov.hk 或傳真至�2721 2019。Thanks for attending the concert of ' GENK and Friends - Perfect Ten'. Please give us your views on this performance or on the Leisure and Cultural Services Department cultural programmes in general by writing to us by e-mail at cp2@lcsd.gov.hk, or by fax at 2721 2019.

有關申請康樂及文化事務署主辦或贊助節目的資料，請瀏覽此網頁：www.lcsd.gov.hk/tc/artist/index.html

Please visit the following website for information related to application for programme presentation/sponsorship by the Leisure and Cultural Services Department: www.lcsd.gov.hk/en/artist/index.html

本節目及場刊所載的內容及資料不反映康樂及文化事務署的意見。The programme as well as the content and information contained in this house programme do not represent the views of the Leisure and Cultural Services Department.

中文翻譯由格致語言翻譯顧問有限公司提供。Chinese translation provided by KCL Language Consultancy Ltd.