NOVEMBER 2013 二零一三年十一月號 - RTHKrthk9.rthk.hk/culture/magazine/finemusic201311/finemusic...Tuba was the Only Instrument Available OB : I started playing euphonium in

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NOVEMBER 2013 二零一三年十一月號

Did you know Benjamin Britten once visited our station?

It happened on 6 February, 1956. Along with tenor Peter Pears, Britten came into the then RHK (Radio Hong Kong) for an interview. They also recorded a recital that included Britten’s own arrangements of the folksongs Down by the Salley Gardens and The Ploughboy. Peter Pears did not just sing, with his fabulous voice, he also introduced the works!

I am glad to tell you that this valuable 33-minute music recording is now kept in RTHK’s library. To tie in with Britten’s centenary, it will be played in a special programme entitled Britten, Hong Kong and Asia, which will be broadcast on the composer’s 100th birthday, Friday, 22 November 2013.

To set the scene for this truly historical recording, we will bring you back to the 1950s. From November 1955 to March 1956, Britten and Pears went on a world tour, visiting Zagreb, Istanbul, Karachi, Bombay, Bangkok, Singapore, Bali, Hong Kong, Macau, Tokyo etc. In the programme, Jonathan Douglas and composer Eli Marshall will share with you their findings about that particular tour, during which Britten was musically inspired after hearing Indian drumming, Indonesian gamelan, and the Nōh and the Kabuki theatre in Japan. You may like to know that some of Britten’s later works show traces of Asian influences, the most famous of which is his Curlew River.

From great musical moments in the past to an exciting event which is just round the corner. This year’s Christmas Concert in the Park will be staged at Tamar. The venue is spacious. So, bring your family, friends, and party gear to have a good time on the lawn. In the concert, there will be many beautiful tunes including The Holy City, Amazing Grace, and The Heavens are Telling. There is also a showpiece for flute - Carmen Fantasy, and Bill Conor’s newly-written Christmas Medley, and more. It’s a concert that brings the wind and brass into the limelight. Tina Ma has spoken to Mr. James Leung, Music Director of the Police Band, which will be performing at the concert. The transcription can be found on P. 8. More details will be announced in the next issue.

Incidentally, this month there is a rare chance to hear a brass instrument as soloist. The City Chamber Orchestra of Hong Kong will showcase the tuba in their concert on 20 November. Celebrated trombone soloist, composer and conductor Christian Lindberg leads the orchestra while Øystein Baadsvik plays Lindberg’s own Concerto for Tuba, Panda in Love. The concert can be heard in Live on 4 on 30 November at 8pm. To whet your appetite, there is a delightful conversation between Jonathan Douglas and Øystein Baadsvik which is transcribed on P. 5. Enjoy!

Jimmy Shiu Head, Radio 4

掌台人隨筆From The Desk of HR4

你可知道布烈頓曾到訪香港電台？

那是1956年2月6日的事。當時他與男高音歌唱家皮亞士到港台接受訪問並演出，節目包括由布烈頓改編的民歌〈楊柳園中〉及〈農家男孩〉。皮亞士不單演唱，更以他美妙的聲線介紹作品。

很高興的告訴你，那次演出的珍貴錄音收藏在香港電台的唱片房中。適逢今年是布烈頓誕生百週年紀念，我們將於11月22日(星期五)，就在這位英國偉大作曲家百歲冥壽當晚播出英語特備節目 — 布烈頓、香港及亞洲。

為了讓這歷史性錄音更具歷史感，我們會帶你回到五十年代。從1955年11月至1956年3月，布烈頓和皮亞士展開了一次世界之旅，曾造訪的城市包括薩格勒布、伊斯坦布爾、卡拉奇、孟買、曼谷、新加坡、峇里、香港、澳門及東京等等。在節目內，杜格尊會聯同作曲家伊淶，詳述那次行程的來龍去脈，以及於旅程中布烈頓在音樂上的見聞。那些異國文化如印度的鼓樂、印尼的嘉美蘭，以及日本的能劇和歌舞伎等，如何影響他日後的創作？這樣精彩的內容，萬勿錯過！

我們不單回顧數十年前，亦前瞻至一個月後：今年的聖誕園林音樂會將於金鐘添馬舉行 — 地方較香港公園的奧林匹克廣場大了，所以歡迎你帶同野餐用品，與親友一同在綠草如茵，令人心曠神怡的環境下，欣賞美妙的音樂。曲目包括熟悉的旋律 —〈聖城頌〉、〈奇異恩典〉及〈諸天述說神的榮耀〉；更有火花四射，以長笛獨奏演出的《卡門幻想曲》及由康納所改編的《聖誕套曲》。音樂會以管樂為主幹，馬盈盈特別訪問了香港警察樂隊的音樂總監梁寶根警司，並在第8頁為你介紹這隊演出頻繁的警察樂隊。下期《美樂集》將公佈更多詳情。

事有湊巧，本月我們可率先欣賞到一件甚少擔任獨奏的銅管樂器，那正是身軀魁梧的大號。你可以在11月30日晚上8時的第四台音樂會中，聽到大號演奏家巴塔斯維克聯同香港城市室樂團在長號手、作曲家兼指揮家基斯安‧連保執棒下演出一場，節目包括由基斯安‧連保所作的大號協奏曲「戀愛中的熊貓」。想認識一下那支大號及他的主人，請翻閱第5頁的專訪。

第四台節目總監　蕭樹勝

Radio 4 would like to thank the patrons for their generous support. If you would like to become a patron of ‘FM’ Fine Music, please call us on 9073 3474 for

further information during office hours.

香港電台第四台謹向以下贊助者的慷慨支持致以最深謝意。有興趣成為「美樂集」贊助者的朋友，可在辦公時間內致電 9073 3474 查詢有關詳情。

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SHARE Your LOVE of Music with US,

Become a PATRON『美樂集』of ‘FM’ !

FOREWORD 前言

November 2013 | FINE MUSIC 1

05November 2013 二零一三年十一月號

CONTENTS 目錄

12

01 FROM THE DESK OF HEAD, R4掌台人隨筆

SPECIAL FEATURES 特稿05 In Conversation with Øystein Baadsvik

08 In Conversation with Superintendent James Leung 專訪香港警察樂隊音樂總監梁寶根警司

COVER STORY 封面故事12 Britten and Pears in Hong Kong

布烈頓和皮亞士訪港

21 周琬婷與校友布烈頓

COLUMNS 專欄25 Sunday Opera 歌劇世界

29 Sunday Morning on 4 週日早晨

31 Jazzing Up 爵士靈感

35 Songs of the Earth 大地之歌

37 All or Nothing 情有獨鍾

39 New Releases 碟碟不休

43 Concert Highlights 音樂會轉播精選

47 Friends of Radio 4 第四台之友

49 Main Programme Chart 節目時間表

50 Programme Highlights 節目精華

59 ‘FM’ Classified Board 《美樂集》分類廣告

60 Coda

美樂集FINE MUSIC

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Tuba was the Only Instrument Available

OB : I started playing euphonium in the local wind band. We have a lot of community bands in Norway, almost one for every school in the country which means there are about 2,000 bands. And I started playing euphonium, I didn’t really like that, maybe I was too young, I was around 10 at that time so I quit playing when I was 13 years old. Then after 2 years of absence I decided I wanted to join the wind band again, and when I was 15, the tuba was the only instrument available, so it was tuba or nothing, so that’s why I started playing the tuba!

J : Did you quickly discover that this was for you? Did you fall in love with the instrument?

OB : I think that’s safe to say, yes. I started playing quite frequently in the afternoons when I came back from school, it was a very natural process and in the beginning I didn’t see myself practising, in the boring sense of the word, when you sit down playing scales. I never did that. I simply played melodies. I played for fun. I played for my own enjoyment, more or less. I still play 2 or 3 hours a day, so, of course, that gives some effect.

J : Watching you perform Fnugg Blue, it is a very physical relationship. You wrap your arms around it as if it’s a pet that you love.

The Most Successful Performance: Embraces the Instrument

OB : Yes, that’s very true. Every instrument is a very physical relationship. If you compare musical instruments to the voice for example, the voice is a very integrated part of our body; the most successful musicians that I know and the most successful performances come when the musician really embraces the instrument, try to incorporate it as much as possible into your normal movement pattern, so it really becomes as close to your body as possible. That’s when it works best.

J : Did you gradually come to realise you would be a full-time solo tuba player?

OB : I think I gradually discovered that was what I wanted to do, and of course when I told my parents that I wanted to become a professional tuba player for the first time they were sceptical, to say the least. My grandfather was an amateur tuba player and

Combining technical virtuosity with versatility, Norwegian tuba virtuoso Øystein Baadsvik has carved out

an extraordinary career as soloist, a path which he alone has trodden. As winner of multiple prizes at the

Concours International d’Exécution Musicale in Geneva and concerto soloist with some of the world’s foremost

orchestras, Øystein Baadsvik recounts his childhood musical experiences, inspirational figures in his life and

his fascination with the tuba in a conversation with Jonathan Douglas.

OB : Øystein Baadsvik J : Jonathan Douglas

believed very much in what I was doing so he left me some money to buy my first professional tuba. That was when I was about 18 or 19 years old. And that’s when the idea was born, I think, and, of course, I was participating in some national solo competitions and it turned out to be something that was pointing in this direction of being a soloist.

J : Obviously your grandfather was very supportive, were there any other important figures or role models who were inspirations and influences for you?

My Mother is one of the Most Important Influences in Music

OB : Yes, my mother played the cornet and the trumpet in the brass band and wind bands. We played in the same brass band for a while when she played the flugelhorn and every Wednesday we took the car and went for a 30-minute car ride to the rehearsal. She was very important to my liking of jazz music because we played jazz in the car back in those days and she introduced me to Lester Young, Miles Davis, Charlie Parker, and all those jazz players, so I’d say she is one of the most important influences that I have had over the years.

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SPECIAL FEATURES 特稿


This unique concert featuring an Asian première and an original work by the soloist Øystein Baadsvik, will be staged at City Hall Concert Hall on 20 November. It will be broadcast on 30 November (Sat) in Live on 4. The City Chamber Orchestra of Hong Kong will open the performance with the Sibelius Belshazzar’s Feast, incidental music to a play of the same name, to be followed by conductor Christian Lindberg’s Concerto for Tuba, Panda in Love. This programme will be interspersed by a landmark classic, Beethoven’s Symphony No. 1, and will close with Fnugg Blue, a firm favourite of the

tuba repertoire today.

大號演奏家巴塔斯維克將聯同香港城市室樂團，在11月20日於

香港大會堂音樂廳在基斯安‧連保指揮下，為巴塔斯維克創作

的《小小藍調》作亞洲首演。此外，樂團更會演奏西貝流士的

《伯沙撒王的宴會》、由指揮基斯安‧連保所寫的大號協奏曲

「戀愛中的熊貓」以及貝多芬的C大調第一交響曲。音樂會於

11月30日(星期六)晚上8時在第四台播出。

J : And that inspired you to play the tuba as a solo instrument in jazz, which was a new experience?

OB : For me definitely, but there have been people playing jazz on the tuba for a long time and doing it very successfully also. One of my greatest influences there is David Bargeron who played tuba in the Blood, Sweat and Tears rock band. He was not exactly a full-blooded tuba player, he also played trombone, but he played a fantastic tuba solo on a live performance of Spinning Wheel, and I listened to that over and over again and took great inspiration from that. Also you have French players who played a lot of good jazz on tuba back in those days, so there have been people playing jazz on the tuba, but not totally the way I do it. This brings me to the conclusion of when it comes to the development of the tuba as a solo instrument, it’s not really a one-man job. There’s a lot of people who have been passing on the relay stick, so to speak, and playing their part in the development. Without previous work it’s not really possible to go on. I see myself as part of that chain and I also believe that at one point it’ll be the young people who take the relay stick even further and develop things we haven’t even thought of yet.

- transcribed by Jacqueline Leung

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Arts Happenings 藝壇快訊

While the closure of New York City Opera becomes talk of the town, a renowned British arts institution, the Hilliard Ensemble, will disband in 2014.

The group was originally created by baritone Paul Hillier, tenor Paul Elliott, and countertenor David James, although the membership was flexible until Hillier left in the late 1980s. Since 1990, the core members have been David James, tenor Rogers Covey-Crump, tenor John Potter, and baritone Gordon Jones; in 1998 John Potter was replaced by tenor Steven Harrold. This British male quartet gave its first performance in 1973. Unrivalled for its formidable reputation in the fields of both early and new music, The Hilliard Ensemble is one of the world’s finest vocal chamber groups. Its distinctive style and highly developed musicianship engage the listener as much in Medieval and Renaissance repertoire as in works specially written for them by living composers. David James, founding member of the Ensemble said, ‘As well as all the music that we have discovered and enjoyed performing over the years, we want to embrace the important relationships and people that have contributed to some of the remarkable landmarks and turning points in our career.’

The Hilliard Ensemble will give their final retirement concert on 20 December 2014 in London. Before that, the Ensemble will bid goodbye to their listeners in tours to Australia, America, Canada, Italy, France, Hungary, Germany, Austria, the Czech Republic, and around the UK. A CD will be released to mark the 40th anniversary of the ensemble.

當全城熱切討論紐約市歌劇院倒閉的消息時，另一世界知名音樂組合亦面臨解散！

有四十年歷史的希力亞合唱團，會在明年完成巡迴音樂會後便正式解散。希力亞合唱團在1973年首次演出後，旋即成為樂壇上少數能同時駕馭早期和當代作品的團隊。現時的四位成員由1998年起合作至今，包括假聲男高音兼創辦人之一占士，男高音加維－格林普、赫洛特以及男中音鍾斯。這支英國四人合唱小組以其獨特的音樂風格和深厚的造詣，成為當今最出色的合唱團隊之一。希力亞合唱團經常委約現代作曲家為他們譜曲，也演唱中世紀和文藝復興的作品，令樂迷讚譽不絕。合唱團的占士表示，這些年來他們發掘和演出過無數作品，希望藉此豐富合唱界的寶庫。

希力亞合唱團將到訪澳洲、美國、加拿大、意大利、法國、匈牙利、德國、奧地利、捷克和英國，亦會發行四十週年紀念專輯。明年在12月20日舉行最後一場音樂會後，樂迷只能在唱片中回味他們的歌聲了。

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▲ In 1994, Superintendent Leung joined the Correctional Services unit, where he taught juvenile delinquents at the Cape Collinson site, and formed a marching band.

1994年，梁警司加入懲�署，在哥連臣角懲�所�導全無音樂底子的少年囚犯，並組織步操樂隊。

T : How did you embark on a professional music path?

Difficult to Survive as a Professional MusicianL : The secondary school that I was attended was in the process

of forming a band. The music teacher thought that I was rather

well built, and recommended me to play the bassoon, in which

I quickly became interested. After graduating from secondary

school, I was eager to embark on a musical path, but opportunities

were limited in the late 1970s and 1980s in Hong Kong. Back

then, The Chinese University of Hong Kong was the only option

for furthering one’s musical studies, and in 1981, I entered the

Hong Kong Conservatory of Music, now known as The Hong

Kong Academy for Performing Arts. I graduated in 1984, but yet,

it was rather difficult to survive as a professional musician, since

full-time music positions were few and far between. There was a

time when I was doing 14 different jobs at the same time! So, I

gathered my schoolmates together and in 1990, we formed the

Hong Kong Sinfonietta.

Those were challenging times. At that time I was working in the

Music Office, teaching, performing, and working as a music

copyist, sometimes as a freelance player for the Hong Kong

Philharmonic, as well as for other ensembles. I worked to grab

any performance opportunity that I had, and even recorded for

commercial jingles, taking part in film and pop music productions

and performances. Income was very unstable then.

Soon after, Superintendent Leung had plans to get married and

decided it was time to look for a stable job. He first worked as

a primary school teacher, then formed a marching band at the

Cape Collinson Correctional Institution, and finally joined the

Hong Kong Police Band in 1995.

T : Wind players nowadays are faced with totally different

circumstances. Do you think they have more opportunities

now?

Join the Police Band – Pros & ConsL : I’d say there are more teaching opportunities nowadays, but

due to the incredibly small number of professional orchestras in

T : Tina Ma L : Superintendent Leung Bo-kun, James

Upon hearing the distinctive and penetrating sound of the bagpipe, I knew that I had come to the right place. On this fine autumn morning at the Police Academy, a lone bagpiper is practising on the ground floor of the Peter Moor Building. This is the home base of the Hong Kong Police Band.

The Police Band takes part in over 500 events per year, and is the most active professional music ensemble in Hong Kong. Keeping acoustic considerations in mind, there are hardly any double reed instruments in the band, with Superintendent James Leung being the sole bassoonist of the band. Superintendent Leung has been an active musician in Hong Kong since the 1980s, and was one of the founding members of the Hong Kong Sinfonietta.


▲ After graduation, Superintendent Leung jumped at any performance opportunities out there and met George Lam while filming Scent of the Night.

梁警司畢業後不會放過任何演出機會，在拍攝《我愛夜來香》時曾遇上林子祥。


Hong Kong, it is still extremely challenging to find a full-time

performance position. Many would feel that playing in a police

band is rather hard work, since one must be prepared to work in

any weather condition, be it sunny or rainy, in any environment,

with unstable hours, and be bound by strict police force

discipline. Some musicians would prefer a freer lifestyle and are

therefore reluctant to join the police band. In fact, we have been

openly recruiting new members recently, and received quite a

number of applications, which reflects that there are musicians

out there looking for a stable, full-time job. We hope that these

factors will enable us to attract more high-quality musicians.

T : The police band is very well structured now, with a strong wind

band and a bagpipe band. How do you see the police band

developing in the future?

Uniqueness of Hong Kong Police BandL : The primary function of the police band is to represent the

government as a processional music ensemble, but our special

feature is the bagpipe, which is a tradition we inherited from the

British. Moreover, it embodies elements of a cosmopolitan city,

and differentiates us from bands of other countries. In fact, the

mix of the wind band with the bagpipe is a crossover endeavour

and former colonial bands, such as those found in Singapore,

have a similar make-up.

Another unique characteristic of ours is that after the handover,

we began to include a lot of repertoire from the mainland, which

are full of Chinese flavours and can be played by the bagpipe. I

hope that we can become even more international in the future,

performing not only British, American, or European repertoire,

but also Chinese pieces.

Superintendent Leung has mainly held the role as a conductor

since joining the Hong Kong Police Band 18 years ago. However,

on 24 December (Tue), he will take up his bassoon again, as well

as his baton, for the HK Police Band’s performance at RTHK’s

Christmas Concert in the Park. In addition to performing the

marches for which the band is best known for, they will join

with the choir and other musicians to bring a festive programme

of classics under the baton of Colin Touchin. Programme details

will be announced in the December issue of FM.


專訪香港警察樂隊音樂總監梁寶根警司馬盈盈

▲ Superintendent Leung and his bassoon

梁警司與他的巴松管

聽到蘇格蘭風笛的嘹亮聲音，我知道找對了地方。一位風笛手在秋日早上的警察學院武毅樓下獨自練習。這裡就是香港警察樂隊的基地。

警察樂隊每年參與的活動超過五百場，是香港演出最頻繁的職業樂團。考慮到音響的需要，樂隊裡幾乎沒有雙簧樂器，只有身為音樂總監梁寶根警司能奏巴松管。梁Sir早在八十年代已活躍於本地樂壇，也是香港小交響樂團的創團成員。

馬：你是怎樣踏上職業音樂家的路？

當全職音樂人的難處

梁：讀中學時學校正組織樂隊，音樂老師見我身材高大，就讓我去學巴松管，我亦從此對它感興趣。中學畢業後就想繼續走音樂路，但在那個年代並不容易。因為在七十年代末、八十年代初，除了香港中文大學以外，進修音樂的門路不多。直至1981年，我入讀香港音樂學院，即香港演藝學院前身，至1984年畢業。那時因為全職的音樂工作不多，要當全職音樂人也是很困難。我曾經以自由工作者的身份同時做過十四份工⋯⋯所以我後來想到跟以前的同學們組織樂隊，於是大家就創辦了香港小交響樂團。那是1989年的事。

那段期間其實也挺艱難。那時，我在音樂事務處演奏和�學，甚至為他們抄譜；又在香港管弦樂團擔任特約樂手，還參與過其他樂隊，甚至錄過廣告歌、拍電影、參與流行音樂演出，總之有機會表演都去爭取。當年的收入很不穩定。

及後我打算結婚，希望有穩定的工作，所以先到小學�書、再到懲�署歌連臣角懲�所組織步操樂隊，終於在1995年加入香港警察樂隊。

馬：馬盈盈梁：梁寶根警司

馬：今日的年青管樂手面對的環境已不同往日。他們的工作機會是否更多？

參加警察樂隊的苦與樂

梁：學習機會是比較多，但始終香港的職業樂團寥寥可數，要找全職的表演工作仍是不容易。然而，大家又會覺得警察樂隊是較辛苦的工作，因為要全天候、日曬雨淋，工作不定時，又要受紀律約束；有些音樂人想自由一點，就不願意參加我們的樂隊了⋯⋯近日我們公開招聘樂手，申請的人數不少，反映出一些樂手們還是想找穩定的全職工作。希望警察樂隊能藉此吸納高質素的樂手。

馬：現今的警察樂隊編制相當完善，有人強馬壯的銀樂隊和風笛隊，你期待它日後如何發展？

香港警察樂隊的特色

梁：這隊樂隊最主要的功能是代表政府，在儀式進行時參與演奏⋯⋯我們的特色是有風笛，這是以前英國人留下來的傳統，也是我們作為國際大都會所需要的特色，較其他地方的樂隊有所不同。風笛在銀樂隊其實是跨界 (crossover)

組合，其他前英國殖民地如新加坡的樂隊，都有類似的編制。

我們還有其他特別之處。回歸後，我們的曲目加入了很多富中國特色，甚至可以用風笛吹奏的國內作品。期望未來警察樂隊能更國際化，不單有英國或其他歐美國家的音樂，還會演出更多中國樂曲。

▲ Tina and Superintendent James Leung at the Hong Kong Police Academy

筆者與梁寶根警司攝於香港警察學院

梁警司加入香港警察樂隊十八年來，多以指揮的身份演出。在12月24日(星期二)舉行的聖誕園林音樂會中，他會踏上指揮台帶領樂隊之餘，也會重拾他熟識的巴松管。香港警察樂隊除了演奏拿手的步操音樂，亦會在杜程(Colin Touchin)的指揮下，聯同合唱團及其他音樂家帶來富節日氣氛的古典樂曲。音樂會詳情將於12月期《美樂集》公佈。



When Benjamin Britten and Peter Pears performed a live broadcast recital at Radio Hong Kong (RHK), then in

its original Wan Chai studio, on Monday, 6 February 1956, they chose highlights of a repertoire honed during a

five-month tour beginning in Europe and encompassing most of Asia, from Turkey to Japan: Haydn, Canzonette

No. 2; Schubert, Liebesbotschaft and Gesang des Harfners; Schumann, Mondnacht; Britten, Winter Words; and

Britten’s folk song arrangements of Down by the Salley Gardens and The Ploughboy.

Pears gave brief but enlightening introductions to each miniature set. Britten himself didn’t speak but performed

the piano parts with typical ease; the performance ended perfunctorily on the 30-minute mark.

Sadly, their recorded interview for the Music Magazine programme of the same evening is lost. If we could hear

it, we would likely know in more depth their impressions of Hong Kong – which Britten in a letter called ‘a jolly

good spot…administered by English people, where you can telephone someone and get through.’

Eli Marshall

Britten and Pears enjoying life on the road 布烈頓和皮亞士在各地享受人生⋯

in Hong Kong

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▲ in Brooklyn 在布魯克林(1940) ▲ in Venice 在威尼斯(1954)

COVER STORY 封面故事


We might also hear hints of the profound influence of the Asia

tour to date, especially the seminal study period of Balinese music

the previous month, an influence to prove so prevalent in Britten’s

output over the following two decades that it is surprising more

Britten fans are not aware of it, one of the most important cross-

cultural musical exchanges of 20th century classical music.

Unlike Bali, it is harder to gauge the effect Hong Kong had on the

duo, because they were too busy performing to do much besides

simple sightseeing and dining. As evidenced in Singapore just a

couple of weeks earlier, Pears loved Chinese food; Britten, on the

other hand, couldn’t order properly, had trouble with chopsticks,

and succumbed to stomach troubles; but he seemed quite keen

on both shark fin and bird’s nest, once those delicacies became

available.

Six Days, Four Recitals

During their six days in the colony the duo performed four times.

Arriving from Singapore on 2 February with their close friends, Prince

and Princess von Hesse, they were greeted at the airport by press

as well as the local presenter, an unusual American entrepreneur

named Harry Odell, who had been key to the development of Hong

Kong’s classical music culture. They were soon whisked away to

the Peak to stay with the Princess’ brother, a director of Jardine

Matheson.

They performed for the public the next day, 3 February, at the

improbable hour of 9:30 pm, at the Empire (later State) Theatre,

a cinema on King’s Road in North Point, seating 1,300. Still a

decade before Hong Kong’s first concert hall was constructed at

City Hall (spearheaded by the same Harry Odell), there was simply

nowhere else large enough. News photographs show Governor and

Lady Chatham appearing in formal attire; the audience stood for

their entrance. Later, they also rose multiple times for Britten and

Pears, according to the press: ‘Governor among big gathering…

The audience gave Pears and Britten a terrific ovation and drew

five encores’ (South China Morning Post). ‘They clamoured for

more’ (Hong Kong Tiger Standard). ‘Not only is Mr. Pears a tenor

singer of great beauty…not only is Mr. Britten a composer of

startling originality…but both artists showed a skill in building the

programme which could not have been bettered’ (China Mail).

▲ in Bali 在峇里(1956) ▲ In Japan playing a sho 布烈頓在日本吹奏笙(1956)



The next day was an obligatory visit to Macau, where they

performed at the Dom Pedro Theatre for the Portuguese Círculo

de Música, chuckled at the futility of the gamblers during a look

around the casinos, and pondered why the People’s Republic

hadn’t already retaken that colony. Monday, 6 February, was the

RHK broadcast recital; on the same day Britten found time to travel

to the New Territories to gaze across the border at China. 7 February

included a private recital of Schumann’s Dichterliebe, the Governor

again present, at the home of an ‘unpleasant shipping magnate’, in

Britten’s words. The next day, they were on the plane to Japan.

The Hong Kong Public, and Global Reach

Of all Hong Kong performances, the radio broadcast was the

most important, reaching the widest listener base, especially the

newly ascendant middle-class and musically-literate students who

might not have afforded tickets to the public recital. Such listeners

would already have been primed to appreciate music through

the burgeoning classical and education outlets, as well as topical

broadcasts leading up to the Britten-Pears visit: the previous week,

a widely publicized prime time show focusing on Britten’s Young

Person’s Guide to the Orchestra immediately followed the broadcast

of Hong Kong University’s Congregration speeches by the Governor

and others.

Anyone knowing Britten’s artistic penchant for subtlety might

imagine a knowing smile in deciding his radio programme of 6

February. The Haydn Canzonettes, for example, were sung in the

original language; that is, in English, written during that Austrian

composer’s own tour to London, a city considered by the continent

in 1794 to be more brash economic upstart than arts hub. (The

words, incidentally, were written by Haydn’s English girlfriend.)

Wasn’t Haydn’s English tour similar to Britten’s visit to Hong Kong?

Even more subversive could be the final song, one of Britten’s

settings, The Ploughboy, introduced by Pears as the ‘song of the

politician who rose too quickly for the 18th century’. Included in

the text are such class- and politics-conscious phrases as ‘I’ll buy

votes at elections, but, when I’ve made the pelf, I’ll stand poll for

the parliament, and then vote in myself.’ (There was a similar jab

at politicians with the fifth and final encore of the public recital,

Britten’s arrangement of Oliver Cromwell, which ends with the

words ‘If you want any more you can sing it yourself’.)

The RHK visit included an interview with reporter Timothy Birch

of the General Overseas Service (the global forerunner to the BBC

World Service). Only a few minutes have been preserved on tape,

but to this day remain widely quoted as a peek into the composer’s

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▲ The Red House, Aldeburgh 布烈頓在奧爾德堡的故居「紅屋」© P

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▲ Britten’s Studio 布烈頓的工作室



work process: ‘I plan my work away from the piano and away,

moreover, from paper. I do 99% of my work thinking about it—

walking, or in trains, aeroplanes, if it’s not too bumpy…Then when

the music is fixed in my head I go to the paper and work out more

precisely the details…I don’t use the piano except at the very end…

just to make sure it sounds, in sound, as it did in my head.’

The Tour’s Asian Legacy

A regional rediscovery of Britten’s major works is underway, thanks

in part to the Centenary performances here in Hong Kong; one

hopes this will jumpstart an examination of Britten’s values as an

innovative artist.

It would be an excellent way to begin if Asia were to exercise its

own claim on the composer. As scholar Mervyn Cooke has detailed,

the 1956 tour took Britten in a new artistic direction – not just in

overtly Asian-textured works such as his last opera Death in Venice

(which employs substantial borrowings from Balinese gamelan and

dance), but also in engendering most of his music and opera with

a ritualistic form. This mindset, especially grounded in Balinese

music and Japanese theatre, dominates much of Britten’s output

from the end of the tour in 1956 to the end of his life in 1976.

As with vernacular English music, Britten found in traditional Asian

music a way forward, an escape from the pervasive conformist

aesthetic found in post-war Western culture. In other words, the

same impetus of Peter Grimes – the placement of English culture at

the core of musical structure – prepared him to seek Asian cultural

sources as similar grounds for experimentation. That innovation can

be based on tradition – or on multiple traditions – is perhaps one of

Britten’s most valuable lessons for anyone who will listen carefully.

Bringing Britten Back to Hong Kong

Hong Kong’s obvious strengths – among them, close regional

connections with other Asian musical cultures and a vibrant

continuity of England’s vocal tradition – suggest it could be a

defining actor in an ongoing Britten revival. Consider the ease with

which this city’s musical resources could produce regional works

of Curlew River (with Japanese Noh theatre) and Death in Venice

(with Balinese gamelan and dancers); or, for that matter, a Peter

Grimes, with design and staging inspired by traditional Cantonese

fishing village culture, just to name three obvious examples.

But there is a much more direct musical clue to begin to consider

Hong Kong’s relationship with Britten. It seems he did not come

into much contact with Chinese music (though there is some

compelling evidence he might have taken in some Chinese opera

in Singapore). But the year following the tour, in 1957, Britten was

to write an intimate cycle for Pears and guitarist Julian Bream,

Songs from the Chinese, on English translations of classical Chinese

poetry by Arthur Waley. This was, interestingly, the only piece ever

dedicated to the Prince and Princess von Hesse, those travelling

partners though Asia and lifelong friends and supporters of Britten’s

and Pears’s cause. During the planning of that piece – ‘away from

paper…walking, or in trains, aeroplanes…’ – memories of Hong

Kong must have come to mind, the closest he had come to visiting

China.

To celebrate Britten’s Centenary, a special programme

entitled Britten, Hong Kong and Asia, will be broadcast on

the composer’s 100th birthday, Friday, 22 November 2013

at 8pm. Join Jonathan Douglas and Eli Marshall, composer

and Doctor of Music candidate at The Chinese University of

Hong Kong, to know more of Britten and Pear’s Asian Tour.

© H

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▲ Britten and Pears at Snape Maltings, a malthouse converted to a concert hall. (1969) 布烈頓和皮亞士攝於史內普廠前，這建築物被改建為音樂廳 (1969)




1955 至 56年，布烈頓和皮亞士在亞洲展開巡迴演出之旅，歷時五

個月，從歐洲到亞洲，中途站之一是香港。2月6日，他們在位於灣

仔的香港電台，上演了一場精彩絕倫的直播音樂會，演出包括海頓

的第二英國短歌集、舒伯特的〈風流韻事〉和〈豎琴手歌曲〉、舒

曼的〈月夜〉以及布烈頓的〈冬之語〉和兩首改編的民歌〈楊柳園

中〉和〈農家男孩〉等作品。

讓聽眾記憶猶新的，是皮亞士在每個小段落前，都為聽眾帶來簡單

而動人的解說；布烈頓則是沉靜而從容地把鋼琴部份奏得揮灑自

如，合拍地送上剛好半小時的美樂。可惜，在保存下來的聲帶中，

隨後的訪談部份 (「音樂雜誌」) 卻遺失了。從錄音中，布烈頓談及

對香港的印象，以及對峇里音樂的認識，聽眾還可以了解為何布烈

頓的作品能深遠影響古典樂界。那對話對布烈頓的樂迷而言，肯定

是意外的收獲。

在香港的行程遠不及在峇里的悠閒，他倆卻可以忙裡偷閒飽覽名勝

和盡享美食。早前他們到訪新加坡，皮亞士愛上了中國菜；可是，

布烈頓則不善點菜亦不習慣用筷子，甚至水土不服。然而，魚翅和

燕窩卻令他食指大動。

六天的行程－四場演出

五十年代，當時名為「啟德」的香港國際機場仍在九龍城，航機降

落香港必定讓布烈頓、皮亞士和同行好友希斯王子及王妃增添一份

驚喜。六天的行程非常緊湊，布烈頓和皮亞士共演出了四場。香港

大會堂要待十年後才落成，而當時最大的表演場地，算是可容納一

千三百個座位，位於北角英皇道的璇宮戲院(即後來的皇都戲院)。

2月3日晚上9時30分的演出，全場座無虛席。新聞照片中看到前港

督漆咸及夫人以盛裝出席，觀眾在門口等候，亦為布烈頓和皮亞士

的精彩演出多次站立鼓掌。事後傳媒爭相報導，為布烈頓和皮亞士

的訪港之行劃上完美句號。在港期間，他們曾到訪澳門，在崗頂劇

院為葡萄牙音樂協會演出。2月6日到香港電台舉行音樂會、2月7日

由港督安排在私人場合演出舒曼的〈詩人之戀〉。翌日乘機往日本

完成巡迴最後一站。

普羅大眾－全球收聽

當年，本港的演出不時於大氣頻道的電台廣播，讓各階層人士都能

免費收聽。對於一些未有能力購買音樂會門票的音樂學生，收聽港

台的美樂時段，更成為他們的「必修」課。電台在布烈頓和皮亞士

到港一週前，特意安排在黃金時段播放布烈頓的《青少年管弦樂隊

指南》作為他們的訪港前奏。

布烈頓在2月6日電台直播的音樂會中，特別挑選了海頓的第二英國

短歌集，以英語唱出，作為送給香港的見面禮。巧合地，這首作品

是海頓在1794年首次到訪倫敦時，為感歎那城市的經濟較藝術繁華

興盛而作。

最後皮亞士解說〈農家男孩〉為「十八世紀人氣急升的政客之

歌」，歌詞跟政治不無關係。在遺失的訪談錄音中不乏精彩的

片段，布烈頓在剩下數分鐘長的聲帶內談及：「我在構思作品

時，不會坐在鋼琴前，而且更會遠離五線譜。我在漫步、火車

或飛機上，用思考建立我百份之九十九的作品。我只會在最後

關頭，才跑到鋼琴前，去確定一下作品的聲響效果和我腦海中

所聽到的是否一樣。」

亞洲巡迴的豐富收獲

學者曲克提及布烈頓的1956年之旅，為作曲家帶來新的藝術方

向－從亞洲傳統音樂文化中，找到許多創新的空間。布烈頓在

最後一齣歌劇《威尼斯之死》加入峇里嘉美蘭音樂及舞蹈，亦

在他大部份音樂及歌劇中加插祭祀的素材。在布烈頓往後二十

年的音樂創作中，都不難找到峇里音樂和日本劇藝的影響。他

不甘心受戰後西方文化既定框架的捆綁，從亞洲文化素材中按

照傳統實驗求變。

布烈頓重臨香江

香港得天獨厚，融合亞洲各國音樂文化及英國聲樂傳統。布烈頓在他的宗�寓言劇《麻鷸河》中運用了日本能劇、在《彼得‧格里姆斯》裡按廣東省漁村的樣貌設計舞台。雖然布烈頓並沒有深入接觸中國音樂，但在結束亞洲巡迴一年後，卻根據禾里翻譯的中國詩集，為皮亞士及結他演奏家貝爾廉譜下套曲《來自中國人之歌》，並呈獻給與他一同作亞洲巡迴的同行好友希斯王子及王妃。

為慶祝布烈頓誕生百週年，杜格尊和及作曲家兼香港中文

大學音樂博士研究生伊淶於11月22日(星期五)晚上8時播出

的英語特備節目布烈頓，香港與亞洲中細談布烈頓和皮亞

士的亞洲巡迴之旅，敬請留意收聽。

伊淶

整理/翻譯：鍾兆燊

© L

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周琬婷與校友布烈頓

第一，都是彈得一手好鋼琴。布烈頓不單作曲，也是出色的

鋼琴家；香港長大的周琬婷，十多歲去到英國讀書，本想當

醫生，卻陰差陽錯讀了音樂。讀書那會兒，周琬婷曾上台演

奏布烈頓的《夜曲》。她說那是極溫柔的曲子，演奏時左手

在鋼琴低音區徘徊，渲染出漫漶氤氳的夜色。

二來，兩人都是皇家音樂學院學生。周琬婷曾在那裡修讀鋼

琴演奏碩士，布烈頓十七歲入學時，除了主修作曲，亦有學

習鋼琴。可是，後者在皇家音樂學院的那些日子不太開心，

而前者自稱住在倫敦的兩年格外愜意。談及布烈頓讀書時的

不開心，周琬婷說：「他大概不想被一個框框規限吧。」

▲ 英國皇家音樂學院 (1930)

▲布烈頓‧樂‧迷主持人周琬婷

今年是布烈頓（Benjamin Britten）誕辰百週年。

為紀念這位憂鬱的，以音樂作詩的作曲家，新任節

目編導兼鋼琴家周琬婷於11月份逢星期日早上主持

布烈頓．樂．迷，與聽眾分享這位英國作曲家的生

平。周琬婷與筆者聊起布烈頓，原來這年齡相差超

過半世紀的兩人，竟有諸多有趣「交疊」。

▲ 八歲的布烈頓正在彈奏鋼琴 (1921)

再者，不論布烈頓抑或周琬婷的音樂事業，都得到父母支持，這

在學音樂的同行們看來，確實幸運。布烈頓的母親是一位業餘

女高音，也是布烈頓的鋼琴啓蒙老師。至於周琬婷，不當醫生要

彈琴，在英國呆久了想回家，去了香港小交響樂團當駐團鍵盤首

席，再到第四台擔任節目主持，父母統統都是「不干預」。

兩人既有這麼多的「交集」，由周琬婷這「小師妹」來講講「師

兄」的故事，似乎也是順理成章。不過，周琬婷直言要花很多時

間搜集資料，譬如去圖書館借傳記、翻查唱片，或是在網上收看

作曲家的紀錄片。從那些片子裡，周琬婷知道原來布烈頓喜歡小

孩子、原來他的性取向給他帶來諸多壓力、原來他的歌劇及協奏

曲甚至電影配樂的背後，藏了那麼多鮮為人知的故事。

「如果只談音樂，那聽眾自己去聽就可以了。」周琬婷說：「我

想多講布烈頓這個人。」或許，瞭解了這個在英國鄉間海濱長大

的憂鬱男士的過去，便也不難明白他為何能寫出《海之間奏曲》

和《戰爭安魂曲》那樣講盡蒼涼孤獨的旋律。節目中，周琬婷並

不會依循時間線來鋪排節目，而是從作曲家六十三載生命中揀

選幾個關鍵詞，譬如「布烈頓與海」、「布烈頓與小孩子」或者

「布烈頓彈奏布烈頓」等等，每集一主題，以「解說 + 播音樂」

的方式與觀眾分享。

撰文：箬笠




▼ 布烈頓住在史內普廠舊址並創作《彼得‧格里姆斯》 (1945)

In order to celebrate the centenary of British composer Benjamin

Britten, Eunice Chow, RTHK Radio 4’s presenter, has made a four-

episode programme, Britain’s Britten, for November, sharing with

listeners Britten’s life experience, his music training, his thoughts

on love, and all those great pieces written by this introspective

British man.

Eunice believes that it may be difficult to understand a composer’s

works if one knows little about the composer’s personality and life

experiences. In her programme, she not only interprets the beauty

or mysteries in Britten’s music, but also helps listeners gain a better

understanding of how the composer came to produce his profound

works and whence came his musical inspirations.

Eunice admires Britten not only because he was a talented and

self-disciplined musician, but also because he was not afraid to

break through old traditions and freely express novel ideas through

his music. ‘You may not immediately love Britten’s music when

you hear it for the first time,’ said Eunice, ‘but the more you listen

to it, the closer you come to discovering the beauty hidden behind

his melodies’.

為慶祝英國作曲家布烈頓誕生百週年，新任節目編導周琬婷將

於11月逢星期日早上10時主持布烈頓．樂．迷，與聽眾分享

這位作曲家的人與事。

In November, Eunice Chow shares with you Britten’s life and

his great music in her debut programme, Britain’s Britten (in

Cantonese). Get to know more about this British composer

every Sunday at 10am.

若非結識第四台的杜格尊，周琬婷從未想過自己會當起節目主持來。事緣杜格尊看重她英

語流利，又是畢業於音樂學院，便邀她來客串主持「清晨妙韻」的環節。她記得第一次在

節目談及蕭邦，緊張到不得了，對著「咪」講話時連呼吸都小心翼翼的。從2009年到現

在，她擔任嘉賓主持已四年有餘，新近又正式考入第四台，為的是多點採訪機會，接觸更

多音樂家，並與樂迷分享美妙的音樂。如今，她主持節目不再像初時那般不自在，可是每

每聽到同事們流利自然如朋友聊天般的講解，仍覺自身有很大的進步空間。

「布烈頓是個對自己要求很高的人。」周琬婷說。她又何嘗不是呢？！

▲ 十二歲的布烈頓 (1925)▼ 布烈頓的家人 (1914 - 15)


Sundays 2:00pm

Lo King-man

Sunday Opera’s November repertoire offers an interesting variety ranging from exotic romance to historical tragedy,

from deep psychological drama to Baroque entertainment.

SUNDAY OPERA

COLUMNS 專欄

10 November : Verdi’s Don Carlos

Giuseppe Verdi (1813 - 1901) was commissioned by the Paris Opéra to compose a French grand opera based on Friedrich Schiller’s historical

drama, Don Carlos, to celebrate the Paris World Exposition of 1867. Verdi revised the work and rewrote large sections several times,

providing many passages of exquisite beauty as well as powerful theatrical and orchestral effects.

Don Carlos is the son of Philip II of Spain. He and Princess Elisabeth de Valois of France are engaged to marry when suddenly, as part of a

political manoeuvre, Elisabeth is given to Philip as bride. The tremendous suffering of the young lovers, leading their life at court as mother

and son and forever suppressing their true feelings for each other, forms the core of this moving tragedy.

3 November : Bizet’s Les pêcheurs de perles

Les pêcheurs de perles (The Pearl Fishers) is Georges Bizet’s first full-scale opera. It

was first performed at the Paris Théâtre Lyrique in 1863, when the composer was 25

years old. Bizet was harshly, but unjustly, criticized for being too much influenced

by both Wagner and Verdi. Berlioz was one of the few to recognize immediately the

opera’s merits and he declared it to be a genuine expression of Bizet’s own personality.

The score is full of charming melodies and is also given substance by the composer’s

striking grasp of drama and by his admirable ability to evoke atmosphere and character.

The action takes place in ancient Sri Lanka. Leila, a priestess, breaks her sacred vows

for the love of Nadir, a pearl fisher. They are pursued by a vengeful high priest, but

saved by the leader of their tribe who offers his own life because he, too, loves Leila.

The fine performance of soprano Barbara Hendricks, tenor John Aler, and baritone Gino

Quilico is ably supported by the Chorus and Orchestra of the Capitole of Toulouse

conducted by Michel Plasson.

We shall play a recording of the revised French

version supervised by Claudio Abbado at the La

Scala Theatre of Milan, with tenor Plácido Domingo

as Carlos, soprano Katia Ricciarelli as Elisabeth,

and bass-baritone Ruggero Raimondi as King Philip,

leading a large cast of international singers together

with the orchestral and choral forces of La Scala

Theatre.

A portrait of Don Carlos, drawn by Alonso Sánchez Coello (1564)

Barbara Hendricks

Gino Quilico

John Aler

Michel Plasson

Plácido Domingo Katia Ricciarelli

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

COLUMNS 專欄

17 November : Britten’s Peter Grimes

With this opera, Benjamin Britten (1913 - 1976) gained international recognition

as an important opera composer. In London, Peter Grimes was hailed with

enthusiasm when it was first performed in 1945, immediately after the war and

when peace and hope were being restored.

The opera was commissioned by the Koussevitzky Music Foundation, and, to this

day, it remains one of Britten’s most powerful works. Peter Grimes is an anti-hero,

an outcast from a fishing village on the bleak east coast of England. The plot

traces his violent character and actions which lead to his inevitable tragic end.

Canadian tenor Jon Vickers, British soprano Heather Harper, and Australian

baritone Jonathan Summers lead a team of excellent principal singers. Colin

Davis conducts the Chorus and Orchestra of the Royal Opera House at Covent

Garden.

Senesino created the title role of Giulio Cesare in 1724

Jon Vickers Heather Harper

Dietrich Fischer-Dieskau Tatiana Troyanos

24 November : Handel’s Giulio Cesare

We will go back in history into the Baroque era, to be entertained by a performance of the original Italian version of Giulio Cesare (Julius

Caesar) by George Frideric Handel (1685 - 1759). The opera was first performed in London in 1724 and was an immediate success. The plot

centres around Caesar’s activities in Egypt after he defeated Pompei on the banks of the Nile River, including his passionate love affair with

the seductive Cleopatra and the intervening political intrigues.

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In the recording to be played on this occasion,

the title role is sung by the great German baritone

Dietrich Fischer-Dieskau, who has a fine conception

of the role with sensitive dramatic instinct and the

ability to deliver the florid music with ease. He

is partnered by mezzo-soprano Tatiana Troyanos

giving a strong dramatic flavour to the multi-faceted

role of Cleopatra. Other important roles are ably

interpreted by bass Franz Crass as Tolomeo, the

Egyptian King, and by the fine tenor Peter Schreier

as Sesto, Pompei’s son. The Münchener Bach-Chor

and Orchestra perform under the superb direction

of Karl Richter.

Colin Davis


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24 November

‘Mi Aldea’ (My Village)Zarzuela : Los Gavilanes (The Sparrowhawks)Composer : Jacinto Guerrero

‘Adiós Granada’ (Goodbye Granada)Zarzuela : Los Emigrantes (The Migrants)Composer : Tomás Barrera Saavedra and Rafael Calleja

These two pieces share a common theme that can be found in many zarzuelas: migration and its consequences. The first piece comes from Los Gavilanes where a man returns from Peru, arriving at his old village full of joy and nostalgia. The second piece is a granaína (in flamenco style), from the zarzuela Los Emigrantes, a simple and moving story of a group of migrants travelling in a merchant ship from Spain to Cuba in search of a brighter future. Here, one of the characters laments leaving his home in Granada.

Ángel Garralda

Sundays 8:30am

Zarzuela is Spain’s great contribution to lyric theatre, consisting of spoken dialogue, songs, choruses, and dances. Zarzuela originated in the 1650s as entertainment for the aristocracy, the first being performed at the royal residence of La Zarzuela near Madrid. As Italian opera rose in popularity in the 18th century, zarzuela suffered a decline. It was revived during the 19th century as a satirical treatment of everyday life incorporating folk music, dance, and improvisation.

This series started in October and runs through December. Join me each week to listen to some of zarzuela’s most notable songs. You can truly enjoy these pieces of music and learn a few words and phrases from the most popular of the Romance languages - Spanish. I will provide brief plot synopses and translated lyrics to help you.

Additional information is provided in the Sunday Morning on 4 Programme Archive pages at rthk.hk. This month you’ll be able to hear the exceptional voices of tenor Juan Diego Flórez, Plácido Domingo, José Carreras, and soprano Victoria de los Ángeles.

3 November

‘Amapola’ (Little Poppy) Composer : José María Lacalle

▲ Pablo Luna

▲ Victoria de los Ángeles ▲ Juan Diego Flórez

▲ Amapola

10 November

‘Flor Roja’ (Red Flower)

Zarzuela : La Gavilanes (The Sparrowhawks) Composer : Jacinto Guerrero

In this romanza, the character Gustavo presents his love with a rose before his departure. The song is considered to be one of the most poignant pieces of the zarzuela repertoire.

17 November

‘Paxarin tú que vuelas’ (Little Flying Bird)Zarzuela : La Pícara Molinera (The Teasing Mill Girl)Composer : Pablo Luna

The plot tells the story of Carmona, a pretty flirtatious mill girl, and two eligible young men, Pintu and Juan, who are competing for Carmona’s affection. In this piece, Juan laments Carmona’s disdain towards him while hoping for a brighter future with her.

在香港城市大學任�西班牙文的安喬於星期日早上8時30分在週

日早晨以英語主持「聽歌學西班牙文」，介紹多首來自「查瑞

拉小歌劇」的名曲。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。

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renThere are a few songs other than from

zarzuelas that we will listen to in this series. ‘Amapola’ is inspired by the Spanish tradition of the serenade, where a male suitor will visit the home of his beloved and sing to her to express his love.

COLUMNS 專欄


Sundays 11:00pm Tim Wilson

What is Blues?

We all know the Blues. A sad and lonely feeling — a love lost — an emotion to go with adversity. In music, blues is not only a style to express these sensations but often the means to rise above them. With its own special scale, it has a way of bending notes between the keys of the piano and using ‘less-than-conventional’ tone colours to create a soulful voice that both condemns and purifies. And then: the blues has given birth to a musical form that not only sustains its own ongoing genre but also has permeated the fabric of jazz and pop music as well.

After the slaves were ‘freed’ in the latter half of the nineteenth century, there was still little in their lives that reflected real economic and social freedom. However, the removal of constraints on movement gave opportunities to those with musical talent to do more than sow and reap crops. These itinerant artists were able to transform their roots in work songs and ‘field hollers’ into music that expressed the trials and tribulations of their fellow laborers and provided both relief and entertainment. For the guitar toting blues singer, the AAB lyric form of the twelve-bar blues was a natural development — the repetition of the first statement gave the performer time to improvise a response when either memory failed or circumstances required a longer performance.

Blues, Pop Music, Rhythm & Blues

This style of blues continues to thrive as a genre (with urbanization, electrification and commercialization) until today (BB King is considered one of the greatest performers in this style). In addition, it lies at the foundation of popular music as diverse as Elvis Presley, the Rolling Stones, and Eric Clapton, as well as the phenomenon known as ‘rhythm and blues’. The ‘twelve bar’ form has found a voice in virtually all styles of Jazz though it developed separately from blues at the beginning of the twentieth century.

In our listening pilgrimage through the blues we shall touch on the poles, both south and north, of this music and most of the whistle stops in between. Robert Johnson, Son House, and Muddy Waters will provide a glimpse of roots though their recordings paralleled by those of jazz musicians such as James P. Johnson, Louis Armstrong, and Count Basie all of whom provided a different slant on the same core during the same era.

Dinah Washington began her career as a fairly risqué blues singer at the same time Nat King Cole had a few big hits based on the same form.

COLUMNS 專欄

Blues and Bebop

When Bebop crashed into the jazz world, musicians such as Charlie Parker, Clifford Brown, and Art Blakey took the blues into previously uncharted zones. Not to be out done, Miles Davis and the many important musicians he fostered managed to cast ‘twelve-bar music’ in a more cool and modal light while artists such as Cannonball Adderley and Jimmy Smith chose to see the ‘funky’ side of the coin.

We will take a detour into ‘Rhythm and Blues’ though no one seems to be clear about how that term came to be. Artists such as Etta James, Marvin Gaye, and Aretha Franklin are clear however, in their ability to take the soul of the blues into our hearts.

More recent perspectives on the blues come from all angles: Herbie Hancock’s more electrified efforts, Steve Turre’s astute use of the conch shell choir, the Turtle Island String Quartet, Wynton Marsalis’ tribute to his New Orleans roots, and Cassandra Wilson’s unique approach to the music and musicians from which it all came should all provide good fare for the ears.

My Experience in Blues

To share my personal experience with the blues I must go back to my early days as a student in Paris, France. The rather solitary nature of coming to grips with mastering the guitar as well as a strange language certainly awoke a few of the feelings of estrangement that might well belong to blues practitioners. At the time I had almost no contact with American society except for two recordings I shared with my roommate. They happened to be of the great blues artist Leadbelly and the inimitable Ray Charles. Needless to say, you can’t get more blue than that!

I dabbled in singing and guitar then, and had ‘mastered’ some songs from my sources of inspiration. In the summer camp where I found employment, the children (who understood little English) found my performances quite entertaining. Given the subject matter of these ‘earthy’ compositions, it was quite a different story for the English lady who came to head the camp in the second month (she did understand!)

在11月份逢星期日晚上11時，衛庭新於爵士靈感 (英語節目)

介紹藍調，以及它如何影響日後博普爵士樂、節奏藍調和流行

樂的發展。

▲ Tim Wilson


Arts Happenings 藝壇快訊

The exercise to nominate representatives of arts interests for the Hong Kong

Arts Development Council (HKADC) 2013 ended last month. Of the 8,512

registered voters, 2,884 voted, for a turnout rate of 33.9%, representing a 6.9%

increase over the last exercise.

As in previous nomination exercises, cross-arts interest voting continued this

year, where voters may cast votes for candidates standing for nomination in

all of the ten arts interests. Voters were each given a stapled set of 10 ballot

papers in different colours, each paper representing one arts interest. However,

during the nomination exercise, three voters found their sets contained more

than ten ballot papers. The nomination agent later found five other problem

sets that were yet to be given out. During the counting of votes, two more

incorrectly stapled sets were discovered. The nomination agent handled the

ballots in accordance with an arrangement agreed with the candidates, and the

polling results were not affected.

Ng Mei-kwan (winning candidate of Literary Arts) said in an interview that a

voter told her about these wrong ballot papers on the first day of polling. She

reported the case to the nomination agent at once but it was not until the polling

was over that this matter was dealt with. After the polling ended, the nomination

agent gave an account of the incorrectly stapled ballots and explained to the

candidates, observers, and members of the public present at the polling centre

the different ways to handle the defective ballots. It took the nomination agent

and the candidates about six hours to reach a consensus on ways to check

and process these incorrectly stapled ballots. The Home Affair Bureau had

been closely monitoring the execution of the whole nomination exercise all

along. When asked upon, the nomination agent expressed that necessary cross-

checking was done and they have no comment on why candidates were not

informed immediately when the wrongly stapled ballet papers were first found.

Ng Mei-kwan agreed that some voters may have voted for better known

candidates, even without knowing their political platforms. However, this is

not the biggest issue. How one is qualified to become a voter is a more urgent

problem that needs to be addressed before the next exercise is carried out.

The ten winning candidates and their arts interests represented are: Ribble

Chung Siu-mui (Arts Administration), Lo Wai-luk (Arts Criticism), Leung Sung-

yum (Arts Education), Mui Cheuk-yin (Dance), Anthony Wong Chau-sang

(Drama), Ellen Pau (Film Arts), Ng Mei-kwan (Literary Arts), Barbara Fei (Music),

Chan Kam-shing (Visual Arts) and Lau Wai-ming (Chinese Opera / Xiqu).

The list of nominated representatives will be submitted to the Chief Executive

for consideration of appointment to the HKADC for the next term commencing

1 January 2014, for an office of three years.

三年一度的香港藝術發展局（藝發局）藝術範疇代

表提名推選活動已於上月結束。本屆提名活動登記

選民共有8,512人，總投票人數為2,884人，投票率

為百分之三十三點九，較上屆增加百分之六點九。

本屆提名活動沿用以往的跨藝術範疇投票制度，即

選民均可在十個藝術範疇投票選出代表。投票時每

名選民獲發一套共十張釘裝好不同顏色的選票，每

一張選票代表一個藝術範疇。可是在投票期間，共

有三名選民發現獲發的一套選票含十一張，而不是

應有的十張。提名活動代理在未發出的選票中，發

現另外五套問題票，而在點票時亦發現另有兩套釘

裝錯誤的選票在票箱內。

文學藝術界別的當選人吳美筠表示，在選舉的

第一天已有選民向她表示選票出現問題。唯她

即時向提名活動代理人匯報，代理人待投票完結

後才向在場的候選人、監察員及其他公眾人士

交代問題選票的情況。雙方就覆檢及處理問題

選票的方法膠著近六小時，至清晨五時才達成共

識。而民政事務局亦一直密切關注整個提名活

動的進行。提名活動代理人經查詢時表示，他們

在接獲報告後已覆檢選票。對於未在第一時間向

候選人匯報首天發現的問題選票，代理人則沒有

回應。

吳美筠又表示，採用跨界別投票免不了造成有選民

不了解候選人的政綱，只因其知名度而投其一票，

這點並非最大的問題，反而是如何成為選民及訂定

其資格較值得關注。唯望來屆選舉前能把這個問題

適當處理。

十名當選人及其所屬的藝術範疇分別是：鍾

小梅 ( 藝術行政 ) 、盧偉力 ( 藝術評論 ) 、梁崇任

(藝術�育)、梅卓燕(舞蹈)、黃秋生(戲劇)、鮑藹

倫(電影藝術)、吳美筠(文學藝術)、費明儀(音樂)、

陳錦成(視覺藝術)和劉惠鳴(戲曲)。

獲提名的代表名單將交予行政長官考慮委任為下

屆藝發局成員，任期由2014年1月1日開始，為期

三年。

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FINE MUSIC | November 201333

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游慧姿

星期日中午12時

人聲作為人類最古老的「樂器」，在世界各地都會聽到。於11月的大地之歌，游慧

姿會分享來自夏威夷、台灣、蒙古和圖瓦以及中亞一些融合傳統及現代風格的歌聲。

The human voice is the oldest form of music and different cultures have their own ways of presenting song. Join Janet Yau in Songs of the Earth every Sunday at 12pm for more modern Asian vocal music from Hawaii, Taiwan, Mongolia and Tuva.

COLUMNS 專欄

▲▼居於南加州的夏威夷音樂家及舞蹈家在2005年洛杉磯世界音樂節的閉幕典禮上演出

▼ 圖瓦聲樂組合Chirgilchin 的泛音演唱

錄音技術有助研究各地音樂

多得二十世紀初錄音技術的發明，加上前人記錄並保存各地的音樂，至今我們才有許

多研究傳統音樂的歷史性錄音材料；在閱讀文獻以外，有機會親耳聽到百多年前的聲

音。先賢遊歷世界各地，四處搜集不同的音樂。開始時可能是出於好奇，甚至是抱著

獵奇的心態，亦有一些是想記錄歷史，研究之餘亦可保存傳統音樂的真貌。沒有錄音

技術，研究各地音樂可謂困難重重。這一切都是得來不易。

樂師在傳統音樂的傳承擔當重要角色

除此之外，努力傳承傳統音樂的樂師亦在研究中擔當很重要的角色。沒有他們，只參

考二手資料，便無法全面了解實際的情況。民族音樂學中對何謂傳統音樂，有不少的

討論：什麼是傳統？是誰的傳統？在傳統與創新之間，我們往往看到不同的取態。有

部份音樂家擔心有一天傳統音樂會消失，又或是基於宗�等其他原因，以至全力去捍

衞音樂的「純正」，反對任何形式的創新，甚至反對跟其他音樂文化交流及合作，傾

向像博物館封存文物一樣，要原封不動。這些努力保留傳統的人固然值得我們尊重，

卻不要忘記音樂有如別的創作一樣，本身是活生生的，有著其本質和生命。創新的表

達手法或技巧，往往是傳承傳統音樂的另一種方法，亦是把該藝術往前推進的動力。

因此，目睹傳統音樂逐漸式微，不少音樂家致力向前，有的參考其他音樂文化，用上

新的演奏技巧及寫作風格；或是作跨文化的合作，保留自己的表演方式之餘，也合奏

出新的聲效；亦有人著眼把傳統音樂現代化，以流行音樂的形式展現樂壇。

11月的「大地之歌」，我們留在亞洲聽聽各地的歌聲。亞洲是五大洲中面積最大，覆蓋地域最廣的一個，各地的傳統音樂均有

獨特之處－同是亞洲太平洋上的海島，台灣原住民和夏威夷土著的音樂已截然不同；一樣是在亞洲的北面，新彊及中亞的木卡舞

和圖瓦歌手的演唱亦大相徑庭；東南亞及南亞的藝術同樣受印度史詩的影響，卻各自孕育出獨有的聲音。

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情有獨鍾撰文：朱振威主持：蕭程佳明、彭禮傑

星期六下午5時

捷克音樂

神秘戰歌

要數捷克作曲家，可以追溯至十五世紀。而目前仍然常見於音樂

會的，其中最早要數巴羅克年代的拜伯(Heinrich Ignaz Franz

Biber)。他是一位生於波希米亞的傑出作曲家，亦是早期的小提

琴超技演奏家。他創作的合奏曲《戰爭》(Battalia)以各式弦樂特

殊演奏技巧，生動描述戰爭的慘況 ─ 這比班特維斯基(Krystof

Penderecki)的《廣島受難者輓歌》早三百年！而他為小提琴及數

字低音所作的《神秘奏鳴曲》，最後一段的帕薩卡利亞舞曲由無

伴奏小提琴演出，是音樂史上其中一首較早為小提琴獨奏而寫的

作品。這套大約於1676年完成《神秘奏鳴曲》也確實「神秘」：

直到1901年才為世人所知！

民族主義興起

十九世紀，捷克地區仍然受奧地利的哈斯堡皇朝統治，德語是官

方語言，而捷克語的地位只屬方言。隨著民族主義興起，捷克音

樂家也開始反思自己的民族責任，史密塔納(Bedřich Smetana)

是其中最重要的一員，甚至有「捷克音樂之父」之稱。他的代表

作包括捷克語歌劇《被出賣的新娘》以及以捷克神話及歷史作

主題，寫成的六首交響詩組曲《我的祖國》，當中第二首《摩

爾道河》最廣為人知，是捷克音樂的代表作。他所建立的「捷

克風格」，在捷克的獨立運動也有著一定影響，有如西貝流士

(Jean Sibelius)在芬蘭一樣。

獨當一面的捷克音樂

比史密塔納稍年輕的德伏扎克(Antonín Dvořák)及楊納傑克 (Leoš

Janáček)，則繼續充實「捷克音樂」的內涵。堅持以捷克風格創

作旋律，熱衷於捷克語的歌劇及聲樂作品，讓他們的音樂都成為

了捷克音樂風格的典範。然而有趣的是，德伏扎克最為人熟悉的

作品第九交響曲「來自新世界」及B小調大提琴協奏曲，卻是在他

旅居美國時所創作，兩者都不約而同在他喜愛的捷克民族風格上

加入了美國音樂的元素，開拓了一種獨特的聲音。而來自莫拉維

亞的楊納傑克，長年收集捷克民歌，從中提煉出不一樣的音樂語

彙，讓他的作品有著別樹一格的捷克風味，他的《小交響曲》以

至《斯拉夫彌撒曲》，都是極具強烈個人風格的作品，�人一聽

難忘。

值得一提，自稱為「三重無國籍」的馬勒，正是生於波希米亞！

▲ 流經布拉格查理大橋的摩爾道河

要談「捷克音樂」，首先得定義何謂「捷克」！所謂「捷克」，其實是指波希米亞(Bohemia)、莫拉維亞(Moravia)和捷克西

里西亞(Czech Silesia)三大地區。在共產政權時代下的「捷克」，是指由上述地區再加上斯洛伐克(Slovakia)構成的「捷克斯

洛伐克」(Czechoslovakia)，斯洛伐克已在1993年脫離捷克獨立。而我們提到「捷克音樂」，一般都是指不包括斯洛伐克的

捷克地區 (Czech lands)。

In general, ’Czech music’ refers

to music from Bohemia, Moravia,

and Czech Silesia. With such a

complicated historical background,

Czech music is a hybrid of various

cultures, which was crystalised

in the 19th century by Bedřich

Smetana, Antonín Dvořák, and

Leoš Janáček. In this month’s

All or Nothing, Rebecca Siu and

Ben Pelletier will introduce to you

the world of Czech music.

COLUMNS 專欄


COLUMNS 專欄

Gladys Lau 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

劉建婷和多位樂評人在「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

Gladys Lau 劉建婷New Releases 逢星期一至五下午5時30分Monday to Friday 5:30pm

碟碟不休

November 4-8

November 1


New Releases 碟碟不休

COLUMNS 專欄

November 18-22

November 11-15

November 25-29

COLUMNS 專欄


Date 日期 Highlights 重點推介

8,15/11 (Fri 五) 8:00pm

13, 20/11(Wed 三) 2:00pm

Repeat 重播

Hong Kong Philharmonic’s Maazel FestActive for over five decades, Lorin Maazel is one of the world’s most esteemed conductors. In the Maazel Fest, Maestro Maazel and the Hong Kong Philharmonic bring two unmissable concer ts, which will be broadcast on Radio 4.

The first concer t, The Ring Without Words, marks the 200th anniversary of the bir th of Richard Wagner. Lorin Maazel has distilled the epic Ring Cycle into a symphonic highlight, in which every note is still Wagner’s own. This concer t is the first collaboration between Maestro Maazel and the Hong Kong Philharmonic.

The second concer t celebrates the centenary of the bir th of Benjamin Britten and features his power ful War Requiem. It is Britten’s enduring statement on the folly and destruction of war. A setting of the Requiem Mass, inter twined with war-poet Wilfred Owen’s descriptions of the horrors of the trenches of WWI, it became one of Britten’s most famous works. The Hong Kong Philharmonic is joined by the HK Philharmonic Chorus, The Learners Chorus, and the Hong Kong Children’s Choir.

香港管弦樂團－馬錫爾系列

指揮大師馬錫爾縱橫樂壇半世紀，譽滿全球。香港管弦樂團與馬錫爾首度合作，舉行為期兩週的「馬錫爾系列」，兩場音樂會均由第四台轉播。

在第一場音樂會中，馬錫爾把華格納史詩式鉅著《指環》濃縮為一套緊湊澎湃的《無言的指環》，藉此慶祝華格納誕生200週年。樂曲忠於原著，每顆音符皆出自華格納的手筆。

今年也是英國作曲家布烈頓誕生100週年，第二場音樂會將演出布氏的《戰爭安魂曲》。布烈頓將傳統安魂曲的佈局配上反戰詩人歐文的詩詞，控訴戰爭的殘酷。馬錫爾與港樂會聯同本港三大合唱團－香港管弦樂團合唱團、學士合唱團和香港兒童合唱團，以強大陣容呈獻布烈頓的傳世經典。

9, 16, 23/11

(Sat 六)8:00pm

14, 21, 28/11

(Thu 四) 2:00pmRepeat 重播

Benjamin Britten at Aldeburgh FestivalThe centenary of Benjamin Britten (1913 – 1976), born in Lowestoft, Suffolk, will be marked by special events all over the world. To experience the spirit of one of the greatest musical minds in the 20th century, you need to know Aldeburgh, where Britten lived and worked for most of his life.

In three consecutive Saturdays, Radio 4 brings you historic recordings from the Aldeburgh Festival in the 1960s. You can listen to Britten as a pianist, in a trio with cellist Mstislav Rostropovich and clarinettist Gervase de Peyer, and in The Prodigal Son, recorded during the world première at the Aldeburgh Festival.

音樂會轉播精選 HIGHLIGHTS OF CONCERT BROADCASTS

© L

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布烈頓在奧爾德堡

布烈頓生於英國蕯福克郡，一生中大部份時間在當地的奧爾德堡生活及工作。樂迷可透過奧爾德堡音樂節，了解這位二十世紀英國重要作曲家的偉大傑作。

一連三個星期六，第四台會播放上世紀六十年代、布烈頓在奧爾德堡音樂節中精彩的錄音，包括他以鋼琴手身份，聯同大提琴家羅斯卓波維契和單簧管演奏家派也組成三重奏的演出，更可以欣賞到由當年的首演班底演出布烈頓的《浪子回頭》。

© L

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Benjamin Britten 布烈頓 Gervase de Peyer, clarinet 單簧管：派也

Mstislav Rostropovich, cello 大提琴：羅斯卓波維契

Lorin Maazel, conductor 指揮：馬錫爾

Hong Kong Philharmonic Chorus 香港管弦樂團合唱團

The Learners Chorus 學士合唱團

Hong Kong Children’s Choir 香港兒童合唱團

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 : 布烈頓‧樂‧迷周琬婷

星期二 : 大地之歌游慧姿

Wed : Zooming In Eunice Chow

Thu : Arts News Jonathan Douglas

星期五 : 今日話當年馬盈盈

Sat : Operetta Lo King-man

星期日 : 碟碟不休劉建婷

Date 日期 Highlights 重點推介

29/11 (Fri 五) 8:00pm

4/12(Wed 三) 2:00pm

Repeat 重播

The Flying Dutchman

The plot of Wagner’s early work, The Flying Dutchman, tells the story of the haunted ghostly Dutchman and his crew, condemned to sail the seven seas until he is redeemed by pure love. This he finds in Senta, daughter of a Norwegian sea captain, whose devotion, even to death, brings his final salvation.

Opera Hong Kong and the LCSD bring to Hong Kong an acclaimed production by the Deutsche Oper am Rhein Düsseldor f-Duisburg, led by the revival director Volker Böhm. World-class international singers take up the highly demanding major roles, with the par ticipation of the Opera Hong Kong Chorus and the Hong Kong Philharmonic under the baton of Henrik Schaefer.

30/11 (Sat 六) 8:00pm

5/12(Thu 四) 2:00pm

Repeat 重播

Christian Lindberg,conductorSweden’s most flamboyant conductor, composer, trombone vir tuoso, and all-round musical show-stopper, Christian Lindberg, takes the baton and leads the City Chamber Orchestra of Hong Kong for the Asian première of his Tuba Concer to, Panda in Love, and insightful interpretations of the music of Sibelius and Beethoven. The concer t will close with Fnugg Blue, composed and played by Norwegian tuba vir tuoso Øystein Baadsvik.

指揮家基斯安‧連保

來自瑞典的耀眼明星基斯安‧連保，身兼超技長號演奏家、作曲家及指揮家的身份。他領導香港城市室樂團，演出自己的傑作 — 大號協奏曲「戀愛中的熊貓」，更會演繹西貝流士和貝多芬的傳統經典，而挪威大號演奏家巴塔斯維克更會演出他的創作《小小藍調》。

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Scene from the production of The Flying Dutchman in this braodcast 是次《漂泊的荷蘭人》演出的劇照

Christian Lindberg, conductor 指揮：基斯安‧連保

Øystein Baadsvik, tuba 大號：巴塔斯維克

《漂泊的荷蘭人》

在華格納的早期歌劇《漂泊的荷蘭人》中，男主角幽靈船長和他的船員受到詛咒，在海上漂流多年，要覓得真愛後始獲救贖。他遇到一位挪威船長的女兒珊塔，因著她誓死不移的愛，終於讓他擺脫厄運。

香港歌劇院和康文署將備受讚譽的杜塞爾多夫歌劇院製作帶到香港舞台，由導演波姆執導。難度極高的主要角色由多位國際知名的歌唱家擔綱，聯同香港歌劇院合唱團和香港管弦樂團，在謝弗指揮下演出。

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Download the FINE MUSIC Magazine App on Android or iPad for free.

You may also save past magazines for your later enjoyment.

FINE MUSIC APP IS NOW AVAILABLE!

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www.finemusic.org.hk

會籍年費 Annual Membership Fee

美樂直播導賞團 Seeing Radio 4 in Action Live!

個人會員 Individual Member : HK$120

家庭會員 Family Member : HK$150

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（只供學生、65歲或以上長者及殘疾人士）

(Only for students, senior citizens aged 65 or above, and people with disabilities)

亞斯頓�育．Aston Education伯樂音樂學院．Baron School of Music嘉林琴行．Collin Music Co. Ltd.琴之屋．Eddie’s House of Strings偉樂琴行．Eddy Music Co. Ltd.香港鋼琴�育專業學院． HK Prof. Piano Education Academy繆斯琴行．Muse Music Company向日葵文化良品．Sole Cultural Goods華偉音樂藝術中心．S T Music & Art Centre通利琴行．Tom Lee Music Co. Ltd.

Friends’ Discounts

參觀香港電台的錄音室、由第四台節目主持人講解美樂節目的製作流程，還可參與由鍾子豪和梁倍嘉主持的四台插班生直播！機會難逢。第四台之友誠邀您參與！Do you want to see how a radio programme is created, live in the studio? The Friends of Radio 4 invites all radio fans to join Raymond Chung and Carmen Leung in a special edition of R4 Buddies, where you can witness the programme broadcast live in RTHK studio and learn the background work of a radio production. (Programme conducted in Cantonese)

• 《美樂集》郵寄至府上• 各大琴行、唱片公司及種種不同的優惠• 優先獲得指定的第四台音樂會門券• 參加第四台之友特備活動• Fine Music delivery to your home• Purchasing discount from major piano

companies, music shops and other institutes

• Priority in getting designated Radio 4 recital tickets

• Exclusive activities and programmes

Friends’ Exclusive Benefits

Friends of Radio 4 Membership Application Form第四台之友協會會員申請表

Name 姓名：

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Membership 會籍：

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* 請附上學生證、長者咭或殘疾人士登記證影印本。

* Please enclose photocopy of student ID, senior citizen card or registration card for people with disabilities.

Enquiry 查詢電話：9073 3474

Some more about you 其他資料：

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Please send your application form and cheque to: Friends of Radio 4 Society P.O. Box No. 97497 at Tsim Sha Tsui Post Office (payable to “Friends of Radio 4 Society Limited”)

Please allow 3 weeks for processing of membership and 5 weeks for delivery on the first issue of Fine Music. 會員證將於三星期內寄到府上；而第一期《美樂集》將於五星期內郵寄至閣下地址。

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FOR4MembershipNo.第四台之友會員編號(ifapplicable如適用)：

Please return the completed form to: Radio 4, P.O. Box 70200 Kowloon Central Post Office請郵寄至九龍中央郵箱70200號，香港電台第四台

Fax 傳真：2339 6427 Enquiries 查詢：2339 6425

Date 日期： 30/11/2013 (Sat 星期六) Time 時間： 2:00pm - 4:00pm Venue 地點： RTHK Broadcasting House(30 Broadcast Drive, Kowloon Tong) 香港電台廣播大樓 (廣播道30號)

Seeing Radio 4 in Action Live! Ticket Request Form 美樂直播導賞團門票索取表格

(Please specify the no. of tickets, maximum 4) (請列明數量，最多四張)

Number of Tickets 門票數量


Monday 星期一

Tuesday星期二

Wednesday星期三

Thursday星期四

Friday星期五

Saturday星期六

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

Play by Ear 週末隨想Synthia Ko

高德儀

Britian’s Britten 布烈頓‧樂‧迷

Eunice Chow 周琬婷

Church Service 主日崇拜

Artbeat Jonathan Douglas 杜格尊

Songs of the Earth 大地之歌

Janet Yau 游慧姿

News at One

Music à la Carte (Tue, Thu : Chinese Music) 午間精點 (星期二及四：中樂篇) Chu Siu﹣wai / Tina Ma / Daphne Lee / Kathy Lam 朱紹威 / 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 Gladys Lau 四時行樂

劉建婷

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

Raymond Chung / Emma Liu 鍾子豪 / 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

BBC Features英國廣播公司專輯

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 Carmen Leung夜心曲梁倍嘉

Chamber Fragrance

寫意室樂Ben Pelletier / Rebecca Siu

彭禮傑 / 蕭程佳明 Jazzing Up Tim Wilson

Bilingual 雙語B Cantonese 粵語C English 英語E

6:00am

7:00am

8:00am

9:00am

10:00am

11:00am

12:00pm

1:00pm

2:00pm

3:00pm

4:00pm

5:00pm

6:00pm

7:00pm

8:00pm

9:00pm

10:00pm

11:00pm

12:00am

B

B

B

B

B

B

B

C

C

C

C

C

C

C

C

C /

C

C

C

C

C

C

E

E

E

E

E

EE

E

E

E

E

E

Music for All適合所有樂迷

Music Exploration擴闊音樂領域

Concerts音樂會時段

Artnews藝術資訊

Education�育節目

Religion宗�節目

News新聞

* 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


節目精華Programme Highlights

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

2:00pm MUSIC OF FRIENDS (REPEAT) 室樂雅聚（重播）Stephen Ng (t) Yu Ka-wai (vc) Sonia Lee (hc)Caccini: Armailli 3’Schütz: O Jesu nomen dulce, SWV308 3’Telemann: Sonata in A minor for Viola da Gamba and Continuo, TWV41:a6 (excerpts) 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: Sonata in C for Viola da Gamba and Obbligato Harpsichord (excerpts) 6’Rameau: ‘Ces lieux brillent déjà d’une vive clarté’, ‘Ce n’est plus le poids de ma chaîne’, from ‘L’Impatience’ 5’

Recroded at RTHK Studio Two 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》

2012年6月28日香港電台二號錄播室錄音。

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’Fauré: 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

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

2012年6月4 日香港電台二號錄播室錄音。

4/11/2013 (Mon 星期一)11:00am VIEUXTEMPS 魏歐當Violin Concerto No. 5 in A minor, Op. 37 19’Sarah Chang (v) Philharmonia Orch. / Charles DutoitA小調第五小提琴協奏曲，作品37張永宙（小提琴）愛樂樂團 / 杜托華

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）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

8:00pm BBC FEATURES 英國廣播公司專輯

5/11/2013 (Tue 星期二)11:00am SCHUBERT 舒伯特String Quartet in D minor, D. 810, ‘Death and the Maiden’ 42’Hagen QuartetD小調弦樂四重奏，D. 810，「死神與少女」哈根四重奏

2/11/2013 (Sat 星期六)8:00pm LIVE ON 4 第四台音樂會LIVE AT THE WIGMORE Vienna 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’

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 perles 127’Leila: 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：採珠者萊拉：巴巴拉‧韓迪絲（女高音）納迪爾：亞利爾（男高音）舒爾加：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’

Recorded at RTHK Studio Two on 4/6/2012.

PROGRAMME HIGHLIGHTS 節目精華


2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播） 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。

8:00pm LIVE ON 4 第四台音樂會Stephanie Blythe (ms)New York Phil. / Alan GilbertPresented in English by Alec BaldwinBarber: Essay No. 1Corigliano: One Sweet MorningDvorak: Symphony No. 7 in D minorBerg: Three Pieces for Orchestra, Op. 6

布拉芙（女中音）紐約愛樂樂團 / 基爾拔由艾力‧寶雲以英語主持巴伯：文章，第一首柯里紀安奴：甜蜜的早晨德伏扎克：D小調第七交響曲貝爾格：三首樂團樂曲，作品6

6/11/2013 (Wed 星期三)11:00am BERNSTEIN 伯恩斯坦Songfest 42’National Sym. Orch. of Washington / Leonard Bernstein歌謠合唱團華盛頓國家交響樂團 / 伯恩斯坦

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 1/11/2013, 8pm節目與2013年11月1日晚上8時相同

8:00pm LIVE ON 4 第四台音樂會Gautier Capuçon (vc)Nicholas Angelich (p)Beethoven: Seven Variations for Cello and Piano in E flat on a theme from Mozart’s ‘The Magic Flute’ 9’Debussy: Cello Sonata in D minor 11’Shostakovich: Cello Sonata in D minor, Op.40 32’

高利亞‧卡普森（大提琴）安格利殊（鋼琴）貝多芬：七首為大提琴及鋼琴而寫的降E大調主題變奏曲，取材自莫扎特歌劇《魔笛》德布西：D小調大提琴奏鳴曲蕭斯達高維契：D小調大提琴奏鳴曲，作品40

7/11/2013 (Thu 星期四)11:00am FRANCK 法朗克Symphony in D minor 37’New York Phil. / Kurt MasurD小調交響曲紐約愛樂樂團 / 馬素亞


8:00pm LIVE ON 4 第四台音樂會JAZZ AT LINCOLN CENTER - Basie and the Blues In the hands of William ‘Count’ Basie, churning rhythms and unforgettable riffs caught the essence of Kansas City swing. The Jazz at Lincoln Center Orchestra, with guitarist James Chirillo, pianist Cyrus Chestnut and vocalist Gregory Porter, join in together to make the Basie classics burn.

爵士派對@林肯中心－貝西伯爵的藍調貝西伯爵的複雜節奏及其獨特的重複樂段是堪薩斯城搖擺爵士樂重要原素。林肯中心的爵士派對邀來結他手占士‧芝維洛、鋼琴手賽維斯‧徹斯勒及歌手格里哥利‧波特，一同演繹貝西伯爵的經典作品。

8/11/2013 (Fri 星期五)11:00am ARNOLD 阿諾The Bridge on the River Kwai 29’London Sym. Orch. / Richard Hickox桂河橋倫敦交響樂團 / 希覺斯

2:00pm MUSIC OF FRIENDS (REPEAT) 室樂雅聚（重播）Prog. as 3/11/2013, 8pm節目與2013年11月3日晚上8時相同

8:00pm LIVE ON 4 第四台音樂會Hong Kong Phil. / Lorin MaazelWagner (arr. Maazel): The Ring Without Words

Presented by Hong Kong Philharmonic. Recorded at

Hong Kong Cultural Centre Concert Hall on 1/11/2013.

香港管弦樂團 / 馬錫爾華格納（馬錫爾改編）：無言的指環

香港管弦樂團主辦。2013年11月1日香港文化中心音樂廳錄音。

9/11/2013 (Sat 星期六)8:00pm LIVE ON 4 第四台音樂會BENJAMIN BRITTEN AT ALDEBURGH

Gervase de Peyer (cl)Mstislav Rostropovich (vc)Benjamin Britten (p)Beethoven: Trio in B flat, Op.11 21’

Schumann: Fantasiestücke, Op.73 11’

Shostakovich: Sonata in D minor, Op.40 25’

布烈頓在奧爾德堡派也（單簧管）羅斯卓波維契（大提琴）布烈頓（鋼琴）貝多芬：降B大調三重奏，作品11舒曼：幻想樂曲，作品73蕭斯達高維契：D小調奏鳴曲，作品40

10/11/2013 (Sun 星期日)2:00pm SUNDAY OPERA 歌劇世界Verdi: Don Carlos (selections) 158’

Don Carlos: Plácido Domingo (t)Élisabeth de Valois: Katia Ricciarelli (s)La Princess Eboli: Lucia Valentini Terrani (ms)Rodrigue: Leo Nucci (br)Coro e Orchestra del Teatro alla Scala / Claudio Abbado

威爾第：唐卡洛斯（選段）唐卡洛斯：杜鳴高（男高音）伊麗莎白‧華萊爾：力卓韋莉（女高音）伊布莉公主：華倫天尼堤‧華尼（女中音）羅德里格：奴西（男中音）史卡拉歌劇院樂團及合唱團 / 亞巴度

8:00pm MUSIC OF FRIENDS 室樂雅聚Francesco Teopini (g)Giuliani: Grand Overture, Op. 61 7’Sainz de la Maza: Campanas del Alba 5’Caymmi (arr. Baden Powell): A lenda do Abaeté 5’Domeniconi: Koyunbaba, Op. 19 15’




堤奧比利（結他）紀利亞尼：壯麗序曲，作品61聖狄拉馬沙：阿爾巴的鐘聲卡米（巴登‧柏維爾改編）：阿巴埃特的傳說多曼尼高利：高元巴巴，作品19


11/11/2013 (Mon 星期一)11:00am LISZT 李斯特Piano Sonata in B minor 31’Alfred Brendel (p)B小調鋼琴奏鳴曲布蘭度（鋼琴） 2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 6/11/2013, 8pm節目與2013年11月6日晚上8時相同


12/11/2013 (Tue 星期二)11:00am CHOPIN 蕭邦Cello Sonata in G minor, Op. 65 27’Jacqueline Du Pré (vc) Daniel Barendoim (p)G小調大提琴奏鳴曲，作品65杜佩（大提琴）巴倫邦（鋼琴）

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播） Prog. as 7/11/2013, 8pm節目與2013年11月7日晚上8時相同

8:00pm LIVE ON 4 第四台音樂會Chen Halevi (cl)Markus Rhoten (ty)Christopher S. Lamb , Daniel Druckman (per)Juhani Liimatainen (electronics)Yefim Bronfman (p)Carter Brey (vc)New York Phil. / Alan GilbertPresented in English by Alec BaldwinMagnus Lindberg: EXPO Souvenir in Memoriam of Gérard Grisey Grand Duo Piano Concerto No. 2 Kraft

哈利維（單簧管）萊坦（定音鼓）蘭姆、丹尼爾‧杜魯文（敲擊）里瑪塔蘭（電子音樂）布朗夫曼（鋼琴）庇利（大提琴）紐約愛樂樂團 / 基爾拔由艾力‧寶雲以英語主持麥奴斯‧連保：EXPO 懷念格雷斯的紀念品壯麗二重奏第二鋼琴協奏曲強制

13/11/2013 (Wed 星期三)11:00am MENDELSSOHN 孟德爾遜Die erste Walpurgisnacht, Op.60 36’Arnold Schoenberg Cho. Ch. Orch. Of Europe / Nikolaus Harnoncourt華佩格斯第一夜，作品60荀伯克合唱團歐洲室樂團 / 亞奴閣

2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播） Prog. as 8/11/2013, 8pm節目與2013年11月8日晚上8時相同

8:00pm LIVE ON 4 第四台音樂會Marko Gênero (va)Sebastian String QuartetGesualdo: Two Madrigals for Five Voices (arr. for String Quintet) 5’Bjelinski: String Quartet No. 2 26’Bruckner: String Quintet in F 43’

漢尼洛（中提琴）施伯純弦樂四重奏謝舒道：兩首五聲部牧歌（為弦樂五重奏改編）比雅連斯基：第二弦樂四重奏布魯克納：F大調弦樂五重奏

14/11/2013 (Thu 星期四)11:00am BEETHOVEN 貝多芬Septet in E Flat, Op. 20 39’Eduard Brunner (cl) Marie-Luise Neunecker (fh) Stefan Schweigert (bn) Thomas Zehetmair (v) James Vanvalkenburg (va) Cheryl House (vc) Alois Posch (db)

降E大調七重奏，作品20布魯納（單簧管）妮歐歷克（圓號）史韋格特（巴松管）薩赫米亞（小提琴）范法爾肯堡（中提琴）侯斯（大提琴）保殊（低音大提琴）


8:00pm LIVE ON 4 第四台音樂會JAZZ AT LINCOLN CENTER - The Yellowjackets with Mike Stern For over 25 years, The Yellowjackets - saxophonist Bob Mintzer, pianist Russell Ferrante, electric bassist Jimmy Haslip and drummer Will Kennedy - have combined jazz, rock, and electronic instruments. Now, the sensational and discerning guitarist Mike Stern, veteran of Miles Davis and Michael Brecker bands, joins the group.

爵士派對@林肯中心－黃色夾克及麥克‧史頓黃色夾克成員－薩克管手博‧明澤、鋼琴手羅素‧費蘭地、低音結他手海斯聶及鼓手威‧甘迺迪－在過去的二十五年中成功融合了爵士樂、搖滾樂及電子樂器。這一次，資深的戴維斯及米高布雷克樂隊成員結他手麥克‧史頓，會加入黃色夾克一同演奏。

15/11/2013 (Fri 星期五)11:00am SCHUBERT 舒伯特Piano Sonata in A minor, D. 784 23’Evgeny Kissin (p)A小調鋼琴奏鳴曲，D. 784基辛（鋼琴）


8:00pm LIVE ON 4 第四台音樂會Nancy Gustafson (s) Andrew Kennedy (t) Christian Gerhaher (br) The Learners ChorusHong Kong Phil. Cho.Hong Kong Children’s Cho.Hong Kong Phil. / Lorin MaazelBritten: War Requiem

Presented by Hong Kong Philharmonic. Recorded at Hong Kong Cultural Concert Hall on 7/11/2013.

古絲塔芙森（女高音）安德魯‧甘迺迪（男高音）葛哈爾（男中音）學士合唱團香港管弦樂團合唱團香港兒童合唱團香港管弦樂團 / 馬錫爾布烈頓：戰爭安魂曲

香港管弦樂團主辦。2013年11月7日香港文化中心音樂廳錄音。



16/11/2013 (Sat 星期六)8:00pm LIVE ON 4 第四台音樂會BENJAMIN BRITTEN AT ALDEBURGHPeter Pears (t)Robert Tear (t)Bryan Drake (br)John Shirley-Quirk (br)Members of the English Opera Group Cho.English Chamber Orch. / Benjamin BrittenBritten: The Prodigal Son 73’

布烈頓在奧爾德堡皮亞士（男高音）地亞（男高音）杜利克（男中音）舒利卻克（男中音）英國歌劇小組合唱團成員英國室樂團 / 布烈頓布烈頓：浪子回頭

17/11/2013 (Sun 星期日)2:00pm SUNDAY OPERA 歌劇世界Britten: Peter Grimes 148’Peter Grimes: Jon Vickers (t)Ellen Oxford: Heather Harper (s)Captain Balstrode: Jonathan Summers (br)Auntie: Elizabeth Bainbridge (a)Royal Opera House, Covent Garden / Colin Davis

布烈頓：彼得‧格里姆斯彼得‧格里姆斯：維加士（男高音）愛倫‧牛津：夏柏（女高音）布絲托特：森馬斯（男中音）姨姨：比布烈茲（女低音）高雲花園皇家歌劇院 / 哥連‧戴維斯

8:00pm MUSIC OF FRIENDS 室樂雅聚Wei He (v) Yoshikazu Nagai (p)Brahms: Sonata No. 2 in A, Op. 100 9’Prokofiev: Violin Sonata No. 2 in D, Op. 94b 25’


何為（小提琴）永井良和（鋼琴）布拉姆斯：A大調第二奏鳴曲，作品100浦羅歌菲夫：D大調第二小提琴奏鳴曲，作品94b

2012年10月15 日香港電台二號錄播室錄音。

18/11/2013 (Mon 星期一)11:00am ALKAN 亞爾勤Symphony for Piano, Op. 39, Nos. 4-7 23’Raymond Lewenthal (p)鋼琴交響曲，作品39，第四至第七首利雲度（鋼琴）



19/11/2013 (Tue 星期二)11:00am ELGAR 艾爾加Sea Pictures, Op. 37 24’Dame Janet Baker (ms)London Sym. Orch. / John Barbirolli海之畫，作品37比嘉（女中音）倫敦交響樂團 / 巴比洛利


8:00pm LIVE ON 4 第四台音樂會Glenn Dicterow (v)New York Phil. / Alan GilbertPresented in English by Alec BaldwinDvořák: Carnival Overture, Op. 92Bartók: Violin Concerto No. 1Tchaikovsky: Symphony No. 4 in F minor, Op. 36

迪締洛（小提琴）紐約愛樂樂團 / 基爾拔由艾力‧寶雲以英語主持德伏扎克：狂歡節序曲，作品92巴托：第一小提琴協奏曲柴可夫斯基：F小調第四交響曲，作品36

20/11/2013 (Wed 星期三)11:00am DVOŘÁK 德伏扎克Piano Quintet in A, Op.5 28’Sviatoslav Richter (p) Borodin QuartetA大調鋼琴五重奏，作品5斯耶塔斯拉夫‧力克特（鋼琴）鮑羅丁四重奏 2:00pm LIVE ON 4 (REPEAT) 第四台音樂會（重播）Prog. as 15/11/2013, 8pm節目與2013年11月15日晚上8時相同

8:00pm LIVE ON 4 第四台音樂會Sebastian String QuartetPalestrina: Ave Maria, Exaudi Domine (arr. for String Quartet) 7’Stahuljak: String Quartet No. 2 in C minor, Op. 15 17’Bartók: String Quartet No. 4 24’Dvořák: String Quartet No. 12 in F, Op. 96 24’

施伯純弦樂四重奏帕萊斯特里那：聖母頌，求主垂聽（為弦樂四重奏改編）士達侯亞克：C小調第二弦樂四重奏，作品15巴托：第四弦樂四重奏德伏扎克：F大調第十二弦樂四重奏，作品96

21/11/2013 (Thu 星期四)11:00am MESSIAEN 梅湘L’Ascension 32’Orchestre de l’Opéra Bastille / Myung-Whun Chung基督升天巴士底歌劇院樂團 / 鄭明勳


8:00pm LIVE ON 4 第四台音樂會JAZZ AT LINCOLN CENTER - Bobby McFerrin Bobby McFerrin introduces a major work for a rhythmically-charged, internationally-cast, 48-voice improvising choir. McFerrin’s sprawling work VOCAbuLarieS evokes African chant, gospel energy, Motown soul, minimalism and jazz polyphony.

爵士派對@林肯中心－波比‧麥非年波比‧麥非年帶來為擁有強烈節奏感國際成員的四十八聲部即興合唱團而寫的大型作品 VOCAbuLarieS。此作品揉合了非洲頌唱、福音音樂、摩城騷靈、極簡主義及爵士複調等各式各樣的音樂原素。

22/11/2013 (Fri 星期五)11:00am STRAVINSKY 史達拉汶斯基Pulcinella Suite 23’Orpheus Ch. Orch.普切內拉組曲奧菲斯室樂團


8:00pm LIVE ON 4 第四台音樂會BRITTEN, HONG KONG AND ASIAPeter Pears (t) Benjamin Britten (p)Haydn: ‘The Sailor’s Song’, ‘Sympathy’, from ‘English Canzonettas II’, Hob. XXVIaSchubert: Liebesbotschaft, D. 957 Gesänge des Harfners I, D. 478Schumann: Die Mondnacht, Op. 39, No. 5Britten: Winter Words, Op. 52, No. 1, ‘At Day-close in November’; No. 4, ‘The Little Old Table’; No. 5, ‘The Choirmaster’s Burial’; No. 6, ‘Proud Songsters’Traditional (arr. Britten): Down by the Salley Gardens The Ploughboy

Recorded at RHK Studio on 6/2/1956.



布烈頓，香港及亞洲皮亞士（男高音）布烈頓（鋼琴）海頓：「水手之歌」及「憐憫」，選自「第二英國短歌集」，Hob. XXVIa舒伯特：愛的訊息，D. 957 竪琴手歌曲，D. 478舒曼：月夜，作品39，第五首布烈頓：冬之語，作品52，第一首「十一月的最後一天」；第四首「小小的舊桌子」；第五首「詩班指揮的葬禮」；第六首「驕傲的歌手」傳統歌曲（布烈頓編曲）：楊柳園中農家男孩

1956年2月6日香港電台錄音室錄音。

23/11/2013 (Sat 星期六)8:00pm LIVE ON 4 第四台音樂會BENJAMIN BRITTEN AT ALDEBURGHPeter Pears (t)John Shirley-Quirk(br)Benjamin Britten (p)Schubert: Three Mayrhofer Songs, including ‘Atys’, D. 585; ‘Abendstern’, D. 806; ‘Auflösung’, D. 807 9’ Four Goethe Songs, including ‘Ganymed’ D. 544; ‘Nähe des Geliebten’, D. 162; ‘An die Entfernte’, D. 765; ‘Der Musensohn’ D. 764 14’ Four Songs, including ‘Der Tod und das Mädchen’; D. 531; Der Wanderer, D. 493; ‘Litanei’, D. 343; ‘An Schwager Kronos’, D. 369 14’Britten: On This Island 15’ Tit For Tat 9’J. S. Bach: Four Scared Songs, including ‘Gedenke doch, mein Geist’, BWV509; ‘Kommt, Seelen, dieser Tag’, BWV479; ‘Liebster Herr Jesu’, BWV484; ‘Bist du bei mir’, BWV508 10’

布烈頓在奧爾德堡皮亞士（男高音）舒利卻克（男中音）布烈頓（鋼琴）舒伯特：三首梅諾弗歌曲，包括「阿提斯」， D. 585；「晚星」，D. 806；「決議」，D. 807 四首歌德歌曲，包括「蓋妮梅德」， D. 544；「在情人身旁」， D. 162；「致遠方的愛人」， D. 765；「藝神之子」，D. 764 四首歌曲，包括「死神與少女」， D. 531；「流浪者之歌」，D. 493; 「禱文」，D. 343；「致馬車夫克羅魯斯」，D. 369布烈頓：在小島上針鋒相對巴赫：四首聖歌，包括「但要記得我的生命」，BWV509；「來吧，靈魂，這一天」，BWV479；「最親愛的主耶穌」，BWV484；「你在我身旁」， BWV508



24/11/2013 (Sun 星期日)2:00pm SUNDAY OPERA 歌劇世界Handel: Giulio Cesare (selections) 163’ Giulio Cesare: Dietrich Fischer-Dieskau (br)Cleopatra: Tatiana Troyanos (s)Cornelia: Julia Hamari (a)Sesto: Peter Schreier (t)Münchener Bach-ChorMünchener Bach-Orchester / Karl Richter

韓德爾：凱撒大帝（選段）凱撒大帝：費沙－狄斯高（男中音）克莉奧帕特拉：蔡恩奴斯（女高音）伉尼莉亞：夏瑪莉（女低音）色士圖：舒威亞（男高音）蒙尼黑巴赫合唱團蒙尼黑巴赫樂團 / 力克特

8:00pm MUSIC OF FRIENDS 室樂雅聚Samuel Klemke (g)Sor: Variations on a Theme by Mozart 9’De Falla: Danza del molinero 3’ Homenaje pour le tombeau de Debussy 3’Henze: Three Tentos 6’Dyens: Tango en skai 3’Bach: Fuga, BWV1000 6’R.R. Bennett: Five Impromptus 8’


克林刻（結他）梭亞：莫扎特主題變奏曲法雅：米勒舞向德布西之墓致敬漢殊：三個目標德恩斯：探戈巴赫：賦格曲，BWV1000班尼特：五首即興曲


25/11/2013 (Mon 星期一)11:00am MENDELSSOHN 孟德爾遜A Midsummer Night’s Dream, Op. 61 35’Heather Harper (s) Janet Baker (a) Philharmonia Orch. & Cho. / Otto Klemperer仲夏夜之夢，作品61夏柏（女高音）比嘉（女低音）愛樂樂團及合唱團 / 佳伯拿



26/11/2013 (Tue 星期二)11:00am WIENIAWSKI 維尼奧夫斯基Violin Concerto No.1, Op. 14 28’Itzhak Perlman (v) Pittsburgh Sym. Orch. / André Previn 第一小提琴協奏曲，作品14普爾文（小提琴）匹茲堡交響樂團 / 普列文


8:00pm LIVE ON 4 第四台音樂會Vocal soloistsOrfeón PamplonésBrooklyn Youth Cho.New York Phil. / Rafael Frühbeck de BurgosPresented in English by Alec BaldwinFalla: Atlántida (excerpts)Orff: Carmina BuranaStravinsky: The Firebird Suite (1919)

多位獨唱家彭朗尼合唱團布魯克林青年合唱團紐約愛樂樂團 / 保高士由艾力‧寶雲以英語主持法雅：亞特蘭提斯（選段）柯夫：布朗尼之歌史達拉汶斯基：火鳥組曲（1919）

27/11/2013 (Wed 星期三)11:00am BRITTEN 布烈頓Diversions for Piano (left hand) and Orchestra, Op. 21 25’Leon Fleisher (p)Boston Sym. Orch. / Seiji Ozawa 為鋼琴（左手）及樂團而寫的轉移，作品21費萊沙（鋼琴）波士頓交響樂團 / 小澤征爾


8:00pm LIVE ON 4 第四台音樂會La Grande ChapelleValls: Missa Scala Aretina 104’壯麗�堂古樂合奏團及合唱團華斯：六升階彌撒曲

28/11/2013 (Thu 星期四)11:00am PROKOFIEV 浦羅歌菲夫Symphony No. 5 in B flat, Op. 100 44’City of Birmingham Sym. Orch. / Simon Rattle降B大調第五交響曲，作品100伯明翰市交響樂團 / 力圖


8:00pm LIVE ON 4 第四台音樂會JAZZ AT LINCOLN CENTER - The Music of Sarah Vaughan Brash vocals earned Sarah Vaughan the names ‘Sassy’ and ‘The Divine One’. Musical Director and pianist Eric Reed leads this celebration of her work through the glorious range of Jane Monheit and Mary Stallings’ sure swing.

爵士派對@林肯中心－莎拉．華漢的音樂極具歌唱天賦的莎拉．華漢被讚譽為「神聖歌手」。音樂總監及鋼琴手列特將帶領夢夏及史塔琳演唱莎拉‧華漢的作品。

29/11/2013 (Fri 星期五)11:00am LISZT 李斯特Piano Concerto No. 2 in A 19’Samson François (p) Philharmonia Orch. / Constantin SilvestriA大調第二鋼琴協奏曲法克斯雅（鋼琴）愛樂樂團 / 蕭法斯卓利


8:00pm LIVE ON 4 第四台音樂會Manuela Uhl (s) Ning Liang (ms)Tomislav Mužek, Carsten Süss (t)Jukka Rasilainen (br) Kurt Rydl (b) Opera Hong Kong Cho.Hong Kong Phil. / Henrik SchaeferWagner: The Flying Dutchman

Co-presented by Opera Hong Kong and the Leisure and Cultural Services Department. Recording at the Hong Kong Cultural Central Grand Theatre on 10/10/2013.

烏爾（女高音）梁寧（女中音）穆錫克、蘇斯（男高音）賴斯拉倫（男中音）懷杜（男低音）香港歌劇院合唱團香港管弦樂團 / 謝弗華格納：漂泊的荷蘭人

香港歌劇院及康樂及文化事務署聯合主辦。 2013年10月10日香港文化中心大劇院錄音。

30/11/2013 (Sat 星期六)8:00pm LIVE ON 4 第四台音樂會Øystein Baadsvik (tuba)City Ch. Orch. of Hong Kong / Christian Lindberg Sibelius: Belshazzar’s Feast, Op. 51Lindberg: Concerto for Tuba, Panda in LoveBeethoven: Symphony No. 1 in C, Op. 21Baadsvik: Fnugg Blue

Presented by City Chamber Orchestra of Hong Kong. Recorded at Hong Kong City Hall Concert Hall on 20/11/2013.

巴塔斯維克（大號）香港城市室樂團 / 基斯安‧連保西貝流士：伯沙撒王的宴會，Op. 51連保：大號協奏曲「戀愛中的熊貓」貝多芬：C大調第一交響曲，作品21巴塔斯維：小小藍調

香港城市室樂團主辦。2013年11月20日香港大會堂音樂廳錄音。



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

• Eddy Piano Co. Ltd. Retail Branches including: Kowloon City, Mongkok, Hung Hum, Tseung Kwan O, Tai Po, Homantin • Tsang Fook Piano Co. Ltd. Wanchai • Hong Kong Children’s Strings Retail Branches including: North Point, Tai Kok Tsui • Muse Music Company • Harmony Music Co. Ltd. Prince Edward • Hong Kong Records Tsimshatsui, Kowloon Tong & Admiralty • Pro-sound Ltd. • ST Music & Art Centre • Rosealan Music • Sole Cultural Goods • Youth Square • 通利琴行分行包括：尖沙咀、九龍灣、銅鑼灣、灣仔、鰂魚涌、香港仔、西環、沙田、大埔、荃灣、新港城中心、上水、屯門、元朗、德福、奧海城、綠楊坊 • 偉樂琴行分行包括：九龍城、旺角、紅磡、將軍澳、大埔、何文田 • 曾福琴行灣仔 • 香港兒童弦樂團包括：北角、大角咀 • 繆斯琴行 • 凱聲琴行太子 • 香港唱片有限公司尖沙咀、九龍塘及金鐘 • 寶韻 Pro-sound Ltd • 華偉音樂藝術中心 • 樂爵士琴行 • 向日葵文化良品 • 青年廣場 • Hong Kong Children’s Choir • Music Department of the University of Hong Kong • Music Department of the Chinese University of Hong Kong • Music Department of the Hong Kong Baptist University • The Hong Kong Academy for Performing Arts • Hong Kong Music Institute • The United Academy of Music • Hong Kong International Institute of Music • Hong Kong Percussion Centre • Baron School of Music • Hong Kong Professional Piano Education Academy Tin Hau, QuarryBay & Tsuen Wan • The Hong Kong Institute of Education • 香港兒童合唱團 • 香港大學音樂系 • 香港中文大學音樂系 • 香港浸會大學音樂系 • 香港演藝學院 • 香港音樂專科學校 • 聯合音樂學院 • 香港國際音樂學校 • 香港敲擊樂中心 • 伯樂音樂學院 • 香港鋼琴�育專業學院天后、鰂魚涌、荃灣 • 香港�育學院 •• Hong Kong Public Libraries Including: Hong Kong Central Library, North Point, Shatin, Sheung Shui, Tai Po, Tsuen Wan, Tuen Mun, Yuen Long, North Kwai Chung • Hong Kong Museum of Art • Hong Kong Museum of History • 香港公共圖書館包括：香港中央圖書館、北角、沙田、上水、大埔、荃灣、屯門、元朗、北葵涌 • 香港藝術館 • 香港歷史博物館 •

Free Copies of FM can be picked up at the beginning of each month at :「美樂集」於每月一日起於下列地點免費派發：

Publisher Friends of Radio 4 Society Limited P.O. Box No.97497 at Tsim Sha Tsui Post OfficeFM Magazine is officially endorsed by RTHK Radio 4Editor Gladys LauEnglish Editor Maureen BujaEditorial Assistant Virginia Cheng Art Director Ming LamAdministrator Anna WongProduction Pinpoint Advertising LimitedISSN 1814-8433

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出版人：第四台之友協會有限公司九龍尖沙咀郵政局郵箱97497號「美樂集」乃香港電台第四台確認刊物編輯：劉建婷英文編輯：布慕蓮編輯助理：鄭瑋菁美術總監：林思明行政經理：黃嘉欣製作：天邦廣告設計有限公司

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1/12/2013 (Sun 星期日)2:00pm SUNDAY OPERA 歌劇世界Verdi: RigolettoRigoletto: Sherrill Milnes (br)Gilda: Joan Sutherland (s)Il duca di Mantova: Luciano Pavarotti (t)Ambrosian Opera Chorus London Sym. Orch. / Richard Bonynge

威爾第：弄臣弄臣：米爾士（男中音）吉爾達：修德蘭（女高音）曼圖亞公爵：巴筏諾堤（男高音）亞布斯安歌劇合唱團倫敦交響樂團 / 邦寧


2/12/2013 (Mon 星期一)11:00am BLOCH 布拉克Schelomo – Hebraic Rhapsody for Cello and Orchestra 21’Leonard Rose (c) Philadelphia Orch. / Eugene Ormandy所羅門－為大提琴及樂隊而寫的希伯來狂想曲羅西（大提琴）費城樂團 / 奧曼第



3/12/2013 (Tue 星期二)11:00am DEBUSSY 德布西La Mer 25’Royal Concertgebouw Orch. / Carlo Maria Giulini大海皇家阿姆斯特丹音樂廳樂團 / 茲奧連尼


8:00pm LIVE ON 4 第四台音樂會Erin Morley (s)Joshua Hopkins (b)Leonidas Kavakos (v)New York Phil. / Alan GilbertBeethoven: Coriolan Overture, Op. 62Korngold: Violin ConcertoNielsen: Symphony No. 3, Op. 27, ‘Sinfonia Espansiva’ Symphony No. 2, Op. 16, ‘The Four Temperaments’

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莫莉（女高音）祖書亞‧鶴健士（男低音）卡伐確斯（小提琴）紐約愛樂樂團 / 基爾拔貝多芬：柯利奧蘭序曲，作品62哥高迪：小提琴協奏曲尼爾遜：第三交響曲，作品27，「宏擴交響曲」第二交響曲，作品16，「四種性格」



In recent years, I have started a new tradition of opening my Christmas present on

24 December, earlier than usual. Though I was among the ones who prepared the

gift, I was always amazed when it was opened. The present, which many Radio 4

listeners received with me, has been the annual Christmas Concert in the Park.

Set design, lighting, audio setting, programme, and performers, all the details

were planned well before the concert date. So, what’s the surprise and excitement

for me, the project coordinator who already knows the whole plan? Our site was

an empty square when we took over the venue two days before concert. Then,

colleagues from different professions raced against time to put everything into

place. When the performers finally went on stage, surrounded by the backdrop

beautifully lit in sunset, and music flew out, I got misty-eyed. This is something

one cannot foresee just by looking at a stage design on paper. It’s the whole

atmosphere that sets up the emotion.

The production team is now working on the next concert, which will take place in

a new venue at the promenade near Tamar Park. I’m looking forward to this year’s

Christmas present and my annual celebration of the surprise I planned myself.

Please come, share with me and the rest of the RTHK staff on Christmas Eve.

Tina Ma

馬盈盈

▲ Only two hours before rehearsal. The stage was still not ready for the set-up of audio equipment. Could we make it? 距離綵排時間只有兩小時，舞台還未清場，以致無法設置音響器材，形勢不妙。

▲ Luckily we made it. 來得及！捏一把汗。

▲ Set design of 2011 Concert 2011年的佈景設計

▲ Set design of last year’s Concert 去年的佈景設計

近幾年我的「拆禮物日」(Boxing Day) 都是在12月24日，較慣常早兩天。儘管禮物是我為自己準備，但當拆開的那一刻仍讓我驚喜連連。這

份禮物，很多第四台的聽眾都有收過，就是聖誕園林音樂會。

佈景、燈光、音響、演出陣容及樂曲既已事先安排，作為音樂會統籌，直至演出當日仍有驚喜嗎？製作團隊各路人馬要在兩天內，把戶外場地

搭建成台燈聲俱備的舞台，單是這個過程已夠刺激了。看着佈景組設計師的繪圖，化為一個個組件陸續在表演場地裝嵌，至最後表演者踏上舞

台，設計師為入夜時份計算好的燈光效果終於活現眼前。這份感動，是看著設計圖時無法預知的。

今年的聖誕園林音樂會，現正密鑼緊鼓籌備中，而表演場地將移師到添馬公園旁的海濱草地。我想，個多月後所拆開的禮物，必有更多驚喜。

In the last issue, photo of Professor Lo King-man in Coda was by courtesy of Chen Yong. 上期《美樂集》Coda 所刊登盧景文�授的照片由陳永提供

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9360 7410 Mr. Chiu

專職教授鋼琴L.R.S.M. (Teaching)

Ms. Lee 5603 3507 屯門區

鋼琴演奏文憑心得www.pianoexam.com

歡迎瀏覽 (招各級學生)

‘FM’ Classified Board 《美樂集》分類廣告表格

Only $250 for first 20 words (including headings)首 20 字 $250 (包括標題)

HEADING 標題

BODY TEXT 內文

（English: up to 30 characters ，中文：最多８字）Note 請注意：

1. No refund or changes can be made to your ad after booking deadline.

截稿日期後將不接受退款及更改。

2. Friends of Radio 4 Society Limited reserves the right to reject or edit any advertisements.

第四台之友協會有限公司保留一切拒絕刊登或編輯廣告的權利。

3. The advertisements will be produced based on our standard format.

所有廣告將以本刊既有格式刊登。

4. Word counting: Website, Email, Tel. No. = 1 word Abbrieviation (e.g. RTHK) = 1 word Enquiry: 9073 3575, Miss Wong.

網址、電郵、電話號碼及英文縮寫 (如RTHK) 作一字計算。如有查詢，請電 9073 3575 黃小姐。

COST CALCULATOR 價格計算

1st 20 words首20字

Each extra word $5 以後每字 $5

No. of issue刊登期數

Discount折扣30% off for 6 issues刊登六期可獲七折

Total總數

($250 + $ ) x x =Please mail this form with your cheque, payable to “Friends of Radio 4 Society Limited” to: Friends of Radio 4 Society Limited, PO Box No. 97497 at Tsim Sha Tsui Post Office請連同劃線支票（抬頭「第四台之友協會有限公司」）郵寄至九龍尖沙咀郵政局郵箱97497號，第四台之友協會有限公司。

BOOKING DEALINE 截稿日期： 10th day of each month 每月 10 日

8 30To be published in 刊登日期：

Name 姓名：

Address 地址：

Daytime Tel. 日間聯絡電話：

End of body text 內文完

Email Address 電郵地址：

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免責

聲明

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其內

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CLASSIFIED BOARD 分類廣告


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