W148mm x H210mm

EsplanadePresents

HuayiChinese Festival of Art

TiffanyR I S I N G S TA R

SOLO PIANO RECITAL (Hong Kong)Poon

新星

潘活活

钢琴独奏音乐会 ( 香港 )

17 FEB 2019, SUN, 5PM, ESPLANADE RECITAL STUDIO

2019年2月17日， 星期日, 下午5时, 滨海艺术中心音乐室

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If I ask you to name a memorable Chinese TV drama series, what comes to your mind?

There are many of course, but I believe many will name Journey to the West as the most memorable series they watched. I am referring to the classic version starring Liu Xiao Ling Tong in the role of Sun Wu Kong – his Sun Wu Kong was the version that many have tried to emulate.

In the story, the monk Tripitaka goes on an arduous journey with his three disciples to the West to obtain Buddhist scriptures. Along the way, they explored many lands and overcame multitudes of temptations and obstacles. In the process, they learned more about themselves, about each other and about the ways of the world.

Exploration of new and unfamiliar places always brings about joy and maybe some trepidation. As we travel and explore, we learn things about ourselves and about our travel companions. I will never forget the trips that I have taken, such as the first trip with my girlfriend (now my wife). Being with each other 24/7 brought never seen living habits and quirks (mainly mine!) to the fore, and we quarrelled every single day! I am so glad we overcame that, because now as a married couple, we enjoy unforgettable family trips with our daughters.

I believe there is a strong innate desire in each of us wanting to explore uncharted territories, to expand our vision and to revel in the beauty that Earth has to offer.

It is the same with artistic explorations. At Huayi this year, we welcome familiar artists and we also befriend new artists, and together we take our audiences to explore new places and gain new inspiration, new insights or simply just enjoy the process of exploration.

Whether you are a solo traveller, a group of friends, or an inseparable couple or family who goes on journeys together, we invite all of you to join us on this arts exploration and adventure through the varied programmes in the festival.

Journey to the West, which also features the well-loved character Pigsy, is an apt example for this year as we welcome the Year of the Pig! We wish all our friends a great year where we can all pig out on good health, good food and good vibes!

Delvin Lee Huayi – Chinese Festival of Arts Producer

FESTIVAL MESSAGE

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Knife brand is a household name in Singapore that is synonymous with wholesome family cooking since 1948. With its unique peanut aroma and proprietary blend, Knife brand cooking oil is a perfect cooking aid that brings the family together over the dining table throughout the festive period.

As part of our continuous support for the arts and culture, Lam Soon’s Knife brand is proud to be the Principal Sponsor for the 17th edition of Huayi – Chinese Festival of Arts.

We hope you will enjoy the wide range of performances at Huayi—from the traditional to the contemporary, and from mainstream to cutting-edge.

We wish you and your family a Happy Chinese New Year! 年年有余!

Mr. Whang Shang YingExecutive ChairmanLam Soon Singapore Pte Ltd.

MESSAGE FROM OUR PRINCIPAL SPONSOR

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Sonata No. 7 in D Major, Op.10, No. 3

Ludwig van Beethoven (1770-1827)

Nocturne Op.9 No.1

Frédéric Chopin (1910-1849)

Polonaise in A-flat Major

Frédéric Chopin (1910-1849)

—Intermission—

100 Birds Paying Homage to the Phoenix

Wang Jianzhong

Kinderszenen, Op 15

Robert Schumann (1810 – 1856)

Spanish Rhapsody

Franz Liszt (1811-1886)

(Approximately 1hr 30mins, including 15min intermission.)

Download Programme Notes from here:

www.esplanade.com/huayi/tiffany-poon

PROGRAMME

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Born in Hong Kong, Tiffany Poon was accepted into the Juilliard School Pre-College Division on a full scholarship at the age of 8 and made her solo and concerto debut in the USA when she was 10 years old. Since then, she has given solo recitals throughout the United States, Canada, Europe, Australia and China and has appeared as soloist with orchestras in the United States and Europe.

Tiffany received a full scholarship from the Columbia University/Juilliard School exchange program and studied piano with Emanuel Ax and Joseph Kalichstein. She was named a John Jay Scholar by Columbia University for her outstanding academic and artistic achievements. In May 2018, she graduated from Columbia University with a Bachelor of Arts degree in philosophy and that fall, she began a Master of Music with a full scholarship at Yale School of Music.

In 2014, Tiffany was named National Young Arts Winner in the United States. Her awards include first prize and Best Performance of Concerto Award at The 8th Moscow International Frederick Chopin Competition for Young Pianists in 2012 and first prize at the Juilliard School Pre-College Concerto Competition in 2014. Most recently, she won the first prize at the Manhattan International Music Competition, the third prize at the 17th International Robert Schumann Competition in Zwickau, Germany in 2016 and the second prize at the 2017 Walter W. Naumburg Foundation International Competition in the USA.

Her debut album, Natural Beauty, released by KAWAI Edition in May 2014, won high acclaim. The album features works by Bach, Haydn, Chopin, Liszt and Debussy. In addition to performing and studying, she also devotes her time to making videos on YouTube, where she shares insights of her life as a musician with the goal to peel back the curtain on classical music. The 2018-19 season includes recitals as part of the Klavierfestival Ruhr, the Rheingau Musikfestival, concerts in Brazil and Mexico, and a debut recital at Huayi – Chinese Festival of Arts.

Tiffany Poon is a 2018 fellow of the Young Artists Foundation gGmbH in Germany and currently lives in Connecticut.

YouTube: www.youtube.com/user/czrinasuen

TIFFANY POON

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Photo: Eddie Wong

Sonata No. 7 in D Major, Op. 10, No. 3 by Ludwig van Beethoven

Beethoven was in his 20s during the period of the French Revolution. As a composer who lived in a time of war, a period of loss, turmoil and relations, his works became a reflection of the changing sociological conditions. Published in 1798, the third of Beethoven’s Op.10 sonatas was dedicated to Countess Anna Margarete von Browne, the wife of a Russian nobleman who lived in Vienna in the mid-1790s and one of Beethoven’s earliest patrons. The year saw the composition of his Op.9 strings trios, Op.12 violin sonatas, Op.50 violin and orchestra Romance as well as the premiere of a revised version of his second piano concerto.

The only four-movement work of the Op. 10 set, this enigmatic piece encapsulates the multiple facades of Beethoven’s musical language through sharp expressive contrasts. Beethoven takes the listener on an emotional rollercoaster with his extremes in the movements. Marked Presto, listeners are instantly thrust into an outburst of musical and technical brilliance. Derived from the descending scale of four notes, the piece reflects motivic unity through the use of integrated counterpoint, vocal imitations and harmonic diversity. Almost operatic in style, Beethoven masterly created glamour, power and grandeur throughout the movement.

In a letter written in 1823 to his dear friend Schindler, Beethoven claimed that the Largo e mesto “portrayed the state of mind of a melancholic; together with all the many degrees of light and shade there are in the picture of Melancholy.” Scholar Dennis Matthews describes this movement as ‘one of the most profound earlier slow movements’, setting the precedent for some of the great slow movements to come in Beethoven’s work. Pianist Andras Schiff further described the movement as a model of death, lamentation and an expression of the deepest tragedies in life. Written in the unsettling 6/8 time signature, one leaves the movement with a heightened sense of grief and tension.

The third movement then lightens the mood with the jovial and light character of the minuet, providing listeners with a ray of hope after the lamentation and despair of the previous movement. The modulating episode features melodic imitation and introduces interesting textures within the movement. Subsequently, a mischievous trio vividly evokes pleasant memories of childhood and impish activities in an extremely endearing mood. Following the carefree Menuetto, the last movement is a short, whimsical Rondo, based on a terse motif of three rising notes that is embedded throughout the movement in every voice. Filled with humour and expressivity, the piece ends capriciously in a whisper.

PROGRAMME NOTES

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Nocturne Op. 9 No. 1 by Frédéric François Chopin

Nocturne in B-flat Minor, Op. 9, No. 1 is part of the first group of three nocturnes written by Frédéric François Chopin between late-1830 and 1832 and then published in 1833. It was dedicated to the famous French pianist Madame Marie “Camille” Pleyel, the wife of Camille Pleyel, pianist and owner of piano manufacturing firm Pleyel et Cie. Inheriting the form from Irish composer John Field, Chopin added his stamp of sentimentally, poetic melancholy and refined lyricism in his nocturnes, earning him the review as ”one of the creators of the typically romantic idiom and as such one of the most original and remarkable creative geniuses in musical history” from Music critic Paul Henry Lang.

“Look at these trees, the wind plays in the leaves, stirs up life among them, the tree remains the same, that is Chopinesque rubato.” Liszt’s comments on Chopin’s rubato accurately sums up the technique of expressivity in which one should master when attempting this piece. Like the trunk of the tree, the pulse running through the piece is grounded and stable. The melody, on the other hand, like the leaves rustling in the wind, must be free. The piece opens with an intoxicating and almost haunting melody in the key of B-flat minor which immediately creates a mood of melancholy. Moreover, evidence of strong vocal influence is reflected in the use of coloratura and wide leaps in the melodic line.

The contrasting middle section, written in the relative major, is led in octaves. The doubling of the melodic line is reflective of Field’s influence. Written in sotto voce, the repetitive melodic phrases in the section are more tranquil in comparison to that of the outer sections. The opening melody returns in dolcissimo, before bursting into an elaborated flourish and dying away in pianissimo. The final repose on a picardy third leaves listeners wondering if it all was reverie or reality.

Polonaise in A-flat Major by Frédéric François Chopin

French novelist George Sand, Chopin’s lover and confidant, became an active political figure in France during the 1840s. When the Revolutions of 1848 took place, she expressed her strong convictions through writings, and fighting for the poor, working class and women. On hearing Chopin’s Polonaise in A-flat Major, Op.53, Sand was left with a deep symbolic impression. Everything that this polonaise contained in terms of strength, enthusiasm and power was, to George Sand, the perfect portrayal of human rights in the times of political turmoil. In their private correspondence, she wrote:

“L’inspiration! La force! La vigueur! Il est indéniable qu’un tel esprit doit être présent dans la Révolution française. Désormais cette polonaise devrait être un symbole, un symbole héroïque!” (Translation: “The inspiration! The strength! The vigour! There is no doubt that such a spirit must be present in the French Revolution. From

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now on this polonaise should be a symbol, a symbol of heroicness!”).

The nickname “Héroique” (”Heroic”) was eventually bestowed to this symbolic composition.

One of the most sought-after compositions in classical piano repertoire, this piece challenges the performer in terms of virtuosity and technical proficiency. The opening introduction features fast ascending chromatic perfect fourths in both hands, setting the majestic tone of the piece. The piece continues to challenge the performer with rapid scalic passages, trills on weaker fingers, flamboyant arpeggios as well as elaborated chords. The nationalistic style of the piece is clearly elaborated when the boldness of the pounding octaves reminds listeners of a military army, with no hint of defeat, all ready to go to war. Lyrical interludes of mysterious character are intertwined between the vigorous passages. Towards the end, the theme is developed and played louder and more dramatically, concluding the piece with a loud roar of brilliant chords.

100 Birds Paying Homage to the Phoenix by Wang Jianzhong

During the Cultural Revolution, 1966-1976, all forms of art related to Western culture were forbidden and were destroyed in China. New musical compositions were only allowed if they were commissioned by the Chinese government and served a political purpose. In compliance with such political restrictions, many composers chose to transcribe and arrange traditional Chinese folk music instead of creating new compositions.

One of the most important piano arrangements of this period was Hundred Birds Paying Homage to the Phoenix, arranged in 1973 by composer Wang Jian Zhong. Originally written for the suona, a Chinese wind instrument, this piece is a compendium of numerous folk melodies collated from the provinces of East China, including Henan, Shandong and Anhui. Wang adapted this work on the basis of retaining the distinctive characteristics of traditional Chinese folk songs while integrating it with Western piano tradition. The bridging of cultures through the exploitation of the full function of a Western instrument reflected a new level of achievement in composition that was never seen in the history of Chinese music.

Written in a tripartite form, the piece opens with a general hall of grandeur and light-heartedness. Through the utilisation of the extensive range of the piano, one can hear the birds singing their frivolous songs in the mountains and valleys right from the beginning of the piece. Gradually, the harmonious episodes are juxtaposed by intense raucous and ferocious rumblings. Here, the composer utilises a large number of grace notes, characteristic of traditional Chinese tunes, for an accurate adaptation of the music. Moreover, he extensively explores musical ornamentations such as trills, turns, appoggiaturas and arpeggios in order to incisively simulate the

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sounds of the suona, the instrument that the piece was originally written for. The image of hundreds of birds singing is vividly presented and significantly coloured through the technical demands of the piece as well as the radiant and iridescent timbres created.

The composer effectively connects landscape, birdsong and human perception in this paradigmatic recomposition of a traditional folk song. The piece reflects a remarkable maturity in the technique of transcription that challenges the performer in countless ways. Success in the execution of this piece is not solely determined by one’s technical and musical proficiency, but also, imperatively, the understanding of cultural integration as well as the historical and musical inheritance between the East and West.

Kinderszenen, Op.15 (Scenes from Childhood) by Robert Schumann

1. Von fremden Ländern und Menschen | Of Foreign Lands and Peoples2. Kuriose Geschichte | A Curious Story3. Hasche-Mann | Blind Man’s Bluff4. Bittendes Kind | Pleading Child5. Glückes genug | Happy Enough6. Wichtige Begebenheit | An Important Event7. Träumerei | Dreaming8. Am Kamin | At the Fireside9. Ritter vom Steckenpferd | Knight of the Hobbyhorse10. Fast zu ernst | Almost Too Serious11. Fürchtenmachen | Frightening12. Kind im Einschlummern | Child Falling Asleep13. Der Dichter spricht | The Poet Speaks

Separated temporarily by work and parental opposition, Schumann never stopped writing to his fiancé Clara Wieck. In one of his letters, he wrote “I have been waiting for your letter and have in the meantime filled several books with pieces.... You once said to me that I often seemed like a child, and I suddenly got inspired and knocked off around 30 quaint little pieces.... I selected several and titled them Kinderszenen. You will enjoy them, though you will need to forget that you are a virtuoso when you play them."

Written in 1838, Kinderszenen, Scenes From Childhood was originally a set of 30 little pieces. Schumann selected 13 of them for the final version and collated the remaining pieces under Bunte Blätter, Op.99 and Albumblätter, Op. 124. Moreover, Schumann intended the titles of each section to indicate “nothing more than delicate hints for execution and interpretation”. In a way, the collection should not be read as a programmatic work, but instead as expressivity through retrospection.

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Spanish Rhapsody (Rhapsodie espagnole) by Franz Liszt

Hungarian-born composer Franz Liszt was considered a man of his time. Pianist, organist, composer, arranger, conductor, pedagogue, author, philanthropist, advocate, entrepreneur and traveller, this quintessential romantic figure was able to encompass the whole of the 19th century, one of the most dynamic periods in Western civilisation. He travelled the European states extensively and led a new nomadic routine that was made possible by the wonders of train travel. Each stay became a microcosm of the traveller’s life he had always led. His lifetime of travelling provided him with true artistic inspirations as his compositions based on ethnic sources read like a European travelogue: Hungary, Austria, Italy, France, Germany, Czechoslovakia, Poland, Russia and Spain. In a way, Liszt was able to create the European unity with works that were fully steeped in national heritage and identity at a time when only the seeds of this process existed.

A long stay in Spain and Portugal between 1844 and 1845 led to the creation of several works: Rondeau fantastique sur un thème Espagnol "El Contrabandista” (Fantastic Rondo on Spanish theme "El Contrabandista”; La Romanesca as well as Grosse Konzertfantasie über Spanische Weisen (Grand Concert Fantasy upon Spanish Themes). His Rapsodie Espagnole (Spanish Rhapsody), however, was composed approximately 20 years after the stay, in 1863, during his Roman period (1861-1868). It was first performed on 27 April 1866, in Amsterdam, by Hans von Bülow, one of Liszt’s most prominent students and also his son-in-law. Reflective of Spanish cultural and historical heritage, Rapsodie espagnole embodies the composer’s mastery of textures, technique and musical gestures that made him and his works so compelling to audiences all over the world.

Subtitled “Follies d’Espagne et Jota Aragonesa”, Rapsodie Espagnole is based on two themes of Spanish origins: the Follies d’Espagne (La Folia) theme and the Jota aragonesa (Jota) theme. After a flamboyant opening cadenza, listeners start to hear the quotations of La Folia as a set of continuous variations. Each variation reflects Liszt’s command of thematic metamorphosis, ranging from the use of dotted rhythms, imitation of melody in polyphonic textures, chordal variations, virtuosic octave and scalic passages. The introduction of Jota theme in D major completely changes the mood of the piece. The use of ornamentations in the high register alongside the light-hearted motion in a lilting triple meter creates an almost fairytale-like atmosphere. The theme is later quoted in a style of quasi-barcarolle briefly before returning to the scherzando character but this time with a higher rhythmic vigour. The concluding passages feature classic Liszt technical flamboyance, challenging the performer with roof-rattling virtuosity before parallel octaves and chords bring the piece to a dramatic end.

Programme notes prepared by Lin Tonglin.

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你看过最难忘的一部中文电视剧是什么？

答案肯定很多，但我相信不少人脑中应该会闪过《西游记》——而且是六小龄童饰演孙悟空的经典版本，堪称之后众多其影视作品仿效的蓝本。

《西游记》描述的是唐僧和三名徒弟踏上一段困难重重的取经之旅，沿途闯进各个魔域仙境，克服各种欲望障碍，历经九九八十一难，师徒四人认识了自己、彼此，也悟出世界的真理。

每一段探索未知的旅程总伴随着惊喜和些许不安，也如《西游记》的奇幻之旅，过程让我们更加认识自己和随行的旅伴。我记得每段旅程带给我的意义，好像当年和女友（现在的妻子）第一次旅行，我们一整天相处下来，看见彼此过去不曾看到的生活习惯和怪癖（我承认我的怪癖多了点），几乎没有一天是不吵架的！庆幸的是过后我们克服了一切，选择共结连理，如今我们继续带着两个女儿展开一段段难忘的家庭之旅。

我相信，每个人心里都有一股对未知境地探索的渴望。旅行开阔我们的视野，感受世界之美。

其实，艺术的探索亦是如此。今年华艺节，我们除了迎来合作无间的艺术家，也邀请了新的艺术伙伴，连同滨海艺术中心带领观众探索艺术世界的新领域，沿途为你带来新的启发、思考，或者单纯享受艺术探索的愉悦。

这段艺术之旅无论你是独自前行，和好友并肩，携手你的伴侣或家人，我们都诚挚地欢迎你的加入，在一系列的活动里展开一段段认识自己、感受艺术之美的探险。

《西游记》里有个讨喜的角色猪八戒，适逢今年迎来猪年，故借此名著形容今年精彩纷呈的“华艺之旅”。在此恭祝大家猪年快乐，有个富“猪”饱满的一年！

李国铭华艺节节目监制

华艺节监制的寄语

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刀标牌自1948年以来就是新加坡家喻户晓的品牌，是家庭健康烹调的代名词。刀标油独特的花生香气与专利配方，调制出一道道美味佳肴，让亲朋好友齐聚一堂，共度佳节喜气。

今年延续我们对艺术和文化的支持，刀标牌很荣幸成为第17届华艺节的主要赞 助商。

我们希望大家会喜欢华艺节2019所带来的一系列精彩节目——无论是传统还是现代，主流还是前卫。

祝愿大家新年快乐、年年有余！

黄上盈执行主席南顺（新）私人有限公司

主要赞助商的话

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第七号钢琴奏鸣曲贝多芬 (1770 – 1827)

第一号夜曲萧邦 (1910 – 1849)

波兰舞曲萧邦 (1910 – 1849)

—中场休息—

百鸟朝凤王建中

童年即景舒曼 (1810 – 1856)

西班牙狂想曲李斯特 (1811 – 1886)

（时长约1小时30分钟，包括15分钟中场休息。）

下载曲目介绍：

www.esplanade.com/huayi/tiffany-poon

曲目介绍

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潘活活生于香港，八岁获美国茱莉亚音乐学院全额奖学金取录，十岁正式登台演出，其演奏足迹遍及美国、 加拿大、欧洲、澳洲及中国等地，亦与美国及欧洲多个乐团合作，担任钢琴协奏曲独奏。

活活于2014年在美国荣获“全美最佳青年艺术家”。她曾在多个国际钢琴比赛中获奖，包括2012年第8届莫斯科萧邦国际青年钢琴家大赛冠军及最佳钢琴协奏曲演绎奖、2013年美国考夫曼音乐中心国际青少年钢琴比赛冠军、2014年美国茱莉亚音乐学院钢琴协奏曲比赛冠军、2014年第10届斯洛文尼亚萧邦金指环国际钢琴大赛亚军、2016年“柏林爱乐厅首演”国际协奏曲大赛季军、2016年美国曼哈顿国际音乐比赛冠军、2016年第17届德国舒曼国际音乐大赛季军及2017年瑙姆堡国际钢琴大赛亚军等。2018年，她在德国“青年艺术家基金会”的首次选拔中被录取。

活活于2014年入读美国哥伦比亚大学，主修哲学，获哥伦比亚大学颁授约翰·杰伊学者荣衔及颁发全额奖学金，以表扬她在学术及艺术方面的骄人成就。她同时继续在茱莉亚音乐学院进修钢琴演奏，师随 Emanuel Ax 及 Joseph Kalichstein。2018年 5月以约翰·杰伊学者荣衔毕业于哥伦比亚大学，取得哲学学士学位。其后获美国耶鲁大学音乐学院以全额奖学金取录，新学年将到耶鲁大学音乐学院修读硕士课程，师随 Peter Serkin。

她首张个人专辑《Natural Beauty》Kawai 特别版于2014年5月面世，好评如潮；专辑收录了巴赫、海顿、萧邦、李斯特及德布西的钢琴作品。除了参加比赛、表演及学习外，她还投入时间制作影片上载至 YouTube，与爱好古典音乐的乐迷们交流互动。

YouTube: www.youtube.com/user/czrinasuen

潘活活

照片：Eddie Wong

贝多芬《第七号钢琴奏鸣曲》

贝多芬在法国大革命时期不过20来岁，作为一名经历战乱、体验失落与社会动荡的

作曲家，他的作品深刻反映了社会条件的变化。发表于1798年的这部作品，是他钢

琴奏鸣曲作品10的第三部，并献给他最早的资助人之一安娜·玛加丽特·冯·布朗

伯爵夫人。这位伯爵夫人是一名俄罗斯贵族的妻子，于18世纪90年代中叶居住在维

也纳。同年，贝多芬还创作了《弦乐三重奏》作品9、《小提琴奏鸣曲》作品12、

《小提琴浪漫曲》作品50，以及《第二钢琴协奏曲》修订版的首演。

此曲是《第七号钢琴奏鸣曲》作品10当中唯一一部以四乐章写成的奏鸣曲，是作

曲家透过富于表现力的对比，涵盖其音乐语言的多个层面写成的。四乐章分别为急

板、凄凉的缓板、快步的小步舞曲和快板回旋曲，听众的情绪从序奏起就像过山车

一样高低起伏。听众在第一乐章立即就被吸引进入丰富的音乐与技巧的完美境界。

源自下行音阶的四个音符，曲子通过综合对位、嗓音模仿和多元和声，显示出动机

的统一性。接着贝多芬以几乎是歌剧的风格，在整个乐章中巧妙创造了无比辉煌的

魅力。在一封于1823年写给好友辛德勒的书信中，他如此形容第二乐章：“用不同

程度的光和影来描绘那些处于悲哀，陷入忧郁人们的心境”。学者丹尼斯·马修斯

则形容此乐章是“早期作品中最为深刻的缓板乐章之一”，为贝多芬后来一些伟大

的缓板乐章开创了先例。匈牙利钢琴家安德拉斯·席夫把这个乐章比喻为“死亡，

哀悼和生命中最深刻悲剧表达的典范”。紧接着的第三乐章，以轻松欢快的小步舞

曲式，化解了先前忧郁悲哀的心情，展现出希望的微光。接着，这一乐章以很精彩

的织体创作，透过调皮的三重奏，生动的唤起对童年美好时光的回忆。第四乐章以

回旋曲之态，用简洁的主题贯穿始终，使乐章充满幽默和表现力，然后在趋于平静

的低语中结束。

萧邦《第一号夜曲》

此作为萧邦第一组三部夜曲中的一部分，于1830至1832年间完成创作，并于1833

年正式发表，是作曲家为献给著名法国钢琴家普勒耶夫人所作。普勒耶本人也是钢

琴家，还拥有一家钢琴制造公司。在作品中，萧邦承袭了爱尔兰作曲家约翰·菲尔

德的夜曲创作形式，加上自己的音乐标签风格——诗意的忧郁和精致的抒情，因而

赢得知名音乐评论家保罗·亨利·朗的极力推崇，赞誉他为“典型浪漫音乐语汇的

创作者，也是音乐史上最原始和最杰出的创作天才之一”。

曲目简介

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“看看这些树，风对树叶起了作用，激起叶子之间的生气活力，但树木依然——那

就是萧邦的‘弹性速度’。”浪漫主义大师李斯特精准的指出，若有人想要尝试演

奏这首曲子，就得有如萧邦那样的动中有静，静中有动表达技巧，贯穿全曲的力量

脉动就得像一棵往下扎根的树。至于旋律，则如沙沙作响的树叶一样，必须是自由

的。乐曲在降b小调的调子中展开，令人陶醉且难忘的旋律随即如缓缓流淌的溪水，

酝酿着一股忧郁的气息。此外，处处可见匠心设计的旋律，以及音乐宽广的跳跃，

在在的显示出受声乐影响的强大力量。对比鲜明的中间部分，改以大调创作，而加

倍的旋律线也同时反映作曲家受菲尔德的影响。以降低音量所写的这部分，重复的

旋律比其他部分来得平静。接着曲子开头的音乐旋律非常温柔的再次缓缓奏响，然

后迸发出一种精致的华丽，并旋即消失在极微弱的旋律中。全曲最后在阴郁的小调

里结束，让听众有一种所有一切不知是遐想还是现实的嗟叹。

萧邦《波兰舞曲》

萧邦的爱人与知己——法国小说家乔治·桑，在19世纪40年代成为一位活跃的政治

人物。当1848年法国革命爆发时，她透过文字表达她坚定的信念，为贫苦的老百

姓、工人阶级和妇女发声。听了萧邦这首《降A大调波兰舞曲》作品53后，乔治·

桑留下了具象征意义的深刻印象。在她看来, 就这首波兰舞曲所包含的力量、热情和

权力等方面而言，绝对是当时政治动荡时期对人权的完美写照。在她写给萧邦的私

人信函中有这么一段话：

“真是鼓舞人心（的音乐）！所迸发出的力量与活力，毫无疑问就是必须要在法国

大革命时展现出的！从现在开始，这《波兰舞曲》应该是一种象征，是一种英雄的

象征！”

后来音乐学者赋予此曲别名《英雄》，恰恰与她所言的象征意义吻合。

作为古典钢琴曲目中最受欢迎的作品之一，《波兰舞曲》在精湛技艺和技法纯熟的

层面上，对任何表演者来说都是要跨越的挑战。开场序奏部分是双手以快速的上行

半音音阶华丽弹奏，为雄伟的作品定调。对演奏者来说，高要求从未间断，如由较

弱的指头演奏颤音，华丽的琶音，以及精细的和弦等，都十分严苛。这部满溢民

族主义风格的作品，特别是当演奏者作豪迈果敢的八度重击时，清楚的叫人感受到

军队士气高昂的气势，人人全副军装，没有畏惧的齐赴战场。抒情的间奏，在猛烈

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有力的乐段间相互交织，和弦行进经多次转调，直到一段下行旋律后间奏结束；此

时，更为响亮而富于戏剧性的主题再次奏起，以辉煌的和弦稳稳的结束。

王建中《百鸟朝凤》

文化大革命（1966至1976年）期间，凡同西方文化相关的任何艺术，在中国都是

被禁止的，并被摧毁。新的音乐作品若要演出，得受当时中国政府委托创作并作为

政治之用，。为遵照这些政治上的限制，许多作曲家选择誊写及改编传统中国民间

音乐，没有发表全新的创作。作曲家王建中在1973年改编的《百鸟朝凤》，可说是

那段时期最重要的钢琴曲之一。原曲最初是为吹管乐器唢呐而作，是中国东部多个

省份（包括河南、山东和安徽）民间旋律的汇编。王建中的改编，为东西方音乐搭

起桥梁，既保留中国传统民歌的鲜明特色，又将其融合西方钢琴传统，体现了中国

音乐史上前所未见的崭新创作水平。

以三部形式写成，此曲以恢宏又轻松的旋律展开，透过钢琴广泛音域的运用，模仿

了鸟儿鸣叫的欢快声，缓缓的、和谐的声音和强烈的喧闹并列，此时，作曲家运用

一大串中国传统曲调特点的花音（倚音）来完善曲子的改编。另外，他大量采用音

乐的装饰音，如颤音、琶音、泛音来精准模仿唢呐的声音。通过作品的技术要求，

以及所焕发出彩虹般的音色，一幅百鸟争鸣，生气盎然的音画随之而生。

作曲家在传统民歌的重新创作过程中，有效地把景观、鸟鸣和人类感知衔接，体现

了改编技巧的娴熟，并以无数的方式挑战着演奏者。能够成功完成这部作品的演

奏，不仅仅取决于演奏者的技巧与音乐能力，他还必须理解东西文化的融合，以及

两者文化历史的承袭。

舒曼《童年即景》

1、异国他乡

2、一个奇怪的故事

3、捉迷藏

4、乞求的孩子

5、满足

6、重大事件

7、梦幻曲

8、在炉边

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9、木马骑士

10、太正经

11、惊吓

12、孩子睡着了

13、诗人说话了

因工作和父母的反对暂时分开，舒曼依旧不断地给未婚妻克拉拉写信。他在写给她

的一封信中有这么一段话：“我一直在期待你的来信，在等候的日子里写下好几首

曲子......你曾经说我经常看起来就像个孩子，我因而受此启发，完成了30多首小

曲......从里边我挑了好几首，并把它们集结为《儿时情景》。（我想）你会喜欢它

们，不过，当你在弹奏它们时可得暂时忘记你演奏家的身份。”正如作曲家后来对

每首小曲标题作注释时说，标题只是一种给演奏者的提示，每首小曲不应解读为儿

童而作，却是大人的儿时记趣，对童年时光的缅怀。13首之外的小曲，后来则分别

集结成另两部作品《彩色叶子》作品99和《纪念册页》作品124。

李斯特《西班牙狂想曲》

匈牙利作曲家李斯特可说是一位音乐奇才。集钢琴家、管风琴家、作曲家、编曲

家、指挥家、教育家、作家、慈善家、演说家、企业家和旅人于一身，这位典型浪

漫派人物，其生命涵盖了整个19世纪——即西方文明中最具活力的时期之一。他

频繁的以火车代步，周游欧洲列国，从而引发了一股新颖的旅欧火车行的风潮。每

到一地的逗留都是旅人生活与生命的缩影；他穷其一生，尽其一世的旅人生活，给

予他作品真实的艺术灵感和启发。李斯特笔下所写，几乎都依民族民间资源而写，

观众在聆赏时就像读着一本本的欧洲游记那样，举凡匈牙利、奥地利、意大利、法

国、德国、捷克、波兰、俄罗斯和西班牙的风土民情文化与人们的情感尽都洋溢在

他的作品当中。从某种程度上来说，在那个时代人们似乎可以透过李斯特极具民族

文化内涵的作品中，梦想着欧洲统一的一派美好愿景。

1844年到1845年间，李斯特长住西班牙和葡萄牙，也是在这段期间，他创作出许

多的作品，包括幻想回旋曲《走私贩》、《在罗马尼亚》和《西班牙主题音乐会大

幻想曲》。本场音乐会选奏的《西班牙狂想曲》则是20年后，也就是李斯特的罗马

时期（1861至1868年）所完成的作品。此曲创作于1863年，并在1866年4月27日

由李斯特的得意门生，后成为他女婿的汉斯·冯比鲁，于荷兰阿姆斯特丹首演。

《西班牙狂想曲》不仅仅反映了西班牙文化与历史的深厚丰盈，更体现了作曲家对

音乐的质感、技术的要求和音乐的表现力的精准掌握，使其作品深受世人瞩目。

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《西班牙狂想曲》的副题是《西班牙佛利亚调与阿拉贡的约塔舞曲》，作曲家根据

两个西班牙主题“佛利亚”和“约塔”两种舞曲而写。曲子以华彩的序奏开展，听

众将会听到一组引用佛利亚舞曲的变奏，每个变奏体现了李斯特对主题变化的掌控

能力，包括利用附点节奏、模仿复调、和弦变调，以及神乎其技的技法创作。在生

气勃勃的快板小间奏后，狂热的约塔主题，以欢快的D大调呈现，全然改变了全曲

的情绪。他一边在高音区使用装饰音，另一边则以轻快的旋律营造了宛如童话般的

氛围。作品主题在稍后以一种近似船歌的形式呈现，然后以诙谐个性回归，却又比

前更为充满活力。来到曲末，在平行八度与和弦把曲子带入强而有力的结束之前，

李氏那十分考演奏者功力的纷繁技巧再现，叫人屏息聆听，生怕错过每一个美妙的

琴音。

曲目简介由林峒霖编写（中文译版）

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