Das Lied von der Erde
4th December 2009 8pm
Hong Kong Cultural Center Concert Hall
Hong Kong Philharmonic Orchestra
Conductor - Edo de Waart
Mezzo-soprano - Sasha Cooke
Tenor - Stephen Gould
Programme:
Osvaldo Golijov - Last Round
Gustav Mahler - The Song of the Earth
Not counting the gigantic Symphony No.8, Edo de Waart had finally finished his Mahler cycle earlier this month, ending his long-term dream project with the HKPO since his arrival here as their artistic director seven years ago. So, the concert started suitably, but not coincidentally, with a short piece called "Last Round" by the Argentinean contemporary composer Osvaldo Golijov for a small string orchestra, followed by Mahler's The Song of the Earth after the intermission.
"Last Round" is written as a highly-likable and easy-listening tango music, which is interesting even visually per se, since the orchestra was divided into two equal parts and seated as mirror-images on each side, with the double bass at the back in the center as the dividing junction. The piece started solely with 2 string quartets interacting and intervening with each other not unlike the tango dancers during the dance. However, the right sided quartet was not at all a good counterpart in terms of precision, dynamics and tone control all the way, and so the old saying of "it takes two to tango" unavoidably came to my mind. Things became better in the slower second movement with the whole string section joining in, and the attractive jazzy tango theme played lazily and leisurely. Unfortunately after the Kremerata Baltica's marvelous tango music showcased a week before, I found both de Waart's handling and orchestra's playing somehow boring and not capturing the spirit or even in the right mood at all.
But who cared about that? Many people like me were paying to see Das Lied von der Erde only, right? And "Last Round" was just a considerate gesture by HKPO to wait for the last round of latecomers, perhaps. So, with no further delay, we were treated with a well polished and fully prepared playing there. The orchestra played better and better progressively, especially during the slow movements, after a fairly unfocused start in the first movement. The woodwind family was the main attraction and noticeable hero there, since they played enchantingly and movingly, particularly in giving the appropriate Autumn atmosphere in the Der Einsame in Herbst.
Then in Von der Jugend, though the orchestra sounded a bit too heavy and rushed, Mr. Gould's voice was nevertheless expressive and penetrative, regaining its power after the somehow straining and struggling in the opening movement. Regardless of the sometimes too harsh and too intense Strings, Ms Cooke was at her best in the following movement Von der Schönheit, where she demonstrated vividly her absolute control of her lucid voice in terms of dynamic changes, phrasings and tone colour, giving us a truly beautiful and memorable brief movement. Then Der Trunkene im Frühling was a slight disappointment due to the overall suboptimal execution by the orchestra, while the final lengthy movement was played very satisfactorily but with the sense of longing and yearning missing. I've always expected a more emotional "ewig" instead of this sort of bidding farewell with sheer calm acceptance.
I know it's just a matter of point of view or way of interpretation. Edo de Waart, just as we all know and should expect from, like his reading of Mahler's ninth symphony last season, gave us this Das Lied in a very clean, even straight-forward and plain-spoken way. His Mahler may sound too cold, too calm and too peaceful without a hint of conflict, despair and self-rationalisation. I personally can't find this approach convincing for the final works of Mahler (post-Synphony no.8 to be exact), including this Song of the Earth particularly. I simply felt something's gone missing after the concert...................
Nov 29, 2009
Kremerata Baltica in Hong Kong
I am sure there's no classical music lover in Hong Kong who doesn't know Gidon Kremer.
That's why I can't understand why the Cultural Centre concert hall was just half-full earlier this month when he and his Kremerata Baltica gave a concert there.
Even the programme itself (apart from contemporary composer Šerkšnytė, whose name I have to use "copy and paste" function to put it correctly-spelt here) is not that scary or off-putting.
For example, minimalism devotee Arvo Part composed many easy-listening music which are chosen for many films as atmospheric background music, and his Fratres is perhaps one of his most popular and well-known piece that has many versions for different instruments and various ensembles. Its chant-like sacred melody on repetitive chord progressions may sound deceptively easy to play, however, the introductory segment with the rapid series of notes of the "dissected" chords played steadily by solo violin in gradual crescendo might already impose great technical challenge to any well-established violinist, not to mention some very high notes played by overtones and many multiple stops that need to be tackled later on. Besides the solo part, the sustain, the tone colour and dynamics of the Strings are also demanding as well, which need the utmost concentration from the members. However, the technical aspects aside, if played well and appropriately, this music is highly enjoyable and dauntingly beautiful, like what I experienced that evening.
The Fratres led perfectly into the next piece, the Midsummer Song by the relatively unknown contemporary composer I mentioned above. Though very new to me, the music was mostly atmospheric and was quite descriptive of the changes within the day of Summer Solace. It used various special techniques to create many sound effects on the strings, and members seem to be playing individually and separately most of the time to generate these effects. Without Kremer leading in this piece, this young ensemble proved its status and worth in interpreting new compositions. Overall, a very solid and absorbing ensemble playing there.
13 November 2009 (Fri) 8pm
Concert Hall, Hong Kong Cultural Centre
Programme
Pärt- Fratres for Violin, Strings and Percussion
Šerkšnytė- Midsummer Song for Strings (commissioned work for Kremerata Baltica, 2009)
Schubert- Rondo for Violin and Strings
Piazzolla- Suite Punta del Este
Mozart- Serenata Notturna, K239
That's why I can't understand why the Cultural Centre concert hall was just half-full earlier this month when he and his Kremerata Baltica gave a concert there.
Even the programme itself (apart from contemporary composer Šerkšnytė, whose name I have to use "copy and paste" function to put it correctly-spelt here) is not that scary or off-putting.
For example, minimalism devotee Arvo Part composed many easy-listening music which are chosen for many films as atmospheric background music, and his Fratres is perhaps one of his most popular and well-known piece that has many versions for different instruments and various ensembles. Its chant-like sacred melody on repetitive chord progressions may sound deceptively easy to play, however, the introductory segment with the rapid series of notes of the "dissected" chords played steadily by solo violin in gradual crescendo might already impose great technical challenge to any well-established violinist, not to mention some very high notes played by overtones and many multiple stops that need to be tackled later on. Besides the solo part, the sustain, the tone colour and dynamics of the Strings are also demanding as well, which need the utmost concentration from the members. However, the technical aspects aside, if played well and appropriately, this music is highly enjoyable and dauntingly beautiful, like what I experienced that evening.
The Fratres led perfectly into the next piece, the Midsummer Song by the relatively unknown contemporary composer I mentioned above. Though very new to me, the music was mostly atmospheric and was quite descriptive of the changes within the day of Summer Solace. It used various special techniques to create many sound effects on the strings, and members seem to be playing individually and separately most of the time to generate these effects. Without Kremer leading in this piece, this young ensemble proved its status and worth in interpreting new compositions. Overall, a very solid and absorbing ensemble playing there.
However, when Kremer returned as the soloist in Schubert's Rondo, it seemed like a bit of a let-down after those 2 contemporary pieces. Not that they played badly (in fact, without a conductor, Kremer and the ensemble had no difficulty at all in going in sync even at every tempo changes), but their playing might sound a bit too intense for Schubert's style. Also, it seemed to me that Kremer was doing sight-reading and almost playing "impromptu" in this one. So a minor flaw along the way was forgivable, I guess.......
Luckily, the highlight came after the intermission when they played the Tango music by Piazzolla. The whole audience was aroused and I even heard some "beats" and "motions" generated behind me in the third movement of this Suite. The energy of the ensemble was palpable and their music was infectious. The solo percussionist was having great fun himself there alongside Kremer and it showed in the music they generated.
Finally, and interestingly, they brought us the most famous and formal piece of music in the whole evening - Serenada Notturna by Mozart. Scored similar to a concerto grosso between the strings and a quartet of 2 violins, a viola and a double bass (where Kremer adopted the position of second violin supporting the first violin played by ensemble's concertmaster), they played this piece incredibly well and suitably Mozartian until the final Rondo movement where the quartet members improvised in the style of Jazz propagated by the plucking of double bass, or at one instant even a fragment of Tchaikovsky's concerto by the menacing Kremer! Not a traditional classical concert but definitely a great fun overall, as exemplified by the encore pieces including an extremely beautifully played Oblivion by Piazzolla, followed by the interesting excerpts of Heidrich's Happy Birthday variations......
13 November 2009 (Fri) 8pm
Concert Hall, Hong Kong Cultural Centre
Programme
Pärt- Fratres for Violin, Strings and Percussion
Šerkšnytė- Midsummer Song for Strings (commissioned work for Kremerata Baltica, 2009)
Schubert- Rondo for Violin and Strings
Piazzolla- Suite Punta del Este
Mozart- Serenata Notturna, K239
Nov 16, 2009
Matthew Trusler's Mendelssohn
Playing on a 1711 Stradivarius with one of Heifetz’s bows and having studied with Ruggiero Ricci, young violinist Matthew Trusler playing the Mendelssohn's violin concerto became the main attraction in this HK sinfonietta concert (at least to me). Little did I know that it was in fact the highlight of the whole evening. Honestly, it was not outstanding already. So it showed how disappointing this concert was.
The concert started with a commissioned new orchestral work by local composer George Lam. I admire and respect these new commissions for local young composers from time to time by HKS (while HKPO have the resources but no guts to do so). "The Queen's Gramophone", as the composer himself explained briefly on stage before its world premiere performance, is his imaginative "recollection" of our Hong Kong in the 1960s. How this young composer can write something about the place he left when he was 10 and about the era before his birth is beyond my understanding. Anyway, the music started with a slow and "lazy" dance melody (partly French and partly Spanish style to me) introduced by the bassoon over the pizzicato bass. The melody then was developed with transformation in terms of rhythm, harmonisation and instrumention, until it was chaotic enough to be recognised in the climax. Afterwards, the clarinet introduced the refreshing and jazzy dance music over the mellow brass, which interestingly have a similar texture of Wong Kar Wai's film music. The music however gradually and slowly died away in the end.
Yip Wing-sie's interpretation and leading was a bit plain and cautious, and the tempo changes were not done well and convincingly. A little more imagination and flexibility would be better for this "soundtrack-like" music. It didn't do the music enough justice, for it could neither stimulate emotion nor image from the audience. The bassoon and clarinet did quite well for their solo passages nevertheless.
In the Mendelssohn's violin concerto, Trusler's violin produced a distinctively sharp and penetrative sound. While many young soloists try to play this piece slower and to drill on the details, Trusler played it in a faster pace and in a straight-forward way as if it's a classical period music. He didn't use the vibrato excessively, and he avoided the temptation to romanticize the 2nd movement like everyone else nowadays. Instead, he concentrated on the momentum and articulation of the music. I found his spiccato especially amazing, and resulted in a red-hot exciting and vibrant final movement. Having said that, some very high notes were not steadily reached, and he even somehow resorted to "cheating" by using slides unnecessarily, which I strongly protested. The orchestra was not helping much either, as it was lagging behind the soloist slightly most of the time. Anyhow, in response to the warm applause of the audience, he jokingly said that he wishes to move here before awarded us the virtuosic scherzo by Kreisler, which sounded very well indeed (though not as Zino):
However, nothing prepared me for the disappointing Beethoven's 8th Symphony after the intermission. The tempo was too fast (I guess no one would stick to Beethoven's "crazy" metronomic indications nowadays for the big modern orchestra!), the "thick" sound too poorly controlled that it's intimidating and even suffocating. All I could experience was the repeated rhythmic strong blows to my head throughout without any harmonic layering or fine orchestral details shown, which were all lost in the forcefully energised propulsion. Maybe I don't understand fully and I can't appreciate them enough, but I thought Beethoven's 8th is one of his "smallest" and "lightest" symphonies until I heard it performed by HKS under Yip Wing-sie that evening........Now I'm beginning to admire and miss their playing of the Pastoral Symphony last month.
Hong Kong Sinfonietta concert
6th Nov 2009 8pm at HK City Hall Concert Hall
Music Director/Conductor: Yip Wing-sie
Violin: Matthew Trusler
Programme:
The concert started with a commissioned new orchestral work by local composer George Lam. I admire and respect these new commissions for local young composers from time to time by HKS (while HKPO have the resources but no guts to do so). "The Queen's Gramophone", as the composer himself explained briefly on stage before its world premiere performance, is his imaginative "recollection" of our Hong Kong in the 1960s. How this young composer can write something about the place he left when he was 10 and about the era before his birth is beyond my understanding. Anyway, the music started with a slow and "lazy" dance melody (partly French and partly Spanish style to me) introduced by the bassoon over the pizzicato bass. The melody then was developed with transformation in terms of rhythm, harmonisation and instrumention, until it was chaotic enough to be recognised in the climax. Afterwards, the clarinet introduced the refreshing and jazzy dance music over the mellow brass, which interestingly have a similar texture of Wong Kar Wai's film music. The music however gradually and slowly died away in the end.
Yip Wing-sie's interpretation and leading was a bit plain and cautious, and the tempo changes were not done well and convincingly. A little more imagination and flexibility would be better for this "soundtrack-like" music. It didn't do the music enough justice, for it could neither stimulate emotion nor image from the audience. The bassoon and clarinet did quite well for their solo passages nevertheless.
In the Mendelssohn's violin concerto, Trusler's violin produced a distinctively sharp and penetrative sound. While many young soloists try to play this piece slower and to drill on the details, Trusler played it in a faster pace and in a straight-forward way as if it's a classical period music. He didn't use the vibrato excessively, and he avoided the temptation to romanticize the 2nd movement like everyone else nowadays. Instead, he concentrated on the momentum and articulation of the music. I found his spiccato especially amazing, and resulted in a red-hot exciting and vibrant final movement. Having said that, some very high notes were not steadily reached, and he even somehow resorted to "cheating" by using slides unnecessarily, which I strongly protested. The orchestra was not helping much either, as it was lagging behind the soloist slightly most of the time. Anyhow, in response to the warm applause of the audience, he jokingly said that he wishes to move here before awarded us the virtuosic scherzo by Kreisler, which sounded very well indeed (though not as Zino):
However, nothing prepared me for the disappointing Beethoven's 8th Symphony after the intermission. The tempo was too fast (I guess no one would stick to Beethoven's "crazy" metronomic indications nowadays for the big modern orchestra!), the "thick" sound too poorly controlled that it's intimidating and even suffocating. All I could experience was the repeated rhythmic strong blows to my head throughout without any harmonic layering or fine orchestral details shown, which were all lost in the forcefully energised propulsion. Maybe I don't understand fully and I can't appreciate them enough, but I thought Beethoven's 8th is one of his "smallest" and "lightest" symphonies until I heard it performed by HKS under Yip Wing-sie that evening........Now I'm beginning to admire and miss their playing of the Pastoral Symphony last month.
Hong Kong Sinfonietta concert
6th Nov 2009 8pm at HK City Hall Concert Hall
Music Director/Conductor: Yip Wing-sie
Violin: Matthew Trusler
Programme:
| George Tsz-kwan Lam | The Queen's Gramophone (world première) |
| Mendelssohn | Violin Concerto in E minor, Op 64 |
| Beethoven | Symphony No 8 in F, Op 93 |
Oct 28, 2009
Rozhdestvensky's Shostakovich with HKPO
If I was allowed to choose only one HKPO concert this new season, without a doubt, it would be the one on the previous Saturday, when the Russian legendary conductor Rozhdestvensky gave us the memorable performance of Shostakovich's symphony no.10 with the Hong Kong Philharmonic. I'm glad that I didn't miss it. And I feel pity for the local music lovers who didn't go and witness such a Russian master (who had lived through Stalin's tyranny and could probably understand Shostakovich's music in a deeper level) in transforming our local orchestra and giving an outstanding interpretation of the work here.
Honestly, I was at first a bit hesitant about it and even skeptical about such a 78-year-old Maestro's mental acuity and physical agility in leading an orchestra on stage (a mental picture of the very old Celibidache conducting the Munchner Philharmoniker from a sitting position playing slowly the Beethoven's fifth in HK a long time ago unavoidably spring to my mind). Although Rozhdestvensky was similarly in favour of the slower tempo overall, he obviously has a very clear mind and can conduct efficiently with the minimal limb movements and gestures. Not standing on the conductor's platform on stage and reading carefully the musical score in front of him all the way, he nevertheless showed absolute control of the whole orchestra and the music produced.
Such a well disciplined playing and nicely balanced orchestral sound was already evident from the tutti introduction at the beginning of Beethoven's violin concerto. Slower than what we used to hear, the momentum and tension of the music was never lost or hindered throughout, with the orchestral structure tightly built up and different harmonic parts neatly revealed, which would all be lost or rushed through normally and gone unnoticed in other versions that I've heard live or on CDs. The second movement was so beautifully played by the strings that gave me goose-bumps. Dynamics, articulations and phrasings were all miraculously done that the music was profoundly touching, while the final movement was satisfactorily exciting and exhilarating regardless of its consistently slow tempo.
Sasha Rozhdestvensky, with the slow but intimate accompaniment by his father, leisurely and carefully let his violin's long solo lines unfolded step by step. He produced very sweet and warm singing tone from his expensive violin, not to mention his good foundation of technique. However, some pitch problems were noticeable along the way, and his interpretation was quite plain and straight-forward due to his "self-restraint", so he left his lustre and showmanship in the cadenza (written by Schnittke), which sounds interestingly contemporary yet very difficult to play (and I thought it even comprises some fragments from other famous violin concerto including Brahms and Shostakovich). In view of this slow tempo (almost an hour long of running time), overall he did a decent job in keeping a good flow and holding it all together without much boredom. However, I personally feel that his technique is above his musicality in this concerto, and his encore piece of Bach's gigue proved me quite right. I guess maybe some modern contemporary music would be a better choice for him.
Luckily, the Shostakovich's 10th was the one I was interested. And it not only didn't fail me, it actually exceeded my every expectation. Some people may found Maestro's adoption of an overall slow tempo a bit disappointing, especially in the finale. To me, this approach intensify the pessimistic quality of the piece as the composer wrote after Stalin's death, and I enjoyed and appreciated it. I loved it right from the gloomy introduction by the cello and then the music built up gradually in the first movement. It was tastefully subtle and slow-paced that the effect was even more frightening and intimidating. Then the brief Scherzo was played excellently with enough anger and relentless forceful drive, in which the accented harshly-bowed string sound was particularly impressive to me, not to mention the screaming woodwind and overpowering brass.
In the following Allegretto, the two contrasting dialogue music (one introspective while another the self-confident DSCH motive) inter-played and inter-wined marvelously until interrupted repeatedly by the mellow and dreamy horn solo played excellently by Mark Vines. The finale began slowly and cautiously until gradually gaining momentum and lightening the atmosphere with very good control and build-up. But what I admired most from Maestro's interpretation of this movement was the palpable underlying uncertainty and pessimism within the apparent ecstasy that the music seemed and sounded. The orchestra's playing was top-notch, with a totally upgraded String section and a stably competent woodwinds (Andrew Simon and Kam Shui both excelled in their respective solo passages here). I couldn't help but gave it a standing ovation. Bravo indeed......
This was the best Shostakovich's Symphony no.10 performance I've ever encountered (I'm starting to like this symphony more and more afterwards), and one of the best and memorable concert I've ever experienced. Considering the ticket price as well, it would definitely be the best for value concert ever in Hong Kong that I've ever attended!
Honestly, I was at first a bit hesitant about it and even skeptical about such a 78-year-old Maestro's mental acuity and physical agility in leading an orchestra on stage (a mental picture of the very old Celibidache conducting the Munchner Philharmoniker from a sitting position playing slowly the Beethoven's fifth in HK a long time ago unavoidably spring to my mind). Although Rozhdestvensky was similarly in favour of the slower tempo overall, he obviously has a very clear mind and can conduct efficiently with the minimal limb movements and gestures. Not standing on the conductor's platform on stage and reading carefully the musical score in front of him all the way, he nevertheless showed absolute control of the whole orchestra and the music produced.
Such a well disciplined playing and nicely balanced orchestral sound was already evident from the tutti introduction at the beginning of Beethoven's violin concerto. Slower than what we used to hear, the momentum and tension of the music was never lost or hindered throughout, with the orchestral structure tightly built up and different harmonic parts neatly revealed, which would all be lost or rushed through normally and gone unnoticed in other versions that I've heard live or on CDs. The second movement was so beautifully played by the strings that gave me goose-bumps. Dynamics, articulations and phrasings were all miraculously done that the music was profoundly touching, while the final movement was satisfactorily exciting and exhilarating regardless of its consistently slow tempo.
Sasha Rozhdestvensky, with the slow but intimate accompaniment by his father, leisurely and carefully let his violin's long solo lines unfolded step by step. He produced very sweet and warm singing tone from his expensive violin, not to mention his good foundation of technique. However, some pitch problems were noticeable along the way, and his interpretation was quite plain and straight-forward due to his "self-restraint", so he left his lustre and showmanship in the cadenza (written by Schnittke), which sounds interestingly contemporary yet very difficult to play (and I thought it even comprises some fragments from other famous violin concerto including Brahms and Shostakovich). In view of this slow tempo (almost an hour long of running time), overall he did a decent job in keeping a good flow and holding it all together without much boredom. However, I personally feel that his technique is above his musicality in this concerto, and his encore piece of Bach's gigue proved me quite right. I guess maybe some modern contemporary music would be a better choice for him.
Luckily, the Shostakovich's 10th was the one I was interested. And it not only didn't fail me, it actually exceeded my every expectation. Some people may found Maestro's adoption of an overall slow tempo a bit disappointing, especially in the finale. To me, this approach intensify the pessimistic quality of the piece as the composer wrote after Stalin's death, and I enjoyed and appreciated it. I loved it right from the gloomy introduction by the cello and then the music built up gradually in the first movement. It was tastefully subtle and slow-paced that the effect was even more frightening and intimidating. Then the brief Scherzo was played excellently with enough anger and relentless forceful drive, in which the accented harshly-bowed string sound was particularly impressive to me, not to mention the screaming woodwind and overpowering brass.
In the following Allegretto, the two contrasting dialogue music (one introspective while another the self-confident DSCH motive) inter-played and inter-wined marvelously until interrupted repeatedly by the mellow and dreamy horn solo played excellently by Mark Vines. The finale began slowly and cautiously until gradually gaining momentum and lightening the atmosphere with very good control and build-up. But what I admired most from Maestro's interpretation of this movement was the palpable underlying uncertainty and pessimism within the apparent ecstasy that the music seemed and sounded. The orchestra's playing was top-notch, with a totally upgraded String section and a stably competent woodwinds (Andrew Simon and Kam Shui both excelled in their respective solo passages here). I couldn't help but gave it a standing ovation. Bravo indeed......
This was the best Shostakovich's Symphony no.10 performance I've ever encountered (I'm starting to like this symphony more and more afterwards), and one of the best and memorable concert I've ever experienced. Considering the ticket price as well, it would definitely be the best for value concert ever in Hong Kong that I've ever attended!
Oct 17, 2009
第三十八香港藝術節
我已經預訂了我的HKAF票! 您呢？
談論到來年的香港藝術節，實在叫一班如我的古典音樂愛好者十分失望。
不是我不喜歡Kirov和Gergiev，但這已是他們第三次應HKAF之邀請了。 並且他們以前帶來給我們更佳，更大和更加有趣的俄國歌劇如Queen of the Spades (而這次他們給我們Britten的小型劇作"Turn of the Screw"; 擔任的總共只有6名歌手/演員和只演兩場......)。 其外， 又以音樂會方式選擇性地上演Wagner指環歌劇的其中一幕，這種節目比較起他們之前帶來如馬勒的第二交響曲音樂會時，今次似乎不甚令人滿意足夠吧。 就連Edo de Waart和HKPO也以Bruckner 8作為曲目，似乎還更加有吸引力和更加認真。
英國的愛樂管弦樂團，單獨以最近的往績來說並不算是卓越(有趣的是，不少歲月之前我在倫敦看他們就正是Gergiev棒下演奏包括火鳥的全俄國音樂節目)，但是今次由指揮Dohnanyi帶領就相當令人期待和可能是古典愛樂者的必然之選。
當然，如果你喜歡巴洛克式樂隊的復古和學院派的演出， Rene Jacobs和弗萊堡古樂團就是必須一看的，特别是節目包括了他們的莫札特演繹。 然而， 我仍然深感可惜他們不能帶給我們莫札特的其中一部歌劇...... (還好我們下個月仍然能幸運地看到本地上演的魔笛)
Meta4弦樂四重奏是當代音樂愛好者的一個好選擇，尤其當你在今年早前錯過了Trey Lee那個香港室內樂音樂節中他們的中提琴和大提琴兩位成員的精彩表現，他們確是非常勝任和美妙的室樂音樂家。
超級明星Mikhail Rudy則在鋼琴獨奏會中帶來著名的Pictures at an exhibition及超技的 " Petrushka"，實在有足夠的吸引力，而他的演出總是令人歡欣。 然而，他是這樣一個頻繁訪港的音樂家，這可能減輕了他的叫座力。
同樣，本地超級明星李傳韻與他喜愛的那"炫技的"Paganini隨想曲，相信如果不是他常常在聚光燈之下而開始令人生厭，相信會更得觀眾鍾意。
對我來說， Andreas Scholl的迷人歌聲加上 Karamazov以Lute伴奏，才是使人開眼界的上好另類選擇。 保證是一個非常新鮮和叫人滿足的音樂會。 (可憐竟在平日演出)
如果你喜愛舞蹈和芭蕾，這次也必定令你失望吧。 Mariinsky將給我們一個半古典式芭蕾劇" Don Quixote" ，比起通常和傳統的芭蕾節目，這是套更像熱鬧節日狂歡節的表現。 唯獨好在算是為全家合家歡的節目。 我就寧可看一些由荷蘭國家芭蕾舞團的現代舞蹈。 不僅便宜，更是物超所值。
可能非古典的音樂愛好者會比較愉快和對HKAF滿意，由Cafe de los Maestros演奏的探戈音樂會，Guy Barker的爵士樂音樂會，和尼娜Simone的致敬音樂會，全部都相當有看頭。
但是，我更肯定愛看劇場的人將會更興奮，有一個好劇連連的藝術節，從Sam Mendes導演的莎士比亞劇"暴風雨"， Berkoff'的電影改篇作品"On the Waterfront"， 到中國著名顯要的林兆華打造的"老舍五則"，本地毛俊輝所導的"情話紫釵"起用了星級的演員和製作班底，還有年輕／普及／天才的編劇／導演／女演員黃詠詩的新劇作"香港式離婚"......我想知道劇迷怎麼在這些之中作出選擇呢？!
為免後悔太遲，點擊這裡並且預訂吧！
談論到來年的香港藝術節，實在叫一班如我的古典音樂愛好者十分失望。
不是我不喜歡Kirov和Gergiev，但這已是他們第三次應HKAF之邀請了。 並且他們以前帶來給我們更佳，更大和更加有趣的俄國歌劇如Queen of the Spades (而這次他們給我們Britten的小型劇作"Turn of the Screw"; 擔任的總共只有6名歌手/演員和只演兩場......)。 其外， 又以音樂會方式選擇性地上演Wagner指環歌劇的其中一幕，這種節目比較起他們之前帶來如馬勒的第二交響曲音樂會時，今次似乎不甚令人滿意足夠吧。 就連Edo de Waart和HKPO也以Bruckner 8作為曲目，似乎還更加有吸引力和更加認真。
英國的愛樂管弦樂團，單獨以最近的往績來說並不算是卓越(有趣的是，不少歲月之前我在倫敦看他們就正是Gergiev棒下演奏包括火鳥的全俄國音樂節目)，但是今次由指揮Dohnanyi帶領就相當令人期待和可能是古典愛樂者的必然之選。
當然，如果你喜歡巴洛克式樂隊的復古和學院派的演出， Rene Jacobs和弗萊堡古樂團就是必須一看的，特别是節目包括了他們的莫札特演繹。 然而， 我仍然深感可惜他們不能帶給我們莫札特的其中一部歌劇...... (還好我們下個月仍然能幸運地看到本地上演的魔笛)
Meta4弦樂四重奏是當代音樂愛好者的一個好選擇，尤其當你在今年早前錯過了Trey Lee那個香港室內樂音樂節中他們的中提琴和大提琴兩位成員的精彩表現，他們確是非常勝任和美妙的室樂音樂家。
超級明星Mikhail Rudy則在鋼琴獨奏會中帶來著名的Pictures at an exhibition及超技的 " Petrushka"，實在有足夠的吸引力，而他的演出總是令人歡欣。 然而，他是這樣一個頻繁訪港的音樂家，這可能減輕了他的叫座力。
同樣，本地超級明星李傳韻與他喜愛的那"炫技的"Paganini隨想曲，相信如果不是他常常在聚光燈之下而開始令人生厭，相信會更得觀眾鍾意。
對我來說， Andreas Scholl的迷人歌聲加上 Karamazov以Lute伴奏，才是使人開眼界的上好另類選擇。 保證是一個非常新鮮和叫人滿足的音樂會。 (可憐竟在平日演出)
如果你喜愛舞蹈和芭蕾，這次也必定令你失望吧。 Mariinsky將給我們一個半古典式芭蕾劇" Don Quixote" ，比起通常和傳統的芭蕾節目，這是套更像熱鬧節日狂歡節的表現。 唯獨好在算是為全家合家歡的節目。 我就寧可看一些由荷蘭國家芭蕾舞團的現代舞蹈。 不僅便宜，更是物超所值。
可能非古典的音樂愛好者會比較愉快和對HKAF滿意，由Cafe de los Maestros演奏的探戈音樂會，Guy Barker的爵士樂音樂會，和尼娜Simone的致敬音樂會，全部都相當有看頭。
但是，我更肯定愛看劇場的人將會更興奮，有一個好劇連連的藝術節，從Sam Mendes導演的莎士比亞劇"暴風雨"， Berkoff'的電影改篇作品"On the Waterfront"， 到中國著名顯要的林兆華打造的"老舍五則"，本地毛俊輝所導的"情話紫釵"起用了星級的演員和製作班底，還有年輕／普及／天才的編劇／導演／女演員黃詠詩的新劇作"香港式離婚"......我想知道劇迷怎麼在這些之中作出選擇呢？!
為免後悔太遲，點擊這裡並且預訂吧！
Oct 13, 2009
Freddy Kempf and Hong Kong Sinfonietta
Only a week after Schumann's violin concerto performed by Blacher and HKPO, Schumann's much more popular piano concerto was staged at the same place the past Saturday by Hong Kong Sinfonietta together with virtuosic young pianist Freddy Kempf.
The concert opened with a purely string ensemble piece - a collection of 3 film scores by famous Japanese contemporary composer Takemitsu. This set of three film scores is among the most popular works of the composer and is widely performed around the world nowadays (recently played in Beijing by the Abbado's Lucerne Festival Orchestra). And I think it's a perfect repertoire to kick off this HKS's concert, considering their Japanese guest conductor Hirokami of the evening.
The small string ensemble, with guest concertmaster James Cuddeford (of Grainger Quartet again), showed their precision and intimacy in the playing, while the conductor put most of his energy and stress on the dynamic changes, rhythmic changes and the musical phrasing. The resulted music was lively and infectious, especially the final waltz. However, Hirokami at the same time uncontrollably produced some audibly disturbing breathing sound all the way, mixing together with the fine orchestral sound while conducting.
Luckily, with Freddy Kempf brought onto the stage for Schumann's piano concerto, his breathing sound was somehow lightened and reduced with some self restraint. Right from the start of the first movement of the concerto, it was clear that Kempf was giving us a more inhibited, introverted and a very melancholic playing instead of the schizophrenic Schumann we're familiar with. The main theme was introduced in a much slower pace but full of intense nostalgia and meditation. His playing was very well articulated with exquisite intonation and expressive phrasing, especially marked in the second movement.
Sometimes his tasteful rubato, ritardando and thoughtful tempo change gave the music a further impressive impact and genius touch. What's more astonishing was the orchestra's chamber-like accompaniment, giving the soloist close support and interaction from time to time. Though not quite explosive and dazzling in the final movement, Kempf's virtuosic fingerworks served the finale well and fast enough. Overall, with the emotional contrasts deliberately tuned down, the concerto was successfully executed with Kempf's overpowering musicality shining through and winning over his solid piano technique. That was responded by audience's thunderous applause in recognition, and in return we were treated with a Chopin's equally musicality-over-technique Etude as an encore. (By the way, I think it's the best Schumann piano concerto version I've witnessed live so far. My only complaint would be the problematic French horns, while the clarinet stays as my favourite among the wind instruments that evening.)
The Pastoral by Beethoven in the second half of the concert was painted with very broad stroke overall, missing some fine details in between, more so in the slower second movement. This was in fact visually evident when the bass section of the strings of HKS was much expanded with freelance players after the intermission. While the conductor was concentrating on steadier and tighter tempo control, aiming for a grand or sometimes ecstatic atmosphere, the sense of spontaneity and freshness that this symphony badly required were sacrificed, resulted in somehow uncomfortably exaggerated dynamics, and even unnaturally overwhelming orchestral sound. It sounded like they were playing the Eroica! Nonetheless, the conductor (apart from his annoying heavy breathe sounds) led the orchestra very well, with good syncopation and unity, and his gestures for phrasing and giving cues to each section was done efficiently and accurately. All in all, while the execution was smooth and satisfactory, it lacked the appropriate musical sense, atmosphere and fine details that this great masterpiece demands.
10 October 2009 8pm
Hong Kong City Hall Concert Hall
Conductor - Junichi Hirokami
Pianist - Freddy Kempf
Takemitsu - Three film scores
Schumann - Piano Concerto in A minor
Beethoven - Symphony no.6 "Pastoral"
The concert opened with a purely string ensemble piece - a collection of 3 film scores by famous Japanese contemporary composer Takemitsu. This set of three film scores is among the most popular works of the composer and is widely performed around the world nowadays (recently played in Beijing by the Abbado's Lucerne Festival Orchestra). And I think it's a perfect repertoire to kick off this HKS's concert, considering their Japanese guest conductor Hirokami of the evening.
The small string ensemble, with guest concertmaster James Cuddeford (of Grainger Quartet again), showed their precision and intimacy in the playing, while the conductor put most of his energy and stress on the dynamic changes, rhythmic changes and the musical phrasing. The resulted music was lively and infectious, especially the final waltz. However, Hirokami at the same time uncontrollably produced some audibly disturbing breathing sound all the way, mixing together with the fine orchestral sound while conducting.
Luckily, with Freddy Kempf brought onto the stage for Schumann's piano concerto, his breathing sound was somehow lightened and reduced with some self restraint. Right from the start of the first movement of the concerto, it was clear that Kempf was giving us a more inhibited, introverted and a very melancholic playing instead of the schizophrenic Schumann we're familiar with. The main theme was introduced in a much slower pace but full of intense nostalgia and meditation. His playing was very well articulated with exquisite intonation and expressive phrasing, especially marked in the second movement.
Sometimes his tasteful rubato, ritardando and thoughtful tempo change gave the music a further impressive impact and genius touch. What's more astonishing was the orchestra's chamber-like accompaniment, giving the soloist close support and interaction from time to time. Though not quite explosive and dazzling in the final movement, Kempf's virtuosic fingerworks served the finale well and fast enough. Overall, with the emotional contrasts deliberately tuned down, the concerto was successfully executed with Kempf's overpowering musicality shining through and winning over his solid piano technique. That was responded by audience's thunderous applause in recognition, and in return we were treated with a Chopin's equally musicality-over-technique Etude as an encore. (By the way, I think it's the best Schumann piano concerto version I've witnessed live so far. My only complaint would be the problematic French horns, while the clarinet stays as my favourite among the wind instruments that evening.)
The Pastoral by Beethoven in the second half of the concert was painted with very broad stroke overall, missing some fine details in between, more so in the slower second movement. This was in fact visually evident when the bass section of the strings of HKS was much expanded with freelance players after the intermission. While the conductor was concentrating on steadier and tighter tempo control, aiming for a grand or sometimes ecstatic atmosphere, the sense of spontaneity and freshness that this symphony badly required were sacrificed, resulted in somehow uncomfortably exaggerated dynamics, and even unnaturally overwhelming orchestral sound. It sounded like they were playing the Eroica! Nonetheless, the conductor (apart from his annoying heavy breathe sounds) led the orchestra very well, with good syncopation and unity, and his gestures for phrasing and giving cues to each section was done efficiently and accurately. All in all, while the execution was smooth and satisfactory, it lacked the appropriate musical sense, atmosphere and fine details that this great masterpiece demands.
10 October 2009 8pm
Hong Kong City Hall Concert Hall
Conductor - Junichi Hirokami
Pianist - Freddy Kempf
Takemitsu - Three film scores
Schumann - Piano Concerto in A minor
Beethoven - Symphony no.6 "Pastoral"
Oct 9, 2009
(500) Days of Summer
As the tag line of the movie suggests, this is not a love story, but a story about love.
It is a simple story about boy meets girl, but from the perspective of the boy.
What makes it so refreshing and can stand out among others?
1. Non-traditionally, their story is presented in a non-chronological way. So it would jump back and forth between the 500 days of their relationship, with the day stated clearly before each scene.
2. Unconventionally, the boy fantasizes about true love, fate, soul mate and commitment while the girl is realistically pessimistic about those things and does not at all believe in true love. She would rather have fun in casual relationship and sex without caring too much for the future.
3. They don't live happily ever after in the end. Instead, they walk their separate ways.
4. First time movie director Marc Webb's stylish handling and personalised telling of the story. His vision and technique showed his root as the MTV director, which is especially an extra credit in this movie to add the very suitable songs and soundtrack to propel and enhance the story.
5. It's not another formula romantic comedy or usual chick flick. But rather it may be equally appealing to both gender of the audience for the first time.
6. Joseph Gordon Levitt started acting since very young age and his training through sit-com like "Third Rock from the Sun" and various good independent movies makes him a perfect candidate for the lead character Tom in this movie, as he's capable of both good subtle humorous and overtly dramatic performance at the same time. And also it would be the right moment for Zooey Deschanel to shine here as Summer.
However, to me, it's Michael Weber and Scott Neustadter's brilliant story with witty humour and its angle that impressed me most. In fact, the story is very plain and simple, but it has those realistic qualities that we all encountered and experienced in lives. And that's why it touches our hearts and causes resonance.
Male or female, when in love, we all go through the sweet-and-bitter sort of long-awaiting pursuing, the passionate ecstasy when going steady, the guilty pleasure in doing minor stupid things together, and sometimes the heartbreaking fights, the cool down and get-back-together stuffs, and of course unavoidably, the final closure and permanent separation. Some of these were nicely captured and presented innovative in the movie like the expectations/reality split-screen, the park dance sequence, the various old-place bench on the hill scenes, etc......
In the movie, Tom and Summer, though very different in terms of their views about love and commitment, can't help but fall in love, which may well be destined to be a failure. However, through the relationship and their encounter, they influence each other greatly. Tom taught Summer, through his passion in Architecture, to look at things carefully which people normally ignored, while Summer taught him that life is never as well-planned and structured as Architecture, and so people should be adventurous and able to take chances like she is. Besides, towards the end of the movie, Tom learnt to be less hopelessly romantic and trust less in the fate and even quited his job, while Summer began to believe in coincidence and found her true love. We can see even though things don't work out for them, through the 500 days, they affected each other tremendously.
Similarly, I guess we all matures and gets better personally through love and every single relationship. It doesn't matter even it fails at the end. Just like the end of this movie, after the heartbreak comes a bit more wisdom. And after Summer, there comes Autumn!
Oct 4, 2009
Kolja Blacher with HKPO
Kolja Blacher, a former concertmaster of the Berlin Philharmonic Orchestra and current leader of Abbado's Lucerne Festival Orchestra (which just had a successful visit to Beijing), came back once again to lead our Hong Kong Philharmonic during the Mid-Autumn Festival weekend and brought us a refreshing programme of enchanting and easy-listening music.
Non-traditionally, the concert opened with Mozart's last Symphony "Jupiter". Kolja Blacher led the orchestra as their concertmaster and without a formal conductor. Authentically enough, he used a smaller-size string section (10/8/6/4/2) that was seated in the conventional way (cello in the front near the edge of stage on the right side and double bass at their back).
Kolja Blacher's reading of Mozart concentrated on the momentum and emotional contrast rather than the analytical and structural approach by Haitink during earlier this year's HK Arts Festival. The tempo was on the fast side and the drive was impressive. The strings of the orchestra was much enhanced with more precision, vibrancy and fluency. Their usual harsh and intimidating sound was somehow compensated by the appropriate phrasing and delicate bowing. Also, the dialogue between sections within the strings was wonderfully done and balanced, especially evident during the fugue passages.
However, without the conductor, the wind instruments sometimes failed to sound in perfect unison with the strings (notably the careless bassoon in the first movement). Nevertheless, the French Horns and bassoons deliberately sounded soft enough to blend in meticulously. Beside the slightly unfocused first movement, the overall execution was very satisfactory, including their emotionally charged and brilliantly singing Andante, fast paced yet suitably rhythmic and accented minuet, or the superbly energized and cohesively played finale. Overall a very clean and clear interpretation of the music full of youthful energy and classical style. My only reservation would be the weak double bass and the strangely blended and mostly overwhelming tympani sound throughout.
With the addition of one more flute and two clarinets onto the stage, what followed was the very rarely heard violin concerto - the Schumann's long ignored and forgotten concerto by generations. And honestly, this is understandable, for the concerto is somehow quite "segmented" and "free" in nature, not to mention the imbalance between the soloist and the accompaniment or the substandard orchestral writing. However, it is still infused with the composer's trademark sentimentality and intense emotion noted in the various exceptionally appealing melodies, which were more so in the hands of Kolja Blacher.
His playing, beside being technically efficient (the multiple stops and the rapid runs of double stops all seemed nothing to him), is well-pitched, very clean, extremely passionate and songful, with a wide range of dynamics and expressions, and full of flexibility in tempo. He also looked after some minor details and less prominent dialogues of the piece so to keep the music going (resulted in an especially less stagnant but poignant second movement).
Once again, conducting as the soloist did have a downside, and so beside sacrificing the overall orchestral balance (the winds sounded not strong enough while the bass section seemed a bit too weak), the accompaniment by the orchestra was less than satisfying at times (more problematic in the first movement, and Blacher at one juncture even resorted to stomping of his foot to keep the orchestra in beat). Having said that, in the tricky second movement (most of the time the cello's introductory theme is written in a way not playing in sync to the soloist's and vice versa), the orchestra pulled it off quite well. Richard Bamping deserved an extra credit here for his excellent cello solo playing and his intimate dialogue with Blacher, also for his successful leading through the seamless transition into the final movement, which was played mostly and incredibly well!
Without an encore to respond to the very warm applause by the audience, Blacher returned to the stage after the intermission to join only the strings of HKPO for the final piece of the evening - Tchaikovsky's famous and lovable Serenade for Strings. With a slightly expanded string section this time (especially the bass section), Blacher played and led as the concertmaster, giving us the most wonderful and memorable music of the evening. The ensemble not only sounded less suffocating as usual, but also gave us lustrously warm and very well balanced sound. From the passionate introduction and lively first movement, through enchanting waltz and nostalgic Elegy, to the exhilarating and vivacious finale, they played with very intense focus and delivered with the appropriate emotion and phrasing, convincing tempo changes and dynamics. I simply wish the orchestra's strings could keep on sounding like this throughout the year, preferably with a concertmaster of the calibre as Kolja Blacher......
Non-traditionally, the concert opened with Mozart's last Symphony "Jupiter". Kolja Blacher led the orchestra as their concertmaster and without a formal conductor. Authentically enough, he used a smaller-size string section (10/8/6/4/2) that was seated in the conventional way (cello in the front near the edge of stage on the right side and double bass at their back).
Kolja Blacher's reading of Mozart concentrated on the momentum and emotional contrast rather than the analytical and structural approach by Haitink during earlier this year's HK Arts Festival. The tempo was on the fast side and the drive was impressive. The strings of the orchestra was much enhanced with more precision, vibrancy and fluency. Their usual harsh and intimidating sound was somehow compensated by the appropriate phrasing and delicate bowing. Also, the dialogue between sections within the strings was wonderfully done and balanced, especially evident during the fugue passages.
However, without the conductor, the wind instruments sometimes failed to sound in perfect unison with the strings (notably the careless bassoon in the first movement). Nevertheless, the French Horns and bassoons deliberately sounded soft enough to blend in meticulously. Beside the slightly unfocused first movement, the overall execution was very satisfactory, including their emotionally charged and brilliantly singing Andante, fast paced yet suitably rhythmic and accented minuet, or the superbly energized and cohesively played finale. Overall a very clean and clear interpretation of the music full of youthful energy and classical style. My only reservation would be the weak double bass and the strangely blended and mostly overwhelming tympani sound throughout.
With the addition of one more flute and two clarinets onto the stage, what followed was the very rarely heard violin concerto - the Schumann's long ignored and forgotten concerto by generations. And honestly, this is understandable, for the concerto is somehow quite "segmented" and "free" in nature, not to mention the imbalance between the soloist and the accompaniment or the substandard orchestral writing. However, it is still infused with the composer's trademark sentimentality and intense emotion noted in the various exceptionally appealing melodies, which were more so in the hands of Kolja Blacher.
His playing, beside being technically efficient (the multiple stops and the rapid runs of double stops all seemed nothing to him), is well-pitched, very clean, extremely passionate and songful, with a wide range of dynamics and expressions, and full of flexibility in tempo. He also looked after some minor details and less prominent dialogues of the piece so to keep the music going (resulted in an especially less stagnant but poignant second movement).
Once again, conducting as the soloist did have a downside, and so beside sacrificing the overall orchestral balance (the winds sounded not strong enough while the bass section seemed a bit too weak), the accompaniment by the orchestra was less than satisfying at times (more problematic in the first movement, and Blacher at one juncture even resorted to stomping of his foot to keep the orchestra in beat). Having said that, in the tricky second movement (most of the time the cello's introductory theme is written in a way not playing in sync to the soloist's and vice versa), the orchestra pulled it off quite well. Richard Bamping deserved an extra credit here for his excellent cello solo playing and his intimate dialogue with Blacher, also for his successful leading through the seamless transition into the final movement, which was played mostly and incredibly well!
Without an encore to respond to the very warm applause by the audience, Blacher returned to the stage after the intermission to join only the strings of HKPO for the final piece of the evening - Tchaikovsky's famous and lovable Serenade for Strings. With a slightly expanded string section this time (especially the bass section), Blacher played and led as the concertmaster, giving us the most wonderful and memorable music of the evening. The ensemble not only sounded less suffocating as usual, but also gave us lustrously warm and very well balanced sound. From the passionate introduction and lively first movement, through enchanting waltz and nostalgic Elegy, to the exhilarating and vivacious finale, they played with very intense focus and delivered with the appropriate emotion and phrasing, convincing tempo changes and dynamics. I simply wish the orchestra's strings could keep on sounding like this throughout the year, preferably with a concertmaster of the calibre as Kolja Blacher......
Sep 22, 2009
UP
From the greatest animation studio Pixar, Finding Nemo's screenwriter Bob Peterson together with Monster Inc's director Pete Docter brought us one of the best movie this year - UP!
A simple enough and even childish plot of adventurous journey brings two seemingly different people together with unexpected chemistry, life lessons and ending.
Carl is a 78-year-old widower living lonely in his house that is the only house in the neighbourhood hindering the local urbanisation construction work. He is therefore forced to move or otherwise would be sent to the Elderly Home. With his whole harmonious life with his wife Ellie spent and many sweet memories shared in the house, stubborn as he may seem, there's no way he could give up the house so easily --- and he resorts to flying the house UP into the sky by attaching thousands of balloons to it, going onto an expedition searching for the dream destination "Paradise Falls" in South America, a trip that Carl and Ellie both so desperately wished for but never materialised before.
Russell is an 8-year-old Wilderness explorer scout, who gets neglected constantly by his divorced parents, by random chance he meets Carl due to his obsessive urge to help an elderly so as to collect the last one merit badge that he lacks - "Helping the Elderly" badge!
As a result, Russell is accidentally brought along for Carl's eventful trip on the flying house.
Alright, it follows the constant "buddy" formula of Pixar, and predictably it also has a villain and a talking dog in it too to inject suitable tension and comic relief. Cliche as it may sound, UP is exceptional in its poignant and touching delivery, subtle symbolism and life lessons underneath the superficial plot and entertainment.
While the youngsters would be happy to see the funny dogs and various visual gags, grown-ups will surely be enchanted by the 4-minute non-verbal montage showing Carl and Ellie's married life together till death set them apart. It's full of ups-and-downs, with sweetness, romance, unpredictable events, and overwhelming sentiment. Backed by superb music of Michael Giacchino's original composition, it gives the audience such an emotional roller-coaster ride and also a decent back story for Carl's character. We could understand fully his deliberate isolation and grumpy personality there after.
Another important thing revealed in this marvelous montage is that the couple cannot have their own baby. As a result, they turned their dream, energy and money into planning a trip to visit the Paradise Falls, which however was made impossible due to a series of unfortunate life events and later Ellie's ill health. So, unlikely as Russell may seem, he is in fact a perfect companion to old Carl for the adventure. Subconsciously, through the journey, Carl becomes the father figure to the boy, and as a result Russell in a way compensate for the child Carl has never had.
Though Russell maybe a bit energetic, noisy, and even mischievous at times, he reminds Carl of the young Ellie, and he makes him chuckle and lights up his life once again. In fact, on closer look, Carl and Russell do share many similarities : They are both stubborn, determined, adventurous and obsessive but in the wrong way. While Russell is obsessed with collecting all the scout's merit badges so to draw his parents' attention and love, Carl is obsessed with the objects and memories in the house which reminds him of a great life he once had with his wife, and so he is determined to fulfill Ellie's unfinished dream by taking the house to the destination. Miserably enough, they both know deeply that even their respective goals are attained, nothing would actually be changed.
Speaking of which, there comes the major lesson in the movie - To let go. The flying house itself is symbolic enough in the middle of the movie, with the "precious" objects in the house thrown out by Carl in order to let the house soar again. As Ellie wrote in her adventure book, it's really time for Carl to have his own adventure after the one they shared together before.
Another thing that touches me dearly is about the "Little moments" in our lives. Like the little things that Carl and Ellie did together and being captured as photo in the adventure book. Nothing like that real expedition that they had planned, however is not less memorable or adventurous. Similarly, the little scout told Carl about how he missed the time he spent with his father by just sitting together on the curb eating ice-cream and guessing the colour of cars passing in front. Nothing fancy or extravagant at all.
I hope we all can cherish every little moments that we have in life, instead of chasing and getting lost in the "big dreams" that we so much desire and obsessed with..........and strange enough in life, sometimes those big dreams are accomplished in their own mysterious way which is out of our control, just like the last shot in the movie - with the house being blown off and finally seated exactly beside the Paradise Falls!
Aug 30, 2009
亞洲青年管弦樂團
2009亞洲青年管弦樂團周年音樂會
14/8/2009 8pm 香港文化中心音樂廳
客席指揮：巴梅特(香港、上海及北京)
鋼琴獨奏: 斯圖爾曼
布拉姆斯: E 小調第四號交響曲
莫札特: D小調第二十號鋼琴協奏曲,K.466
柴可夫斯基：黎密尼的法蘭契斯卡
在香港的夏天，不僅是潮濕和酷熱，對古典的樂迷也是令人難以置信的無聊，由於很多專業樂團都會選擇此休息一長時間。儘管如此，每年在漫長暑假期間，來自亞洲各國最佳的年輕音樂家，都會聚合在香港 3 個星期參加一個強化音樂訓練夏令營，之後便展開另一段 3 星期的亞洲巡迴音樂會，並以亞洲青年管弦樂團的名義舉行（此為在大約 20 年前由傳奇的梅紐因所創辦）。樂團曾有其光榮的時刻，在過去吸引了很多世界級的指揮和演奏家參加他們以往的音樂會。
一如以往，他們計畫了在兩個連續的晚上，根據兩個不同的指揮而有兩套曲目。但是，這兩個夜晚的節目可謂沒任何常規。如 AYO 的藝術總監理查 Pontzious 設計了一場來自 3 個不同國家 3 首著名管弦樂 showpiece 的音樂會，包括拉威爾的波麗路，斯特拉文斯基的火鳥 Suite 以及 Barber 的 弦樂 Adagio； 另他們的首席指揮詹姆斯 Judd 更最大膽地想出了一場非傳統的破格"重型"音樂會，以悲劇感覺作為主題。 我好奇地觀看了此一場音樂會。
Judd 因事而由他的朋友Matthias Bamert代替先帶領AYO 展開其音樂之旅的頭半段。有趣的是，這一年香港是其亞洲之旅的中站，我在這裡出席的音樂會正是Bamert 領導 AYO的最後一夜，所以我對他們期望不少...
實際上，那夜Maestro Bamert 和 AYO 的成員都有很好的準備。 Bamert 甚至憑記憶指揮，而團員也似乎對樂譜和音樂了解得很好，至他們可以大部份時間看指揮。不過，做好準備並不等於音樂卓越。 例如在 Brahms 的著名第四交響樂，整體執行雖暢順及令人滿意，也有適當的銜接和造句，但音樂的內涵和情緒的發揮都下於我的期望。
一切原是開始得很好。 第一樂章開首的著名"雙音"主題拉得出色，但整個樂章 over-played 了張力，像一個上緊了的彈簧，令人不安的有點"勉強"和"急切"的感覺。我明白團員們都很極力想盡其所能，所以他們都使勁地奏出了力度和熱情得就如"沒有明天"，但反而出現了一種太壓倒性的聲音和有點倉卒感覺。坦白的說，整個樂團(尤其是這裡的弦樂)有很窄的聲音動態範圍，偏集中於強的發聲而忽略了 mp 和 p 之間的微妙差異。
第二樂章演出準確，但卻顯示樂團的弱點。音樂聽起來欠缺情感，單薄平淡，甚至有點悶。此外，圓號也在這裡顯示出有點弱點。然後，Scherzo 很配他們的氣質，並且他們聽起來有時充滿活力和爆炸，雖則三角鐵時有格格不入。最後帕的薩卡裡亞是充沛流暢，但有幾個變奏中出現時而混沌和甚至樂部分離。 此外，它缺乏我們所等待的真正高潮。另外在這裡，長笛獨奏（香港樂手！） 是迷人的，但銅管的整體或許是今年最弱的一環。
布拉姆斯的音樂根本是不容易，特別是對於上述晚年的巨大交響樂作品。我佩服 Bamert 的整體音樂閱讀和追求富低音線的歐洲聲音，更不用說他對細節的注意，如在第一樂章中的一些樂段用上了Stokowski（Bamert曾是他的助理指揮）的 bowing 方法（例如同時間一半的大提琴組用 up-bow 而另一半做 down-bow 來維持一個穩定的聲響）。但是，對於已有相當技術和音樂感的青年樂手來說，整體上仍然缺乏樂團的透明度、靈活性和情緒的微妙變化，而這些正是此傑作所極度要求的。當然，樂章間重複地被遲到者進場和業餘音樂會觀眾的無聊鼓掌聲所間斷，也可能干擾和分散我們台上青年表演者的注意力。
幸運在間歇後， AYO 的表現越來越好，觀眾也是。 較小型的樂團打開莫札特的鋼琴協奏曲，細膩以適當的造句，自制地給予對比的情緒，一個非常有效的古典風格引子，帶到Steuerman 的獨奏。他的莫札特提醒我幾個月前在這裡與HKPO帶來另一小調莫札特鋼琴協奏曲的 Brautigam。Steuerman 的鋼琴演奏是同樣 minimalistic，用很少 踏板和以抑制的發聲力度，及主要靠觸鍵連結，效果少了浪漫但更見優雅。此外，他更補充地用了好些即興裝飾音，使其演奏中顯示多一些新鮮度和古典主義（儘管他仍用上了貝多芬所寫的cadenza)。但是逐漸地，Steuerman可能因太享受自我而產生了哼唱聲（像Glenn Gould般），並越來越多自由式的節奏、 重音和句法，一下子他那獨特的手法可能令人難以吞下（並終於在第三樂章的 cadenza 尾時在左手上出了一個錯弦）。樂團和演奏家之間的支援密切，特別和木管有一些很好的對答。 AYO的伴奏在那裡的 ensembleship 和風格也令人欽佩 ！
在Steuerman以拉威爾的 La Valse 作 encore 後 (可能是前一晚的拉威爾鋼琴協奏曲音樂會剩下來的 encore 曲），AYO 便回到完整的班底陣容，奏出很少聽到的柴可夫斯基音詩。 這首曲，少見得連我也不得不承認這是第一次在現場見證它的。 幸運的是，他們沒令我失望。我猜外向的俄羅斯曲目是更適合這些年輕的團員，事實上，戲劇化的浪漫、「 忘我 」和悲劇變化，此青年樂團都完整和恰到好處地表示出來。弦樂正好在這裡放盡表現，而 woodwinds 又迅速和準確的疊加其上。 除了敲擊組出現一些不匹配外（三角鐵再一次為罪魁禍首），這是樂團今年最佳的示範作。Maestro Bamert 也功不可沒！
到音詩結束的時間已是幾乎十點半，許多觀眾（包括在我右邊的兩位先生）迅速在掌聲期間離去，並不知道 AYO encore 是一種傳統，而錯過了令人振奮的匈牙利舞曲第 1 號。好，也真的沒關係，港台已為整個晚上錄下視像來（對於我是第一次看見遙控 360 度旋轉機械攝影機定位在指揮前以捕獲一些樂團間的珍貴鏡頭）。
一點的統計數字：
鋼琴獨奏: 斯圖爾曼
布拉姆斯: E 小調第四號交響曲
莫札特: D小調第二十號鋼琴協奏曲,K.466
柴可夫斯基：黎密尼的法蘭契斯卡
在香港的夏天，不僅是潮濕和酷熱，對古典的樂迷也是令人難以置信的無聊，由於很多專業樂團都會選擇此休息一長時間。儘管如此，每年在漫長暑假期間，來自亞洲各國最佳的年輕音樂家，都會聚合在香港 3 個星期參加一個強化音樂訓練夏令營，之後便展開另一段 3 星期的亞洲巡迴音樂會，並以亞洲青年管弦樂團的名義舉行（此為在大約 20 年前由傳奇的梅紐因所創辦）。樂團曾有其光榮的時刻，在過去吸引了很多世界級的指揮和演奏家參加他們以往的音樂會。
一如以往，他們計畫了在兩個連續的晚上，根據兩個不同的指揮而有兩套曲目。但是，這兩個夜晚的節目可謂沒任何常規。如 AYO 的藝術總監理查 Pontzious 設計了一場來自 3 個不同國家 3 首著名管弦樂 showpiece 的音樂會，包括拉威爾的波麗路，斯特拉文斯基的火鳥 Suite 以及 Barber 的 弦樂 Adagio； 另他們的首席指揮詹姆斯 Judd 更最大膽地想出了一場非傳統的破格"重型"音樂會，以悲劇感覺作為主題。 我好奇地觀看了此一場音樂會。
Judd 因事而由他的朋友Matthias Bamert代替先帶領AYO 展開其音樂之旅的頭半段。有趣的是，這一年香港是其亞洲之旅的中站，我在這裡出席的音樂會正是Bamert 領導 AYO的最後一夜，所以我對他們期望不少...
實際上，那夜Maestro Bamert 和 AYO 的成員都有很好的準備。 Bamert 甚至憑記憶指揮，而團員也似乎對樂譜和音樂了解得很好，至他們可以大部份時間看指揮。不過，做好準備並不等於音樂卓越。 例如在 Brahms 的著名第四交響樂，整體執行雖暢順及令人滿意，也有適當的銜接和造句，但音樂的內涵和情緒的發揮都下於我的期望。
一切原是開始得很好。 第一樂章開首的著名"雙音"主題拉得出色，但整個樂章 over-played 了張力，像一個上緊了的彈簧，令人不安的有點"勉強"和"急切"的感覺。我明白團員們都很極力想盡其所能，所以他們都使勁地奏出了力度和熱情得就如"沒有明天"，但反而出現了一種太壓倒性的聲音和有點倉卒感覺。坦白的說，整個樂團(尤其是這裡的弦樂)有很窄的聲音動態範圍，偏集中於強的發聲而忽略了 mp 和 p 之間的微妙差異。
第二樂章演出準確，但卻顯示樂團的弱點。音樂聽起來欠缺情感，單薄平淡，甚至有點悶。此外，圓號也在這裡顯示出有點弱點。然後，Scherzo 很配他們的氣質，並且他們聽起來有時充滿活力和爆炸，雖則三角鐵時有格格不入。最後帕的薩卡裡亞是充沛流暢，但有幾個變奏中出現時而混沌和甚至樂部分離。 此外，它缺乏我們所等待的真正高潮。另外在這裡，長笛獨奏（香港樂手！） 是迷人的，但銅管的整體或許是今年最弱的一環。
布拉姆斯的音樂根本是不容易，特別是對於上述晚年的巨大交響樂作品。我佩服 Bamert 的整體音樂閱讀和追求富低音線的歐洲聲音，更不用說他對細節的注意，如在第一樂章中的一些樂段用上了Stokowski（Bamert曾是他的助理指揮）的 bowing 方法（例如同時間一半的大提琴組用 up-bow 而另一半做 down-bow 來維持一個穩定的聲響）。但是，對於已有相當技術和音樂感的青年樂手來說，整體上仍然缺乏樂團的透明度、靈活性和情緒的微妙變化，而這些正是此傑作所極度要求的。當然，樂章間重複地被遲到者進場和業餘音樂會觀眾的無聊鼓掌聲所間斷，也可能干擾和分散我們台上青年表演者的注意力。
幸運在間歇後， AYO 的表現越來越好，觀眾也是。 較小型的樂團打開莫札特的鋼琴協奏曲，細膩以適當的造句，自制地給予對比的情緒，一個非常有效的古典風格引子，帶到Steuerman 的獨奏。他的莫札特提醒我幾個月前在這裡與HKPO帶來另一小調莫札特鋼琴協奏曲的 Brautigam。Steuerman 的鋼琴演奏是同樣 minimalistic，用很少 踏板和以抑制的發聲力度，及主要靠觸鍵連結，效果少了浪漫但更見優雅。此外，他更補充地用了好些即興裝飾音，使其演奏中顯示多一些新鮮度和古典主義（儘管他仍用上了貝多芬所寫的cadenza)。但是逐漸地，Steuerman可能因太享受自我而產生了哼唱聲（像Glenn Gould般），並越來越多自由式的節奏、 重音和句法，一下子他那獨特的手法可能令人難以吞下（並終於在第三樂章的 cadenza 尾時在左手上出了一個錯弦）。樂團和演奏家之間的支援密切，特別和木管有一些很好的對答。 AYO的伴奏在那裡的 ensembleship 和風格也令人欽佩 ！
在Steuerman以拉威爾的 La Valse 作 encore 後 (可能是前一晚的拉威爾鋼琴協奏曲音樂會剩下來的 encore 曲），AYO 便回到完整的班底陣容，奏出很少聽到的柴可夫斯基音詩。 這首曲，少見得連我也不得不承認這是第一次在現場見證它的。 幸運的是，他們沒令我失望。我猜外向的俄羅斯曲目是更適合這些年輕的團員，事實上，戲劇化的浪漫、「 忘我 」和悲劇變化，此青年樂團都完整和恰到好處地表示出來。弦樂正好在這裡放盡表現，而 woodwinds 又迅速和準確的疊加其上。 除了敲擊組出現一些不匹配外（三角鐵再一次為罪魁禍首），這是樂團今年最佳的示範作。Maestro Bamert 也功不可沒！
到音詩結束的時間已是幾乎十點半，許多觀眾（包括在我右邊的兩位先生）迅速在掌聲期間離去，並不知道 AYO encore 是一種傳統，而錯過了令人振奮的匈牙利舞曲第 1 號。好，也真的沒關係，港台已為整個晚上錄下視像來（對於我是第一次看見遙控 360 度旋轉機械攝影機定位在指揮前以捕獲一些樂團間的珍貴鏡頭）。
一點的統計數字：
1.弦樂以女性為多 (尤其是小提琴) （低音大提琴除外）
2.中國和臺灣成員分別是最大多數，而朝鮮緊隨在後
3.韓國成員大多是弦樂手 （團長也是一位韓國的女孩）
4.香港今年共有 14 名成員
5.所有成員都是由 17－ 27 歲 (以前是 15-25)
May 31, 2009
小交的法國五月
首先，我要作出懺悔： 一直以來香港小交響樂團音樂會，我很少出席。 甚至今次我也是為著名法國鋼琴家 Michel Dalberto，和很少聽到的兩首法國鋼琴作品，與及圖畫展覽會的新奇配器版本而來的。 噢，殊不知如果錯過了這場演出便會是我的錯誤和遺憾了！
有趣的是，香港小交響樂團(HKS)的音樂會，除了幾近爆滿之外，相比我遇到的另一個本地職業樂團音樂會，觀眾整體是更要年輕和較為熱情專注。 我不知道為什麼........................ 但是，後來音樂總監葉詠詩在樂團調音後來到臺上，開始的竟不是立即拿起指揮棒，而是用麥克風跟我們談話，這個大致給予我之前的問題提供了一點答案吧： 葉詠詩除了是一個專業的指揮家外，她更是一位音樂教育工作者和有效的演講者。 我相信她通過這些年一直做了不少的教育工作和擴大她的年輕觀眾群 ！
音樂會以拉威爾為記念法國作曲家 Couperin 而作的著名鋼琴組曲的配器版本作為開始。 真是不容易的管弦樂作品，對弦樂的要求很高，木管的音色變化，以及句法的強弱動態和靈活性。 我很高興看到 HKS 的弦樂組做得不錯。 在單簧管有出色表現之時，雙簧管卻特別在高音上出現些微問題。 指揮的演繹頗有一撮法國風味，但卻有點機械感，如節奏能多點彈性和整體能更同步一些就會更令人滿意。
跟著來到晚上的第一個重頭戲： Dalberto 走上舞臺，在Steinway上與 HKS 奏起Faure的 Ballade。 只從開首他所彈出的幾個簡單樂音就已讓我留下深刻印象。 他的觸鍵是令人難以置信的，每個樂音的色彩變化皆被迅速和全面控制，高雅而如歌性的串連起來。他可以通過手指而非其他任何不必要的身體動作來奏出寬動態範圍而有層次的音樂 (除了他的頭可能偶爾點一下)。 看他那微妙的腳踏運用如何能提高樂音的張力和適當的造句，就是魔法般的見證。他如何可以利用這以撞擊而產生聲響的樂器來發出晶瑩透明的優美連線聲音是超越我的理解的，但我只知道我喜歡他這樣的音樂。 好一個謙卑和內隱的法國鋼琴大師，功力就在他和樂團的音樂中顯示出來。 他從不致勝過樂團或被它覆蓋，但只完全恰當地混和。看來殊不容易的一首樂曲，但給 Dalberto 完美地演繹，就連額頭上也不見一點汗水。 他彈出來好像很簡單的音樂，卻聽起來非常迷人。 另樂團也一路給了一個很親密的支援。
沒有進一步的延誤，在觀眾的 4 度熱烈掌聲後，Dalberto 即返到台上演奏法蘭克的變奏曲。 他坐了下來後便再一次進行了他的儀式－－用雙手輕輕觸摸白色琴鍵並從中間橫向掃開再返回中央，就像為他心愛的儀器打掃灰塵一般，才示意葉詠詩開始樂章那介紹性的弦樂強重和弦。 這首作品的音樂性更強、 感情豐富而變化又易於理解，是一組集合由開首出現主題而成的變奏曲，樂團和鋼琴到處都有交替領導和支援的角色。 在這裡的 ensembleship 是更明顯和成功的。 Dalberto 的特殊技藝和抒情性在這裡得到最好證明。 此外，他享受在音樂中，這方面顯示於他的右手在閒時於空氣中做出一些像指揮般的輕微搖擺。 樂團方面，大提琴部分 （只有 5 名成員） 有很出色的獨奏片段，而單簧管也有著精彩的樂句傳遞。
觀眾如我般興奮熱情的重複掌聲後， Dalberto 回報我們兩個獨奏 encores (德布西嗎？) ，分別展示出他的實力－首先是他謹慎的佈局構建能力和優秀的情緒變化，以及動態的強烈對比，然之後顯示他那快速手指和爆發力度。 然而，Bravo喊聲和掌聲仍舊持續，即使在他給我們飛吻道別後才走到後臺去。 最後，他衣冠楚楚把指揮也帶到舞臺來作最後致謝及引領樂團的成員一起離開。
第二個高潮出現在中場休息之後： 一個著名的鋼琴音樂 Mussorgsky 的 「 圖畫展覽會 」 由中國作曲家Julian Yu所寫的另一個改篇配器版本。跟我們常聽的拉威爾版非常不同，這個是寫給只得十幾個成員的小室樂團：包括幾個人的弦樂， 4 名成員的木管組、三人銅管組 (沒有 Tuba) ，一個玩定音鼓、 一個彈鋼琴/celesta、 一個玩豎琴，再加3名成員負責範圍廣泛的敲擊樂器 （包括馬林巴、 Glockenspiel、 木琴、 tam-tam 和鐘...） 。 此外，余除了只對他們進行樂器重新編排外，還甚至作出原樂譜外的各種有趣新增： 例如在開始長廊漫步的一些樂句間加入了富中國東方色彩的五音樂思； 對於舊古堡中添加遲發但相同的音樂句來產生回音效果，正如在一座城堡聽到的； 在兩個猶太人中，新得幾乎無法識別的 cadenza 由低音大提琴獨奏出，在一個背景有定音鼓混沌聲音中交織起來；新寫但不是那麼和諧的和弦被加置於 Catacomb 一段中來帶出幽冥的感覺 ； Baba Yaga中出現了銅管和長笛吹空地模仿冷風的沙沙作響；連串上昇和下降音諧的鐘聲/鋼琴/Glockenspiel 也提昇了終章基輔大門的氣勢！
無可否認，余此作充滿對每張原畫的想像力和洞察力，而不是只憑 Mussorgsky 的鋼琴樂譜所激發，聽到這樣一個有趣新鮮的版本，令人大開眼界。 觀眾的反應也是非常積極的，面對如此富挑戰性和難度的樂曲，樂團成員在葉指揮領導下演出落力 (尤其是 percussionists) 。 他們給予了一次相當穩定和投入的演出，低音大提琴手通過了要求很高的獨奏片段，應記一功。 而單簧管手又一次吸引我的注意。
令人驚訝的是，作曲家竟出現於這場"中國首演"音樂會，我們響起歡迎與熱烈的掌聲給他。 這也為音樂會寫下了一個完美的句號。
總括來說，與上次我看到的 HKS 相比，現在樂團有一些明顯的改善，尤其是弦樂 ！ 透過他們的音樂，可以感覺到他們演奏時的激情、 活力和竭盡所能的精神。 我期待下個月看他們威爾第的安魂曲。 但我衷心希望他們能早日找到自己的首席雙簧管樂手，否則這樣的一個專業樂團難以成功。
有趣的是，香港小交響樂團(HKS)的音樂會，除了幾近爆滿之外，相比我遇到的另一個本地職業樂團音樂會，觀眾整體是更要年輕和較為熱情專注。 我不知道為什麼........................ 但是，後來音樂總監葉詠詩在樂團調音後來到臺上，開始的竟不是立即拿起指揮棒，而是用麥克風跟我們談話，這個大致給予我之前的問題提供了一點答案吧： 葉詠詩除了是一個專業的指揮家外，她更是一位音樂教育工作者和有效的演講者。 我相信她通過這些年一直做了不少的教育工作和擴大她的年輕觀眾群 ！
音樂會以拉威爾為記念法國作曲家 Couperin 而作的著名鋼琴組曲的配器版本作為開始。 真是不容易的管弦樂作品，對弦樂的要求很高，木管的音色變化，以及句法的強弱動態和靈活性。 我很高興看到 HKS 的弦樂組做得不錯。 在單簧管有出色表現之時，雙簧管卻特別在高音上出現些微問題。 指揮的演繹頗有一撮法國風味，但卻有點機械感，如節奏能多點彈性和整體能更同步一些就會更令人滿意。
跟著來到晚上的第一個重頭戲： Dalberto 走上舞臺，在Steinway上與 HKS 奏起Faure的 Ballade。 只從開首他所彈出的幾個簡單樂音就已讓我留下深刻印象。 他的觸鍵是令人難以置信的，每個樂音的色彩變化皆被迅速和全面控制，高雅而如歌性的串連起來。他可以通過手指而非其他任何不必要的身體動作來奏出寬動態範圍而有層次的音樂 (除了他的頭可能偶爾點一下)。 看他那微妙的腳踏運用如何能提高樂音的張力和適當的造句，就是魔法般的見證。他如何可以利用這以撞擊而產生聲響的樂器來發出晶瑩透明的優美連線聲音是超越我的理解的，但我只知道我喜歡他這樣的音樂。 好一個謙卑和內隱的法國鋼琴大師，功力就在他和樂團的音樂中顯示出來。 他從不致勝過樂團或被它覆蓋，但只完全恰當地混和。看來殊不容易的一首樂曲，但給 Dalberto 完美地演繹，就連額頭上也不見一點汗水。 他彈出來好像很簡單的音樂，卻聽起來非常迷人。 另樂團也一路給了一個很親密的支援。
沒有進一步的延誤，在觀眾的 4 度熱烈掌聲後，Dalberto 即返到台上演奏法蘭克的變奏曲。 他坐了下來後便再一次進行了他的儀式－－用雙手輕輕觸摸白色琴鍵並從中間橫向掃開再返回中央，就像為他心愛的儀器打掃灰塵一般，才示意葉詠詩開始樂章那介紹性的弦樂強重和弦。 這首作品的音樂性更強、 感情豐富而變化又易於理解，是一組集合由開首出現主題而成的變奏曲，樂團和鋼琴到處都有交替領導和支援的角色。 在這裡的 ensembleship 是更明顯和成功的。 Dalberto 的特殊技藝和抒情性在這裡得到最好證明。 此外，他享受在音樂中，這方面顯示於他的右手在閒時於空氣中做出一些像指揮般的輕微搖擺。 樂團方面，大提琴部分 （只有 5 名成員） 有很出色的獨奏片段，而單簧管也有著精彩的樂句傳遞。
觀眾如我般興奮熱情的重複掌聲後， Dalberto 回報我們兩個獨奏 encores (德布西嗎？) ，分別展示出他的實力－首先是他謹慎的佈局構建能力和優秀的情緒變化，以及動態的強烈對比，然之後顯示他那快速手指和爆發力度。 然而，Bravo喊聲和掌聲仍舊持續，即使在他給我們飛吻道別後才走到後臺去。 最後，他衣冠楚楚把指揮也帶到舞臺來作最後致謝及引領樂團的成員一起離開。
第二個高潮出現在中場休息之後： 一個著名的鋼琴音樂 Mussorgsky 的 「 圖畫展覽會 」 由中國作曲家Julian Yu所寫的另一個改篇配器版本。跟我們常聽的拉威爾版非常不同，這個是寫給只得十幾個成員的小室樂團：包括幾個人的弦樂， 4 名成員的木管組、三人銅管組 (沒有 Tuba) ，一個玩定音鼓、 一個彈鋼琴/celesta、 一個玩豎琴，再加3名成員負責範圍廣泛的敲擊樂器 （包括馬林巴、 Glockenspiel、 木琴、 tam-tam 和鐘...） 。 此外，余除了只對他們進行樂器重新編排外，還甚至作出原樂譜外的各種有趣新增： 例如在開始長廊漫步的一些樂句間加入了富中國東方色彩的五音樂思； 對於舊古堡中添加遲發但相同的音樂句來產生回音效果，正如在一座城堡聽到的； 在兩個猶太人中，新得幾乎無法識別的 cadenza 由低音大提琴獨奏出，在一個背景有定音鼓混沌聲音中交織起來；新寫但不是那麼和諧的和弦被加置於 Catacomb 一段中來帶出幽冥的感覺 ； Baba Yaga中出現了銅管和長笛吹空地模仿冷風的沙沙作響；連串上昇和下降音諧的鐘聲/鋼琴/Glockenspiel 也提昇了終章基輔大門的氣勢！
無可否認，余此作充滿對每張原畫的想像力和洞察力，而不是只憑 Mussorgsky 的鋼琴樂譜所激發，聽到這樣一個有趣新鮮的版本，令人大開眼界。 觀眾的反應也是非常積極的，面對如此富挑戰性和難度的樂曲，樂團成員在葉指揮領導下演出落力 (尤其是 percussionists) 。 他們給予了一次相當穩定和投入的演出，低音大提琴手通過了要求很高的獨奏片段，應記一功。 而單簧管手又一次吸引我的注意。
令人驚訝的是，作曲家竟出現於這場"中國首演"音樂會，我們響起歡迎與熱烈的掌聲給他。 這也為音樂會寫下了一個完美的句號。
總括來說，與上次我看到的 HKS 相比，現在樂團有一些明顯的改善，尤其是弦樂 ！ 透過他們的音樂，可以感覺到他們演奏時的激情、 活力和竭盡所能的精神。 我期待下個月看他們威爾第的安魂曲。 但我衷心希望他們能早日找到自己的首席雙簧管樂手，否則這樣的一個專業樂團難以成功。
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