1700 年前/ 前後民族風格的品嚐
Co-organized with Hong Kong Sheng Kung Hui All Saints’ Cathedral
協辦：香港聖公會諸聖座堂
12 August 2023 (Saturday) 3pm
2023年8月12日（星期六）下午3時
11 Pak Po Street, Mongkok, Kowloon
旺角白布街11號
Voice: Felix Suen 男高音：孫梓浩
Baroque Violin: Lam Tim Wai 巴洛克小提琴：林添偉
Baroque Cello: Jamie Jim 巴洛克大提琴：詹蔚雯
Harpsichord/ Organ: Kelvin Tsui 古鍵琴 / 管風琴：徐錦輝
Most of you probably are familiar with ‘High Baroque’ composers, like J.S. Bach, Vivaldi, Telemann, who were mostly active between 1700-1750. Today, we are going to present works by earlier Baroque composers before 1700 and a French motet published in 1706.
These pieces by earlier Baroque composers are quite different from those by later ‘High Baroque’ composers. Music was more vocal-like. We need different approaches to play its vocal quality. For example, to imitate human voice on instruments, we use bow vibrato or ‘shake’ to imitate vocal tremolo technique.
At the same time, composers also tried to expand the technical possibilities of different instruments. Like the violin and cello pieces today, they contain lots of difficult and tricky passages to its contemporary musicians. During the first half of the 17th Century, the violin became more popular, while the cello developed later in the second half of the Century. The instrument-making technique developed quickly, and the technique of players also became more advanced.
相信大部份觀眾都對「盛巴洛克時期」作曲家有相當的認識。這些作曲家大概活躍於1700 年到1750 年間。今天我們會為大家獻上一些1700年前的早期巴洛克作品和一首於1706年出版的法國經文歌。
這些早期巴洛克的作品與盛巴洛克時期的很不一樣的。音樂多數帶有豐富的歌唱性。所以我們也需要不同的技巧去演奏。例如我們要運用震弓的拉奏方法去模仿顫抖的歌唱技巧。
當時的作曲家也嘗試探索和突破樂器的技術界限。像今天的小提琴和大提琴作品，它們都有很多對當時演奏者來說很困難的樂段。小提琴在17世紀初開始流行起來，而大提琴則在後半世紀趕上。提琴的製造技巧，和樂手的演奏技巧都在當時迅速地進步。
另一個早期巴洛克的重要原素是裝飾或「加花」。印刷或手稿樂譜上的音符相對是簡單的，而演奏者需要為它加上許多裝飾，以加強其音樂上的效果。盛巴洛克時期的作品與早期巴洛克作品很不同（特別是巴赫的樂曲），大部份情況下演奏者需要加上的裝飾都很少。
Photo Credit: Dr. Martin Lee