Percy Leung

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Percy Leung:劍橋大學的完美學生

樂團經理人的無數工作,從購買樂譜、影印,到預訂綵排和表演場地、編排完整的綵排時間表、(用你可以想像到最友善、最激勵人心和最受歡迎態度)提醒樂手出席綵排,還有慶功派對的後勤細節,無一不被 Rebecca 細緻入微地安排妥當。你也許覺得以上種種工作都不過稀鬆平常,但我可以肯定的說,能幹地處理這些工作殊不簡單,而且不要忘記,Rebecca 仍要專注自己繁重的學業。

Percy Leung:港樂新樂季精選一覽

自 2012 年梵志登接替艾度.迪華特擔任香港管弦樂團的音樂總監後,這支城中旗艦級管弦樂團的水準有著戲劇性的進步。極高質量、精確地奏出每個音符,交融的聲音不同凡響,所有樂手都專心一致地回應梵志登流暢而投入的指揮。港樂新樂季的陣容令人印象深刻,以下是精選的亮點。

Percy Leung:敲擊樂手之苦

在我有份演奏的神劇,約瑟夫.海頓的「四季」中有 28 位小提琴手,即使其中一位出錯或是彈錯了一個音符,觀眾皆難以察覺。然而,作為敲擊樂手的我便沒有這般幸褔。在短短一節樂章中,我需要在 1 分鐘內兼顧敲擊低音鼓和鈸。當我猶如獨奏者般敲響這些樂器,正正由於它們迴蕩全場的響亮聲線,絲毫差錯都將顯露無遺。敲擊樂手若有半點差池,所有觀眾都一清二楚。
In my performance of Haydn’s The Seasons, there were 28 violinists. Hardly anyone in the audience, if any, would realise if a violinist had made a mistake or played a wrong note. However, this was not the case for me, who played the bass drum and cymbals together during the minute when I actually had to perform. As I was playing these instruments alone like a soloist, and because of the tremendous sounds that these instruments made, there was no hiding if I made a mistake. Everyone in the audience would know if I was late or early to an entry.

Percy Leung:香港音樂廳內的尷尬事

光看香港學童學樂器的風氣,其實難以完全說明我城古典音樂發展停滯的問題癥結,讓我們來說說本地音樂廳聽眾各種有/無禮舉止,可能更有啟發性。
By simply looking at how Hong Kong’s children learn the musical instruments cannot fully explain the stagnation of the development of classical music in our city. It is essential to look at the behaviours and etiquettes (or lack of) in the city’s concert halls. The following two areas deserve greater attention.