歷圖爵士在 1987 年首次指揮柏林愛樂樂團的時候，音樂會中只有一首樂曲，就是極為龐大和令人內省的馬勒第六交響曲。經歷逾 30 年，歷圖爵士亦以同一首交響樂標誌他柏林時代的結束。
上週蘇格蘭的聖安德魯斯大學舉辦了一場進階指揮研習課。課程安排了來自世界各地的 8 位新晉指揮家前來學習，並安排了學校的榮譽教授 Sian Edwards 任教。我幸獲挑選為其中一位參與課程的指揮，成為我所屬大學首名獲邀參與該課程的學生。
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.
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.