广东省文化和旅游厅主办、广州交响乐团和星海音乐厅承办的“广东国际青年音乐周”（Youth Music Culture Guangdong, 简称YMCG) ，由指挥家、广州交响乐团音乐总监余隆先生发起并担任艺术委员会主席，自2017年1月首次举办，即被业界誉为“翻开中国交响乐崭新的一页”。从2017年1月至2020年1月，广东国际青年音乐周已连续成功举办过四届，其艺术总监均由大提琴家马友友先生担任。
新冠疫情肆虐全球，因为举国同心战“疫”的决心和付出，使疫情在中国得到了科学和有效的防控，文化生活和艺术活动也得以逐步恢复正常。为适应常态化疫情防控的新形势，在广东省文化旅游厅的支持下，作为音乐周的两位主要创办者，艺术委员会主席、广州交响乐团音乐总监余隆先生携手四届音乐周艺术总监马友友先生，以创新果敢的艺术勇气提前策划的“广东国际青年音乐周2021特别项目”，将于2021年1月30日北京时间晚8点整准时在线向全球呈现。
今年1月虽然暂时不能邀请一众国际名家和来自世界各地的青年音乐家来穗，在线下如常呈现一个完整的音乐周，但本次特别项目仍然是新冠疫情发生以来为数不多以关注青年为主题的一次重要的国际性音乐活动。届时，国内外主流媒体将再度聚焦粤港澳大湾区文化中心城市广州，往届音乐周的主会场——位于广州二沙岛海山街一号的广州交响乐团排练大厅，将化身为演播室，从这里发出的信号将搭建起跨越洲际和海洋的艺术桥梁。

“广东国际青年音乐周2021特别项目”
包括三部分内容
PART-1

首先，音乐周艺委会主席、广州交响乐团音乐总监余隆将执棒乐团，联袂香港青年小提琴家苏千寻和旅美青年钢琴家王雅伦这两位“零零后”的音乐“后浪”带来一场网络音乐会；
PART-2

随后是一次线上大师课“与友友一起在琴房”，马友友先生通过线上演奏和分享，将大家引入他的“音乐实验室”；
PART-3

最后，作为主讲嘉宾，身在广州活动现场的余隆和身在波士顿的马友友，将在相隔13个时区的地球两端，跨越白天和黑夜，实时连线，现场答疑解惑，举行一场跨越东西半球的“和谐与平衡”深度访谈。

On January 18, the fourth Youth Music Culture Guangdong presented a unique Bach Marathon Concert at the Xinghai Concert Hall performed by all the young musicians of the 2020 YMCG Orchestra, lead by YMCG Artistic Director Yo-Yo Ma, Music Director Michael Stern and the YMCG faculty. The concert displayed its four core elements surrounding its moniker youth, music, culture, and Guangdong including open-mindedness, tolerance, communication, and development.

The program included a total of 21 works, including J.S. Bach’s Orchestral Suite No. 3, selections of Brandenburg Concertos Nos. 1 to 6, and excerpts from The Art of Fugue conducted by YMCG Music Director Michael Stern; 11 new creations by “Silkroad Bands”; and two Bach pieces performed by the Artistic Director Yo-Yo Ma. Ma also played Bach’s Sonata in G Major with harpsichordist Avi Stein as an encore. The concert was a true marathon with no intermission, lasting longer than four hours.

The 9-day musical journey, concluding with the sold-out Bach Marathon Concert, was once again enveloped in art and culture – this time through Bach’s music – interpreting the eternal theme of music integrating cultures and art connecting souls.

Global Attention
As a cultural brand with global influence – presented by the Guangdong Provincial Department of Culture and Tourism, organized jointly by the Guangzhou Symphony Orchestra (GSO) and Xinghai Concert Hall, and supported by the Information Office of Guangzhou Municipal People’s Government – the 2020 YMCG brought the focus of mainstream media at home and abroad to Guangzhou, the cultural center of the Guangdong-Hong Kong-Macao Greater Bay Area.

During the 2020 YMCG, the New York Times from the United States, BBC Music Magazine from the United Kingdom, Limelight Magazine from Australia, Hong Kong Radio 4(RTHK 4), Music Weekly from Beijing, and Sanlian Life Weekly from Beijing, plus other media attended events. Phoenix TV filmed the entire 2020 YMCG and produced a special report about YMCG’s Chairman of the Artistic Committee, Long Yu; Artistic Director Yo-Yo Ma; YMCG faculty; and students. Additionally, presidents of top international music conservatories, members of the Presidium of the Chinese Musicians Association and members of the Presidium of China Musicians Association’s Symphony Orchestra League visited YMCG rehearsals and attended the opening concert. President and CEO of The Philadelphia Orchestra, Matías Tarnopolsky, visited YMCG three consecutive days. Major media gave high praise to all performances including the opening and closing concert, especially to the YMCG leadership headed by Yo-Yo Ma, and the Guangzhou Symphony Youth Orchestra concert at six landmarks across Guangzhou. The Australian classical music magazine, Limelight’s Deputy Editor Angus McPherson commented afterwards that, “YMCG 2020 was a fascinating and inspiring cultural exchange centered around the timeless music of Johann Sebastian Bach.”

Timeless Bach
As 2020 is the 335th anniversary of J.S. Bach, his music was the theme of this year’s YMCG. Looking back on the 9-day journey, Bach’s music and spirit were everywhere. YMCG Artistic Director Yo-Yo Ma believes Bach’s music contains truth, trust, and service – the core values of culture. According to Ma, “Culture gives us the tools to discern and express truths about ourselves and our world in ways that others can understand, even if they’re not people we know. It helps us communicate with each other in ways that build understanding and therefore trust. And it does so in a way that – at its best – is focused on the other person, not ourselves. In other words, culture is an offering or a service that ultimately aims to help someone else.” Yo-Yo Ma brings Bach’s inspiration to YMCG. In the complex and complicated international political and cultural environment, he tries to explore the possibility of communication between humans and Bach’s music, sowing the spiritual seeds of peace and tolerance for the young generation.

The theme of Bach’s music ran through all the training and performances during YMCG, including the opening and closing concert program, chamber music training, and the “Silkroad Bands.” Among them, the improvisation training of the Silkroad Bands is an attempt to use folk dance music, which was borrowed and quoted by Bach and was popular in European courts during the Baroque era, as the theme of the lessons, exploring the spirit of 18th Century Baroque music composition through the improvisation of the 21st Century.

In addition to the opening and closing concerts which were both programmed around Bach’s music, four events were hosted at Xinghai Concert Hall: two chamber music salons and two “Music + Dialogue” events which explored Bach’s music and cultural spirit from different perspectives. The first “Music + Dialogue” explored the truth of playing music, how creators and performers create meanings for others through choices. The other one explored how music, especially Bach’s music, brings meaning to people, and further inspires people to give back to society and to follow their true heart. These two events were open to the public and was hosted at the Chamber Hall of Xinghai Concert Hall. Both events were full with an enthusiastic audience. Some audience members had traveled to Guangzhou from other cities, proving the wide influence of YMCG throughout the region.

Yo-Yo Ma and YMCG Musicians Perform Throughout Guangzhou
Yo-Yo Ma, together with 2020 YMCG Orchestra members and the Guangzhou Symphony Youth Orchestra, performed at six landmarks of Guangzhou. Bringing Bach’s timeless classic Unaccompanied Cello Suite and excerpts of a Brandenburg Concerto together with a traditional quintet work with Cantonese instruments called Five Heads and other newly adapted classical music pieces onstage. The musicians expressed moving scenes of viewing the world, retaining nostalgia in Guangzhou, an international metropolis that blends tradition and modern styles.

The six landmarks performed at were: the Diamond Park at Ersha Island, Zhixin High School, the 450M Viewing Deck of the Canton Tower, Shamian Main Street, the Yongqing Fang urban neighborhood, and the Cantonese Opera Art Museum. The six points spread out from the west to the east, from the Pearl River to the top of the city, connecting the path of development of modern Guangzhou. Yo-Yo Ma and the young musicians “checked in” at these six landmarks, left moving moments, and highlighted the concept of combining culture and travel.

Yo-Yo Ma and Long Yu talked with students about music at Zhixin High School. Maestro Yu said, “When we play music, don’t worry too much. Just enjoy it.” Yo-Yo Ma left teachers and students unforgettable memories by playing the Prelude of Bach’s Unaccompanied Cello Suite No. 3 and Mongolian Long Tune. On top of Canton Tower, young musicians from YMCG performed an excerpt from Brandenburg Concerto and the Cantonese work, Steps Up. A tourist from Shandong Province said, “Running into Yo-Yo Ma here… it’s fate!”

At the Cantonese Opera Art Museum, young musicians performed Bach’s Brandenburg Concerto No. 5 juxtaposed with Cantonese music Raindrop Pattering Plantain Leaves and Steps Up, plus Five Heads performed by a traditional quintet of Cantonese instruments. Yo-Yo Ma played Unaccompanied Cello Suites No. 1 and 6 to conclude the performance. A college student who was at the Cantonese Opera Art Museum, Li said, “What a surprise to run into Bach and Yo-Yo Ma!” Bach and Cantonese music were performed “hand in hand” – classic west meets traditional east. The integration of cultures was reflected in an innovative and brilliant performance on the Cantonese Opera Arts Museum stage.

Yo-Yo Ma with GSYO
The Guangzhou Symphony Youth Orchestra (GSYO) played an important role during this year’s YMCG. During the opening concert, audience members listened to Yo-Yo Ma play Bach with GSYO for the first time, a great affirmation to the GSYO. The Editor from BBC Music Magazine Oliver Condy commented: “Throughout last night’s concert, fresh life was breathed into the music of Bach – not just by the fantastic arrangements, but by the passion and dedication of the Guangzhou Symphony Orchestra and Guangzhou Symphony Youth Orchestra. The future of Chinese orchestral music is all but guaranteed in the hands of this talented family of musicians. And their conductor, Jing Huan, is a huge star in the ascendant, one surely to take her musicians to great heights.”

When the GSYO got on stage with Ma and other young musicians and performed with the professional sound they are known for to Guangzhou citizens, Ma was thoroughly impressed. The most unforgettable moment was the evening of January 17, a mini concert presented by students from Children’s Foundation Program (founded by GSYO in March 2019), when Yo-Yo Ma played with the cello section who had been learning an instrument for just eight months. Ma praised them, “I really love the kids’ performance. They are our future. The performance training they received is exactly how the training should be. They are so lucky to have Guangzhou Symphony Orchestra as their very strong support system.”

Besides the encounters with all three levels of the GSYO, Ma also interviewed college students during YMCG, talking about his experience of playing Bach at the underground tunnel of the Large Hadron Collider at the Swiss-French border. He discussed employment issues with foreign language students who love music and explored the description of hope in Bach’s music. Equal and diverse cultural communication takes place at every corner of YMCG.

With the last note of the 2020 YMCG Closing Concert, the fourth YMCG concluded. It was infused with a cultural philosophy and cultural spirit spanning societies and creating a future together. YMCG is an innovative and far-reaching attempt to build a community of human destiny. Under the leadership of Yo-Yo Ma, Long Yu, and the YMCG faculty, young musicians from different regions at home and abroad are learning to absorb advanced and open cultural thinking and artistic qualities, showing the world a vivid image of China today, and demonstrating the charm of the vibrant province of Guangdong.

The next YMCG is scheduled to return in January 2021.

by BWW News Desk Jan. 30, 2020
https://www.broadwayworld.com/china/article/2020-Youth-Music-Culture-Guangdong-YMCG-Concludes-To-Return-In-2021-20200130

YO-YO MA CAPS OFF YOUTH MUSIC CULTURE GUANGDONG 2020 WITH BACH MARATHON

“The only way to play music is: when we are on stage, we are all equal,” Yo-Yo Ma told the audience after emerging from the nether regions of the orchestra’s cello section. The superstar cellist addressed the audience in Xinghai Concert Hall in both English and Chinese at the closing concert of Youth Music Culture Guangdong, a ten-day event which saw young musicians from around the world – from countries including Australia, Hungary, Italy and Japan – gather in Guangzhou, China, for an intensive period of musical and cultural exchange centred around the music of Johann Sebastian Bach.

It was with Bach that the fourth year of YMCG opened ten days earlier: under the deft baton of conductor Jing Huan, the Guangzhou Symphony Orchestra and the talented young musicians of the Guangzhou Symphony Youth Orchestra offered up a fascinating exploration of the many faces of Bach’s music. With heartfelt arias from Ma and American violinist Johnny Gandelsman presented alongside organ works reimagined for the colour and might of the modern symphony orchestra (by the likes of Stokowski, Respighi, Elgar and Schoenberg) the opening concert paid joyous tribute to Bach’s enduring legacy in the 20th century.

The closing concert on January 18 was likewise bookended by orchestral takes on Bach’s music, the 71-strong YMCG Orchestra – a mixture of ages and experience levels, spanning students to professionals, as well as keen players forging careers in professions outside music – performing selections from the Art of Fugue (in arrangement by Ljova) and finishing the concert with Bach’s Third Orchestral Suite, all under the baton of Kansas City Symphony’s Music Director Michael Stern.

Between these pillars was a complete cycle of the Brandenburg Concertos and 11 performances by ‘Silk Road’ bands – groups who re-arranged, composed and improvised on Baroque dance suites in contemporary evocations of Bach’s own methodology. Finally, woven through the program were appearances by Yo-Yo Ma himself, performing excerpts from the Cello Suites he has been touring around the world, including to Australia, as part of The Bach Project.

The concert was therefore a marathon, four-hour affair – presented without an interval – and while the musicians might have been playing at different levels, the performances were all infused with a sense of joy and collaboration. There were many memorable moments to savour: Han Mengying’s oboe solo in the First Brandenburg Concerto, for instance, or Evelyn Petcher Brandes’ violin in the Fourth, or the rich viola sound of the Sixth.

Between the Brandenburgs, the Silk Road performances were a chance for the participants to cut loose, with dancing, improvisation and theatrics providing a welcome change of texture and style – there were moments of jazz, flamenco and a hoe down, while a cellist from Kazakhstan, Tolkynuly Talgar, played the dombra, and YMCG 2020’s sole Australian participant, flautist Henry Liang, beguiled the audience with the haunting timbres of the Japanese Shō. Wild bass solos, strummed celli and percussive grooves abounded, the audience at times driven to cheer and clap along. But ultimately each performance, however varied, tied a discernible string back to the music of Bach, making for an effective complement to the Concertos.

Ma’s own performances were a pleasure – “I am the oldest YMCG participant,” he quipped – and there was an audible exhalation of delight from the audience as he unspooled the opening broken chords of Bach’s Cello Suite No 1. The unsung hero of the evening, however, was faculty harpsichordist Avi Stein, who performed in all six Brandenburgs – the formidable harpsichord cadenza of the Fifth might be considered a night’s work by itself – as well as in poignant, intimate duet with Ma.

For the Third Orchestral Suite – culminating in brassy triumphant in the Gigue – Ma re-joined the back desk of the cellos, a touching manifestation of the spirit of collegiality and community through music which he fostered throughout YMCG and this final concert.

From：
LIMELIGHT
by Angus McPherson on January 22, 2020

1月18日晚6时，2020广东国际青年音乐周的闭幕式音乐会在星海音乐厅奏响，马友友领衔的导师团与音乐周YMCG交响乐团的青年音乐家们一起，为观众呈现了一场别开生面的“巴赫马拉松”音乐会，展现了音乐周开放、包容、交流、发展的面目。
广东国际青年音乐周自2017年1月首次举办，即被业界誉为“翻开中国交响乐崭新的一页”。本届音乐周自1月10日开幕以来，举行了多项活动，尤其特别的是，还举行了六场社区演出。在接受广州日报全媒体记者专访时，音乐周艺术总监、著名大提琴家马友友表示：“文化是造‘桥’而不是造‘墙’。我们相遇在音乐里，总会有惊喜。”

闭幕现场
4小时“巴赫马拉松”，两位导师即兴“脱口秀”
1月18日晚，2020广东国际青年音乐周闭幕式音乐会在星海音乐厅举行，从傍晚6时起奏响连续4小时的“巴赫马拉松”。来自全球不同国家的青年音乐家将一周以来在广东音乐周的学习领悟，化作音符里的跃动，以不同形式呈献给观众。
音乐会上，YMCG交响乐团接连带来巴赫的经典曲目《赋格的艺术》（选段）、《勃兰登堡协奏曲》（选段）、《D大调第三管弦乐组曲》等作品。

11组丝路青年乐坊带来的即兴表演，更是备受期待。面对不同的主题，来自不同国家的年轻乐者海纳百川，带来创意十足的诠释，不断惊艳着现场观众。
现场，马友友不仅带来精彩独奏，还变身串场主持人，与老朋友——YMCG乐团指挥、美国著名指挥家迈克尔·斯特恩说起“脱口秀”。已经连续四届担任艺术总监的马友友笑言自己是“广东国际青年音乐周最老的成员”，“但这个舞台是平等的”。
斯特恩则透露，每年来广州参加青年音乐周，都有不同感受。“今年，我们与青年艺术家们一起分享、交流、合作，当然，还有各种吃！真的非常开心。”

为期一周多的广东青年音乐周，来自不同国家的71名青年音乐家青年音乐家们走到一起，在以艺术总监马友友及音乐总监迈克尔·斯特恩两位首席导师领衔的国际名家导师团队的指导与陪伴下，一同排练、练习、交流、演出、玩耍，欢乐有爱的气氛贯穿始终。
过去的一周，导师团队举行了数场音乐沙龙和“乐聚·畅谈”讲座，每天从早到晚安排的大师班、丝路青年音乐工坊、乐团排练等多项活动，让导师和学员一同完成了一趟音乐之旅，
把“巴赫”带进社区
巴赫并非遥不可及，助老城市焕发新活力
2020年是德国音乐家约翰·塞巴斯蒂安·巴赫335年的诞辰，本届音乐周以他和他的音乐为主线，贯穿音乐周的始终。
不仅在音乐厅，马友友以及YMCG（国际青年音乐周交响乐团）还把巴赫的音乐带到社区。1月16日、17日，由余隆、马友友策划，马友友领衔、国际名家组成的音乐周导师团成员与来自全球的音乐周YMCG交响乐团青年音乐家们，以及广州青年交响乐团（少年团）的学子们组成的乐队，在二沙岛、执信中学、广州塔、沙面、永庆坊和粤剧艺术博物馆水上舞台接连举行6场“快闪”演出，让老城市焕发了新活力，为市民带去了难忘的音乐记忆。

连续两天的时间里，马友友穿梭于广州的不同文旅地标。巴赫平和又愉悦的不朽名作，响彻在这座城市的不同角落，通过与古典音乐的对话，推动广东国际青年音乐周与城市之间的文化交融。
在沙面百年古树下，马友友边“舞蹈”边拉琴，还现场客串起主持人，“采访”起两尊拉琴表演者的雕塑，与现场的孩子们亲切互动。在哈哈大笑之余，引领他们认识古典音乐的魅力。演出时，马友友则立刻全情投入，感情充沛，演到机动处甚至站起来拉琴，高超的技艺吸引家长孩子们看得聚精会神。
在粤剧博物馆，主办方则精心策划了“巴赫与广东音乐”这个东西音乐文化碰撞的环节。水上楼台，音乐响起，浪漫至极，吸引了不少来粤剧博物馆“打卡”的游客与市民驻足欣赏。有观众被音乐深深感染，情不自禁地感动落泪。

音乐仿如流动的建筑，砖瓦则如同凝固的和弦，两者的混搭和碰撞产生出和谐与蓬勃的艺术力量，让路人纷纷驻足观看。有网友表示，“广州不愧是大都市，没想到在街头也能邂逅马友友这样的国际大师！”也有不少乐迷表示非常欢迎这一类的活动，“巴赫并非遥不可及，他对当代依然有着很深的影响。”

对话马友友——
“文化让我们造‘桥’而不是造‘墙’”
广州日报：本次音乐周，城中文化旅游地标“快闪”备受关注，你认为如此安排的意义是什么？更喜欢去很有历史感的地方，还是很现代的地方？为什么？
马友友：如果去到一个有历史感的地方，我会开始想了解它的历史、这里发生过的事情。如果去到一个很现代的建筑，我会好奇它是由谁设计的，它是怎么建成的，谁在使用它……这一切都让我好奇。去到某个地方，我最在意的是那个地方的人，不同的地方不同的人，会让人产生新鲜感。我们在这里演奏巴赫的音乐，围观的人们，是路人偶然听到音乐走了过来，还是有目的地来到这里，无论他们为什么来到这里，我们在这里，相遇在音乐里，就会有惊喜。
巴赫的音乐走出音乐厅，展开与城市的对话。我希望，不管你在哪里，不管我在哪里，我们都能通过巴赫的音乐帮助人们走到一起。

广州日报：这几年，在音乐周期间和年轻学员的相处中，你有什么收获？
马友友：我看到学员从中国不同的地方、从世界不同的地方来，他们多数在20岁到30岁，有的已经工作，有的还在求学，他们有不同的需要、经验、背景，非常多元。
我们在一起交流，一起做音乐，我们是他们的长辈，也是同事，不同的看法都可以互相交流、互相借鉴。这样的环境和氛围让他们感到安心，能够去试验、去想象。试验也是我们的目的，试验之后才能找到方向。有很多人表演的时候会害怕，担心被别人笑。但表演的目的是让听众快乐，听众最重要，表演者是次要的，听众是来欣赏的，不是来批评你的。我们一起分享，不一定是立竿见影有效的，但对他的人生、将来是有益的。我们都是生命的建筑家，有机会不断试验，才能找出好的方向。如果有一个长远的目的，今天就开始走。比如我很害喜，那我就先解决这个问题，今天找人问一个问题，明天找另一个人问另一个问题，慢慢解决这个问题，当小的问题一个一个解决了，我们就离长远的目标就越来越接近了。

广州日报：本届音乐周的主题是巴赫，这是出于一种什么样的考量？
马友友：我听巴赫，他在音乐里能表现无限大，这也是全球性的一种表现。巴赫是拥有同理心的“科学作曲家”，他能给我们一种安慰，了解我们所有的感情。世界很复杂，他的每一首曲子都有一个主题能达到无穷大，他的音乐特别能连接到我们的当下。
巴赫是最杰出的即兴演奏家之一，温顿·马萨利斯说他是第一位爵士的作曲家，这也是古典音乐的一个来源。如果我们在文化上如果做得足够好，就可以把“他者”变成自己，进一步成为“我们的”财富，这是文化的宗旨和目的。这也是我们在YMCG所做的——把经典的音乐带到现代。我们不要害怕，文化给我们一个机会，是造“桥”而不是造“墙”，善于分享，就能增强我们所有的人的创造力。
“我给广青交的孩子们打100分！”
广州日报：开幕式音乐会上，广州青年交响乐团的小乐手也有登台表演，社区“快闪”，你也有和他们合作。你给他们的表现打多少分？
马友友：100分！开幕式音乐会前他们正值期末考试，很累很辛苦，但是他们仍然很用心完成指挥对他们的要求，他们拉的曲子那么美妙。感谢广交所有做这件事的人，很佩服他们，这不是平常的工作，他们用心、用头脑、用激情在做。我看到了他们对这些孩子的关爱、照顾。他们给了年轻人一个目标。我看到11岁的吹双簧管的小女孩用非常健康的态度对待她的学习，没有任何不健康的压力。遇到困难，她能认真分析、积极解决。
广青交在做的事情并不是训练专业的音乐家，而是塑造未来的公民。它给所有的人提供机会，文化是给大家的，不是给特定人群的。这一点，尤其可贵。

广州日报：每年1月，您都付出时间和精力来“坐镇”音乐周，音乐周以及广州吸引你的最大魅力是什么？
马友友：我很少有机会能在一个地方一待就是一个多星期。我喜欢广州，这里天气好空气好，吃得新鲜美味。这里的人热情、自然。我觉得广州是中国的宝贝，无论是在历史、文化还是经济方面。广州在大河大海交界处，我在这里和这里的人们一起工作非常舒服。特别是，我们做的工作这么有意义。”

报道来源：
广州日报全媒体文字记者：黄岸、张素芹 全媒体编辑：曾俊
二O二O年一月二十日
https://pc.gzdaily.cn/amucsite/pad/index.html?from=groupmessage&isappinstalled=0#/detail/1126733?site4

粵國際青年音樂周閉幕
“二○二○（第四屆）廣東國際青年音樂周”，前晚在廣州星海音樂廳落下帷幕。由藝術總監馬友友、音樂周導師團與音樂總監麥克爾 · 斯特恩領銜音樂周YMCG交響樂團的所有青年音樂家一起，為觀眾呈現出一場別開生面的“馬拉松”閉幕音樂會。
這場音樂會從傍晚六點開始演出，節目單上一共有廿一首曲目，包括開頭和結尾由音樂周音樂總監麥克爾 · 斯特恩執棒音樂周YMCG交響樂團演出巴赫的《賦格的藝術》（四個選段）和《管弦樂組曲第三號》，全部六首《勃蘭登堡協奏曲》，十一組絲路青年樂坊組合的全新創作。馬友友親自演奏了兩首巴赫作品，他還與羽管鍵琴演奏家艾維 · 施泰因一起臨時加演一首巴赫《G大調奏鳴曲》。整場音樂會沒有中間休息，一直演到將近晚上十時才結束。
巴赫的音樂主題貫穿了本屆音樂周所有的訓練及演出，包括開閉幕式曲目、室內樂訓練、絲路青年樂坊等。其中絲路青年樂坊的即興音樂訓練更是嘗試以巴赫曾借用、援引的巴洛克年代盛行於歐洲宮廷、民間的舞蹈音樂作為訓練的主題，從廿一世紀的即興創作中探討十八世紀巴洛克年代音樂創作的精神與方式。
馬友友攜本屆廣東國際青年音樂周交響樂團成員、廣州青年交響樂團（少年團）亮相廣州六大文旅地標，將巴赫雋永經典的《無伴奏大提琴組曲》、《勃蘭登堡協奏曲》（片段）和廣東音樂“五架頭”、全新改編的經典作品等音樂共冶一爐。

报道来源：
澳门日报 池晓东
二O二O年一月二十日
http://www.macaodaily.com/html/2020-01/20/content_1410410.htm?from=singlemessage&isappinstalled=0