%HUH]RYVN\fࣜ˿ʩਥ Berezovsky plays Tchaikovsky
ᘣ݇শ ຝ͌ ۂ СԓΛʩ ᚓಙcАܞ Perry So ۂconductor ࣜ˿ʩਥ ࠌ%ɩሁȹ፡ೄԾۗςcА ᗲϤɺʪ҄ؿ҄ Ķ τ၀ुؿ҄ Ķ Αనࡈ܈ሔኴؿɩϷ Ķ ร ॗʩਥ ᆅईؿּ҄ˈ ፡ೄ
Boris Berezovsky xɻͤࢠx piano ۂࣳᖓࡐഥʩ ࠌ%ɣሁʄ͚ᚊςcА Ϸ τɈؿ҄ ྺ ጹ⸈ؿ҄
Programme LIADOV The Enchanted Lake, Op. 62
ࠗಋཋ̎ႇАɁࡗ TCHAIKOVSKY Piano Concerto No. 1 in B flat minor, RTHK Production Team Op. 23 ཋ̎ႇА Radio Production Allegro non troppo e molto maestoso – ፣ࠑဟႇ Audio Producer ະ Calvin Lai Allegro con spiritoۺፆ Andantino semplice – Prestissimo – Tempo 1 ཋ̎ຝ͌˚ܛ Presenters ңཽޔ Jenny Lee Allegro con fuoco ధᓤ Ben Pelletier
үᐲᅌဟႇ Simulcast Producer – Intermission – ᒉɥႚ Raymond Chung
үᐲᅌ˚ܛ Simulcast Presenter PROKOFIEV Symphony No. 5 in B flat, Op. 100 ңཽޔ Jenny Lee Andante Allegro marcato ཋ഼ႇА TV Production Adagio ဟႇ Executive Producer ใᏬജ Henry Wan Allegro giocoso
ᇁኒ Producer Edde Lam ڲۺ׳
Хଉᇁኒ Assistant Producer כᅌcԎقͰႠ ଊ )0 Tang Chun-cheong ˂ˀؿࠑᅥผࠗͅಋཋ̎፣ࠑʥ፣ᄧcࠗಋཋ̎̒̎ ןሳࢯ क̎dࠗಋཋ̎̒̎ʥࠗಋཋ̎၉ɐᄤᅌॎעܱ౨ʒ Ɏʟࣂʗͅಲ㡊ཋ഼ ˀ˂ ᅥᖪᚋਐ Music Score Advisor ZZZUWKNRUJKN үᅌˮe The 23 Apr concert is recorded by RTHK and is broadcast live on RTHK Radio 4 (FM Stereo 97.6 – 98.9 MHz). ޔޔ Tina Ma The audio/visual recording will be simulcast via TVB Pearl, on RTHK Radio 4 and RTHK’s website (www.rthk.org.hk) on 12 Jun (Sat) at 2:35pm. ྡྷΔ፣ᄧᘐ Mobile Production Unit ሳᙬ Jolly Tang ΈϽᜮଠ cᇼᗐઌʹొཋʥԯˢᚊባສeʑɺඝࠕdᙘᄧd፣ࠑֶ፣ᄧeूɣࡼτکሌᅥ ཋ̎ʥཋ഼ႇАɮೡ ȹ҄ؿࠑᅥe Radio and TV Outdoor Broadcast Engineering Dear patrons ཋޔޫᄤᅌɮೡ For a wonderful concert experience, kindly switch off your mobile phone and other beeping devices PCCW Broadcasting Section before the concert begins. Photography, recording, filming, eating or drinking are not allowed. We wish you a very enjoyable evening. (ࠗಋဳ֞ᅥ྆ಋᅥܰԓݘਂʑԮეኒΔ The Hong Kong Philharmonic Orchestra (HKPO Ͻؿᅥ྆ɾȹcᔔఒࠗಋʼʝ́՜༩ȹ˖c is one of Asia’s leading orchestras. Enriching Hong Kong’s ɍɊαԞɰೕࢄιඑജɁၤࣵ̔ࠑᅥ၀ߜؿ cultural life for over a century, the Orchestra has grown intoٶ ˮᅥ྆cмʵ˖ވज़ᖚࡼ̎ᘆᖚeಋᅥ a formidable ensemble of Chinese and international talents in the last three decades, attracting world-class artists to Ұα༦൚༦ȹϛʄɊؿˮcᘩ৽ɀɊຒ perform on the same stage. HKPO annually touches the lives of ᅥ়ؿʶe 200,000 music lovers through more than 150 performances.
ɣϴ۹fജऋეኒɎc Under the leadership of its internationally renowned conductorܞΕԔᙷਝؿ αˮ৺ Edo de Waart, HKPO continues to scale new heights in musicalٶಋᅥؿᖚˋ̡ྨঢ়ࢋeಋᅥ Ͳࡨ͚ᚊςӡͶdჱࠑᅥผdඨ̀ᅥς excellence. The continuing cycle of Mahler symphonies and ,cҡ challenging programming outside the traditional repertoireۿؿྩณς͌cяݯᅥ়ֺᆅʘ౨̔˞ ᅥտؿ have become highly anticipated events as well as musical ιݯᅥ྆ᖚೕࢄؿԈೡຌe -ᅕӴΛ٧ؿᒫԈෙჱࠑᅥผ milestones for the Orchestra. Beethoven’s Fidelio opera-inڈࠇᎻc ʥ৺ؿɣΔɾɺ˿cϤԯˢၤಋᅥ concert and Mahler’s Das Lied von der Erde are inarguably the i፡ೄࡼແˤd major highlights of the 2009/10 season. Many great artistsܢ˳ڬؿᕷᅥኋ̜ܱ̎ ,ॗʩਥʥңၐcɩొೄࡼਜ̷਼քʥ perform with the HKPO, from pianists Jean-Yves Thibaudetּˈ ɣొೄࡼ͠СeඨթܞᖓऋӇਥ Boris Berezovsky and Paul Lewis, violinist Sarah Chang to cellist Steven Isserlis. Last October, the audiences were ಋᅥؿ၀ˮcҡᜑᄤɣܞ˂Ɋכɣ thrilled with the performance of the HKPO under the baton ᅥ়जɎ૯ԳͿോe of the legendary Gennadi Rozhdestvensky.
ιݯ From April 2006, The Swire Group Charitable Trust becameټপਥڌα˂cʪ̀එ྆෯ഁ ᅥ྆ؿࠖᖳХc˞Хജऋྡྷଊˢྦྷᅥ྆ؿ the Hong Kong Philharmonic’s Principal Patron, enabling ѩᗙeϊݯಋᅥ̌ɐɣؿͬพᖳХc˥ᅥ྆ Maestro de Waart’s artistic vision for the Orchestra to be ,ၦ̎ᑺ൬ realized. Swire’s sponsorship of the Hong Kong Philharmonicވ˖˞ΕᖚɐτҡɣؿೕࢄcΉ ؿࣂcੀঢ়ˋๅؿˮᄤɣ̵̟cᜑҡ the largest in the Orchestra’s history, supports artistic growth ΛɁઅᘩԷ̀ࠑᅥe and development as the Orchestra takes its place on the world stage, and brings performances of musical excellence to the widest possible public. ॵฉ૯૯၇κcዶรઐᄤ HKPO stays in tune with our city by presenting the orchestra̟ےಋᅥࠗಋؿ ผΈආᄙcੀ၀ؿࠑᅥผ in unexpected venues and bringing the excitement ofمဳ֞ᅥϭ ԷΈࡼΈʸcɻɺʭࠇ߬ˮҡ༦ཋ̎ the concert experience to every home through radio and ൠΔ television broadcasts. These included, the largest symphonicכܢ˳ሌcʥཋ഼ᔝᅌͲಋ̵̟ event of the year, Swire Symphony Under the Stars at Happy ͚ᚊۗ z ʪ̀ێ༝ᅥᐾϷؿͲαɣ Valley. The Orchestra runs a comprehensive schools education ಋᅥfܱէf͚ᚊςeݯȿొঢ়Ͳಋɻd programme, HSBC Insurance Creative Notes, bringing the joy ɩdऋࣦነ́ྦྷ̀ࠑᅥؿጙመcಋᅥᐾፒ of classical music to primary, secondary and special school ፮෮ࠑଲcొԜЛ kids, and once in a while, the Orchestra drops the formality ofړࠑᅥઠөི߮㟱ᔔ ࠑᅥผʥΈඖઠөݠ৽eᅥ྆͛ཹምˮक़̀ the classical concerts to crossover with Western and Chinese .ࠑᅥؿᆲᕿc౨ᑼᇼɻd̔ݚϷʹ̎ pop stars ᜮଠઅᘩ̀ࠑᅥeڇˮcмʵҡΛα The Orchestra also builds its reputation and raises its artistic ᐰᙷ standards by touring. In 2007/08 season, the Orchestra͓ۺಋᅥؿࣵ̔Ԁিˮcᜑᅥ྆Εಋ̔ ʥ൬ȹүొʠᖚˋ̡eᅥտcಋᅥʗ performed in the Shanghai Spring International Music ਝࠑᅥຝʥ˵ԕਝࠑᅥຝɻ Festival and the Beijing Music Festival. In 2009, the OrchestraܬɐࣵɾכП αcᅥ྆ҡΕϴ۹fജऋؿეኒ undertook a major six-concert tour of China, including the eޚڋ ɎԷᄤήܱࣵࠑᅥᜨd˵ԕਝࡼɣჱʥɐࣵ Xinghai Concert Hall in Guangzhou, Beijing’s National Centre for the Performing Arts and Shanghai Grand Theatre under ɣჱАɻਝԀcݯᄤɣɻਝᚹଠˮʒ the leadership of Maestro Edo de Waart. ၀ࠑᅥผe
In February 2008, the Hong Kong Arts Development Council α˂ཕೕᖚઐᄤ honoured the HKPO with the Arts Promotion Award, inכࠗಋᖚೕࢄѫ αԞι˲ᒷ recognition of its success in expanding its audience base andٶಋᅥٲ˞ᆉʀࠗಋဳ֞ᅥ྆c ࢄᜮଠᄙࠍᏵՅʔଠʻܛe gaining public support in recent years.
The Hong Kong Philharmonic Orchestra is financially supported by the Government of the Hong Kong Special Administrative Region ༅Х SWIRE is the Principal Patron of the Hong Kong Philharmonic Orchestra֚ܧਂܧࠗಋဳ֞ᅥ྆ࠗͅಋऋПϷ ࠗಋဳ֞ᅥ྆ࠖᖳХiʪ̀එ྆ The Hong Kong Philharmonic Orchestra is the Venue Partner of the Hong ࠗಋဳ֞ᅥ྆ݯࠗಋʼʝɻʶΔ͟Ђ Kong Cultural Centre
Salute ᑢ͟Ђ to Our Partners kܛࠗಋဳ֞ᅥ྆টʶᑢ˞ɎᖳХዀ࿚ؿྐྵష༅Хʻ The Hong Kong Philharmonic Orchestra would like to express our heartfelt thanks to the Partners below for their generous sponsorship and support!
˚߬ᖳХ ࠖᖳХ MAJOR FUNDING BODY PRINCIPAL PATRON
ຝ͌ᖳХMAJOR SPONSORS
CIC Investor Services Limited a subsidiary of Crédit Industriel et Commercial, France
˞ʔ̇ߜʼΊီѵIn alphabetical order of company name
蘇柏軒於2008年10月正式加入香港管弦樂團擔 Perry So joined the Hong Kong Philharmonic Orchestra 任助理指揮，同年勇奪俄羅斯聖彼得堡第五屆 in October 2008 as Assistant Conductor. In the same 「國際浦羅哥菲夫指揮大賽」冠軍及特別獎，成為 year, he received the first and special prizes at the Fifth International Prokofiev Conducting Competition (held in 該大賽有史以來第三位獲得冠軍殊榮的參賽者。 St Petersburg), only the third time the top prize has been 他是洛杉磯愛樂首屆「杜達梅駐團指揮計劃」指揮 awarded. One of the inaugural Dudamel Conducting 之一，在這個為期六星期的計劃當中，他分別指揮 Fellows at the Los Angeles Philharmonic, Perry So has 洛杉磯愛樂演出四場音樂會，並擔任大師馬錫爾 just completed an extended six-week residency with the 及佩特連科的助理，完成計劃後隨即獲邀再度 Los Angeles Philharmonic (conducting four concerts and 合作。 assisting Lorin Maazel and Vasily Petrenko) and resulting in immediate re-invitation.
2009/10樂季，他首度於莫斯科及澳洲演出，分別 This 2009/10 season includes his Moscow début with the 指揮俄羅斯國家交響樂團及昆士蘭交響樂團。 State Symphony Orchestra of Russia and his Australian début 此外，他又將指揮密爾沃基交響樂團、紐西蘭 with the Queensland Symphony Orchestra. Other upcoming 交響樂團、日本愛樂、北荷蘭交響樂團、奧維多 engagements include débuts with the Milwaukee and New 阿斯圖里亞斯公國交響樂團等。除了每樂季指揮 Zealand Symphony Orchestras, the Japan Philharmonic, the Noord-Nederlands Orkest and the Orquesta Sinfónica 約25場港樂音樂會外，蘇柏軒更領導及設計港樂 del Principado de Asturias in Oviedo. In addition to an 的一系列外展及教育活動。他與俄羅斯冬宮樂團 average of 25 concerts each season in Hong Kong, he 緊密合作，每年於樂團假聖彼得堡舉行的春季及 has redesigned and spearheaded the orchestra’s outreach 夏季音樂節演出。 and educational programmes. He maintains a close relationship with the State Hermitage Orchestra of Russia 蘇柏軒於1982年在香港出生，耶魯大學比較文學 with whom he performs annually during the spring and summer festivals in St Petersburg. 系畢業，是著名文學理論家霍奎斯特之徒。於 耶魯畢業後，他曾跟隨霍普金斯大學畢保德音樂 Born in Hong Kong in 1982, he graduated from Yale 學院指揮系總監、瑞士指揮家兼名師邁耶，以及 University in Comparative Literature, where he studied with 美國學者冼佳亞學習。蘇柏軒又於希臘雅典贏得 noted literary scholar Michael Holquist. He subsequently 米特羅波里斯大獎，及獲得香港特區政府民政 studied conducting under Swiss pedagogue Gustav Meier 事務局頒發嘉許狀，以表揚其藝術成就。蘇柏軒 at the Peabody Institute. He was also a prizewinner at the Mitropoulos Competition in Athens and received a 現正接受世界級指揮大師 ─ 港樂藝術總監艾度． commendation from the Hong Kong Home Affairs Bureau 迪華特及洛杉磯愛樂音樂總監沙羅倫的指導。 for his international musical accomplishments. His current 蘇柏軒為中國黃山國際音樂節創辨人，並擔任 mentors include Edo de Waart and Esa-Pekka Salonen. 音樂節的音樂總監。 Perry So founded and directs the Huangshan International Music Festival, set in the mountains of central China.
ॗʩਥּˈ Boris Berezovsky
፡ೄ piano
ᖓ፡ೄΊࡼभ̳ Hailed as “the truest successor to the great Russianڜजᐰዀᔵႌᙷݯ ඨɁؿˈּॗʩਥcንടࣩබᆡ㉎ؿ൚Ҍ pianists” (Gramophone), Boris Berezovsky has established ۗd˞ʥ၀ᚆዟԷؿࠑᅥଉcΕਝᅥኋ the reputation both as the most powerful of virtuoso Ԕ߲ଞΊe pianists and a musician gifted with unique insights and great sensitivity. ୣޫcֻᑈᔁּʥכॗʩਥּ́ˈ Born in Moscow, Berezovsky studied with Eliso Virsaladze ࣟᄾࠑᅥᜨᐾϷ࠷ࠖc and Alexander Satz. Subsequent to his London début atۤכα ᔁe Ᏽ࣮રɡంଞݯรτᅶሔؿᖚࡼcݮҌ the Wigmore Hall in 1988, The Times described him as “an ਝࣜ˿ʩ artist of exceptional promise, a player of dazzling virtuosityכcˢ܃ˮ࠹ԮɁɈ൴eԭα ߶e and formidable power”. Two years later he won the Goldڥਥ፡ೄɣᑩᘰ Medal at the International Tchaikovsky Competition. άᅥ྆ۗcވ˖ॗʩਥᏵᑼၤּˈ dख़ෲᅥ Berezovsky is regularly invited by such prominent orchestrasܞּ̌৪ Σi࠷ෲᅥᅥ྆ ॖԓܞ dᄮ̛Кෲᅥdෙෲᅥdɽோ as the Philharmonia (with Slatkin), New York Philharmonic , dؒᙬКါ (Mazur), Munich Philharmonic, Oslo Philharmonicܞᔁࣟɡᖭ ਝࡼཋ͚̎ᚊᅥ྆ Danish National Radio Symphony (Segerstam), Frankfurt ͚ᚊᅥ྆׳ d݇ܞਥ౧ঢ় ཋ͚̎ᚊᅥ྆ Radio Symphony (Kitaenko), Berlin Symphonic Orchestra dொऋɽෲᅥʥؒਝਝࡼᅥ྆ (Janowski), Rotterdam Philharmonic and the Orchestreܞฦጻʩਥ ΈΔᐾϷዟۗผcၤ National de France. He often performs in the mostވ˖כ೩೩eˢɌ ճऋɽዟۗผ prestigious recitals series, such as the Berlin Philharmonicځෲᅥ፡ೄዟۗผӡͶd׳݇ ࡼຝᄪࠑᅥᜨዟۗผӡͶ೩e Piano series, Concertgebouw piano series and the RoyalޒӡͶʥ࠷ Festival Hall Piano series. ˢ౦ᙠ፣ጣԄdഒਅdּႠਅ̛ጻʩdዸॗ ,ʥͲ With Teldec, he has recorded works by Chopin, Schumannۂਥdʱּਥཊʩdோࡑढ़dּۤဍА ͅ7HOGHFೕϷ eˢؿ Rachmaninov, Mussorgsky, Balakirev, Medtner, Ravel and ࡨңऋ൚Ҍᆻୌςɣဥ Ⴀਅ̛ጻʩۗსςɣဥ࿘ᏵᄨਝဥിɁɣᆉh the complete Liszt Transcendental Studies. His recordingּ of the Rachmaninov sonatas was awarded the Preis der dࠑɞᔵႌdވ˖Ᏽؒਝࠑᅥڬဍɣဥּۤ Deutschen Schallplattenkritik, and his Ravel disc was %%&ࠑᅥᔵႌʥߜਝ՚ˀዟ͓ం೩ऋП recommended by Le Monde de la Musique, Diapason, BBC .α࿘Ᏽ%%&ࠑᅥᔵႌɣᆉe Music Magazine and the Sunday IndependentכઐʍcɌ
ˢၤɩొೄࡼК̹ʥɣొೄࡼК̛ԓዉʩ He also won the BBC Music Magazine Awards in 2006. He А፣ႇ'9'cɻν፣ࣜ˿ʩਥݯ፡ೄdɩొೄ also collaborated with violinist Makhtin and cellist Kniazev ,ʥɣొೄϤАؿᅥςc˞ʥּႠਅ̛ጻʩభ in a DVD of Tchaikovsky’s Pieces for piano, violin and cello ፡ೄɍࠇۗত֨ȹϽ৩ɣᖚࡼc࿘Ᏽؒਝ and Rachmaninov’s Trio élégiaque “A la mémoire d’un grand ࠑɞܱ̒ിज़eɍɁɌݯജढ़̀ːᙠ፣ artiste”, receiving the 4 stars Diapason d’or. With Warnerټ c࿘Ᏽؒਝ Classics, the trio also recorded works by Shostakovichۂጣ༠ঢ়ၐۖʥּႠਅ̛ጻʩА ̀ࠑᅥ˖ވɣᆉdजᐰዀɣᆉʥᄨਝ and Rachmaninov, awarded the Choc de la Musique in France, the Gramophone award in England, and the Echo ጣԄdঢ়༞ʩਥ িᐰɣᆉeˢؿɁዟۗɣဥ Classic 2005 in Germany. His solo live recording of Chopin/ ࠑɞɣᆉeټҡᏵؒਝ Godowsky received the Diapason d’or.
ςdͲࡨ With Mirare Harmonia Mundi, he recorded Rachmaninov’sۗکॗʩɌ౦ᙠ፣ּႠਅ̛ጻʩּˈ cͅ0LUDUH+DUPRQLD0XQGL Preludes, the complete Concertos, and another CD for twoۂԾۗςʥᔶ፡ೄА ࡼຝᄪࠑᅥᜨʥؒਝཊ pianos. A live recording from the Royal Festival Hall andޒכೕϷcϤˢ La Grange de Meslay Festival recitals devoted to Liszt כڬɣဥcۂᆪ࠸ࠑᅥຝଊ፣ࠑؿңऋА αȹ˂ೕϷe came out in January 2010. 利亞多夫 Anatol Liadov 1 8 5 5 - 1 9 1 4
《魔湖》，作品62 The Enchanted Lake, Op. 62
1867年5月，莫斯科舉行了一場音樂會，向到 The Russian critic Vladimir Stasov (1824-1906) attending 訪的斯拉夫代表團致意。俄羅斯樂評人弗拉基 a concert given in Moscow during May 1867 in honour of 米爾．斯塔索夫 (1824-1906) 出席音樂會後，在 a visiting Slav delegation, ended his review with the words; 樂評的末段寫道：「但願我們的斯拉夫貴賓不會 “God grant that our Slav guests may never forget today’s concert; God grant that they may forever preserve 忘記今日的音樂會。俄國音樂家人數雖少，但已 the memory of how much poetry, feeling, talent, and 形成強力集團 ─ 但願他們的詩意、情感、才華 intelligence are possessed by the small but already 和智慧，會令貴賓終生銘記。」他後來把五位俄國 mighty handful of Russian musicians”. That phrase 作曲家 (巴拉基列夫、鮑羅丁、寇爾、穆索斯 “Mighty Handful” he was later to use to describe a 基和林姆斯基-高沙可夫) 統稱為「強力集團」 group of five composers, more usually referred to now as (今日大家多以「俄國五人團」稱呼他們)，對他們 “The Five” – Balakirev, Borodin, Cui, Mussorgsky and 寄予厚望，希望他們能塑造出獨一無二的俄國 Rimsky-Korsakov - , Rimsky-Korsakov – whom he saw as the 音樂。利亞多夫雖非「五人團」成員，卻與五人團 great hope for creating a uniquely Russian musical heritage. 過從甚密；穆索斯基就跟斯塔索夫說過，利亞 Although he was never one of “The Five”, Anatol Liadov was a close associate of them, Mussorgsky describing him to 多夫「原創性豐富，顯然是個俄國樂壇新秀」。 Stasov as “a new, unmistakable, original and Russian young 利亞多夫在聖彼得堡音樂學院唸書時，曾是林 talent”. He was, for a brief time, one of Rimsky-Korsakov’s 姆斯基-高沙可夫的作曲學生，但20出頭時卻因 composition pupils at the St Petersburg Conservatoire, 長期蹺課及欠交作業而被開除。儘管利亞多夫 but in his early 20s was expelled for his persistent failure 跟隨林姆斯基-高沙可夫學作曲的日子不多，但 to turn up for lessons or to complete assignments. Yet the 兩人一直私交甚篤。利亞多夫的合唱作品《墨西拿 two remained close friends and when Rimsky-Korsakov 的新娘》大獲好評後獲母校聘為樂理及和聲導師， was dismissed from his post Liadov, who, following the 林姆斯基-高沙可夫後來被學院解僱時，利亞多夫 success of his choral work The Bride of Messina had 也請辭以示抗議；另外，兩人又合寫了一本和聲 been appointed instructor of theory and harmony at the St Petersburg Conservatoire, resigned in protest. The two 教科書和編輯了格林卡作品全集。 men collaborated on a harmony textbook and together edited the complete works of Mikhail Glinka. 利亞多夫十分厭惡形式化的藝術，他自言：「藝術 Liadov had a deep-seated dislike of formalized art; “Art is 是臆造的，是童話，是鬼魅。給我一個童話故事、 a figment, a fairy tale, a phantom. Give me a fairy tale, a 一條飛龍、一些天馬行空的東西，我就高興 dragon, something unreal and I am happy”. That philosophy 了。」這種思想也是《魔湖》的核心。《魔湖》是 is at the heart of one of his most popular orchestral scores, The Enchanted Lake, premièred in St Petersburg 他最膾炙人口的管弦樂曲之一，1909年2月21日 on 21st February 1909 conducted by Nicolas Tcherepnin. 聖彼得堡首演，齊爾品指揮。樂曲原是一齣歌劇 This was originally intended to be part of an opera which, 的片段，但由於利亞多夫實在太懶散 (他老是 with the extreme laziness which affected his entire career, 如此)，歌劇一直沒能完成。《魔湖》似乎沒有特定 Liadov never got round to finishing. It appears not to be 情節，作曲家以描繪音樂圖畫為務，甚至以「一幅 based on any specific story, Liadov concerned purely with 樂團的幻想圖畫」為副題。為了令聽眾集中在樂 creating a musical picture; indeed he went so far as to 曲的整體氣氛而不是任何明確的「故事情節」， subtitle the work “A Fairy Picture for Orchestra”. To focus 他摒棄了鮮明的旋律，避免清晰的節奏，調配出 the listener’s attention on the general mood of the piece 豐富流麗的管弦色彩，以隆隆作響的低音大提琴 rather than any defined “story-line” Liadov dispenses with clearly defined melodies and clean-cut rhythms and 掀開序幕，營造深不見底的印象。音樂雖以靜態 produces a rich wash of orchestral colour starting with 為主，但不乏柔和的起伏搖盪，聽起來延綿不絕。 a low rumbling from the basses creating an impression 潺潺水聲偶然響起 ─ 時而是兩根長笛，時而是 of immense depth. While the music is fundamentally 豎琴和鋼片琴 ─ 短暫地捕捉了晚霞景緻，但祥和 static the whole thing gently heaves and sways with the 平靜的氣氛卻從未間斷。樂曲的結尾與開端相似， surface largely remaining unbroken. Occasional ripples – 沉沒在無盡的靜謐裡，沉沒在深遂的寂寥中。 sometimes depicted by a pair of flutes, sometimes by harp and celesta – break through and momentarily catch the evening sunlight, but the calm, tranquil atmosphere is never broken and the piece ends, as it begun, way down in the depths of infinite stillness. 柴可夫斯基 Pyotr Il’yich Tchaikovsky 1 8 4 0 - 1 8 9 3
降B小調第一鋼琴協奏曲，作品23 Piano Concerto No. 1 in B flat minor, 莊嚴而不太快的快板─有精神的快板 Op. 23 質樸的小行板─極急板─回復原速 Allegro non troppo e molto maestoso – Allegro con spirito 熱烈的快板 Andantino semplice – Prestissimo – Tempo 1 Allegro con fuoco
樂團的四音下行音型、一連串驚天動地的鋼琴 With the possible exceptions of Beethoven’s Fifth 和弦 ─ 柴可夫斯基藉此讓第一鋼琴協奏曲達到 Symphony and Bach’s Toccata and Fugue in D minor the 先聲奪人的效果。除了貝多芬第五交響曲和巴赫 opening of no other musical work has become so familiar, D小調觸技曲與賦格曲外，大概沒有哪首樂曲的 so parodied and so frequently used out of context as the pattern of four descending notes from the orchestra 開端是同樣膾炙人口、被拿來開玩笑的次數同樣 followed by a succession of crashing piano chords with 多、被胡亂引用的情況同樣頻繁的了。澳洲傑出 which Tchaikovsky’s First Piano Concerto seeks to grab 鋼琴家、作曲家暨樂壇怪傑格蘭傑形容此曲是 the listener’s attention. The great Australian pianist, 他的「戰馬」─他騎著這匹戰馬東征西討，四出 composer and eccentric, Percy Grainger, described this as his 征服觀眾。大部分觀眾都對此曲的開端耳熟 “War-Horse” on which he rode into battle countless of 能詳，但認識全曲的卻少之又少；儘管如此，樂曲 times to subdue an audience, and while only a tiny fraction 仍然是最受歡迎、演出機會最多的鋼琴協奏曲 of the people for whom the opening is familiar have 之一。諷刺的是，作曲家本人認定俄羅斯會對 any idea of what follows, it still ranks as one of the best 此曲嗤之以鼻，所以安排樂曲1875年10月25日 loved and frequently performed of all Piano Concertos. Ironically, though, Tchaikovsky was so convinced that the 在美國波士頓首演。 work would receive a hostile reception in Russia that he sent it to America where it was premièred in Boston on 柴可夫斯基認定此曲難獲青睞並非杞人憂天。 25th October 1875. 樂曲脫稿後，他原本自信滿滿，深信這是一首 傑作。創作過程嘔心瀝血，他自言「要在腦中把 Tchaikovsky’s fear of the work’s rejection did not stem from 迫出樂段來⋯」「在房間踱來踱去好幾小時」， any misguided feelings of insecurity. Quite the reverse. 才有靈感寫作。但到了1875年1月底，他對樂曲 When he completed the work he was utterly convinced 也頗滿意了，就在聖彼得堡音樂學院為尼古拉． he had composed a masterpiece. It had been a hard 魯賓斯坦彈奏一遍。柴可夫斯基最初屬意魯賓 struggle; as he wrote at the time he had to “hammer passages...out of my brain” and “walk up and down the 斯坦負責首演的鋼琴獨奏，但他後來憶述魯賓斯 room for hours” before ideas came. But towards the end of 坦對樂曲反應欠佳：「他一言不發 ─ 一片死寂 ⋯ January 1875 he felt happy enough with the result 我從琴椅上站起來，問他：『怎麼樣？』然後他 that he played through it privately at the St Petersburg 就連珠炮似的⋯說我的協奏曲一文不值、無法 Conservatoire to Nikolai Rubinstein to whom he had dedicated the Concerto and who was expected to be the soloist at the work’s première. As Tchaikovsky later reported Rubinstein’s reaction was not good: “Not one word was said – absolute silence...I got up from the piano. ‘Well?’ I said. Then a torrent burst from Rubinstein... My concerto was worthless and unplayable... bad, trivial, vulgar. Only 演奏、又差勁又瑣碎又庸俗。僅一、兩頁有少許 one or two pages had any value.” In anger, he crossed 價值。」柴可夫斯基一怒之下在樂譜封面上劃 Rubinstein’s name off the title page and re-dedicated the 掉了魯賓斯坦的名字，改把樂曲題獻給傑出 work to the great German conductor and pianist Hans 德裔大指揮家暨鋼琴家保露。行將巡迴美國演出 von Bülow who was shortly to embark on a concert tour 的保露對樂曲讚賞有加，認為它「高尚、有力、 of the USA. Von Bülow had no reservations about the work describing it as “lofty, strong, and original”, and his 新穎」；後來保露幾天內先後在波士頓和紐約 performance of the Concerto in first Boston and, a few 演出此曲，美國觀眾反應極為熱烈。 days later, New York received rousing ovations from the American audiences. 由圓號聲和震撼的鋼琴和弦構成的開端氣勢 如虹，家傳戶曉。但這些素材隨即消聲匿跡，無影 The powerful opening of the Concerto with its famous 無蹤；接著的樂段根據烏克蘭民歌寫成，氣氛 horn call and sledge-hammer chords from the piano lays 輕鬆得多。留意樂章的兩個主題，分別由單簧管 something of a false trail, since this material never again (巴松管和圓號伴奏) 和配上弱音器的弦樂奏出， appears. It gives way to rather lighter and considerably 各有千秋。全樂章長達20分鐘 (全曲總長度的 more nimble music based on a folk melody from the Ukraine. Two contrasting themes to listen out for come 三分二)，因此作曲家有充裕的時間，既能把多 from the clarinet (with an accompaniment from bassoons 個主題擴充和修飾，觸及各種情緒和色彩，又能 and horns) and from muted strings, and at over 20 minutes 容納多個難度極高的華采樂段。第二樂章先由 (almost two-thirds of the Concerto’s overall length) 長笛掀開序幕，迷人的主題輾轉由長笛、鋼琴及 Tchaikovsky allows himself ample time to expand and 兩把大提琴奏出；中段速度加快，與前段形成 elaborate on these themes, producing music which passes 對比；鋼琴在狂想曲式短段過後重拾柔和氣氛。 through the whole gamut of emotions, moods and colours 第三樂章主題以另一烏克蘭民歌為基礎，旋律 and includes several truly virtuoso cadenzas for the soloist. 仿如熱烈的舞曲，然後搖身一變，變得又沉 The central movement is introduced by a charming flute 又重。樂團交代了舞曲主題過後，小提琴含羞 theme which is quickly taken over by the piano which, in turn, passes it on to a pair of cellos. The central section 答答地引入新主題 ─ 新主題儘管初時平平無奇， provides a contrast in speed until a short rhapsodic 但後來卻演變成全曲最宏偉壯觀、最富麗堂皇的 passage for the piano brings the movement back to the 高潮樂段。 gentle mood of the opening. Another Ukrainian folk song provides the material for the fiery dance-like theme with which the final movement opens. This turns into a stamping dance from the orchestra before the violins tentatively introduce a theme which, innocuous as it might seem at first, is going to produce the grandiose, glittering climax to the Concerto. ࣳᖓࡐഥʩ Sergei Prokofiev 1891-1953
Symphony No. 5 in B flat, Op. 100 ۂࠌ%ɣሁʄ͚ᚊςcА Ϸ Andante τɈؿ҄ Allegro marcato Adagioྺ ጹ⸈ؿ҄ Allegro giocoso
ਝᕶೕ̠ဍʇၐКࠎ՜cࣳᖓࡐഥʩ With the Bolshevik Revolution of 1917 Prokofiev had leftڜα గᔴȿीਝcՅ༞ˀ̯Է༠ਝc܃ցֈ Russia, first for Japan and next to the USA before finally settling in Paris. But in 1936, by which time he was a ΊАςࡼكαcɰᙻӸਝ ʱቭeЎԷȿ composer of international repute, he decided to return ɺکҺցΑݚ̯ਝeˢ႓i҈ڳϷͶؿˢ permanently to his native land; “I had not grasped the ਝࡼ significance of what was happening in the USSR. I did not͉עΕᘣᐲೕ́ؿԑੱτΛფࠇ߬cɺ͉ע c realise that the events there demanded the collaborationذ؝Ɂܧֺ߬τਝ̵ͳЦɈ Ķ ɺ௰ܰ cɌ of all citizens – not only men of politics but men of art asٴՇᆅईᚭܫਝࣂcˢٵᑹτᖚࡼe ᙷݯᘣᐲՇɁౡͩؿАςࡼcҡवԝᏵˮਝ well.” He was welcomed back with open arms, hailed as ɣኝᕶೕc the State’s most respected composer and allowed, unlikeވ˖eɀωۂϬɯؿАܞۗ most, to travel overseas to perform and direct his music. ʿడڲࣳᖓࡐഥʩ།ԯˢᖚࡼȹ࿄ঽcԷ With the outbreak of the Second World War Prokofiev, ΪͲؿͳਝᅗᑷeࣂcˢᄘɎΛࠖෲਝ along with other artists, was evacuated to the relativeྦྷޚ eˢؿȼ፡ೄ safety of the southern republics. From there he wroteڍcབᘣᐲɈҊᄨ߶ۂА ৽೫ᄘА patriotic works which celebrated the struggle of the Sovietڏᆉcα׳αᏵཕ̌ɣ სςۗ Ķ ʄ͚ᚊςeᅥςοΕው State against German aggression. His seventh Piano ۂȹࠖҊኝА̊ Sonata was awarded the Stalin Prize in 1943 and the ڜhಳϤʄ͚ᚊςᄘА౨ංcښድ̔אɁڜ following year he worked on another composition ն࿄ঽcࣳᖓכؿҊኝcᄨ߶ୄٽɁ༦ designed to inspire the Russian people in time of war, his ࡐഥʩ႓ˢȹʶˮྦྷϬ҄ͅᅥɁؿབĶ Fifth Symphony. Written at a time when the German army were, at long last, beginning to be driven back from جབԯɈ൴dᄖѩक़ᅳؿრe˿ܰ፭ടኝ ҢcᘣᐲѫҐᅥς഼ݯྦྷਝࡼͮ࿘Сؿ Russian soil, Prokofiev declared that in the Symphony he cࣳᖓࡐഥʩਠҺ was attempting to “sing the praises of the free andۂؿА׳ㅐcᛰιབ̌ɣ ෳԞௌ๎e happy man – his strength, his generosity and the purity ofڏɺ Ķ ɺΛɔ his soul”. However with the end of the war the Soviet authorities saw it more as a celebration of the State’s ʄ͚ᚊς α˂ˀΕୣޫࠖcࣳᖓ glorious victory and soon Prokofiev was getting into ࡐഥʩጱϬܞeᅥςɣᏵΡി Ķ ˿ੴԅɰܰ trouble with them for refusing to accept that the Symphony .ؿ҄ᅥࣂͮȿiˢɍܱ was really a paean of praise for Stalin܃ࣳᖓࡐഥʩȹ́ɻ ౨܃ʶᚺञೕɎᅢસc˥Շeʶᚺञ ܰઊ༦ȿcЎ́Շඬшᒹ Ķ ˢʹɖɺॶ The Fifth Symphony’s triumphant première in Moscow on th Ϭɯؿᅥςdഖd௦ৈdቝቛd 13 January 1945, which Prokofiev himself conducted, wasܞᄦೄd one of his last real moments of personal happiness. Three weeks later he had a heart attack, fell down a flight of stairs and was severely concussed. He recovered from the heart-attack, but head injuries affected him for the rest of his life and he never again was able to play the piano, ˢ௩ᚭؿ༜৽ɾȹ ˮਝȿcྦྷАς conduct his music, smoke, drink, drive, play volleyball ખଈ̨ ɖጙመಕe αcˢᘣᐲɻ̕կࡗผ (one of his most favoured sports) or travel. His interest in composition waned, and while he robustly confronted ඨ̂c႓ˢؿࠑᅥʦᘣၐࡥhԅࣂˢਠցΔ (or, rather, refused to confront – he spent the entire time قֶّ႓ˢׂྦྷҊĶ ΐݯˢȹ Ҋѫྦྷ with his back turned) the Soviet Central Committee when ΉᎦɈГcֻႏϬ called before them in 1948 to answer accusations thatכୄڳԞ܃ɺೕȹӰ cЎ ϤՇܷc his music was “anti-Soviet”, he subsequently bowed to܆ɯؿࠑᅥΐݯઅᘩȿȹԒϹʿ ᛰၛડe pressure and confessed that his music had been tainted with an “infection caught from contact with some .”ର Western ideasٽʄ͚ᚊς˞ྺؿȹᅥઘѵྭc ʱဳ˞Ʉ۹ࠑۗˮؿဲ˚ᕀ˨ဢౣcܰ The Symphony begins with a slow first movement, the ؿࣳᖓࡐഥʩࠓࣟeᅥᑭඐ৩cԎѕ opening theme played in octaves by flute and bassoon aێ ᗫΔҢ Ķ ࡨ͂ࣳᖓࡐഥʩϬɯؿ႓ؒcԅܰ typical touch of Prokofiev wit, which gradually assumes a ৩ɣؿɁᗘ၀ुeɀᅥ၇ਜ਼Ϥޯɚc৽ more majestic character to conclude with a magnificent ,”ؿ֮࢜c celebration implying the “greatness of the human spiritجዀુʝ Ķ τɁႏݯܰኝ˝ٶੜ ႏݯܰɩஃᅡኝݵˌؿоባᐰĶ to echo Prokofiev’s own words. The nervous and abruptڬτɁ second movement, with its almost mechanical momentum, ɺ̳ᆢiࣳᖓࡐഥʩΕϊᚻ͂ȿϬɯޑЎԭّ has been likened by some to the “horrors of war”, while ʄ͚ᚊςࠖࣂcϘղ ٢ᑂၦჱϘղ others see in it “military skirmishes and the rattle of ෴ؿ gunfire”. Neither comment can be correct; it is actually aڷᑹӀτ̳βʔ eɍᅥࣩభඬc ,ድढ़ှᄨ߶˟ˮ reworking of music from Prokofiev’s ballet, CinderellaאɁݯڜԞ˿˞႓ι̯܁ફ ؿˤძhЎԑྡྷɐʗॖҥˮϬࣳᖓࡐ which had yet to be publicly performed at the time of theסঢ় Ķ ཋᄧᅥԓዃɬɣfँʩ Symphony’s première. The sorrowful third movement with ۂഥʩ̊ȹᎻჱА hೕɁ its plaintive melody may well have been prompted by theيਥe̒ᅥҐభᜮੱၑȹઍϤ terrible price the Russian people had to pay for their heroic ݠɈ˨Ҹ Ķ ཫɺɎԞܫcࠑᅥ܃ؿဲ༦ޘ૯ resistance to the Nazi invaders, although, once again, Ѝؿ Ķ Ɍᒨටྺe some of the material is actually derived from another of Prokofiev’s dramatic works, the film-score Alexander Nevsky. However the pessimistic mood is brushed aside in the fourth movement which, after a reflective opening, bustles along with unstoppable energy and a certain amount of impudence.
ຝ͌ʍଽɻʼᓺᘭiሲኮѻ Programme notes by Marc Rochester
ࠗಋဳ֞ᅥ྆ Hong Kong Philharmonic Orchestra
ȹɩొೄ First Violins
χၳ ܆˔ สۺࡧց֦ ષ John Harding Leung Kin-fung Wong Sze-hang Zhu Bei ٽɍ৹྆ ٽɀ৹྆ ٽConcertmaster ȹ৹྆ٽ྆ First Associate Second Associate Third Associate Concertmaster Concertmaster Concertmaster PHOTO Bobby Lee PHOTO ϴ۹fജऋ Edo de Waart ᖚᐢဟ࠹ᐢܞ Artistic Director & Chief Conductor ˉജ ೡ͓ Ґʼౠ ࣔᗫ Mao Hua Cheng Li Ba Wenjing Gui Li ᐢܞϽͅ˞Ɏዀ࿚ᖳХ Maestro’s Chair – endowed by The Octavian Society & Y.S. Liu Foundation
࠵ᘂ ٮଔਝ ᗫڣ ᎘Ѵ Long Xi Mao Yiguo Rachael Mellado Ni Lan
ඡֱཽ # ࢘ᰟ ਜ਼Ѵ ڋ˔ Wang Liang Christine Wong # Xu Heng Zhang Xi Kar-yee PHOTO Lawrence Chan PHOTO ᘣ݇শ ՚ᙂࠔ Perry So Zhou Tengfei ඖ͌ਂمઠөʥܞХଉ Assistant Conductor (Education and ɀɩొೄ Community Programmes) Second Violins
´ߑȻ ¶ષʼ☚ ཽᇘ ༻˃͎ࠗ Fan Ting Leslie Ryang Katrina Rafferty-Ma Miyaka Suzuki Moon-sun
ɥ ሲɾણ ңཽ༞ ʿᅳكɻ̈́ڣ Tomoko Tanaka Mao Cheng Chi-man Ricardo de Mello Fang Jie
#ᅥϽͅ˞Ɏዀ࿚ᖳХ ਝጙพӝɁႺϷؒ # Musician’s Chair – endowed by Societe Generale Private Banking ڋᓯѩ༞ ѳਝต ᅾѸ ژЄཽ PHOTOS Gallant Ho Ka-chun Russell Kan Wang-to Mo Kwok-fai Martin Poon Cheung Chi Wai & Keith Hiro Ting-leung ɀɩొೄ Second Violins
፫Χ *݀ு *ჳٟѴ *˔ຣ Alisa Yan Yuqing *Ke Xue *Liu Fang-xi * Wang Yue
ɻొೄ Violas
ᖓഓ ੌѩ৩ ߑ ע࠾ᛷऽ ¶ညӱԙᓱ ቭ´ Andrew Ling Kaori Wilson Li Ming Alice Rosen Cui Hong-wei Fan Yan
ࡸ⋳ ˔ᒟ ע͉ ࠾ۤ෧ ͓ژټ ݙԗɓ Ethan Heath Jonathan Kim William Lane Pak Ming Sun Bin Wang Jun
*ߑܱ *ਜ਼ᰢᄧ * Fan Xing *Zhang Shu-ying
ɣొೄ Cellos
ዷ ஹֱз + ᗐΪ ஹέݘ׳¶ دᎏɈԿ ½ʿኮ´ Richard Bamping Fang Xiaomu Dora Lam Chen Yi-chun + Anna Kwan Ton-an Chan Ngat Chau
ңι* ׳Ⴉ ፳ ңႼᘡ Ѩԓעਜ਼ Cheung Ming-yuen Timothy Frank Li Ming-lu Yalin Song * Li Cheng
Гࠑɣొೄ Double
Basses ´ࠖPrincipal ອଉࠖActing Principal ࠔ ¶ۚᙀԞ ඟ࿖ Сԓ ³׳³ Jeffrey Lehmberg Jiang Xinlai Feng Rong Samuel Ferrer ½ ᐲࠖCo-Principal ¶ ХଉࠖAssistant Principal
+ ᅥϽͅ˞Ɏዀ࿚ᖳХ ټઢว֨ਥٹ + Musician’s Chair – endowed by C. C. Chiu Memorial Fund ĶټЄᒤᅬࡼપਥ* ʹ༠ཬ ᎏဍഥ ߑᎼК ࠗಋဳ֞ᅥ྆྆ነࡗফི߮ᅥ׳ George Lomdaridze Philip Powell Jonathan Van Dyke * Fellows of The Robert H.N. Ho Family Foundation Orchestral Fellowship Scheme ࠗಋဳ֞ᅥ྆ Hong Kong Philharmonic Orchestra
ର ର Piccoloٽ Flutes
´̌ᄨಿ ¶ያࠏᅩ ܪࡼᇘ Megan Sterling Olivier Nowak Linda Stuckey
ߜਝဳ ᔶᓫဳ Cor Anglais Oboes
ڌஹዿ ࠏဍႫ ½̠ߗ١´ Michael Wilson Ruth Bull Christopher Chen
Гࠑ௰ᓫဳ Bass ௰ᓫဳ Clarinet Clarinets
´̌Ϊी ¶̌ࡼ ᓯʼ Andrew Simon John Schertle Michael Campbell
Гࠑʱဳ Contra ʱဳ Bassoon Bassoons
¶ңࣽɬ ੌीټ½ Kam Shui Vance Lee Adam Treverton Jones
໔ Horns
´ࠏோК ½ᖓԿ܆ ¶՚ౣͦ ң᫉ձ ңʭ፲ ঢ়ҁሑ Mark Vines Lisa Rogers Chow Chi-chung Natalie Lewis Homer Lee Siu-lam Marc Gelfo
໔ٽ ɩ໔ Trumpets Trombones
Կ ജ༠ᄨ ´ࠏඏᅥ ࠏɈթ܆К ¶ୣּ˺´ Jonathan Clarke Christopher Moyse Douglas Waterston Jarod Vermette Maciek Walicki
໔ٽГࠑ ɣ໔ ցࠑར Bass Tuba Timpani Trombone
Ӵဍ ´݇ ´ᕡᅥ܆ Michael Priddy Paul Luxenberg James Boznos
Ꮎᅥኂ ሉೄ ᒄᆚ Percussion Harp Keyboard
؎່֗´ ࣮Ӵࣚ ષ৩ജ ߈ૠᎵ ´̌ਥ༞´ Shaun Tilburg Raymond Leung Sophia Woo Christopher Sidenius Shirley Ip Wai-wa Shuk-fai
ऋᅥʹ ۪ࠖᎾᅥ ɣొೄ Гࠑɣొೄ ௰ᓫဳ Ꮎᅥ Extra players Guest Principal Percussion Cello Double Bass Clarinet Percussion
ֻၬԞϹԓෲᅥᅥ྆ʐஈၤˮ ஈ୧୧ژٷ д᎘ം ਂૠშ ᅾዷ٠ ధ༠˱ Matthew Prendergast* Letty Poon Hennessy Ng Rita Au Louis Siu Lily Hoi With kind permission of the Malaysian Philharmonic Orchestra
ࠗಋဳ֞ᅥ྆ Hong Kong Philharmonic Orchestra
ΊᙷᖳХɁ HONORARY PATRON ਨϷկࡗผ EXECUTIVE COMMITTEE ւ The Chief Executive ჳʏ́ͱ́ Mr Y S LiuٽܧϷ ౦ᇚᚬͱ́ The Hon Donald Tsang Yam-kuen, GBM ˚ Chair
ͱ́ Mr Chung Shui-ming, GBS, JPע໎ԑѫ BOARD OF GOVERNORS ᒉ ჳʏ́ͱ́ Mr Y S Liu ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ˚ Chairman ᘣዉͮͱ́ Mr Jack C K So, JP ݇ͱ́ Mr Stephan Spurr ͱ́ Mr Chung Shui-ming, GBS, JPעᒉ ৹˚ Vice-Chairman ল৻կࡗผ FINANCE COMMITTEE ͱ́ Mr Chung Shui-ming, GBS, JPעᒉ ஹी؈ɤɡ Ms Joanne Chan ˚ Chair ਜ਼˔̢࠷ʩɁ Mrs Michelle Ong Cheung ാພɤɡ Ms Winnie Chiu ፳ᜃͱ́ Mr Glenn Fokٹ ፳ᜃͱ́ Mr Glenn Fok ჳʏ́ͱ́ Mr Y S Liu ͱ́ Mr Nicholas Sallnow-Smithע๖ͮͱ́ Mr Lam Woon-kwong, GBS, JP ᘣͰ׳ ષඟ˥შᔢ́ Dr Lilian Leong, BBS, JP ᪐ඏ࢟ͱ́ Mr Benedict Sin Nga-yan ჳཎɾ㣍 Prof Liu Ching-chih ඡ፦ɬͱ́ Mr Kenny Wong Kam-shan ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ඡʼᘚͱ́ Mr Robert T. Wong ͱ́ Mr Nicholas Sallnow-SmithעᘣͰ ᪐ඏ࢟ͱ́ Mr Benedict Sin Nga-yan ᘐಁկࡗผ FUNDRAISING COMMITTEE ᘣዉͮͱ́ Mr Jack C K So, JP ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ݇ͱ́ Mr Stephan Spurr ˚ Chair ሳ̷ᗌᏲɡ Sir David Tang, KBE ඡ፦ɬͱ́ Mr Kenny Wong Kam-shan ᇞᗐዷೄ܁ Mrs Janice Choi ാພɤɡ Ms Winnie Chiuٹ ᇯཽʆͱ́ Mr David Zacharias 7DVKD/DOYDQLɤɡ Ms Tasha Lalvani կࡗผ ENDOWMENT TRUST FUND ৹˚ Vice-ChairټᖳХਥ BOARD OF TRUSTEES ͱ́ Mr Chung Shui-ming, GBS, JP ՚໎͓ߘɤɡ Ms Chou Tung Lap Maoעᒉ ᄨͱ́ Mr Peter Siembab֤ܪ Chair˚ ᘣዉͮͱ́ Mr Jack C K So, JP ๖ͮͱ́ Mr Lam Woon-kwong, GBS, JP׳ ჳʏ́ͱ́ Mr Y S Liu ೕࢄկࡗผ DEVELOPMENT COMMITTEE ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ݇ͱ́ Mr Stephan Spurr ˚ Chair Ίᙷᚋਐ HONORARY ADVISERS ஹ̷ജ㣍 Prof Chan Wing-wah, JP ஹी؈ɤɡ Ms Joanne Chan ɡ Dr the Hon Marvin Cheung, OBE, SBS, JP ɣᇯઠ Prof David Gwilt, MBEۺਜ਼ ՚̷ιͱ́ Mr Vincent Chow Wing-shing, MBE, JP ң৩Ϊͱ́ Mr Warren Lee Є൚ᕽɤɡ Ms Pansy Ho Chiu-king ષඟ˥შᔢ́ Dr Lilian Leong, BBS, JP ߈ؒͮͱ́ Mr Hu Fa-kuang, GBS, CBE, JP ჳʏ́ͱ́ Mr Y S Liu ཽ༞ଉቺᏲʩɁ Lady Kadoorie ሳ̷ᗌᏲɡ Sir David Tang, KBE ષցԄᔢ́ Dr Ronald Leung, OBE, JP ࠏோКͱ́ Mr Mark Vines Ѱɷ́ͱ́ Mr Shum Choi-sang, SBS, OBE, MA, JP ඡߜೇɤɡ Ms Ada Wong Ying-kay, JP ฦᚁᅨᏲɡ The Hon Sir T. L. Yang, GBM, JP ϷܧɁࡗ MANAGEMENT ̟ઐᄤ MARKETING ᘣѣӪͱ́ Mr So Hau Leung ᖭͰ̵ͱ́ Mr Paul Tam Ϸܧᐢസ Chief Executive ̟ઐᄤᐢဟ Director of Marketing
ஹဦɤɡ Ms Rida Chan ࠗఉɩմ Ms Elaine Kwee Ϸܧो࣊ Executive Secretary ̟ઐᄤଉ Marketing Manager (ઐᄤۧඨ (Concert Promotions ᖚϷܧ ARTISTIC ADMINISTRATION Mr Nick Chan ՚⌿ɤɡ Ms Mio Margarit Chow ஹࡄᏟͱ́ ঢ়ज़ᤇʥ Senior Marketing Communications Officer ᖚ೪ིᐢဟ Artistic Administrator ඨ˚ͨ ˔ཽᆋɩմ Miss Michelle Wong ඡዷɩմ Miss Natalie Wong Хଉଉ Assistant Manager ᤇʥඨ˚ͨ Marketing Communications Officer ᖚࡼԑ৻ (Artist Liaison) ஹཽయɩմ Ms Tiphanie Chan Mr Jason Wan ɿҁশͱ́ ᇁፎ Publications Editor ᖚϷܧХଉ Artistic Administration Assistant Ȼඔɩմ Miss Natalie Ting ೕࢄ DEVELOPMENT ઠөʥ̔ࢄᘐ˚ͨ Education and Outreach Coordinator ஈዷඓɤɡ Ms Angela Hui ೕࢄᐢဟ Director of Development ˿ԫɩմ Miss Alice Luk ͬพඨ˚ͨ Corporate Communications Officer ɤɡ Ms Edith Ngעдௗ ɩմ Miss Alice Lamށ׳ ೕࢄଉ Development Manager ৻˚ͨ Customer Service Officer۪ ᒚֱཽɩմ Miss Kary Hon Хଉೕࢄଉ Assistant Development Manager ᅥ྆ԑ৻ ORCHESTRA AND OPERATIONS ᅥ߹ͱ́ Mr Luke Shawٷ ధɩմ Miss Ruby Pang ᅥ྆ԑ৻˚ဳ Head of Orchestra and Operations Хଉೕࢄଉ Assistant Development Manager ฦჴᙂͱ́ Mr Ambrose Yeung Orchestra Personnel Manager ল৻ʥϷܧ FINANCE AND ADMINISTRATION ᅥ྆Ɂԑଉ ߈ࡼᗸɩմ Ms Angel Woo Mr Steven Chan ল৻ʥϷܧ˚ဳ Head of Finance and Administration ஹਝຮͱ́ ၦ̎ଉ Stage Manager ңႼͱ́ Mr Homer Lee Є܆ણɩմ Miss Betty Ho ল৻ଉ Finance Manager ᅥᖪဳଉ Librarian
ʼ৪ͱ́ Mr Alex Kwok ஹᗗўɩմ Miss Vanessa Chan Assistant Manager, ল৻ʥϷܧ Хଉଉ Assistant Manager Finance and Administration Хଉଉ ᅥ྆ԑ৻ (Orchestra and Operations)
ɩմ Miss Christy Lawٮਜ਼ཽඓɩմ Miss Cherish Cheung ᖓ ɁɈ༅ଉ Human Resources Manager ࠑᅥϷܧྡྷୌࡗ Music Administration Intern
Ԅͱ́ Mr So Kan Pongٶᘣဦജɩմ Miss Vonee So ᘣ ল৻ʥϷܧঢ়ज़˚ͨ Senior Officer, Finance & Administration ༜ፏ˚ͨ Transportation Officer (Musical Instruments)
Miss Pamela Chan ஹᗫᄐɩմ ᐲ҈ࠨ ɣᅢɄᅢܧࡗ Receptionist ࠗಋȾ᎘άҳՍʼʝɻʶϷۿઅ ཋiඨभi Mr Sammy Leung ષ፦᎘ͱ́ Contact us ,ፒʔ۩Хଉ Office Assistant Level 8, Administration Building, Hong Kong Cultural Centre Kowloon, Hong Kong ңࡼ࿘ͱ́ Mr Andrew Li Tel: 2721 2030 Fax: 2311 6229 ༅ޫҌʥඖ͌ଉ Manager, IT & Projects www.hkpo.com ClubMaestro ɣผ
Ⴉೕࢄʥᔔఒ̵̟ٽɣผऋПݯᆅෲဳ֞ᅥؿͬพʥɁɡϤஉcοΕઐ৽ࠗಋဳ֞ᅥ྆ؿ ؿʼʝ́ݠeಋᅥᔑϊΉɎͶΈɣผผࡗߎᑢe Club Maestro is established for the business community and individuals who are fond of symphonic music. It aims at supporting the long-term development of the Hong Kong Philharmonic Orchestra and enriching cultural life. We heartily thank the following Club Maestro members.
ผࡗPLATINUM MEMBERSټ͉
David M. Webb webb-site.com
ᝃ͏ผࡗDIAMOND MEMBERS
Mr Wilfred Ng MH, JP
၆ᗸ͏ผࡗEMERALD MEMBERS
ނकผࡗPEARL MEMBERS
Mr Peter Siembab
Miss Aliena Wong
˞ʔ̇ߜʼΊီѵIn alphabetical order of company name Λᑢʻܛ Thank You for Your Support
༠ͅটᑢ෮kٲࠗಋဳ֞ᅥ྆ΕϊΉ˞Ɏਆพዀ࿚ʥᆅʶɁɡ The Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support.
CHAIR ENDOWMENT FUNDټᅥ྆ϽᖳХਥ The Maestro’s Chair endowed byټᖳХਥܞᐢ The Octavian Society Limited Y.S. Liu Foundationټჳʏ́෯ഁਥ The Musician’s Chair endowed byټᅥᖳХਥ C.C. Chiu Memorial Fundټઢว֨ਥٹ ਝጙพӝɁႺϷSociete Generale Private Bankingؒ
αANNUAL FUND
ဳᖳХɁGold Patron ႺဳᖳХɁSilver Patron ႻဳᖳХɁ Bronze Patronټ >HK$100,000 HK$50,000 – HK$99,999 HK$30,000 – HK$49,999 ଈ͞ᙎMr & Mrs E Chan Mr & Mrs David Friedۺਝඑ྆τࠉʔ̇ ஹןณ Hsin Chong International Holdings Ltd ਜ਼ဍయ͞ᙎMr & Mrs Lowell & Phyllis Chang Mr Fred William Scholle ɤɡMs Tse Chiu MingעԈઁٖτࠉʔ̇Kerry Holdings Ltd ષईΪ͞ᙎMr & Mrs Leung Lit On ᑢ൚ཽ ʔ̇ټඡʭশϐʼዡਥ Mr & Mrs S H Wong Foundation Ltd कᖳХɁPearl Patronע ᗸᖳХɁ Ruby Patron ၖၕᖳХɁJade Patron HK$10,000 – HK$29,999 HK$5,000 – HK$9,999 HK$3,000 – HK$4,999 ஹ፷ɤɡMs Vivien C C Chan ಲΊˊAnonymous ಲΊˊAnonymous Mrs Anna Chen Mr Barry John Buttifant ஹᒤႩͱ́Mr Chan Hung Yuen Robert Mr Cheung Ngai Sing ஹࢯᔢ́Dr Edmond Chan Mr Cheng Kwan Ming ᇞᏨԄͱ́Mr Edwin Choy ષᖳͱ́ʥ՚ཽ̡ɤɡ ሲң፦٧ɤɡMs Eva Cheng Dr & Mrs Carl Fung Mr Jan Leung & Ms Emily Chow ਜ਼ᘚ౬ͱ́Mr Cheung Yiu Tong ҁө༜৽ਝτࠉʔ̇ Mr & Mrs Michael & Angela Grimsdick ਜ਼ᄨ᎘ͱ́Mr Cheung Tak Lungڋ Gloss Mind Sports International Ltd ЄͰ◸ᔢ́Dr William Ho Mr Chow Ping Wah ඟᄪᗌ͞ᙎMr & Mrs Kenneth H C Fung ߈͓́ͱ́Mr Maurice Hoo Dr Affandy Hariman ߈ጙ̳ᔢ́ʥʩɁDr & Mrs Wayne Hu ည٠ജϢMs Teresa Hung ЄΪɤɡMs Gloria Ho ঢ়ᐶ͞ᙎMr & Mrs Ko Ying Ms Li Shuen Pui Agnes Ms Hu Shu ͱ́ʩɁMr & Mrs Fung Shiu Lam Dr John Malpas Mr Toru Inaoka׳ඟͰ ң৪ᒤᔢ́Dr Lee Kin Hung ధ̷ါᔢ́ʥʩɁDr & Mrs Pang Wing Fuk ᗐˀജᔢ́Dr Kwan Yat Wah Mike ષඟ˥შᔢ́Dr Lilian Leong, BBS, JP ᅾܭჴͱ́Mr Poon Chiu Kim Raymond Ms Liu Ying ͱ́Mr Lawrence Mak The Hon Mr Justice William Stone Mr Joseph Pangעோᘚ ோᓤᔢ́Dr Mak Lai Wo Ms Carley Shum & Mr Jeff Szeto ᅾણձɩմMiss Lily Poon Man Nei ᔢ́Dr Paul Tat Ming SheaעMrs Anna Marie Peyer Mr Tsunehiko Taketazu ༠ Mr Peter Siembab Ȼʨ͓͞ᙎMr & Mrs Ivan Ting ᘣኹ࿘ͱ́Mr So Shu Wing Vincent ஹౣʼͱ́Mr Stephen Tan Ms Cindy Tse ౦ʼ́ͱ́Mr Eric M S Tsang ผTin Ka Ping Foundation Ms Tsang Kwai Fongټࡼݰਥ̈́ ֝ݘᔢ́Dr Tsao Yen Chow ᑢయक़ɤɡMs Tse Wai Shun Susan Wang Family Foundation ߈ҁࡄͱ́Mr Wu Chi Kongټҹᄩନ෯ഁਥ ͱ́Mr Wong Po Yanړඡ ඡ൫܆ͱ́ʩɁMr & Mrs Y S Wong ͨᚪзͱ́Mr David Yee Kwan Yam Λᑢʻܛ Thank You for Your Support
༠ͅটᑢ෮kٲࠗಋဳ֞ᅥ྆ΕϊΉ˞Ɏਆพዀ࿚ʥᆅʶɁɡ The Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support.
STUDENT TICKET FUNDټነ́༅Хਥ
कᖳХɁPearl Patronע ဳᖳХɁGold Patron ᗸᖳХɁRuby Patronټ >HK$100,000 HK$10,000 – HK$29,999 HK$3,000 – HK$4,999
㞫́ႺϷHang Seng Bank Mr Ian D Boyce Ms Deborah Biber ஹұᄨᔢ́ʥʩɁDr & Mrs Chan Kow Tak Capital Well Investment Limited ผZhilan Foundationټ٠ᙬਥ Mr David Chiu ஹᒤႩͱ́Mr Chan Hung Yuen Robert ңٟ̽ɤɡMs Doreen Lee Mrs K L Chan ႺဳᖳХɁSilver Patron ષయ౬ᔢ́Dr Thomas W T Leung ՚ᄮജɤɡMs Catherine Mo Wah Chau Lo Kar Foon Foundation ஹ৪ജͱ́Mr Chen Chien HuaټHK$50,000 – HK$99,999 ᖓࡼ㚺෯ഁਥ ͨᚪзͱ́Mr David Yee Kwan Yam Ms Katherine Cheung Ԉઁٖτࠉʔཽ̇ Mr & Mrs Ko Ying Professor David Clarke Kerry Holdings Limited ঢ়ᐶ͞ᙎ ާɣᇯઠ ່ጷፓɡDr M T Geoffrey Yeh ፳ዷᎨͱ́Mr Fok Wing Huen ඟݯԙͱ́ʥඟ፳֗หɤɡ ټጙઠөʥ෯ഁਥڌ Shun Hing Education and Charity Fund Mr Alex Fung & Mrs Hanne Froseth-Fung ඟ৩ጙͱ́Mr Fung Wai Hing ႻဳᖳХɁBronze Patron ၖၕᖳХɁJade Patron ЄݰЇͱ́ʩɁ͞ᙎ Mr & Mrs Phyllis & Adolf Ho HK$30,000 – HK$49,999 HK$5,000 – HK$9,999 Item Industries Ltd ಲΊˊAnonymous (2) ષࡼ͞ᙎMr & Mrs Alan Leong ңɣι͞ᙎMr & Mrs Henry & Angelina Lee Mr Chan Ka Kui ңኹ࿘ɡDr Lee Shu Wing Ernest Mrs Anna Chen Mr Leung Cheuk Yan Mr Chu Ming Leong ң৩ࢯͱ́Mr Alex Li ᒉ܆ᔢ́Dr Chung See Yuen ңౡϷͱ́Mr Richard Li ᗐࡼඐᔢ́ʥʩɁDr & Mrs Kwan Ka Hung ᖓఊ& Joe Joe Dr Lo Xina Mr Lo Cheung On, Andrew ټᎉЕჴ֨ਥ Lok Yu Kim Ching Memorial Fund ж̷๑ͱ́Mr Lui Wing Chiu Mr Ray Luk ࣍শ෮ਝτࠉʔ̇ Long Hin Creative International Ltd ோሣιͱ́Mr Mak Fai Shing Mr Wong Kong Chiu Mr & Mrs John & Coralie Otoshi Oxford Success (Overseas) Ltd Ѱɷ́ͱ́Mr Shum Choi Sang Ms Ophelia Tam ᇞႚͱ́Mr Tony Tsoi ඡܱജɡ Dr Dominic S W Wong, GBS,OBE,JP ଞ̡ʔᖬϷτࠉʔ̇ Zennon & Pierre Company Limited ઠөඖ͌༅Хዀ࿚ EDUCATION PROGRAMME SUPPORTER
Drs. Richard Charles and Esther Yewpick Lee Charitable FoundationټСႼዉඡဒᓙ෯ഁਥ The Hongkong Bank Foundationټ㟱ᔔႺϷ෯ഁਥ ࠗಋɻജ๏ࣩτࠉʔ̇The Hong Kong and China Gas Company Limited ENDOWMENT TRUST FUND ټᖳХਥ
.ȹȾɄɍᾳ˞Ɏዀ࿚ᖳХ˞ι͓e The Endowment Trust Fund was set up in 1983 with these initial sponsorsכټᖳХਥ
ສΔτࠉʔ̇ ټ㟱ᔔႺϷ෯ഁਥ ټপਥڌࠗಋᑩผ෯ഁ The Hong Kong Jockey Club Charities Trust The Hongkong Bank Foundation The Hongkong Land Group
ผټ٦࿏ႺϷ ֱτࠉʔ̇ ࠗಋ໎ˊ෯ഁਥ Citibank. NA Jardine. Matheson & Company Ltd The Tung Foundation
ਆᖚමക PAGANINI PROJECT
ϊི߮ͅਆᖚමകೕʥୂᓱeThis project is initiated and organizated by Business for Art Foundation.
ҹᐌɻͱ́ࢶᖲ Donated by Mr Patrick Wang ɥɩմԚ͂ • Emile Germaine (1907) Violin, played by Ms Tomoko Tanaka Maoكɻ̈́ڣɩొೄfͅ עϴਅfᑢਅ •
ਜ਼ဍయͱ́ࢶᖲ Donated by Mr Lowell Chang ͱ́Ԛ͂ • Lockey Hill (c.1800) Violin, played by Mr Wang Liangڋ˔F ɩొೄfͅ ݤ؝fѴဍ •
ᒉౝݗͱ́ࢶᖲ Donated by Mr Po Chung Ⴉͱ́Ԛ͂ • Dawne Hadded (1991) Violoncello, played by Mr Cheung Ming-yuenע ɣొೄfͅਜ਼ ༠ۄΛ̛f •
໊̌fᖓᙬɡͱ́ࢶᖲ Donated by Mr Laurence Scofield ɩొೄfͅਜ਼ѴɩմԚ͂ • Ansaldo Poggi (1910) Violin, played by Ms Zhang Xi Ϊॖ۹fౝਥ •
ᅥኂࢶᖲINSTRUMENTAL DONATION
ࠗಋဳ֞Ծผਯɤผࢶᖲ Donated by The Ladies Committee of the Hong Kong Philharmonic Society
– ֺࢶᖲɾӢτᅥኂ– Rare instruments donated ɩొೄfͅೡ͓ͱ́Ԛ͂ • Enrico Rocca (1902) Violin, played by Mr Cheng Li Ϊਟঢ়fݤ˺ • ,Jean Baptiste Vuillaume (1866) Violin, played by Ms Bei Zhu • ٽ ɩొೄͅɍ৹྆ ࣚfʱແfၐဍ। • χၳɩմԚ͂ Third Associate Concertmaster Joseph Gagliano (1788) Violin, played by • ٽ ɩొೄͅɀ৹྆ f˱Ԉԓ̗ • ˔܆ͱ́Ԛ͂ Mr Wong Sze-hang, Second Associate Concertmaster ɩొೄc • Cario Antonio Testore (1736) Violin, played by Mr Ni Lan ݤfΪ̛ෙfӓΛ̛˺ • ͅ࠵ᘂͱ́Ԛ͂
ʠᅥ྆ᅥኂॖሔི߮Ϥࢶᖲɾԯˢᅥኂ– Other instruments donated in support of theొܛݯʻ “Instrument Upgrade and Echancement Project” – • ᄨਝᔝβɩ໔ԭʻ • Two German Rotary Trumpets • ᄨਝജࣟढ़ɣ໔Ⱥࡨ • A set of Wagner Tubas • ᐮ໔Ⱥʻ • A Flugelhorn ࠇᒨઐʍFEATURED CONCERT $QJHOD+HZLWWiୣʺऋၤʱႠ Angela Hewitt’s Mozart & Bach 1&2 May 2010 Sat & Sun 8pm ࠗಋɣผਦࠑᅥᜨ HK City Hall Concert Hall HK$420 $320 $220 $160 ऋcეۗ፡ೄͤ͠ Angela Hewitt, director/piano ຝ͌Programme ۂʱႠ )ɩሁᒄᆚԾۗςcА ۂୣʺऋ ࠌ%ɣሁ፡ೄԾۗςcА ۂʱႠ *ɩሁᒄᆚԾۗςcА ۂୣʺऋ 'ɩሁ፡ೄԾۗςcА BACH Keyboard Concerto in F minor, BWV1056 MOZART Piano Concerto No. 27 in B flat, K595 BACH Keyboard Concerto in G minor, BWV1058 MOZART Piano Concerto No. 20 in D minor, K466
ᆅሒɻHOT PICK 3DXO/HZLVfӴΛ٧ Paul Lewis plays Beethoven May 2010 ͲӴΛ٧ຝ͌ 8&7 Fri & Sat 8pm An all-Beethoven programme ࠗಋʼʝɻʶࠑᅥᜨ ᑂෙጻּiѵςcɍࠖ ޒHK Cultural Centre Concert Hall ʄ፡ೄԾۗς۴ HK$480 $320 $220 $160 ʄ͚ᚊς ܞϴ۹fജऋc Leonore : Overture No. 3 Edo de Waart, conductor Piano Concerto No. 5 Emperor ңၐc፡ೄ Paul Lewis, piano Symphony No. 5 ৻τࠉʔ̇ᖳХרࠖˮؒͅਝɮਆҙ༅ The opening performance is sponsored by CIC Investor Services Limited
ᆅሒɻHOT PICK ӴΛ٧ᒫԈෙჱࠑᅥผ Beethoven’s Fidelio – opera in concert
May 2010 ּဍϫcတԽؿɤԫ 17&15 Sat & Mon 8pm Lisa Larsson, Marzelline ႫcတԽپࠗಋʼʝɻʶࠑᅥᜨ Ϲ HK Cultural Centre Concert Hall Kristinn Sigmundsson, Rocco HK$520 $380 $280 $180 ٽഒဍऋcဟတ Eike Wilm Schulte, Don Pizarro ʹ ؐဍcတԽХܞϴ۹fജऋc Edo de Waart, conductor Jon-Michael Ball, Jaquino ٽᘣݿf̠ݤcᑂෙጻּ ޫɡ̨ßۤ෧ċؒ Susan Bullock, Leonore Andrew Foster-Williams, Don Fernando ෙ̛ဍcᑂෙጻּؿɏʩ ɐࣵჱ྆ Simon O’Neill, Florestan Shanghai Opera House Chorus
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