05278 1435926 .+-*, ಋᖚ he Hong Kong Arts Festival is a prominent ࠗຝ̯ܰ Tarts event in the cultural calendar of Hong Δʥԓʪਂ Kong and the Asia Pacific region. Proudly ؿʼʝଞ stepping into its 33rd year, the Festival ಳም continues its vigorous pursuit of innovativeסԑe ɃɍɊɍ՚ development; the presentation of new works αc˚ፒዀ and the provision of quality arts. ٻ࿚ᆅʘুұณcɺᒾ˞၀ ࠷ؿຝ͌ȹณᜮଠϦ͌e In terms of the number and diversity of programmes, the 2005 Festival is one of the ʌαᖚຝʑࢀҡᔔఒΛۜcஃ largest festivals to date, offering a wide variety ᅡɾɣዃαӢӮcݯࣵʑ̔Ρ of inspiring art, music and cultural ԞਝΊࡼၤ̯Δ၀ߜᐰϳᖚ programmes by prestigious international ࠭Ͳؿ൚ɓˮcผ˥ࠗಋ artists and leading local talents. I am sure that ਝʼʝผࠛቤɈe the Festival will further enhance Hong Kong’s status as an international cultural metropolis. ΈϽᖚࡼၤܰωଞٴᔑϊᚭ d I extend our warmest welcome to allผcԎूࣵʑ̔ᜮଠʶ̈́ သጙϤᓊe participating artists and wish all local and overseas members of the audience a most enjoyable time. ւٽܧϷਂܧࠗಋऋПϷ
TUNG Chee Hwa Chief Executive Hong Kong Special Administrative Region ˚ᘆᖽ Message from the Chairman
.ၤɍɊɍ։ࠗಋᖚ warmly welcome you to the 33rd Arts Festivalٴ ᚭ ຝcܰࠗಋʼʝވʥԓʪΔ IAs a premier event in the Hong Kong cultural ؿࠇ߬ʼʝଞԑcමၙਝԓʪ calendar as well as the Asia Pacific region, theਂ ᖚ၀ߜc˞ʥ̯Δ෮ݗึؿᖚ Festival presents the finest international andਂ ɮАّe regional artists in an intense series of concerts and performances, as well as showcases the creativity ̯Ɂটʶᑢ༦ᅥʥʼʝԑ৻ອ of artistic talent in Hong Kong. c˞ʥࠗಋᑩ֚ܧ༅Х҈ࠨؿࠗಋ ԭɣ˚߬༅Хዀ࿚c Appreciation and thanks are due to our mainټপਥڌผ෯ഁ ˢࠨΛαԞྦྷࠗಋᖚຝؿྐྵషʻ subventing organisations – the Hong Kong ܛc҈ࠨ૯ߎᑢ҃e Government, through the Leisure and Cultural Services Department, and the Hong Kong Jockey ϊ̔cࠗಋᖚຝྦྷֺτᖳХዀ࿚d Club Charities Trust. Their long and continued ᖚ྆˞ʥɁ༅Хc͛ߎ˞টʶ patronage are what make these cultural ᑢ෮e presentations possible. In addition, we gratefully acknowledge the ,ȹΣ˞֡cࠗಋᖚຝ༦˸ძነ́ generous support of many corporate sponsors .ʭαɾʤི߮cߎɈ arts institutions and individualsڇయ˞ʥ རነ́ʥαႦᜮଠઅᘩΈᗘᖚe ɐ߸ི߮ΛαԞᏵଠΛዀ࿚ʥɁ༅ The Festival has always made our programmes Хcɻነʥɣነነ́ɖʦᎶᆅईe accessible to students and young audiences through half-price student tickets and our Young 2005αࠗಋᖚຝຝ͌ᔔఒd˳ᖓ Friends Scheme. These schemes are funded by the ɺᜮଠؿ௩ΡʥɟՈc generous donations from numerous corporateٴຒτc .փe and individual donorsڻϢ̢ c౨શၤ੬Ε The 2005 Festival offers a rich and stimulatingܛωᑢჇɎؿʻʹ 2005αࠗಋᖚຝɻӮࠍe programme, with a variety of captivating performances and choices, presenting a diverse range of tastes with artistic excellence. We hope to offer something enjoyable and of interest to everyone. Above all, I would like to thank you, our patrons, for your support and participation in the 2005 Festival.
ңพᄤ Charles Lee
:ࠗಋᖚຝؿ༅ХԞϬ The Hong Kong Arts Festival is made possible with the funding support of Ϸܧᐢဟᘆᖽ Message from the Executive Director
005αࠗಋᖚຝؿຝ͌˞ he starting point for the programming of this 2005 ݯ˚ᕀeु T Festival was the idea of contrasting opposites – ‘sacredڙ˖2ुັၤ ԭඖʏॖcܰΈိ and profane’. Both of these elements are rich sources ofڙ˖dັ ᖚѼβؿӮᕀҥၤݖ creative impulses for the performing arts in most cultures cʌ։ຝ͌గऋПॶਪʦܮ and this thematic link is evident in much of our ᗐ programming. We hope these connections and contrastsޚܫ෮֨e҈ࠨѴશԭඖ Ɍྦྷ͓ؿʏॖcॶݯɣࡼొԜҡ will make your Festival experience more engaging and .৽Ɂdҡᗒѿؿᜮሌe memorable ࿘۾ȿࣵ̔ᖚɮАّc҈ࠨ Alongside all of our international artists, we are proud to ॶᑼᇼ̯Δᖚ၀ߜcΣࠗಋ֗ present many outstanding Hong Kong artists. For example, ဳ֞ᅥ྆dࠗಋჱ྆d̯Δ ˮαႦ፡ೄۗࡼਜ਼ᆼdࠓ the Hong Kong Philharmonic Orchestra and the Hong Ⴛဳʄࠇۗᘆᖚeԯˢၤˮ Kong Repertory Theatre, as well as the fine young Hong ຣჱΊД Kong musicians, pianist Rachel Cheung and the Fresh Airܢ˳ؿ̯Δᖚ၀ߜ ுʥң᎘d7AऒᎻჱୂdɻߜ Brass Quintet. Other important Hong Kong artists taking ɩմdࠗಋ part include Cantonese opera stars Mui Suet-see and Leeټܖჱ྆d89268d ϐcᑹτɈݵႇ Lung; Class 7A Drama Group; Chung Ying Theatre; Groupܬᇁၦࡼฦ лؿྡྷɈݢୂ ңᔪ 89268; the Material Girls; choreographer Daniel Yeungؒ ,ݘdષഥࠦdңɻͲʥ֍e and the remarkable combined talents of Lee Chun-chow Faye Leong, Gabriel Lee and Chong Mui-ngam in The ᖚຝᘗᙩዶรկ̯Δၤࣵ̔ French Kiss. ܢ˳ˮϳؿАɁc̯։ณА In addition, our commitment to commissioning new work קdէᚗdʌէၦރು ਝ࠭ᅥdཫ҈ from Hong Kong and around the world continues, withټܖd̡ dؒлd pieces such as Amber, The Nightingale, All That Shanghai̟ےᅚؿȹ ˚τ௩ʥɩ˔ɥనʊতe Jazz, Material Girls, i-City, The French Kiss, Come Out & Play and Little Prince Hamlet. 2005αࠗಋᖚຝݯᜮଠᘆɐȹ ྆ٲϛɀɊ̒ˮcၤ The 2005 Festival will offer a total of 124 performances ༠̒Ɋɀ˳ܢɍɊɀࣵ̔ with 42 performing groups (32 overseas and 10 local), two ʥɊ̯Δ྆cᑹτԭࢄ ,ᙴc˞ʥɺࢀ፟༦ؿᖚຝ˱ࢿ exhibitions and our Festival Plus programme of talks ຝ͌iᑟdᇹผʥᖚɁᇹe seminars and meet-the-artist sessions.
ΛۜcࠓࣟΛʏ This is one of our largest Festivals to date, in terms of theٻ։ຝ͌Λ̯ ʝcܰࠗಋዃԞஃᅡɣd˥ number and the diversity of programmes. I am sure too, Ɂሌʶࢧ͌dԮઢೕֲؿᖚ that it will be one of our most enjoyable and inspiring. We .ၤe are delighted that you could join usيຝɾȹcᑢჇɎ
ঢ়ᄨᓤ Douglas Gautier 32 Rachel Cheung 5
ຝ͌ੱ For programme details Page 13 ࠒ
1ɩࣂ35ʗᘸcٽˮ ˳ܢȹຝɻͤࢠ Running time: approximately 1 hour and 35 minutes including one interval
ࠗಋɣผਦࠑᅥᜨ Concert Hall, Hong Kong City Hall 14.3.2005
ᗐઌʹdಲᇃཋʥඨՓዀؿᚊባکݯȿᜑɣࡼྦྷωˮजɎΡͿോcᇼʘতΕຝ͌ ສeผʑᇼʜኞϬᙘᄧd፣ࠑֶ፣ᄧc͛ɺ˿ඝࠕмํcΛᑢАk To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your ALARM WATCHES, MOBILE PHONES and PAGERS. Eating, drinking, smoking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your cooperation. ̡́ʍଽBiography 7
ਜ਼ᆼ
כαඩɊɍัؿࠗಋ፡ೄΡʹਜ਼ᆼగᚾ နСጻ࠳ነ࣎c̒ั፭սյյୌೄc ፭࣎قϣ൬ࠗಋᖚነcȹ܃ԯ ᖚࡼ࠹ঢ়ज़ᑟඡᚪ࠷ነୌe
ਜ਼ᆼንᒆϤɺછؿ၀ुʥᅬɈcȿྨ cټᏵ̯Δʥਝࣦ࿘cҡΛωᏵཕᆉነ ټʥࠗಋࠑᅥᆉነټңૠ෯֨ᆉነܢ˳ ผɾͲɈᖳХeټ೩cଊࣂᏵңਝሑਥ 2002αcྔʄ։ࠗಋˮነ́ ٽԑ৻ѫѫܧᆉh2004α5˂ҡᏵཕ̵ ΕΔਂʥਝʼʝٲ˞cر৻ᆉרˮ ᑩԑɻྨԙᐜe
ၤܢ˳ࣵ̔Λωʔዟۗcכਜ਼ᆼ౦ उКᙬਥႤؿ፳ݤၐϛ՚α֨ࠑᅥ ผcख़dജଞནdԓऋᙬɣؿԀি ˮc̎ᜪdᘣᐲdؐᙬʥ૯Γ೩Δɾࠑᅥ ᖳХΕمຝe2003αcҡᏵࠗಋጣԄ उּΖʥࠗಋɣผਦАɁۗผe
ၤउКᙬਝࡼ͚ᚊᅥ྆dັ֤ఃෲᅥᅥ྆dࠗಋဳ֞ᅥ྆ʥࠗಋᖚ܃ਜ਼ᆼ౦ͱ ʭα۩ᅥ྆೩Аˮe2004α10˂cࠖ۹Ᏽᑼ߳ᄨਝၤؐ࢟ӴΛ٧͚ᚊڇነ ᅥ྆АcαɊȹ˂ʹᏵᑼ߳ਝԀিۗe
˂ၤOrchestra of Temple SquareАc4ے2005α3˂cਜ਼ᆼੀᎶᑼ֡ਝᜤಙ ࠖωΕୣޫɾࣜ˿ʩڬ˂ਝɄ։ᑺԓਝ፡ೄຝᐾϷɁۗผc5כੀ ਜ਼ᆼੀ֡˵ԕၤɻਝෲᅥᅥ྆ٱ˂ਥࠑᅥᜨၤᘣᐲਝࡼ͚ᚊᅥ྆Аˮe6 АcϤ8˂ੀʹωˮؐᙬɾʒɊ։ਝጣԄࠑᅥຝe
ࠑᅥᆉඖ ٢࠰ඏਝ፡ೄɣᑩނʭαے2004α ਝᜤಙ Һᑩፕʹᆉٴ߶ʥՇᚭڥ ʭα፡ೄɣᑩڇ2003α उКᙬ፳ݤၐऑਝ ԙԾۗςᆉܢ˳߶ʥ3ඖിР྆ऋПᆉڥ 2002α ߜਝۤဍჇᎰਝࠑᅥຝ ߶ڥ ʭα፡ೄˈᑩࠗಋᑩਂڇդۤਝܪ 2001α ߶ڥ
ː©ਜ਼ҁ৩ޚֺτ 8 ̡́ʍଽBiography
Rachel Cheung Thirteen-year-old Rachel Cheung was born in Hong Kong and is currently studying in Form 2 at the Maryknoll Convent School. She started piano lessons aged four with Grace Man and was later admitted to the Hong Kong Academy for Performing Arts as a junior student studying under Eleanor Wong, Artist-in- Residence and Senior Lecturer.
Rachel Cheung has won numerous first prizes and awards, and has been the recipient of many scholarships including the Lee Shuk Chee Memorial Scholarship and the Hong Kong Music Scholarship. She is now fully sponsored by the Simon K Y Lee Foundation. Rachel Cheung also excels in her general studies, winning the 2002 Hong Kong Outstanding Student Award. In May 2004, she was awarded the Certificate of Commendation by the Hong Kong Government for making outstanding achievements in the promotion of arts and culture in Hong Kong.
Cheung has performed frequently overseas as a soloist including at the celebrations of the 100th Anniversary of the Vladimir Horowitz Concert in Kiev; a concert tour of the US and recitals in Taiwan. She has also been invited to take part in many prestigious international music festivals including the 9th Musical Olympus International Festival in Russia and the 59th International Chopin Festival in Poland. Through the generous sponsorship of the Hong Kong Chopin Society, she made her debut in Uruguay and at home in the Hong Kong City Hall in 2003.
Cheung has collaborated with many orchestras including the National Symphony Orchestra of Ukraine, the St Petersburg Philharmonic Orchestra, the Hong Kong Philharmonic Orchestra and the Hong Kong Academy for Performing Arts Junior Chamber Orchestra. In October 2004, Rachel made her debut in Germany, with the Beethoven Orchestra Bonn and in November 2004, she was invited back for a concert tour of the US. ̡́ʍଽBiography 9
This year promises to be busy and enriching. Following her appearance at the 2005 Hong Kong Arts Festival, in March Rachel is performing with the Orchestra of Temple Square in Salt Lake City and will then go on to give a recital at the 8th Miami International Piano Festival in April.
In May and June she will be making her debut in Moscow, with the Russian National Orchestra at the Tchaikovsky Concert Hall, and in Beijing with the China Philharmonic Orchestra. In August she has been invited back to the 60th Chopin International Festival in Poland.
Music Awards 2004 First Prize and Peer Jury Prize at the Gina Bachauer International Junior Piano Competition, US 2003 First Prize and 3 special prizes from the jury including the Most Outstanding Concerto Performance at the International Competition for Young Pianist in Memory of Vladimir Horowitz, Ukraine 2002 First Prize at the Llangollen International Musical Eisteddfod, Wales 2001 First Prize at the Steinway and Sons International Youth Piano Competition, HK
All photographs ©Cheung Chi Wai ຝ͌Programme 13
ʱႠ Dɩሁ˸ࠑʲςʥልࣟςcBMV 903
ࣵན ࠌEɣሁᒄೄۗსςcHOB XVI:52
ңऋ FɩሁᆻୌςcႦ҄ؿcS 144/2 ݖɾࣀcS 160/4 ʥ S 160/4bisˋ EɣሁᆻୌςcݻᓘcS 141/5
z ɻͤࢠɊʄʗᘸ z
12ۂጣԄ ࠌBɣሁͮሣᛰۗςcА
33ۂ ࠌEɩሁȹէςcА̥ 44ۂࠌAɣሁ̒cА 31ۂFɩሁɀЩጙςcА
28ۂౝᖓޫഥ߁ʩ AɩሁɍۗსςcА 4/4ۂబᚓؿด͐cА
Johann Sebastian Chromatic Fantasia and Fugue in D minor, BWV 903 Bach
Joseph Haydn Keyboard Sonata in E flat major, HOB XVI:52
Franz Liszt Étude in F minor, La Leggierezza, S 144/2 Au bord d’une source, S 160/4 and S 160/4bis Étude in E major, La Chasse, S 141/5
– 15 minute interval –
Fryderyk Chopin Variations Brillantes in B flat major, Op 12
Gabriel Fauré Nocturne No 1 in E flat minor, Op 33 Barcarolle No 4 in A flat major, Op 44 Impromptu No 2 in F minor, Op 31
Sergey Prokofiev Sonata No 3 in A minor, Op 28 Suggestion Diabolique, Op 4, No 4 14 ᅥςʍଽProgramme Notes
Dɩሁ˸ࠑʲςʥልࣟςcBMV 903 ʱႠ (1685-1750) cᛷಳݯ̀ᒄೄϤАh1730αˢΕഠ̯خٱؿۂʱႠξΕ1720ά̞ɰѧιА gඟ̠ݤ́پcңऋؿ܃eʱႠ˖ȹϛα̯خ።ࣂcੀɾҝᄘݯဳࠓೄˈ ɓؿʲςeݒڈࠖͫԅܞҐϊςҝᇁݯˮϳؿ፡ೄςeֺጽ˸ࠑcඩʹ Ԯऋϳؿ҄ޅ˞ڃݒcٻؿജٽЍ֝͝˸کˮुɃʝؿʲς̯Ӹʗݯԭͫc ؿልࣟς࿚ᗲᔑc།ʲς܃༖ੜeϤֲ܁તሁcફۧڬܰ˸܃ʗ֞h ணeޚؿӔβᄘؒɣ
ࠌEɣሁᒄೄۗსςcHob XVI:52 ࣵན (1732-1809)
ɍࠖ፡ೄۗსςcԎᕀᘆടΊؿᒄᆚ܃1794ϭ1795αං༝࠷ࣂѧιˢכࣵན cɖܰࣵནؿΡʤh1795́پແؿپКഠܰܫᄨਝcכɣᄨձgฦeฦ́ α5˂ࣵནҡጱ֡࠷͊˺СؿັඏΈɣઠਦcˮ፯Գࡼၰդݤgʱμݤღ ؿᓤeಲဘਐcࣵནɖႏݯฦܰӞؿ፡ೄࡼeȹᒨᅥྔ͌ؿࠖɰ eϤۂӮȹౚiᒄᆚᅥࠑ˥Ɂ͌ɺถdʵɁɃcҡࣵནԯˢؿ፡ೄዟۗА˿ ੜई૯ҶؿᘨcΕୄᅥࣱ̖ಲᄧಲᔙeྺ
FɩሁᆻୌςcႦ҄ؿcS 144/2 ݖɾࣀcS 160/4 ʥ S 160/4bisˋ EɣሁᆻୌςcݻᓘcS 141/5 ңऋ (1811-1886) c̢፭ԯˎነୌ፡ೄАςcᐾࡼވෙΔСᖾٶͼˑСcࡼ൰ሱכңऋ1811ά ᐰc˞ु೧ۜྸٱӹဍ̛ʥᔁСϴԈeɷɊԞัcңऋగ܃ଫֈၐɖढ़ గཱུࠞȿֈಲցֺؿ́ݠcɀɊ҄۾ԀিᅩݘၤߜਝۗhɖཫஈΛࠑᅥु೧cˢ ԚңऋೕڔΛัగցֈʱቭe1831αcңऋΕʱቭ༤ɐɩొೄɣ̛̛֔ࣟc ᅕαcңऋੀ̛̛֔ࣟడࠖɩొೄؿዟۗ፭ς܃ࢄˮᐾ˖ಲᔶؿ፡ೄҌ̝e፭ כ1838αѧιcЎͅכξخٱݻᓘeԒᆻୌςؿܢ˳ҝᇁι፡ೄᆻୌςcԯɻ eخ༦ͫᐿ૯c˞ϭңऋɺɺͱੀɾᓯʝcɷΕ1851α̳βˮ
ϬɊȾ˖ɍɊαˤɻ౨cңऋၤနᗫg༠ʷဍऋВᏲʩɁᆅᛞc1835αԭɁଫ 1835ϭ1836αංᄘАࣁ༝ςכֈˀʑ̿eңऋ˞ࠑଲতɎɡࠁயؿౡᆽcԎ Ԟˢ࠳߯ԯɻడࠖcν፣Εԯࣁ༝ั˂ςඑɻeԒᅥςီݯࠑᅥؿ܃එh ဍՀɬؿౡᆽeځݖɾࣀcూᄘɡˋܢ˳ːcɻؿڌע ᅥςʍଽProgramme Notes 15
ۗࡼӸͫcԀিܣ1839α֛cңऋࠇ ᖓಿg˺ڕϭΕˢࣂؿЂقΈΔۗc ؿጱոհؿᄲ੨ޒ࢟ gၐ࣓դʔ˚ҳ e1848αcܞɎcɷᔝݯਿ؇Аςʥ །˺ᖓಿֈؿңऋܰᕍနؿࡾѸ౩ ϫcԎኪͨʔᏲؿࠑᅥᐢဟ ȹϛɍɊ cʱႠɖ౦ͨϊᓻe1848αcˢΕԅکα 㛾ᄘιȿɍࠖۗผᆻୌςcɻɀ ࠖగܰʌʨۗؿႦ҄ؿe
z ɻͤࢠɊʄʗᘸ z
12ۂࠌBɣሁͮሣᛰۗςcА ጣԄ (1810-1849)
ʱቭೕࢄcѴશΊιСగeᒖಳˢؿʔࠑᅥผɺʥң֡کᙬc1831αؐכጣԄ́ ЩۗcɺЎݯˢᑨΊᐰcҡᘰԞ܁cЎˢॶ˞ࣂؿݚϷફٴऋؿՇᚭ ȹᙌ܃ࠑɁe1833α1˂cАςࡼѴݤᄨ˖cЎԯكΡԒ֦ྡྷΔু፭ˢؿพ ഠၐ౧ˢѧιeαʄ˂cያ۹ਟځჱያ۹ਟᑹ̰ᄘιc߬̊ͅȹΊАςࡼ ɁɟؿςሁͮሣݯॖҥcᄘιࠖᛰۗςeتࠖeɺɔcጣԄగ˞ჱɻᐼ
33ۂࠌEɩሁȹէςcА 44ۂࠌAɣሁ̒cА 31ۂFɩሁɀЩጙςcА ̥ (1845-1924)
డ˝ಲ༌ോᛷ͐ˢྦྷАςؿҺʶeЎԷɊکɍɊΛัɷ̳βਿ؇Аςhɾ̥ ɺک˞ဍe̥ιΊּۤܢ˳Ⱦ˖ȾɊαˤcˢɰܰรԮᚬۤؿАςΊcঢ়ӷ ݠᙺდݯ࣯cѼࢀݯτቤɈdࠍϳᒪඣcࣩሔᄯᝎeࠌEɩሁէςܰˢޅ ؿɍࠖէςؿȹࠖeخȼɊαˤɻ౨cԎݯ1883αࠖωˮכcᄘۂαႦࣂؿА
ԑɐܨɊȾ˖̒ɊαˤcЎ߬Է1881αෙ٧ʱႠ୩ʩਅؿכጣԄؿᄘ cԯɻؿɣϷԯ༞cസɷݚϷԞeαc̥ɖᄘАȿˢɊ ɍࠖ㛾ؿȹࠖcԚˢιݯᄘА፡ೄᅕ൴ΛؿᗲആАςࡼeᒖಳᜑ cɷΕ1886܃˞߬ԷࠌAɣሁ̒ѧιڳɁ̛ۤʩֺؿcЎ̥ e̟ےαྟ፷ඏؿ
ЩጙςcЩԚɺܰЩጙАcɖȹցܰϬಳݚᚉؿዟۗςeЩጙςȹീࡈܰכϭ ؿȹୂᅥςɐeخႍc1822αઆКАςࡼӂဍКcଅͱੀΊီ͂Εԯˮ ᅕα܃ഒВऋɖ፭ɾАЩጙςcጣԄ͛τᅕࠖЩጙςࠍ˖e፭㠥ࣂˤೕࢄcЩጙς ᛷΔЩೕؿᛰۗςcɖͶݯЩጙςeעd܆ɖᛰʝcగடȹԒ࣓ኣᓯ௰ᅥ ᒖಳЩጙςɣΛݯ፡ೄϤАcЎ̥ɖᄘȿȹࠖ˞ሉೄᄦۗؿЩጙςeˢؿɀ፡ೄ 1883α5˂cܰȹࡨɍࠖЩጙςؿԯɻɾȹeכЩጙςc˞ෑᙬּ࣮ၦςݯ˚ᕀcА ᅥςʍଽProgramme Notes 17
28ۂAɩሁɍۗსςcА 4/4ۂబᚓؿด͐cА ౝᖓޫഥ߁ʩ (1891-1953)
ɊԞัؿౝᖓޫഥ߁ʩᑹΕັ֤ఃࠑᅥነұነࣂcˢɰᄘȿɍࠖۗსςc 1917αכڬ1907αؿɍࠖcכҡιݯˢ̳βؿȹۗსςؿਥᓣeϤᄘ܃ɀࠖԯ ˈʗݯྦྷ˿ڳҝᄘι̳βؿɍۗსςc৹ᕀݯϬᓿ೫তeϊςඩȹᅥc ɖగܰࠎ՜ɾ܃cЄ˞ॶмʵАςࡼɊαۂɊʒัؿАכੜईؿడͫeࠖᄘ ԯɣᐺؿҌdํ٦ঁᆏᏹؿᅥݒɻᔔఒؿכαࠇᄘcɖྡྷΕɁఖՈiɣลͅ ౨ȹϽᅥٶजcᒖಳ͂ȿԞ͝Σණ́ԃబؿɈ൴c̳ΣړᐰࠑбeԒऋϳ ϬɯؿभႜeޜᔄϊᜮڳผمിɁֺ႓iಹΣԳΕᛰѼᗂɐؿᄧཫcᄋໃؿ
ϊeኣАςࡼϬ߸cబᚓؿด͐ᅟכ˅ᑹɺۂౝᖓޫഥ߁ʩነ́ࣂˤؿԃࣩА ˢ̯Ɂֺܰڬ۹ᅟত܈ԯΡʤʹ೫cЎʲβรכࡈcȽˮڈᕀԎ cˢݯ̰Ԟ܃ϊςeΛαܢ˳ȹʨcౝᖓޫഥ߁ʩࠖωʔۗࣂɖ܃ᕀe1908α ਥగ౧ˢೋȿఝॖూc܆ਥۗcϤϝඏ˿ʩ܆ݢɁʥᖚࡼ̥ϝԓgϝඏ˿ʩ Ԏᄘ㠥iթ gթၐթᄦ፡ೄcᘩ৽̥ϝԓg̥ϝԓၐթણؿुe
ᅥςʍଽiࣟཊճǧਠࢬ ɻᘭiሲኮѻ 18 ᅥςʍଽProgramme Notes
Chromatic Fantasia and Fugue in D minor, BWV 903 Johann Sebastian Bach (1685-1750)
Bach composed an early version of this work around 1720, apparently for harpsichord. Later, at Leipzig in 1730, he completed a revised version for organ. Then, a century after Bach’s death, Liszt’s pupil Hans von Bülow made his great arrangement for piano. The word ‘chromatic’ strictly refers only to the opening section of the work, the extraordinary fantasia. The fantasia itself is in two sections. The first is like an extended cadenza, characterised by rapid broken chords. The second, called Recitativo, is more melodic. Finally, as a foil to the rhapsodic writing that preceeds it, the fugue is strictly disciplined.
Keyboard Sonata in E flat major, HOB XVI:52 Joseph Haydn (1732-1809)
While visiting London in 1794/95, Haydn composed his last three piano sonatas for the noted keyboard virtuoso, Therese Jansen. German born and a student of Clementi, Jansen became a close friend, and in May 1795 Haydn even attended her wedding to the engraver Gaetano Bartolozzi at St James’ Church, Picadilly. Undoubtedly, too, Haydn esteemed her to be a fine pianist, for the keyboard writing in these works is among the most dazzling and arresting in his entire solo output, as witnessed in the striking opening movement. The mood of soulful intensity of the Adagio evaporates completely in the mercurial finale.
Étude in F minor, La Leggierezza, S 144/2 Au bord d’une source, S 160/4 and S 160/4bis Étude in E major, La Chasse, S 141/5 Franz Liszt (1811-1886)
Franz Liszt was born in Hungary, close to the Austrian border, in 1811. He studied piano and composition with his father, and later when the family moved to Vienna with Czerny and Salieri. The prodigy undertook his first European and British tours in his early teens. Like many child stars, he quickly tired of the rigours of touring, and in his twenties settled in Paris. There an encounter with the violin virtuoso Paganini in 1831 was crucial in developing his own phenomenal pianism. Later in the decade, he arranged several of Paganini’s virtuosic solo violin caprices as piano studies, including La Chasse (The Hunt). In their first version, completed in 1838, the studies were of such enormous difficulty that Liszt had to simplify them when preparing them for publication in 1851. ᅥςʍଽProgramme Notes 19
From the mid 1830s, Liszt carried on an intense affair with the Countess Marie d’Agoult. The couple settled in Geneva in 1835, where Liszt composed the musical evocations of the Swiss countryside that make up his Album d’un Voyageur (1835- 36). Later, he also reworked several of these Swiss pieces in the ‘first year’ of his Années de Pelerinage Series. One of the most beautiful of these musical ‘postcards’ of the Swiss alps is Au Bord d’une Source.
Liszt resumed his career as a performer in late 1839, touring widely until deciding, at the instigation of his then mistress, Princess Carolyne Sayn-Wittgenstein (sister of the Tzar), to redirect his activities to composing and conducting. From 1848 he was a courtier at Weimar, living with Carolyne and working as musical director to the Duke, the same post held by Bach 130 years earlier. There in 1848 he composed the Three Concert Studies, of which La Leggierezza (its title derived from the Italian for ‘lightly’) is the second.
– 15 minute interval –
Variations Brillantes in B flat major, Op 12 Fryderyk Chopin (1810-1849)
The Polish born Chopin arrived in Paris in 1831, hoping to earn fame and fortune. While his public concerts were never as popular as those of Liszt, he developed a faithful following among enlightened amateurs, and was renowned for his brilliant improvisations on popular melodies of the day. When Ferdinand Hérold died in January 1833, he left his last opera Ludovic unfinished. A fellow composer, Halévy, completed the work, and it was staged in May the same year. Shortly after the premiere, Chopin composed this set of variations on one of the opera’s most popular airs, Je Vends des Scapulaires.
Nocturne No 1 in E flat minor, Op 33 Barcarolle No 4 in A flat major, Op 44 Impromptu No 2 in F minor, Op 31 Gabriel Fauré (1845-1924)
Until he was at least in his early thirties, Fauré showed little evidence of commitment to composition that characterised his mature career. Much later in the 1890s, as a revered teacher to the likes of Ravel, he had acquired considerable authority. Back then, however, he was an indolent and somewhat romantic figure, “very seductive, very tanned of face, with a very dreamy melancholy air”. A product of this youthful Fauré is the Nocturne in E flat minor, composed in the mid-1870s, and only first published in 1883 as the first of his set of three nocturnes, Op 33. ᅥςʍଽProgramme Notes 21
Chopin composed his single Barcarolle in the 1840s, but it was not until Offenbach’s The Tales of Hoffmann was staged in 1881, with its famous Barcarolle, that the form became truly popular. In the same year, Fauré composed the first of his 13 essays in the form, which together make him the most prolific serious composer of barcarolles for the piano. The form evokes the songs of the gondoliers of Venice, but Fauré himself did not visit the serene city until after he had composed his fourth, the Barcarolle in A flat, in 1886. If not actually ‘made on the spot’, as the word suggests, an ‘impromptu’ must usually be a spontaneous piece for a solo performer. A Czech, Jan Václav Voˇriˇsek first adapted the term from poetry to music, in a set of compositions published in 1822, and Schubert followed suit a few years later. Chopin also composed impromptus, and as the century progressed the form came to encompass the idea of apparently improvised variations on a simple idea. Most impromptus are for piano, though the exceptions include an impromptu for harp by Fauré. From a set of three, Fauré’s Second Piano Impromptu, with its tarantella theme, dates from May 1883.
Sonata No 3 in A minor, Op 28 Suggestion Diabolique, Op 4, No 4 Sergey Prokofiev (1891-1953) While a student at the St Petersburg Conservatorium, the teenage Prokofiev composed three early piano sonatas. Several years later, the second of these became the basis for his official Sonata No 1, while the third, dating from 1907, was reworked in 1917 as the published Sonata No 3, subtitled From Old Notebooks. The work is in a single movement made up of contrasting sections. It remains for us to wonder what it was about the sonata he had written at 16 that so appealed to Prokofiev ten years later, in the year of the Revolution, of all years. Perhaps it was the technical daring of the earlier piece, with its rich sonorities produced in passages of pyrotechnical virtuosity. They certainly remain, though channelled to produce an almost diabolical energy that, as a recent writer pointed out, “seems to engrave upon a distorting mirror an image in which a decadent society is intended to see its true face”. The sonata is not the only work of Prokofiev’s student days to which the word “diabolical” has been applied. According to Prokofiev Suggestion Diabolique was not his own title, but was coined by one of his student friends. However, the tempo marking Prestissimo fantastico, was his own. It was with this work Prokofiev made his public debut on the last day of 1908. Some years later, he played the piece for the futurist poet and artist, Vladimir Mayakovsky. In response, Mayakovsky made a sketch of the composer captioned: “Sergey Sergeyvich playing on the tenderest nerves of Vladimir Vladimirovich”. All programme notes by Graeme Skinner ਿInterview 25
ɺ̡ɓؿʭɤ
༠ژㅽ
ଊȿϬɯeٲͫ˨ɷడࠑຝcࠑᅥु೧ਜ਼ᆼగ
τɈؿ͐ᆲȿȹɩݒʱႠDɩሁۺeϽᏵᆉಲᅕؿɊɍั፡ೄु೧ᐄڌᒾϬ Σܰ႓e܃Ծۗςɾ cਜ਼ᆼగޫౝᙬɍိੱၑɻፕˮɍݒ͐ᆲcᅟᕀʗПڔϢඡᚪ࠷ණ ݯiߕసd෴ၑdᗫe
עԭّکɺʥّ܃ᒖಳ ضጌؿਜ਼ᆼɖϬᘨֲᇲᔵdੱᔔఒၤෲ܆ʶ ࡻୈeڈ˘ɺΛcϤۦᛷeԅܰΐݯɤ
ຆԷೄᒄԅȹެcኬɁగߊড়cᛰ၀Ɉ˨ҸdݠᅱΡ৽eܞʹЎؿ
ஈcగܰԯۗ˥Ɂु֡dκɁʶ֞ؿࡈΐhႩɺ˅Ҍ̝ঢ়൚Ϥɰeֶ
ඡϢᘷiᐢ௩ᚭᄦೄࣂ܆ϣeᄦʱႠc௩ᚭҰࠑଲȹိᐰࠑcБผ ᅥϊɺठeڳᗒcЎᆼ۾ᚹԷ̞́ʹɺᒾؿྦྷe eܨԅɖܰਜ਼ᆼ௩ᚭؿ̀АςࡼగܰʱႠؿᇂ
ΛeϽྔ2003αʄ։፳ݤၐ۾cᖐࣂ҈߬۾ຝۗۂʱႠؿ፡ೄА ߶ڥඏਝ፡ೄɣᑩؿڎ٢ނʭαےʭα፡ೄɣᑩc˞ʥ2004αਝᜤಙڇਝ ˚ʹ႓e hԯˢʄϽۂಲዟτ৫cਜ਼ᆼΕ̯։ࠗಋᖚຝؿዟۗผɻcɖፕእȿʱႠؿА ࣵནdңऋdጣԄd̥ౝᖓޫഥ߁ʩeඡϢႏݯਜ਼ᆼαʪܰڬАςࡼ ɩcɺփਿҞȹϽАςࡼe
ଊᆼٲଊͨࠗಋᖚነᖚࡼʥঢ়ज़ᑟඡᚪ࠷ᘷiωۗؿς͌ॶ e܆ଊؿٲֲࣟؿΛʿࠍc
ଊሣ๕ؿҌ̝cҡॶࢄٲɺ௰ॶۂ࣯dঢ়ൔd၀ᆽؿςɥτeңऋؿА ଊࡄईؿȹࠍeٲॶڬؿۗʨͫhౝᖓޫഥ߁ʩؿς͌͐ 26 ਿInterview
ਜ਼ᆼҰʨؿᆻୌӷ˞˥ɁठɈသ cҰʨᆻೄࣂංکᑩࠑᅥผˈ ༠Ɋɩࣂᒖಳɺʍ෮ Ўٽ နСጻ࠳ነ࣎ɻכϊ̔cϽగᚾ ޅಲۦɀؿࠑᅥु೧ćݠ།ȹঁɩ ʗПe
ਜ਼ᆼؿࠑᅥԑพ̳ΕഢכӀ፟cͅ ٣cነ࣎ऋஈ̋࠳ᚾɻdߜdᅕd ᆻೄeЎيߜਝʼነ̒ޫcΡᜑτ ɺᆻୌࣂcෲቇᚾe
СؐऋӡͶܰؿᄿෲe႓iۄ τཫɈeτࣂ҈ผԷܺԒ۾ԑܨ ςɥcܨԑ㛾ܺȹౡe
ˇضɖෲ།Ⱦัؿհհȹcɐ၉ ڳ͂ؿཋ༝Ꮋe˿ܰcਜ਼ᆼ ɺɣෲޜཋ഼cᒖಳਜ਼ෞෞผցࣂ፣ ᄧ˺ː௩ჱޜe
།ȹྦྷᚦ́ոհ߬ΡП႒ผcɺ ਜ਼ᆼၤϢඡᚪ࠷ ʭᚹຣႍ Rachel Cheung and her teacher, Eleanor WongޅݚϷʹTwinseԯྡྷܰ ݚϷςcɖӀज෮Twinseྦྷոհɖ ፷e۾ᖚነነ́h།ਜ਼ᆼȹᅚcԭɁᆅෲ፡ೄcܰ
ਜ਼ᆼᜭ௩ᚭࣁ༝cɖෲΌϬХᎁcЎԔՇؿնୄܰᄦೄi͂፡ೄ҈˿˞፭ʶ ঢ়ጙc۾༠eᄦΡɖٲ༠Ϭɯeˈʿ႓c҈ʶɺʶc˿˞͂ࠑᅥٲ્ֺΔ τι˲e۾
ҡࠇ߬ؿܰc҈௩ᚭ፡ೄؿᐰࠑe
ಲ֯˝cਐʥߗτɍᗙશॶਪྡྷଊcผ߬ʇფࣂcؿ೮࣐ᓯ௰ٛցi২ Ӟ፡ೄࡼd২Ӟ፡ೄࡼd২Ӟ፡ೄࡼe
ಳ܃cȿcਜ਼ᆼ˨༞i҈ɖѴશɁࠨԞ௩ᚭࠑᅥe ਿInterview 27
A Not So Ordinary Teenager Kevin Kwong
Child prodigy Rachel Cheung sums herself up in a few bars.
“Confident and decisive,” the 13-year-old award-winning pianist says after a brief but robust demonstration of the opening of J S Bach’s Concerto in D minor.
Then with a little prodding from teacher and mentor Eleanor Wong, Rachel launches into three short extracts from Aaron Copland’s Three Moods, entitled Embittered, Wistful and Jazzy.
The thoughtful teenager also sees herself as complex, expressive and playful – though the last attribute may not be as evident as the other two. For Rachel is a young girl with very few words and painfully shy.
However, the second her fingers hit the keyboard, the transformation in her persona is startling. She becomes lively and animated.
Perhaps that is what makes her performance totally engaging and mesmerising. There is a lot more to Rachel’s playing than just technical competence and mastery.
“She likes to think when she is playing,” Ms Wong explains. “When playing Bach, she loves giving every note a voice so you can hear a constant dialogue between her left and right hand. It is very challenging and Rachel enjoys that.”
That is why Rachel’s favourite classical composer is Bach.
“His piano pieces have great rhythm and I have to think a lot when I am interpreting his music,” says the winner of the 2004 Gina Bachauer International Junior Piano Competition and the International Competition for Young Pianist in Memory of Vladimir Horowitz the year before.
As it happens, Bach is among the six composers whose works have been selected for her one-off piano recital at this year’s Hong Kong Arts Festival. She will also be playing works by Haydn, Liszt, Chopin, Fauré and Prokofiev. Ms Wong says Rachel is too young to be specialising in just one composer.
“This repertoire will be able to illustrate her many sides of personality, her thoughts and experience,” explains the Artist-in-Residence and Senior Lecturer at the Hong Kong Academy for Performing Arts. ਿInterview 29
“There are pieces that are romantic, elegant and delicate. The Liszt pieces will show not only her technical brilliance, but also her performing flair, while playing Prokofiev will show her more aggressive side.”
Other than her ‘gruelling’ practice routine - Rachel practises up to 10 hours a day before competitions and concerts (though she doesn’t mind the long hours at all) – the Form 2 Maryknoll Convent School student leads a pretty ordinary teenage life.
Okay, because of her budding music career, she is allowed to study fewer subjects at school – Chinese, English, Mathematics and English Literature – which allows her time to practise the piano. But when she is not at the keyboard, she loves reading.
Her favourite books are from the Harry Potter series. She says: “The story is very imaginative. Sometimes I will think up piano pieces that would go with a particular scene.”
She also enjoys going online to play ‘mindless’ computer games with her nine-year- old sister, an activity she finds fun. Rachel doesn’t watch much television, though her mother regularly tapes cartoons and comedies for her.
Her best friends are a pair of twins (not to be confused with the pop duo Twins, for whom Rachel has very little regard as she does not listen to Canto-pop at all) who also study at the Hong Kong Acadamy for Performing Arts. Like her, the sisters have a great passion for piano playing and they are “very quiet”.
She quite likes to travel and eating at buffets too, but playing the piano has to be what she enjoys most. “With the piano I can express myself feely. For example, when I am happy and unhappy, I can really express my emotions through music. I also feel very happy and accomplished when I play a piece well. What’s more, I love the sound of the piano.”
It is little wonder then that, when asked what she would wish for if she was granted three wishes, her answer is simple and determined: “to become a fine pianist, to become a fine pianist and to become a fine pianist”.
Then after another short pause, she adds, “I want people to like music more and more too”. ᖳХིٞ߮Patron’s Club ผࡗ Gold Membersټ ผࡗ Platinum Membersټ͉ ಲΊˊ Anonymous ᚋ༅ႺϷ Coutts Bank ผ C C Wu Cultural & Education ષᛷСጙพτࠉʔ̇ Henry G Leong Estates Ltdټඑιʼʝઠөਥ͢ Foundation Fund তඡࡣτࠉʔ̇ Hutchison Whampoa Ltd 㟱එ྆ E2-Capital Group ֱඑ྆ Jardines Matheson Ltdټ ෙᄤй Ogilvy & Mather Asia Pacific ཽԈઁٖτࠉʔ̇ Kerry Holdings Ltd ଓۤผ߮ԑ৻ֺ KPMG Ⴚผࡗ Silver Members Ⱦᄤᚁ༏ʔ̇ Kowloon-Canton Ⴛผࡗ Bronze Members RailwayCorporation ఒᄨͬพτࠉʔ̇ Fontana Enterprises Ltd ɐࣵਆพႺϷ Shanghai Commercial Bank Ltd ෬சࠗಋτࠉʔ̇ Microsoft Hong Kong Ltd The Swire Group Charitable Trust ټপਥڌʪ̀එ྆෯ഁ ነི́߮ࢶХɁ Student Ticket Scheme Donors ᆉ Platinum Award The Helena May The Helena Mayټ͉ ಲΊˊ Anonymous ߈͓́ͱ́ Mr Maurice Hoo ผ C C Wu Cultural & Education Ms Caroline Hu Ms Caroline Huټඑιʼʝઠөਥ͢ Foundation Fund Ms Hu Shu Ms Hu Shu ٦࿏ႺϷ Citigroup Mrs Dorothy Hung Mrs Dorothy Hung 㟱ᔔ HSBC Ms Teresa Hung Chi Wah Ms Teresa Hung Chi Wah ณҙ༅τࠉʔ̇ Welcome Group 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Δэ Address: ࠗಋᜪˠಋᜪ༞ɀ໔ࠗಋᖚɻʶɊɀᅢ 12th Floor, Hong Kong Arts Centre, 2 Harbour Road, Wanchai, Hong Kong ཋ Telephone: 2824 3555 ඨभ Fax: 2824 3798 / 2824 3722 ၉ࠒ Website: http://www.hk.artsfestival.org ཋ൯ Email: [email protected] ᓻࡗ Staff ᓻࡗ Staff (contract) Ϸܧᐢဟ ([HFXWLYH'LUHFWRU ຝ͌ Programme ଉ /RJLVWLFV0DQDJHUۿঢ়ᄨᓤ Douglas Gautier અ ነ֦ Elvis Kingټ ຝ͌ Programme ႇАଉ 3URGXFWLRQ0DQDJHUV ຝ͌ᐢဟ 3URJUDPPH'LUHFWRU ̝ۢ̽ Tiffany Yiu ષు☜ Grace Lang ષᜮ Roy Leung ຝ͌ଉ 3URJUDPPH0DQDJHUV ̔ࢄᘐ 2XWUHDFK&RRUGLQDWRU Andrew Chan ڭᘣਝඔ So Kwok-wan ஹҁ ՚⌿ Mio Margarit Chow ̔ࢄХଉ 2XWUHDFK$VVLVWDQW ჳϐ૯ Eva Lau ຝ͌ᘐ 3URJUDPPH&RRUGLQDWRU ຝ͌Хଉ 3URJUDPPH$VVLVWDQW ່৪༻൬࠳ͤ Linda Yip (on study leave) ңણต Christina Lee ອଉຝ͌ᘐ $FWLQJ3URJUDPPH&RRUGLQDWRU Ҍᘐ 7HFKQLFDO&RRUGLQDWRUV ፠Ї Eddy Zee ஹ⍱ജ Billy Chan ሲᅳშ Cat Cheng ઐᄤ Marketing ඟ֗Σ Rufina Fung̟ Nancy Lam׳ ଉ 0DUNHWLQJ0DQDJHU̟ ሲֆ࿘ Katy Cheng ңཽᗸ Kathy Lee ષᘚੜ Gary Leung Хଉ̟ଉ $VVLVWDQW0DUNHWLQJ0DQDJHUV ࠑᚊᘐ 6RXQG&RRUGLQDWRU ՚ֱ Alexia Chow ஹ৪ Joey Chan ॐ࣠ Chris Lam׳ Publication خಌ༠ᑞ Andy Yau ˮ ᇁፎ (GLWRU ೕࢄ Development χ㠒ෲ Daisy Chu ೕࢄଉ 'HYHORSPHQW0DQDJHU ߜʼᇁፎ (QJOLVK(GLWRU ஈዷඓ Angela Hui Mya Kirwan Mya Kirwan Хଉᇁፎ $VVLVWDQW(GLWRU Хଉೕࢄଉ $VVLVWDQW'HYHORSPHQW0DQDJHU ඡฑΪ John Wong ஹ᜔ᙀ Eunice Chan ̟ઐᄤ Marketing ผ߮ Accounts Хଉ̟ଉ $VVLVWDQW0DUNHWLQJ0DQDJHU ผ߮ $FFRXQWDQW ЄయᎩ Agatha Ho ࣨუށ June Yun ̟˚ͨ 0DUNHWLQJ2IILFHU ฦዤ Michelle Yeung ผ߮ʼࡗ $FFRXQWV&OHUN ৻Хଉ 7LFNHWLQJ$VVLVWDQW Bonia Wong ඡਝෲ ோுജ Ada Mak ৻˚ͨ &XVWRPHU6HUYLFHV2IILFHUVרAdministration ۪ʸ ܧϷ Ϸܧो࣊ ([HFXWLYH6HFUHWDU\ ᘣϤ Alfee So Wu Kai-yin ۽χ༠⍖ Carmen Chu ͢ԙ ႚ Pang Leoژధ ज़ो࣊ 5HFHSWLRQLVW-XQLRU6HFUHWDU\ ೕࢄ Developmentٱࡗþۿઅ ң Virginia Li Хଉೕࢄଉ $VVLVWDQW'HYHORSPHQW0DQDJHU ೡણֱ Michelle Ching ፒʔ۩Хଉ 2IILFH$VVLVWDQW Administration ܧTony Cheng Ϸ ټሲ ፒʔ۩Хଉ 2IILFH$VVLVWDQW Dicky Chan ̵ژஹ
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