9=: ><; GRSVLMOIQ FNIPJLS HSKNLTUSI .,*46+-323 CA?@DB 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 12 Leif Ove Andsnes 5 ຝ͌ੱ For programme details 25.2.2005 Page 17 ࠒ 26.2.2005 Page 34 ࠒ 1ɩࣂ40ʗᘸcٽˮ ˳ܢȹຝɻͤࢠ Running Time: approximately 1 hour and 40 minutes, including one interval
ࠗಋʼʝɻʶࠑᅥᜨ Concert Hall, Hong Kong Cultural Centre 25 - 26.2.2005
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. 8 ̡́ʍଽBiography
СʩÐෙၐgΪँ ፡ೄ
СʩÐෙၐgΪँख़ࣂం ᙷݯˤʵɁ؇͌ؿ፡ೄࡼc dؒܞԎᔄ㠥ജᗫؿࠑϳdӾؿ ȿ͓ۺѧኬؿຝۗؿϪଉc ዟऋؿ፡ೄۗࠓࣟe
ࢸۤ˺ᄾc౦כΪँ1970ά ɃᚾՀဍ࣓ࠑᅥነc፭આКઠ e˺׳ʮСgႠ
Ϊँீᙺؿȹᅥ˥2004/05ܰ ˞տhˢιݯ˺ʑਥࠑᅥᜨτ̌Ԟ ԞαႦؿರᒨࠑᅥࡼhϬ2004 α10˂ϭ2005α5˂cΪँၤ ɍᖙ̟͚ᚊᅥ྆dۗࡼऋКԈ ແΪgওּʩʥࡼ࢟͠gؐੌ © Simon Fowler АcΕ˺ʑਥࠑᅥᜨᐾϷۗ КԈʩᙬဳٵʑਥɻʶؿᖳௗࠑᅥᜨᐾϷட۩ᅥۗeࣂcˢࠇ˺כผc˞ʥ ࡐʥݤҪᐈ೩ΔᐾϷࠑᅥผe˱ᅥ྆cԷ࠷dʱቭdओd̛ۤdख़d٠֞
dܞ2003/04ᅥտcΪँʗП།ᔁဍఃୣʺऋነ۩ᅥ྆Ϊँ࠹ͨ ࠷͚ᚊᅥ྆dෙဳ֞ᅥ྆АᐾϷࠑᅥผhΕጻӴဍ̡ᆉཕᆉᓤɐᐾϷ ۂh፭ᘣቭ˖ࠑᅥᜨᅥ྆ԷਝԀeˢҡઐϷȿ˞ۗഒਅАٲᅌقͲଈཋ഼ ճऋɽؿᅥ়τዀผΕځݯ˚ؿࠑᅥࡼི߮cԚ࠷dၐɖढ़d̠ቧဍʥ ऋϝ֞ᅥ̒ࠇۗdऋওּʩ˩հځiܢ˳ሌˢؿೄҌhАّֆʨܬ2004αؿ ʥ࢟͠gؐੌe
ΪँܰࢸۤԈဍࠑᅥຝؿᐲᖚᐢဟeࠑᅥຝҰαᑼᇼȿɺʭۗࡼΣ ࢟gؐੌd٢٢ּgϼᄨԈdКgใࣟݤʩdࡌgКཊန೩ࢸۤe͠
Ϊँᙠ፣ːɓɀɊਜ਼cɍ۹࿂Ɏजᐰዀːɣᆉi2000αೕϷؿࣵན ɍd̒ʥɊȹ፡ೄԾۗς࿘ᏵजᐰዀԙԾۗςːᆉh2002αؿ໊Сࣟ ᏵཕԙʹڬͲαԙːᆉh2004αؿ໊Сࣟʥഒਅ፡ೄԾۗςྔۂҕੱɩ Ծۗςːᆉeଊࣂˢ̳፣ႇȹፎഒВऋːc˚߬ν፣ഒВऋય౨ؿۗსςcԎ ผၤ࢟͠gؐੌАcഒВऋАؿ၀ፕᅥςe
ၤࢸۤ۩ᅥ྆А፣ႇȿୣʺऋࠌEɣሁȾ፡ೄԾۗςcK271cʥٶΪँ ȹ՚ؿࠑᅥݚϷ࿔࿔ࠖeکcঢ়ሡࢸۤັᇻຝٴɊɄ፡ೄԾۗςcK456cɣՇᅥ়ᚭ
25.2.2005ʄFri ܃ᖚɁᇹ Meet-the-Artist (Post-Performance) जүcၤСʩÐෙၐgΪँӮࠍ܃ᜮଠˮٴᚭ If you would like to meet Leif Ove Andsnes, please stay behind in the auditorium after the performance
ːCover and page 5 photograph © Rolf M Aagaardޚࠍʥ5ࠒ۬ ̡́ʍଽBiography 9
Leif Ove Andsnes Piano
The New York Times has called Leif Ove Andsnes “The most interesting pianist of his generation,” noting that “gorgeous tone, fleet-fingered technique, rhythmic integrity and textural clarity” are the hallmarks of his pianism.
The 2004/05 is a particularly exciting season for Andsnes as he is the youngest ever Carnegie Hall ‘Perspectives’ Artist. The series, launched in October 2004 and runs until May 2005, involves him performing at the Hall in recital, with the San Francisco Symphony Orchestra, with Christian Tetzlaff and with Ian Bostridge, as well as performing in a series of chamber music concerts at the Zankel Hall in the Carnegie complex. Also in the 2004/05 he returns to the Cleveland Orchestra and performs recitals in cities from London, Paris, Lucerne and Venice to New York, Chicago and Los Angeles.
Highlights of Andsnes’ 2003/04 season included a series of concerts on tour with the Camerata Academica des Mozarteums Salzburg, which he directed from the keyboard; concerts with the London Symphony Orchestra; the Oslo Philharmonic; a worldwide televised performance at the Nobel Peace Prize ceremony; and a tour of the USA with the Zurich Tonhalle Orchestra. Andsnes also devised a special residency project focusing on the works of Schumann which saw him perform in London, Vienna, Brussels and Amsterdam in Spring 2004; both in recital and in chamber music concerts with the Artemis Quartet, Christian and Tanya Tetzlaff and Ian Bostridge.
Leif Ove Andsnes is a staunch champion of chamber music and serves as Co-Artistic Director of the Risor Chamber Music Festival in Norway, an annual event which draws some of the most esteemed classical performers to Norway, such as Ian Bostridge, Barbara Hendricks, Maxim Vengerov and Gidon Kremer.
His critically acclaimed discography of nearly two dozen recordings includes three Gramophone Award-winners. He has twice won the Best Concerto category – in 2000 for his recordings of Haydn Piano Concerti Nos 3, 4 & 11, and in 2004 for his performances of the Grieg and Schumann piano concertos. In 2002 his recording of Grieg’s Lyric Pieces was announced as the Gramophone Award’s Recording of the Year. He is currently recording a series of Schubert albums featuring the composer’s late sonatas innovatively paired with selected Schubert songs with tenor Ian Bostridge.
Leif Ove Andsnes’ latest recording with the Norwegian Chamber Orchestra features Mozart Piano Concertos No 9, Jeune homme, K271 and No 18, K456. Recently released by EMI Classics, this recording has been a huge success, especially in Norway where it topped the Pop Charts in the week before Christmas. 12 ᅥ྆ᓯʍOrchestra Profile
ࢸۤ۩ᅥ྆
ೕ܃ᐰcԎఈցˀٱ1977αcࢸۤ۩ᅥ྆Εᖚᐢဟऋဍgಝ̛ؿეɎ ؿࠑᅥʥᖚᐢဟϴෙg̠࣍࢟ܨၤɰقࢄؿਥᓣeϬ྆ϭ2001αcಝ̛ȹ ˀᄈΛcᄧᚊɈɖԞɣeٲАಲංeΕԭɁؿეኒɎcᅥ྆ؿ
ʭࠑᅥॶԚ۾ᐰΊႩᅌcजᐰዀᅥിҡৡॲᄘ༞i܃ࢸۤ۩ᅥ྆ઐˮࠖਜ਼ɣဥ ᅚ҄cᜑ҈ҡ҄ؿҡಲe҈
ˮc1995α̟ےᅥ྆Εෙց౨ᐾፒࡨࠑᅥผc͛Εࢸۤd˵ᅩΈ ҡΕෙᐾፒԭαȹ۹ؿˬէࠑᅥຝe
˱dؐᖓؿࣵΈਝd෮ɣСdϹऒˑd̟ےcӷ༌༧ʥߜਝΈɣٲᅥ྆̔ˮ ࢬɣcɌ౦Էਝ˺ʑਥࠑᅥᜨʥ̀াɻʶАԀিˮcԎΕߜਝஜႭࠑᅥ ຝˮe2001αcᅥ྆ҡᏵᑼˮՀဍ࣓ਝࠑᅥຝcኪͨα۹ຝᅥ྆e
άज़ዟۗࡼАcΣᖓԿؐၐթdୣԈgΪᄨވ˖ΛαԞcᅥ྆౦ၤɺʭ ईd௶ഒԓgӴဍdμgღႠဍdКԈແΪg࣮ऋּʩdΪᄨቧgਅዉdؒ dΪᅳּgͤ͠ऋd௶ΪgோКࣟཊʷဍdऋቧဍgୣК೩eۗסˈෙgˈ eۂcɐʱᖓКࠑᅥcɎӿˤА؟ς͌͛ˀᄤ
ɌၤСʩÐෙၐgΪँ˞ࣵནɍࠖԾۗςྔٶᏵᆉඖؿࢸۤ۩ᅥ྆cྨ 2000αजᐰዀԙԾۗςːᆉe
ᅥ྆ၤΪँАಲංc2003ᅥտΪँҡιݯᅥ۪྆ࠖᐢဟe
© Rolf M Aagaard ᅥ྆ᓯʍOrchestra Profile 13
Norwegian Chamber Orchestra
The Norwegian Chamber Orchestra (NCO) became a permanent ensemble in 1977 when it made its debut under the leadership of Terje Tønnesen, who is still the Orchestra's artistic director. Over the years he worked together with the late Iona Brown, who until 2001 was the music and artistic director. Under their direction, the NCO's schedule has become increasingly concentrated and far-reaching.
The NCO's first recording quickly established the Orchestra’s international reputation; the Gramophone critic simply wrote “No record has given me more pleasure and few as much”.
The NCO regularly gives a series of subscription concerts in Oslo and frequently performs in other cities in Norway and Scandinavia. From 1995 the Orchestra has presented the Winter Nights Festival in Oslo every second year.
Concert appearances have included performances at the London Proms and other major UK cities, the Baltic countries, Italy, Spain, Canada, and a tour in the US with concerts at Carnegie Hall and the Kennedy Center. In 2001 the Orchestra was invited as Festival Musicians of the Year by the Bergen International Festival.
Over the years the NCO has worked with major soloists such as Mstislav Rostropovich, Maurice André, Joshua Bell, Thomas Zehetmair, Christian Tetzlaff, Andrew Manze, Fabio Biondi, Angela Hewitt, Joanna MacGregor and Truls Mørks. It has developed a very wide repertoire, from Baroque music to contemporary works for chamber orchestras.
The Norwegian Chamber Orchestra has won several awards, most recently the 2000 Gramophone Concerto Award for its recording of three of Haydn's Concertos, with Leif Ove Andsnes.
The Orchestra’s artistic relationship with Leif Ove Andsnes has been particularly fruitful and has led to the pianist joining the Orchestra as Principal Guest Director from the 2003 season.
Norwegian Chamber Orchestra’s Tour Sponsors are:
Royal Norwegian Ministry of Cultural and Church Affairs ᖳХܰωࢸۤ۩ᅥ྆ɾԀিˮ ̡́ʍଽBiography 15
ऋဍgಝ̛ ᖚᐢဟ
ؿɩొೄࡼcଊܞऋဍgಝ̛ܰࢸۤࠖևȹ ࢸۤ۩ᅥ྆ᖚᐢဟʥෙဳ֞ᅥ྆྆ͨ cԎց౨ၤࢸۤԯˢᅥ྆Аˮcኪͨዟٽ cΕࢸۤᅥኋᐾӷႦࠇeۗ
1972αcαඩɊȼؿಝ̛ࠖω̎ɰȹს Ɂeෙȹͫంി༞i˥Ɂ͌बؿࠖc ಲɁॶʥeˢΕɡ፭Кgᖓෑ૯ʄ c1977αιݯࢸۤ۩ᅥ྆ᖚᐢဟe܃α
ԭਝˮc౦Аؿࠑᅥڜಝ̛ᘰΛඖਝɣᑩࣦ࿘cԀিᅩΈਝ˞ʥɻd ᖓԿؐၐթdୣԈgΪᄨईʥ˻ɡgঢ়ۤhΕԯეኒɎؿᅥֺ྆ᙠ፣ؿܢ˳ࡼ ːc౦Ᏽਝᅥിࡼঢ়۹e
ဍࣟԈճࣚؿc˞ʥጣ༠ঢ়ၐۄಝ̛౦ᙠ፣໊Сࣟؿɩొೄۗსςd ۂؿɀɩొೄԾۗςhԎۗऋဍgСౝ༠ဍऋПݯˢϤᄘؿկАۖ ᐰe
ݘ೩ΔᐾϷؿࠑᅥผɻኪͨɩొೄዟۗcԎڲᄨਝdߜਝdໍഩˑכಝ̛౦ Ε˵ᅩΈਝၤଠΛᅥ྆Аˮe Terje Tønnesen Artistic Director
Terje Tønnesen is among Norway’s leading violinists, and plays an important role in Norwegian music life through his function as Artistic Director of the Norwegian Chamber Orchestra and concert master of the Oslo Philharmonic Orchestra. He has also been a regular soloist with the other major Norwegian orchestras.
In 1972, the 17 year old Tønnesen made a sensational debut. “A dazzling debut with hardly any parallel”, as an Oslo paper reported. After five years of study with Max Rostal in Switzerland, he was engaged as Artistic Director of the Norwegian Chamber Orchestra in 1977.
Tønnesen has won several international awards and has been on tour in Europe, the US, China and Russia. During his career he has worked with musicians such as Mstislav Rostropovich, Maurice André and James Galway. His recordings as an orchestra leader have received the highest praise in the international music press.
Tønnesen has recorded Grieg’s Sonatas for Violin, Hallgrímsson’s Poemi and Shostakovich’s Second Violin Concerto for the European Broadcast Union. He has also performed Terje Rypdal’s Unisonus, a commission especially written for him.
He has given concerts as a soloist in Germany, England, Portugal and South America and with a number of orchestras in the Nordic countries. ຝ͌Programme 17
ɀ³³ʄαɀ˂ɀɊʄˀܱ౨ʄ
ࣵན DɣሁɊȹ፡ೄԾۗς ร҄ ྺ ҄ޅͼˑСিફς
D 485ۂഒВऋ ࠌBɣሁʄ͚ᚊςcА ҄ τ৽ɈؿϷ ɩүၦς҄ÐɍᐰɻݒÐɩүၦς ݠᅱؿ҄
ÐɻͤࢠɊʄʗᘸÐ
ϴऋgˈ̛ ᇅྺၤಞશ
K 453ۂୣʺऋ GɣሁɊȼ፡ೄԾۗςcА ᅥݒٻജܢ˳҄ ᅥݒٻജܢ˳Ϸ ܈ɩ҄Ðୄς
25 February 2005 (Friday)
Joseph Haydn Piano Concerto No 11 in D major Vivace Un poco adagio Rondo all’Ungarese (Allegro assai)
Franz Schubert Symphony No 5 in B flat major, D 485 Allegro Andante con moto Menuetto (Allegro) – Trio – Menuetto Allegro vivace
– 15 minute interval –
Eivind Buene Langsam und Schmachtend
Wolfgang Piano Concerto No 17 in G major, K 453 Amadeus Mozart Allegro (with cadenza) Andante (with cadenza) Allegretto – Finale (Presto) 18 ᅥςʍଽProgramme Notes
DɣሁɊȹ፡ೄԾۗς ࣵན (1732-1809)
ღ˔પࡾѸࠑᅥᐢဟؿࣵནcȿᎶ˟̯ӸᓻۄcኪͨࡥऋٱɊɄ˖ɄɊαˤ ڃؿұeˢؿ͚ᚊςԾۗςɺඩΕۂ৻cᑹն࠹ᚋɣଠᅥ়ྦྷԯࠑᅥА eٴؿၐɖढ़ࠑᅥผˮଊcႩϭʱቭd࠷cᅚɣՇᚭٶ
ಲၘeɻٶ།યሦୣʺऋɺcࣵན̋जɎྡྡ˿ᅕؿᒄೄԾۗςcϭʌడ ᒄೄۗcɖ˿͂ࣂˀݚϷؿ፡ೄᄦۗeɍࠖԾ̀͂˿ܫτȹࡨɍࠖԾۗςc ᅥኂۗi֞ᅥdȹྦྷ໔ȹྦྷᔶᓫဳeʥϭɀɊ˖ɍɊαˤcޚ˞ޑςۗ ࠖDɣሁԾۗςࠇᐽଊˤࠑᅥၦ̎hϊςݠᅱ́৽c㠥ࣵནടΊؿ፡ೄۗსς ؿͼˑСࠓࣟিફςeϊςࡈᆨᒖɺܰࣵནێɍࠇۗऋϳcୄᅥɖܰԯ ᅥݒeٻജܢ˳भ༌ɰ
D 485ۂࠌBɣሁʄ͚ᚊςcА ഒВऋ (1797-1828)
1816αcၐɖढ़ܧѫɺᖇcᏜᖚяாɃГᅸi1814ϭ1815αၐɖढ़ผᘪ༦ ᚬˀऩᖇ՞cഒВऋ೩ȹଠϬͅ˚ຮܧऋँؿঢ়ᎦޚᛉЗeଡӮࠖےcͲ܃ ႓iഒВऋԞȿcɎؿࠇࠇᛉ҄߬ڳԷࣩቖeʥϭȾ˂cˢؿʤɁّ ᅆe܁ˢؿફ
ࢄݠɈ˨Ҹؿ˚ᕀhΕۿɺʥ܈eˢۂcܰഒВऋ҄ؿ͚ᚊςАّʹ Λٻcᗲؿʵɥగಲ˞ݯᘗeϷ˨ଔਝࠓੱcϳ܃డႦܹؿဳᅥ֞ɾ ʺᛰh၇અؿɩүၦςࣂϤඏcࣂϤᓯኴhୄᅥ˚ᕀᕷΛۜcࠧཫˮϬୣ ऋʹ೫e
Ð ɻͤࢠɊʄʗᘸ Ð ᅥςʍଽProgramme Notes 19
ᇅྺၤಞશ ϴऋgˈ̛ (1973-)
ϴऋgˈ̛ΛɷΛᖚcʨɷึc഼ݯࢸۤณࣃАςࡼؿّ᩵᩵eᇅྺၤಞ 2003αෙୄรˤࠑᅥຝɻࠖcࣟͅቧВכc౦ۂશݯࢸۤ۩ᅥ྆կА ܞe
ᇃؿ၉cϊς1999αΕෙ۩ᅥࠑᅥຝɻۂȹᐾιΊؿܰԯဳ֞ᅥА̛ˈ˥ ෙɩ͚ᚊᅥ྆Аࠖe1999ϭ2001αˢኪͨ྆྆Аςࡼcˈ̛ႏݯݒͅ ࠉcณᅥိcԎވࣂ౨ྦྷˢรԮઢೕֲeཫȹԒ౨Аςࡼঁcˈ̛ዶร̨व ΛိࠑᅥѼβeՅΉ།ˢ౦ݯݚϷࠑᅥɁؿ߇ౡτᗐcᒖಳΕԯᗲആؿࠑᅥ ᛷcЎˢؿΛʏʝ߇ౡcԚˢϬಳΔ࠹νԎၫcɺᒾҒఖณӯ۹cԎעɻԎɺۂА ɻ༜͂ˮԞeۂΕА
ȹடϻቷၙʥࣱౙؿܢ˳ϬӰi҈ཹᔄᇅྺၤಞશАྺᅥςcɻ̛ˈ ᙩeܛࠑᅥΑኙeࠑᅥτࣂಳϤ˅cֶज˸Գhԯ෬ୀؿݠ৽ᒷɣcᛰ ɻۂςؿ۹ᅟতe҈౦ΕԯˢАۗکᅥςᅟᕀԞϬജࣟढ़ऋԈդၤ͠ॗဍᄨ eֲٲԮˤڬઔ͂ϹݗࠑᅥؿᕀҥԎ˱˞ೕcϤऋԈդၤ͠ॗဍᄨ ፣hֺ࣓ኣّc˚߬܆ᇅྺၤಞશ࣓ܰኣऋԈդၤ͠ॗဍᄨࠖʗᘸᄘιؿҶ ɺܰടΊؿऋԈդ֞cϤܰᅥͥؿ৽ྸcᑹτςሁᖪᇃၤΈᐰᄙωؿᇰ ݯᒨcዟ͓ೕࢄԞeۂeԒܰϊᅥؿਥᓣc˞ജࣟढ़Аޯ
ҐϊςᘆeΐϊcᅥςڏᄘАᇅྺၤಞશࣂcɤԫ୧Кਥࡄ̝ˮ́c҈҈ ɺթ֯eڏฎᘑςА˞܃
ᅥςʍଽͅᅥ྆ొԜ
K 453ۂGɣሁɊȼ፡ೄԾۗςcА ୣʺऋ (1756-1791)
АࠖکጱϬΕ˂̒כ1783αࡧտcୣʺऋݯၐɖढ़ᅥտАȿࠖԾۗςc ؿ֗˖܃ᅥݒᄘɎc˿႓ܰٻˢҐࡈ̯ݯȹdɀᅥАЩጙۗؿജ܃hԯ ێ༜eαʒ˂cୣʺऋؿነ́ʱˈऋgౝݤ߁ʹۗϊςe།ԯၐɖढ़ࣂ౨ؿ ˝ର೩ᅥኂడٽԾۗςȹᅚcϊςઔ͂ဳᅥؿʹؒณዷcᔶᓫဳdʱဳd໔d ঽֈݯЂۗeڬඏcϤ֞ᅥ܁ၤዟۗ፡ೄ̡ʗޭϳcֺۗؿωફ
ሣޚȹᅥ˞Ҷྡྷؿဳ֞ᅥʵɥնcԯʹଊͫၤҌ̝ᆏᏹؿዟۗైɃݒʃ ࣂܹcЎԞѩ৩cᔝሁɣᐺeୄςͅԭͫୂιiࠖͫܰٱeϷܮ Ѯᐰc˞ณ˚ᕀӔᚭΔҢcȹࣩՉιe܈ȹୂᛰۗςhωͫܰ cֺτᅥςʍଽiࣟཊճǧਠࢬעऋПഽ ɻᘭiሲኮѻ ᅥςʍଽProgramme Notes 21
Piano Concerto No 11 in D major Joseph Haydn (1732-1809)
During the early 1780s Haydn began to look beyond his duties as music director to the princely Esterházy family, and respond to a growing public demand for his music. His symphonies and concertos increasingly found their way into concerts not only in nearby Vienna, but in Paris and London too.
Unlike his young contemporary, Mozart, Haydn left only a handful of keyboard concertos, none of them well-known today. From this time comes a single set of three concertos that could be played either on harpsichord, or the then increasingly popular pianoforte. All are scored for strings with pairs of horns and oboes. The Concerto in D, first revived in a modern performance as recently as the 1930s, shares the vibrant characteristics of Haydn’s better-known piano sonatas and trios, and has a splendid example of Haydn’s trademark ‘Hungarian’ rondos as finale. Its manuscript source (though not in Haydn’s own hand) includes cadenzas.
Symphony No 5 in B flat major, D 485 Franz Schubert (1797-1828)
In 1816, the political situation in Vienna was terrible. Depressed, economically and artistically, in the wake of the Congress of Vienna (1814-15), the city was mired in gloom. It was a time of despondency for liberals like Schubert and his circle, who were now witnessing the full force of Chancellor Metternich’s repressive policies. In September, however, one of his friends noted: “Schubert is coming, and the somewhat leaden vapours of the moment will be lifted by his melodies”.
In this Symphony too, Schubert is at his happiest. So impatient is he to launch into the gorgeously exuberant opening theme that his attempt at a solemn introduction falters after a few soft chords from the winds. The exotic and colourful Andante is followed by a Menuetto that is courtly and rustic by turns, with a finale whose scintillating theme could almost have come from Mozart’s pen.
– 15 minute interval – 22 ᅥςʍଽProgramme Notes
Langsam und Schmachtend Eivind Buene (1973-)
Eivind Buene has cut a strong profile as one of the most versatile among the younger generation of Norwegian composers. His work Langsam und Schmachtend was commissioned by the Norwegian Chamber Orchestra and first performed during the Ultima 2003 Contemporary Music Festival in Oslo, conducted by HK Gruber.
The composer aroused wide interest with his orchestral piece In a Network of Lines, when it was performed by the Oslo Sinfonietta during the Oslo Chamber Music Festival in 1999. Between 1999 and 2001 Eivind Buene was Composer-in- Residence with the Oslo Sinfonietta, a period he considers “immensely instructive”. Like several of his contemporaries, Buene has a positive view on breaking boundaries and established genres, as well as mixing musical forms. To some extent this reflects his past experience as a pop musician, although this is not felt too strongly in his work as a serious composer. However, his multifaceted background makes it natural for him to take an eclectic approach, continually seeking new angles to use in his work as a composer.
In Eivind Buene’s own words: Langsam und Schmachend is an attempt at writing slow music. The work consists of a series of condensing and dissolving musical memories. The music makes a halt and lingers at short moments; small movements are enlarged and sustained. The title is Richard Wagner’s tempo marking from the Prelude to Tristan und Isolde. I have worked on treating material from the western music history canon in several of my works, and Tristan and Isolde is one of this history’s true icons. Langsam und Schmachtend is a meditation on the first minute of Wagner’s work. Not primarily on the famous ‘Tristan chord’, but rather on the rising and falling movements and the friction between melodic lines and harmonic layers. This material forms the basis for musical movements that gradually develop independently of the Wagnerian starting point.
Langsam und Schmachtend is dedicated to my daughter Rikke, who was born while I was composing this work. Consequently, it does not seem unnatural that the music fades out with a lullaby.
Notes provided by the Orchestra ᅥςʍଽProgramme Notes 23
Piano Concerto No 17 in G major, K 453 Wolfgang Amadeus Mozart (1756-1791)
Mozart composed this concerto for Vienna’s summer season of 1783. He probably premiered it at a concert attended by the Emperor in April, after which, luckily, he also wrote down for posterity his originally improvised cadenzas for the first two movements. His pupil, Babette Ployer, gave a second performance in June. Typical of his Viennese concertos is the inventive use of winds. Oboes, bassoons, horns and a single flute at times seem almost to share in the piano’s solo role, providing elegant counter-melodies while the strings are relegated to be mere accompanists.
In the opening movement, the solidity of the orchestral introduction and its reprises contrasts with the virtuosic display of the solo episodes. The Andante opens gently but moves more grandly through distant keys. The finale is in two parts: the first a set of variations, the second a Presto coda whose new theme facilitates a euphoric rush toward the end.
Unless otherwise specified, all programme notes by Graeme Skinner 34 ຝ͌Programme
ɀ³³ʄαɀ˂ɀɊʒˀܱ౨ʒ
40ۂСࣟ Gɣሁ፳ဍВࣟୂςcА໊ ςݠᅱؿ҄ۗک ᔁּԄၦςϷ ၦςɩ҄ÐᎴऋၦςཽ҄͑ ሁকؿϷ Ԉʷၦςͮሣؿ҄
K 456ۂୣʺऋ ࠌBɣሁɊɄ፡ೄԾۗςcА ݠᅱؿ҄ ၍֝ؿϷ ݠᅱؿ҄
ÐɻͤࢠɊʄʗᘸÐ
BWV 1056ۂʱႠ FɩሁᒄೄԾۗςcА ҄ ᄤ ܈
ࣵན ʠFɩሁ̒Ɋʄ͚ᚊςcйП ҄ޅ ྺ ɩүၦςɩ҄ÐɍᐰɻݒÐɩүၦς Ðྺ܈ୄς ຝ͌Programme 35
26 February 2005 (Saturday)
Edvard Grieg Holberg Suite in G major, Op 40 Prelude (Allegro vivace) Sarabande (Andante) Gavotte (Allegretto) – Musette (Poco più mosso) Air (Andante religioso) Rigaudon (Allegro con brio)
Wolfgang Piano Concerto No 18 in B flat major, K 456 Amadeus Mozart Allegro vivace Andante un poco sostenuto Allegro vivace
– 15 minute interval –
Johann Keyboard Concerto in F minor, BWV 1056 Sebastian Bach (Allegro) Largo Presto
Joseph Haydn Symphony No 45 in F sharp minor, Farewell Allegro assai Adagio Menuetto (Allegretto) – Trio – Menuetto Finale (Presto – Adagio) 36 ᅥςʍଽProgramme Notes
40ۂGɣሁ፳ဍВࣟୂςcА ໊Сࣟ (1843-1907)
1884αܰࢸۤ৩ɣАࡼɾȹ༏ᄨၐࣟg፳ဍВࣟ1684-1754ᇻ́ɀϛ՚α֨c iȹܰჱcΕՀဍ࣓ɣᄤ፳ဍఃۂСࣟᏵᑼݯϊଞԑАςeˢᄘȿԭࠖА໊ ᆃ੪໊כԞᓯီݯ፳ဍВࣟୂςeྦྷ܃cۂɁཫ్ྭᓤɻˮh̊ȹܰ֞ᅥА Сࣟ፡ೄԾۗς͊ဍ gဍऋୂςؿᚹଠԞ႓c˿ॶྦྷ፳ဍВࣟୂςؿన̀ ࠓࣟɣ෮̔e
ಳϤcϊςͲΊݯԞϬ፳ဍВࣟࣂˤi˞̀ࠓᄘιؿୂςc˿Ӯన̀ࠓ̳ࣟܰА cԭϽࠑᅥࡼؿᄧޅ͚ޚςࡼؿࡈ෮e፳ဍВࣟၤඩɩˢȹัؿʱႠᒚᄨဍ ʱᖓКၦςςβɾɻcАݯʄྦྷˈᅥؿਥێΕ໊Сࣟፕ͂ؿܮᚊcϬಳʦ ᓣeࠖࢧϦؿᅥςc̳ܰྦྷ፳ဍВࣟؿኴྡྷᘆᓤe
K 456ۂࠌBɣሁɊɄ፡ೄԾۗςcА ୣʺऋ (1756-1791)
ɣᒭ౨ੀᐽ౨ܰୣʺऋαɻδؿࣂ࠰eԯࣂઠผɎ˥ၐɖढ़ֺτჱჱ ؿᅥࣱႬcᐲডԷӝɁᅥᜨֶ֚cሌኂᅥۗޒఒᗫਦૃיᗐஶcᅥ়̋Ρ ɣʸผᖳХኬӡͶؿነผЩԅԒۗผcԜ˔۩ʤɁ́෮ྑЂࣱپผeঢ় Ⴌe
Ⱦ˂֛ѧכୣʺऋ1784α౦АȹࡨʒࠖԾۗςcܰωۗؿ̳ܰԯɻʄࠖc ؿʨɷ፡ೄࡼနᗫԓgऋСϹע̖ ιc˞ௐੀᐽ౨ɾ͂eˢ˞ϊςᕀᘆʤɁ ԓgּ֔cࣂ̳Εʱቭ࠷ˮe̳ΣୣʺऋξԭαྦྷϬɯؿ፡ೄԾۗ ɺ˜ՈeτԒːݒ̋τϷڳɾංhሣ๕ࢧϦcמςؿѼࢀiࠖณАʍ˝ᗒၤ ɺᘨ௩ᚭ̚eكြɻৡեcɖผɺ͉עࡼɷᎷcЎȹঁɁᐣಳɺ
Ð ɻͤࢠɊʄʗᘸ Ð ᅥςʍଽProgramme Notes 37
BWV 1056ۂFɩሁᒄೄԾۗςcА ʱႠ (1685-1750)
Ϥᄘcܰȹဳ֞ᅥمʱႠ౦АɊ̒ࠖᒄೄԾۗςcԯɻɣͫݯԯɣነࠑᅥ ɺܰۂτၙผˮeԒАޑcҰ՚Εഠˈ።ཽ١ಿ༏ؿღ᎖ဍਅՊᜨمผ ͲณАcஈΛܰҝᇁϬʱႠξ౨ؿɩొೄֶᔶᓫဳԾۗςe
1740ά̞ᇁᄘϤιcࡈςɻ˚߬ؿᔶᓫဳዟۗͫଊɰכωۗؿԾۗςܰ ړ˞ౙИeʱႠ1729αੀϊς৽Ɂؿɻᅥ͂Аઠผჱؿѵྭ͚ᚊςcΐϊ Φe
ڬؿᄤeϤȹdɍᅥ̯خᅥ˞ᅆۗᖐᒄೄ֞͐ܞࠤ؇෮ܰcʱႠ ࿚၇iȹᅥɻcᒄೄȹࣩՉιcӀτȹԳะ˅cˮࠑᅥ˚ᕀؿኬ˚οh А͂c ᒄೄၤ֞ᅥ̡ʗȿԅԒࠑᅥॖҥeޚʦcୄᅥ৯ࠇྦྷϽؒؿʃޚ
ʠFɩሁ̒Ɋʄ͚ᚊςcйП ࣵན (1732-1809)
ღጱ˔ɮАcܰȹɯɾ֗eҰαࡧۄؿ̛̀Кgࡥऋעࣵནႏݯcॶݯ ౨ʗe1772αcˢࠨஞजΕٽտcᅥ྆ιࡗ፭˔પሰ֡ࡧࡾᑷౢc߾ၤࡼɁ Αࡼe۾ࣵནగሬࣂΔˮќ߮cొፚጱ˔ᅥܰכࡧࡾؿࣂංˈ˞֡ҡɔc
ཫܰᔾ̔ైɃؿྺڳࠖ૯Ҷؿɩሁ͚ᚊς҄߬Ңࣂcࣵན˱ɐȹݒྺc ᅥᖪᅥኂcкܣᅥȹν͐ܞᅥcᛷࣟࣟɺɃeɷۗȿᅕɩຝcࣵནగ Ɏࣵན৹ʹcۗˮ̡̋܃ᙱᏮcࢡಳᔴࠑᅥᜨeᅥᅚȹȹᔴc Ɏ˥̨༞Α֚eڏြɻф෮cˀ͉ע˔፷ؿɀࠇۗҢͲςeᛷಳcጱ
ֺτᅥςʍଽiࣟཊճǧਠࢬ ˰ɻᘭiሲኮѻ 40 ᅥςʍଽProgramme Notes
Holberg Suite in G major, Op 40 Edvard Grieg (1843-1907)
In 1884 Grieg was invited to contribute to the celebrations of the bicentenary of the birth of one of his nation’s great writers, Ludvig Holberg (1684-1754). As well as a cantata, sung at the unveiling of a statue of Holberg in Bergen’s main square, Grieg composed, for string orchestra alone, what has since come to be known simply as the Holberg Suite. For anyone familiar with Grieg’s Piano Concerto or his Peer Gynt Suite, the Holberg Suite’s old-world feel may come as a surprise.
However, its full title, From Holberg’s Time: A Suite in the Olden Style, leaves no doubt that this is precisely as Grieg intended it. Naturally, Holberg’s close musical contemporaries, Bach and Handel (both born only a year later in 1685), loom large in Grieg's selection of typical Baroque dance forms as the basis of the five contrasted movements of his delightful and unassuming tribute.
Piano Concerto No 18 in B flat major, K 456 Wolfgang Amadeus Mozart (1756-1791)
The busiest times of Mozart's year were the seasons of Lent and Advent, when the Church ordered Vienna’s opera houses and theatres closed. Music lovers, forced to eschew more spectacular entertainment, flocked instead to concerts of instrumental music in private halls or residences. Wealthy householders sponsored whole series of ‘academies’ (as these concerts were called) for the amusement of court and business associates.
This Concerto, the fifth of a record six Mozart composed in 1784, was finished late in September ready for the Advent season. He dedicated it to a friend, the talented blind pianist Maria Theresia Paradies, who was then performing in Paris and London. As Mozart had described his piano concertos a couple of years earlier, the new work was “somewhere midway between difficult and easy; brilliant; pleasant on the ear, but not vapid. Some moments, only connoisseurs will understand, yet non-connoisseurs will be enchanted without knowing why.”
– 15 minute interval – ᅥςʍଽProgramme Notes 41
Keyboard Concerto in F minor, BWV 1056 Johann Sebastian Bach (1685-1750)
Bach composed most of his 14 keyboard concertos for his Collegium Musicum, an orchestral society that met and performed each week at Zimmermann’s Coffee House in Leipzig’s Catherinenstrasse. None of these works was entirely new, however; rather, many were arrangements of earlier violin or oboe concertos.
In the case of this Concerto, which Bach arranged around 1740, most of the original work for solo oboe is lost, though Bach did also salvage its lovely central movement in 1729 as the opening sinfonia of one of his church cantatas.
Notably, in this keyboard version of the Largo, Bach directs the strings to play pizzicato. Both outer movements are tightly constructed. In the first, the keyboard plays virtually without a break, and it carries the entire gist of the musical argument. By contrast, in the more contrapuntal interplay of the final movement, keyboard and string orchestra share the musical material more equally.
Symphony No 45 in F sharp minor, Farewell Joseph Haydn (1732-1809)
Haydn counted himself fortunate in having as enlightened an employer as Prince Nikolaus Esterházy. Members of his orchestra, however, were sad to be separated from their families during the long season the court spent at its summer palace, and in 1772 their stay was even more prolonged than usual. Haydn duly conceived a subtle scheme to remind Nikolaus that the musicians were missing home.
Toward the end of this sombre minor-keyed Symphony, Haydn added an unusual concluding Adagio, as if it were an extra, misplaced slow movement. A few bars into it, he directed his players, one by one, to start packing up their music and instruments, blow out their candles, and quietly leave the hall. The departures continued until only Haydn and his deputy remained to finish the Symphony as a serene duet. The prince evidently understood the message, and the following morning gave orders that the court would be leaving for home.
All programme notes by Graeme Skinner ᅥ྆ιࡗOrchestra Members 43
ࢸۤ۩ᅥ྆ Norwegian Chamber Orchestra
ᖚᐢဟ Artistic Director ऋဍgಝ̛ Terje Tønnesen
ȹɩొೄ First Violins Гࠑɣొೄ Double Basses Terje Tønnesen Katrine Øigaard Jan Bjøranger Knut Erik Sundquist Fredrik Paulsson Tor Johan Bøen ̀ᒄೄ Harpsichord Miranda Playfair Knut Johannesen Stine Rem Aarønes ର Fluteٽ Cecilia Hultkrantz Cecilie Løken ɀɩొೄ Second Violins Per Kristian Skalstad ᔶᓫဳ Oboes Frode Larsen Fredrik Söhngen Elisabeth Dingstad Ingunn Lien Marianne Hustad Emma de Frumerie ʱဳ Bassoons Kari Foss ɻొೄ Violas Embrik Snerte Ane Lysebo Jon Sønstebø ໔ Horns Stig-Ove Ose Esa Tukia Emil Jonasson Steinar Granmo Nilsen
ɣొೄ Cellos Øystein Sonstad Emery Cardas Audun André Sandvik
The Norwegian Chamber Orchestra appears by arrangement with Van Walsum Management and Konzertdirektion Hans Ulrich Schmid. 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 Investment Limited ʬ˥ജɤɡ Ms Hung Ling Wahٴ ผ Zegna Culture Foundation ਝᘷ߹ʼʝɻʶ The International Centre ofټ٠ᙬʼʝਥ Sakyamunis Culture Ltd ͱ́ Mr Paul R Jacksonڌᝃ͏ᆉ Diamond Award ષࡼͱ́ʩɁ Mr & Mrs Alan Leong Mr David G Jeaffreson Mr David G Jeaffreson བ࢟ࠑᅥɻʶ Joyin Piano Music Centre ᆉ Gold Award Ms Joelle Kabbaj Ms Joelle Kabbajټ ಲΊˊ Anonymous Kambo Manufacturing Co Ltd Kambo Manufacturing Co Ltd Bloomsbury Books Ltd Bloomsbury Books Ltd Mr Ko Ying Mr Ko Ying Sir Kenneth Fung Ping Fan Sir Kenneth Fung Ping Fan Mr Kelvin Koo Mr Kelvin Koo Foundation Trust Foundation Trust Mr Irving Koo Yee Yin Mr Irving Koo Yee Yin Mr & Mrs Lester Kwok Mr & Mrs Lester Kwok Ⱦ᎘ᐢਆผ Kowloon Chamber of Commerce ષਝᚬͱ́ʩɁ Mr & Mrs Lincoln Leong ᗐʼႚͱ́ Mr Johnny Kuan Ms Nam Kit Ho Ms Nam Kit Ho Ms Anna Kwok On Nar Ms Anna Kwok On Nar ͱ́ Kwok Shiu Mingעͱ́ Mr Stephen Suen Ͱעࡸ ࡸ̷ሣͱ́ʥܪဈᄨɤɡ Mr Stephen Sun & Ms Edith Shih Mr Lam Kiu Sum Mr Lam Kiu Sum ҧ࿘ਥͱ́ Mr To Wing Kee Mr Edmund Law Kai Chung Mr Edmund Law Kai Chung Mr & Mrs Percy Weatherall Mr & Mrs Percy Weatherall ңኹ࿘ͱ́ Dr Ernest Lee Shu Wing ̷ϼႺϷ Wing Hang Bank ңᄫણɤɡ Ms Mary Lee ͨᚪзͱ́ Mr David Yam ң࢟ɤɡ Ms Myron Lee ່ጷፓɡ Dr M T Geoffrey Yeh ң৩ࢯͱ́ Mr Alex Li Wai Chun Ⴚᆉ Silver Award Ms Ester Li Ms Ester Li ಲΊˊ (2) Anonymous (2) ңᎶ̞ͱ́ Mr Li Ying Chor ᅩඈВͱ́ʩɁ Susan & Bernard Auyang Miss Beatrice Lin Miss Beatrice Lin ᒉਮֱɤɡ Ms Josephine Chung Mr & Mrs Craig Lindsay Mr & Mrs Craig Lindsay Epico Trading Co Ltd Epico Trading Co Ltd Mr William Littlewood Mr William Littlewood ʿਝ֦ͱ́ Mr Bill Fong K C Mr Frederick Lochovsky Mr Frederick Lochovsky George and Paulette Ho George and Paulette Ho ཽˡͱ́ Mr Christopher J Lucas Mr & Mrs David Lin Mr & Mrs David Lin Mr John Lui Mr John Lui ୣ৩᎘ͱ́ʩɁ Mr & Mrs Vernon Moore Ms Yvonne Lui Yan Yan Ms Yvonne Lui Yan Yan Mr and Ms Frank & Ellen Proctor Mr and Ms Frank & Ellen Proctor Mr Andrew Ma Mr Andrew Ma Mr & Mrs John & Anthea Strickland Mr & Mrs John & Anthea Strickland Mr Mark Machin Mr Mark Machin ோָ࣊ Mackie Study Ltdځ Mr & Mrs Stephen Tan Mr & Mrs Stephen Tan Mr Wong Kong Chiu Mr Wong Kong Chiu Mr Mak Fai Shing Mr Mak Fai Shing Mr Michael Mak Hoi Hung Mr Michael Mak Hoi Hung Ⴛᆉ Bronze Award Mak Ko Kee Building Contractor Ltd Mak Ko Kee Building Contractor Ltd ಲΊˊ (18) Anonymous (18) Mr John Malpas Mr John Malpas Sir David Akers-Jones Sir David Akers-Jones Maplewood Education Services Maplewood Education Services ਂⴷᘚͱ́ Mr Au Son Yiu Mr Michael McClellan Mr Michael McClellan Ms Gael Black Ms Gael Black Ms Olivia Mo Siu Wai Ms Olivia Mo Siu Wai Ms Caroline Calvey Ms Caroline Calvey ୣяନͱ́ Mr Mok Kwun Cheung ஹᅥ́ͱ́ Mr Samuel Chan Lok Sang Dr & Mrs Sam Nariman Dr & Mrs Sam Nariman ஹᄨᗎͱ́ Mr Chan Tak Ken Mr Kellogg Ngai Mr Kellogg Ngai Ms Chan Wan Tung Ms Chan Wan Tung Mr David Owens Mr David Owens ஹ፷შɩմ Ms Liat Chen Mrs Platt and Friends Mrs Platt and Friends Mr & Mrs Ann & Paul Chen Mr & Mrs Ann & Paul Chen ᅾཽʼɤɡ Dr Belinda Poon K M Ms Vina Cheng Ms Vina Cheng Ms Poon Lai Chuen Ms Poon Lai Chuen ͱ́ Mr Cheung Kam Cheong Mr Neil F Pryde Mr Neil F Prydeןਜ਼፦ Mr Andrew Chin W S Mr Andrew Chin W S Radiant Tech Worldwide Limited Radiant Tech Worldwide Limited Ms Tabitha Chiu Shui Man Ms Tabitha Chiu Shui Man Security Systems (Far East) Ltd Security Systems (Far East) Ltd Ms Gillian Choa Ms Gillian Choa Mr So Kin Man Mr So Kin Man Mrs Maisie N Choa Mrs Maisie N Choa Dr Tai Yau Ting Dr Tai Yau Ting ʨͨͱ́ Mr Alex Chong Ms Francis Tang Wai Man Ms Francis Tang Wai Man Ms Grace Chou Ai-Ling Ms Grace Chou Ai-Ling ࡌౡਫ਼ͱ́ʩɁ Mr & Mrs Jim K P Tong Ms Christina Chow Mei Ling Ms Christina Chow Mei Ling Ms Tsang Wai Yu Ms Tsang Wai Yu ՚ݰജͱ́ Mr Chow Ping Wah ޫཋɥτࠉʔ̇ Vogue Electronics Co Ltd ʼʝ༅τࠉʔ̇ Cultural Strategies Ltd Ms Linda Wang Ms Linda Wang Mr Steven Davidson Mr Steven Davidson Mr Ian Wingfield Mr Ian Wingfield Mr Philip Dykes Mr Philip Dykes Ms Christine Wong Ms Christine Wong Ms Lucille Evans Ms Lucille Evans Ms Elsa Wong Yuen Mee Ms Elsa Wong Yuen Mee ፳ዷᎨͱ́ Mr Fok Wing 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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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