ჱɤु7KHVLQJLQJDFWUHVV Anna Caterina Antonacci
̛ဍႫ ຝ͌ ܞ John Nelson ࣵན 'ɣሁ͚ᚊς conductor ྺ ፭ςiᄤ Ϊˬಾ ɩүၦςiɩ҄ʥɻݒ ؿ҄ەەɤঢ়ࠑ ୄςi၀ु Anna Caterina Antonacci ͉ፗɡ ࡥʥᝉɾϋ soprano xɻͤࢠx
୧ΪΕढ़ॗځ ࣵན
ۂፗɡ ࣺɡᄨؿʨᙵcА͉ ৠˌ ˦ɤɾၦ Ϲ൬Ϸςޫּ
Programme HAYDN Symphony No. 86 in D Adagio Capriccio: Largo Menuet: Allegretto and Trio Finale: Allegro con spirito
BERLIOZ La mort de Cléopâtre
– Intermission –
HAYDN Arianna a Naxos
BERLIOZ La Damnation de Faust, Op. 24 Will-o-the-wisp Dance of the Sylphs Rakoczy March
ΈϽᜮଠ cᇼᗐઌʹొཋʥԯˢᚊባສeʑɺ૰ඝࠕdᙘᄧd፣ࠑֶ፣ᄧeूɣࡼτȹ҄کሌᅥ ؿࠑᅥe Dear patrons For a wonderful concert experience, please kindly switch off your mobile phone and other beeping devices before the concert begins. Photography, recording, filming, eating or drinking are not allowed. Wish you a very enjoyable evening.
Salute ᑢ͟Ђ to Our Partners kܛࠗಋဳ֞ᅥ྆টʶᑢ˞ɎᖳХዀ࿚ؿྐྵష༅Хʻ The Hong Kong Philharmonic Orchestra would like to express our heartfelt thanks to the below Partners for their generous sponsorship and support!
˚߬ᖳХ ࠖᖳХ MAJOR FUNDING BODY PRINCIPAL PATRON
ຝ͌ᖳХMAJOR SPONSORS
˞ʔ̇ߜʼΊီѵIn alphabetical order of company name (ࠗ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 Ұα༦൚༦ȹϛʄɊؿˮcᘩ৽ɀɊຒ in the last three decades, attracting world-class artists to ᅥ়ؿʶe perform on the same stage. HKPO annually touches the lives of 200,000 music lovers through more than 150 performances. ɣϴ۹fജऋეኒɎcܞΕԔᙷਝؿ Under the leadership of its internationally renowned conductor αˮ৺ٶಋᅥؿᖚˋ̡ྨঢ়ࢋeಋᅥ Edo de Waart, HKPO continues to scale new heights in musical Ͳࡨ͚ᚊςӡͶdჱࠑᅥผdඨ̀ᅥς excellence. The continuing cycle of Mahler symphonies and cҡۿؿྩณς͌cяݯᅥ়ֺᆅʘ౨̔˞ challenging programming outside the traditional repertoire, ᅥտؿ ιݯᅥ྆ᖚೕࢄؿԈೡຌe have become highly anticipated events as well as musical ᅕӴΛ٧ؿᒫԈෙჱࠑᅥผڈࠇᎻc milestones for the Orchestra. Beethoven’s Fidelio opera-in- ʥ৺ؿɣΔɾɺ˿cϤԯˢၤಋᅥ concert and Mahler’s Das Lied von der Erde are inarguably the i፡ೄࡼແˤdܢ˳ڬ̎ؿᕷᅥኋ̜ܱ major highlights of the 2009/10 season. Many great artists ,ॗʩਥʥңၐcɩొೄࡼਜ̷਼քʥ perform with the HKPO, from pianists Jean-Yves Thibaudetּˈ ɣొೄࡼ͠СeඨթܞᖓऋӇਥ Boris Berezovsky and Paul Lewis, violinist Sarah Chang ɣቝᐽcᄤɣᅥ়ຒʜ፟༦e to cellist Steven Isserlis. The visit of the legendary Gennadi Rozhdestvensky is also an event not to be missed. ιݯټপਥڌα˂cʪ̀එ྆෯ഁ ᅥ྆ؿࠖᖳХc˞Хജऋྡྷଊˢྦྷᅥ྆ؿ From April 2006, The Swire Group Charitable Trust became ѩᗙeϊݯಋᅥ̌ɐɣؿͬพᖳХc˥ᅥ྆ the Hong Kong Philharmonic’s Principal Patron, enabling ၦ̎ᑺ൬ Maestro de Waart’s artistic vision for the Orchestra to beވ˖˞ΕᖚɐτҡɣؿೕࢄcΉ ,ؿࣂcੀঢ়ˋๅؿˮᄤɣ̵̟cᜑҡ realized. Swire’s sponsorship of the Hong Kong Philharmonic ΛɁઅᘩԷ̀ࠑᅥe the largest in the Orchestra’s history, supports artistic growth and development as the Orchestra takes its place on the world stage, and brings performances of musical excellence to the widest possible public. ॵฉ૯૯၇κcዶรઐᄤဳ HKPO stays in tune with our city by presenting the orchestra̟ےಋᅥࠗಋؿ ผΈආᄙcੀ၀ؿࠑᅥผԷ in unexpected venues and bringing the excitement of theمᅥϭ֞ ΈࡼΈʸcɻɺʭࠇ߬ˮҡ༦ཋ̎ʥ concert experience to every home through radio and television ᅥ broadcasts. These included, in the 2007/08 Season, the biggestכܢ˳ሌcཋ഼ᔝᅌͲಋ̵̟ ʸ outdoor symphonic concert of the year, Swire Symphony UnderێտcΕൠΔ༝ᅥᐾϷؿͲαɣ ͚̔ᚊࠑᅥผzʪ̀ಋᅥfܱէf͚ᚊςe the Stars at Happy Valley. The Orchestra runs a comprehensive ݯȿొঢ়Ͳಋɻdɩdऋࣦነ́ྦྷ̀ࠑᅥؿ schools education programme, Creative Notes, bringing the ጙመcಋᅥᐾፒࠑᅥઠөི߮෮ࠑଲc joy of classical music to primary, secondary and special school kids, and once in a while, the Orchestra drops the formality of ԜЛࠑᅥผʥΈඖઠөݠ৽eᅥ྆͛ཹొ the classical concerts to crossover with Western and Chinese ምˮक़̀ࠑᅥؿᆲᕿcց౨ᑼᇼɻd pop stars. ᜮଠઅᘩڇݚϷʹ̎ˮcмʵҡΛἁ ̀ࠑᅥe The Orchestra also builds its reputation and raises its artistic standards by touring. In 2007/08 season, the Orchestra ᐰᙷ performed in the Shanghai Spring International Music͓ۺಋᅥؿࣵ̔Ԁিˮcᜑᅥ྆Εಋ̔ ʥ൬ȹүొʠᖚˋ̡eᅥտcಋᅥʗ Festival and the Beijing Music Festival. In 2009, the Orchestra ਝࠑᅥຝʥ˵ԕਝࠑᅥຝɻ undertook a major six-concert tour of China, including theܬɐࣵɾכП αcᅥ྆ҡΕϴ۹fജऋؿეኒ Xinghai Concert Hall in Guangzhou, Beijing’s National Centre eޚڋ ɎԷᄤήܱࣵࠑᅥᜨd˵ԕਝࡼɣჱʥɐࣵ for the Performing Arts and Shanghai Grand Theatre under .ɣჱɣჱАɻਝԀcݯᄤɣɻਝᚹଠ the leadership of Maestro Edo de Waart ˮʒ၀ࠑᅥผe In February 2008, the Hong Kong Arts Development Council honoured the HKPO with the Arts Promotion Award, in α˂ཕೕᖚઐᄤ recognition of its success in expanding its audience base andכࠗಋᖚೕࢄѫ .αԞι˲ᒷ gaining public support in recent yearsٶಋᅥٲ˞ᆉʀࠗಋဳ֞ᅥ྆c ࢄᜮଠᄙࠍᏵՅʔଠʻܛe 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
̛ဍႫ John Nelson
ܞ conductor
ˮਝܞ̛ဍႫԔᙷਝcˢɺЎ˞ᖐ The distinguished American conductor, John Nelson, ʱᖓКࠑᅥࠓࣟӮီcˢ is one of the world’s most versatile and accomplishedۂ࣯ࣂ౨Аێɣ conductors. He is highly regarded not only for his great ܛؿୣʺऋࣵནࣩ͛́फಳcˢɌᆅʶʻܞ interpretations of large Romantic works and his stylish ࡐ༠ቭ˱c̛ဍႫכณࠑᅥc˥ˢௐՇకé performances of Baroque music, but also for his vibrant Mozart and Haydn and his devotion to new music. Bornܞ׳୧ԓࠑᅥነነᖚԎᘰϴဍʼf݇כ ɣᆉeˢଊࣂܰʱቭဳ֞ᅥ྆ؿ࿘ᙷࠑᅥᐢဟe in Costa Rica, John Nelson studied at the Juilliard School where he won the Irving Berlin prize in conducting. ᤇؿΈ˚߬ᅥ྆ኪͨ Presently he holds the title Directeur Musicale HonoraireےΈɣވ˖כဍႫ౦̛ of the Ensemble orchestral de Paris. ےiਝؿख़ෲᅥdݤҪᐈෲᅥdܢ˳cܞ ࡐdКԈʩᙬdʞః John Nelson conducts in virtually all the major cities of˱ᅥ྆c˞ʥؐɡནd٠ ,ʥɍᖙᤇ͚ᚊᅥ྆dߜਝؿ࠷͚ᚊᅥ྆dෲᅥ the world. He has conducted the New York Philharmonic ཊ͚ᚊᅥ྆dؐߒʥ the Los Angeles Philharmonic, the Philadelphia Orchestraۄࡼෲᅥdޒဳ֞ᅥ྆d ,ᘣࣟᙬਝࡼ͚ᚊᅥ྆dᄨਝؿഠˈ።̠ਆဳ֞ and the symphony orchestras of Boston, Chicago Cleveland, Pittsburgh and San Francisco in America, ᅥ྆ʥᄨୃནਝࡼဳ֞ᅥ྆dˀʑ̿ؿɡ the London Symphony, the Philharmonia, the Royal ᖓਅᄨဳ֞ᅥ྆dᖓັϹϹ୧ԓነဳ֞ Philharmonic, the Hallé, the Bournemouth Symphony and ᅥ྆dЃᖓ࠷ؿʄ˂ࠑᅥຝd୩ᙬෙd the Scottish National Orchestra in England, the Leipzig ,ொऋɽࣵˑဳ֞ᅥ྆c˞ʥؒਝֺτ˚߬ᅥ྆e Gewandhaus and Dresden Staatskappelle in Germany the Suisse Romande in Geneva, the Academia di Santa Cecilia in Rome, the Maggio Musicale in Florence, ࡐ˱i٠ܢ˳cԯɻޚڋΈɣჱވ˖כˢ౦ the orchestras of Oslo, Rotterdam and Hague in the .Netherlands, and all the major orchestras in France סჱdັ༠ഥჱdʱɡ֛ჱdԈ ჱdᖓჱdޒࡼᛅྫྷѫჱd୩ᙬ ჱʥۤဍਝࡼჱe He has since conducted opera in major companies around the world including the Chicago Lyric Opera, Santa Fe Opera, the Bastille Opera, Lyon Opera, Rome ܞˀʑ̿ჱכiܢ˳౨ʥ̰Ԟؿˮٶˢ Opera, La Monnaie, the Netherlands Opera and the .྇˱ऋਝࡼ Welsh National OperaכϬͅࢂʹࣺɡᄨؿʨᙵd ऋݤ͠Ɂdၤ੪̛ܞɣჱ୩ᙬჱ ͚ᚊᅥ྆ณ˱գ͚ᚊᅥ྆ˮc˞ʥઐˮၤ Future and recent engagements include performances of Der Freischütz and La Damnation de Faust at the Geneva ྆АؿӴΛ٧ټᅩݘ۩ᅥ྆̀ဍऒਥ Opera, Les Troyens at the Staatstheater Stuttgart and the ᗲᎴᅊςc˞ʥၤ୩ᙬཋ̎ෲᅥᅥ྆ཋ̎ Netherlands Opera, concerts with the Sydney Symphony ྆Аؿࣵན˖ʱႠັʪ and Singapore Symphony as well as DVD projects of Շᗒςe Beethoven Missa solemnis with the Chamber Orchestra of Europe & the Gulbenkian Chorus, Haydn The Creation iၤʱቭဳ֞ᅥ྆АcΕ and Bach St. Matthew Passion with the Netherlandsܢ˳ˢؿณਿፎ Radio Kammerphilharmonie and Radio Chorus. ᙘؿʱႠ%ɩሁᎴᅊςdͲࡨӴΛ٧̴͚ັ dʥ His recent releases include a DVD of Bach B Minor ᚊςʥ$PEURVLHᄥಶؿୣʺऋd ͚ᚊςe Mass filmed at Notre Dame in Paris with the Ensemble Orchestral de Paris, a recording of the complete Beethoven Symphonies cycle and Mozart Symphonies Nos 31, 39, 40 and 41 on Ambrosie label.
Ϊˬಾ Anna Caterina Antonacci
ɤঢ়ࠑ soprano
,ؿᐰᇃᜑಲሃɤঢ়ࠑ Embracing both soprano and mezzo-soprano rolesڴΪˬಾʨዟ ɤɻࠑؿӯϳತᚮϬΣcҌ၀ಖؿݠ Anna Caterina’s extraordinary vocal timbre and greatֶ ၬ̎ۤဍdࣳᑩဍdᒚᄨဍdࣟቧКd݇ acting skills have enabled her to perform many works ϴ̗dୣʺऋ೩ʥ˖АςࡼؿАe from the seventeenth and eighteenth centuries including Monteverdi, Purcell, Handel, Gluck, Paisiello and Mozart. ᖐؿᖓϹ̛Ԕ߲ଞΊcɺሃ௩ჱқֶᗲആ An acclaimed interpreter of Rossini, she has sung both dٻӯϳcॶ˨ʗቝචcᖐӴС̛dࡌ̛ buffo and serio roles, and has had equal success with .c Bellini, Donizetti, Verdi, Bizet, Massenet, and Stravinskyۂဍdˈɷdժʥ̌ऋּӇਥؿАۤ ͛ᅚˮϳe Since the 2003/04 season, she has concentrated on the c dramatic soprano repertory and scored notable personalۂϬᅥտcਿ؇Ꮋჱɤঢ়ࠑؿА ࡧऋཊɣჱᖐ successes as Cassandre in Les Troyens with Sir JohnכɎdܞΕཽӓࢬᏲɡ ୩ᙬჱ Eliot Gardiner at the Théâtre du Châtelet and Elettra inכऋݤ͠Ɂؿ˺ࣚᄨ৺cʥʗП Ѓᖓ࠷ʄ˂ࠑᅥຝ͠Λ̛ෙؿ Idomeneo for the Netherlands Opera and the Maggio Musicale in Florence. ࡥഠऋּcяݯɁԑพɐؿԈೡຌe
In 2006, Anna Caterina made her début in a new αcΪˬಾʗПͅʱऒ̗ܞdޒࡼ production of Carmen at the Royal Opera House, Covent ʱቭࡧऋཊ Garden with Antonio Pappano, gave recitals in homage toכณႇАcپ˺ჱޫ٧්ؿ ɣჱʥ࠷ۤࣟᄾࠑᅥᜨᐾϷΉၐԓဍΛߎฑ Pauline Viardot at the Châtelet in Paris and the Wigmore Ꮌၐ Hall in London and sang the Les nuits d’été of Berliozܞࠗᗫٞჱၤכؿዟผc˞ʥ .Ᏺɡ͉ፗɡؿࡧէe౦Λᙌ͉ፗɡ with Sir Colin Davis at the Théâtre des Champs-Élysées ؿჱcΣiၤཽӓࢬᏲɡၤ̌˺ּჱˮ She sang Berlioz’s Cléopâtre with Sir John Eliot Gardiner ,နdᄮ̛ඣʥ෮ɣС at La Scala, Les nuits d’été in Parma, Munich and Ferrara֔כؿࡥʥ᜔ɾϋd Italy, Les Troyens at the Grand Théâtre in Geneva and ˞ˀʑ̿ɣჱcכഥּּˮؿࡧէd with the Boston Symphony Orchestra conducted by Ɏၤؐɡན͚ᚊܞʥΕդࣟූࠑᅥຝΕСඔ James Levine in Tanglewood and La Damnation de Faust ᅥ྆ˮؿऋݤ͠ɁΕᑩჱؿ at the Marseille Opera. She also appeared as Elisabetta ɣჱ in Maria Stuarda at La Scala, Alice Ford in Falstaff atּ˺̌כࣺɡᄨؿʨᙵeɌ౦ ࠗ the Théâtre des Champs-Élysées, Medea at the TeatroכနСԓf̌྇ԓဍ༠ؿ͠ᗫଡ଼Вऋd Regio Turin and Carmen at the Opera Comique conductedכᗫٞჱࣺɡᄨؿෲᗫf⮲ऋd ʱቭ௩ჱ by John Eliot Gardiner. Recently, she has also sungכࡼჱԓcʥޒ cɌၤ La mort de Cléopâtre with the Rotterdam Philharmonicٶeپ˺ؿܞdཽͅӓࢬ .ؿொऋɽෲᅥࡥʥ᜔ Orchestra conducted by Yannick Nézet-Séguinܞټᓼዉ z ᑩ ɾϋe She has also been awarded the Chevalier of the Ordre national de la Légion d’honneur by the French Republic, .ཕೕঢ়࿘ᙷؿ߶྆ቺ which is the highest national distinction one can receive֚ܧΪˬಾ࿘Ᏽؒਝ ؿᕉɡቺcଊݯNaïveᄥಶ፣ࠑcઐˮؿ She now records for the Naïve label and her first .ࠖਜ਼ਿፎէયؿࣂˤᘰঢ়۹ിძe recording of Era la Notte has received great acclaim ࣵན Franz Joseph Haydn 1732-1809
'ɣሁ͚ᚊς Symphony No. 86 in D Adagioྺ ፭ςiᄤ Capriccio: Largo ɩүၦςiɩ҄ʥɻݒ Menuet: Allegretto and Trio ؿ҄ Finale: Allegro con spiritoەەୄςi၀ु
ട When Beethoven saw a picture of the low thatched houseޜࣵནΕȹංɩߒ۰ˮ́eኣ႓ӴΛ٧ ංɩߒ۰ؿೋࣂcɺຑོ༞iᓯࠊؿ༛ʩ in which Haydn was born he is said to have exclaimed in ؿˮ́ΔkӴΛ٧՞ಳྦྷࣵན astonishment, “a simple peasant’s hut where so great a manذɩ۰ܰɣɁ ు Ķ ଓcࣵནΕӴΛ٧ؿι˲ was born!” Beethoven certainly had intimate knowledge ofܞؿɷജᐃΣ Haydn’s genius - Haydn had, after all, played a pivotal role کĶ Ўԑྡྷɐࣵན́ ذ༏ɐܰᐾӷႦࠇؿɁ ϭԅԒˢ̰˾༦ؿdȹঁ in Beethoven’s own rise to glory – but Haydn’s fame spreadޅξɰΊ̒ࣵc ؗɎˢᎶӀӀಲၘؿΔʿeԝΣcˢؿࠑᅥ in his own lifetime even to those places he never visited andੱ ΕʱቭɣϷԯ༞cϤξΕαˤcˢξ౨ؿ where, under the normal course of events, his name might hʱቭ not have been at all familiar. In Paris, for example, his musicٴݚඨcɣՇᚭ؟ᅥ̒ࠇۗɰΕʱቭᄤ֞ became phenomenally popular; in the 1760s copies of his ࣵནؿ͚ᚊς ܃ᜮଠࠖωᚹԷࣵན͚ᚊς early string quartets were circulating in the French capital ߬ұˮҡΛؿڏα౦Εʱቭˮ༦ c and were extraordinarily successful, and when the Parisians ࣵན͚ᚊςe first heard a Haydn symphony (one was performed there in 1773) they clamoured for more. ෙ̛ࣟВᏲࣂȿe˞ෙ̛ࣟВᏲݯࠖؿ ʞКᜨᐾፒȹӡͶႚജ׳ȹະͳᏜผผࡗΕෙ Enter one Count Claude-François d’Ogny who led a group c͐ٲؿࠑᅥผeෙ̛ࣟВᏲαΉࣵན of freemasons who organized spectacular concerts at the ࣵནୌྻݯʳɁؿ ۗᜨؿᅥ྆ஃᅡऋɣ Loge Olympique. In 1784 he sent word to Haydn that he τʄɊΛɁ cˢڳᅥ྆ᄘАcЎᅥ྆ required six symphonies for the Loge’s unusually large ಳઅՇcᆚ orchestra (over 50 players compared with the 20-or-so߬ʒ͚ࠖᚊςᜑ྆ˮeࣵན (ංeࣵན with which Haydn was more accustomed to dealingيടɣᅥ྆˿ᜑˢτΛʭೕ့ ሬʱቭᜮଠؿɟՈe and the composer responded with alacrity, relishing the۾ʒࠖʱቭ͚ᚊς ంα˂ˀంኒi˾αҰ scope afforded by such a large body of players. Haydn’s sixڌਝؒ ࠑᅥผۗࣵནͱ́ؿ͚ᚊςeᚹ൙Λc “Paris Symphonies” perfectly suited the Parisian tastes; as Le Mercure de France reported on 5th April 1788, “Monsieur ܁ɈұફۂϽթɷeˢҰࠖАר൙ೕԣڏ ዟऋdೕࢄᔔఒΛᛰ Ķ ɺཫԅԒܽᏭ˜Ոؿ Haydn’s symphonies were performed on each of last તc year’s concerts. The more one heard them, the more oneقȹઅȹΔ̡ሼ܆Аςࡼc̋ᎷҐᅥ ΕȹcѧͲӀτჀઅؿ admired the output of this great genius; in each of hisޣؿࢽਢڙɌҐ Ոe works he manages to produce unique tunes and rich, variedۂዀુʝɌӀܫc྇ͬ developments – quite unlike those sterile composers who move lifelessly from one idea to another, mechanically and tastelessly accumulating cheap effects with no sense of connecting them”. ̋τ All of the “Paris Symphonies” are in different keys ɺሁֲᄘι˞ޑʒࠖʱቭ͚ᚊς ȹࠖܰɩሁ cԯɻʄࠖ ͚ᚊς ઔ͂ȿ (only one is in the minor), the fifth of the set – No. 86 – ɔ˞Ԟc'ɣሁ˥ɁᐲԷജᗫ being in D major, a key long associated with pomp andٽ ɣሁ Ķ' ၤᗲcኂ৯ࠇɩ໔རeϊςɣลα majesty, and the orchestration includes significant parts ΕʱቭࠖeടΊؿࣵནነّᖓВfᔂ for trumpets and drums. It was possibly first performed in Ѽࢀϊςɖஈܰʱቭ͚ᚊςӞؿ Paris during 1786, and has been described by the great ૯Գཇ̷e Haydn scholar, H.C. Robbins Landon, as; “perhaps theڬȹࠖi҄ᅥᗲϭรcྺᅥ ȹᅥؿȹɣऋϳܰΛᛰ˥Ɂོݯᜮ˅ؿ greatest of the Paris Symphonies: certainly the most ᛷɺᗙ෮ΪནΕ˚ሁhϤ˘ผޯಳ majestic in its quick movements and the most profoundעᐰc ,ᅥݒe in its slow”. The first movement is notable, however܆ᔝιфୈ೮೮ؿʦێؿၦςࠑ҄ͅ ༛ऋֺӰi for its astonishing range of harmonies and its apparentۄࡼּ̛̀fܞΣෙΔС̳ unwillingness to settle into the home key, while lurching ࣵནҰȹү˥ᜮଠ˨௩cᜑᚹّ͝ between rapid dance patterns and almost diffident ΣສӸ়ࡾeɀᅥᅟᕀ፭ςၤᅥؿ introspection; as the Austrian conductor Nikolaus cٲɺɣeᅥ˿႓ѧͲˮɁ෮ڝऋϳᗐ Harnoncourt has described it; “Haydn surprises his ޯΣԯԞΔͅᗲആᛰ҄dಲᐰᛰτᐰe audience at every step – the listener finds himself in τ႒ኒιʗc۾ೡ۹ɐcɩүၦςؿᅟᕀɖܺ a labyrinth”. The heading of the second movement – ֺઉhكΐݯࣵནҐਥ̯คඤȿc˥ၦّɺ Capriccio – gives little clue to its character which can best Εɻݒઔ͂Δ༞ؿᙬᄨ৺ၦςcڳಳϤࣵན be described as utterly unpredictable lurching, as it does, ࣟ׳ࠥ͂ၰ˿ڬΉीਝෙΔСߎฑe̒ᅥ from serious to jovial and from silence to sound. To an ؿّ᩵᩵ۂࣵནඨতcܰᗘАخടτᄨʼ extent, the title Menuet is also misleading, for Haydn dЫ continually wrong-foots any dancers by muddling up theۦֺӰiϊςܰᙌࠑᅥ௩ჱcࠓᙃؿɤ ؿ˔Ϣʄcඈ፟cᚭባෳॐcȹʘԳི beats of the third movement. He does, however, pay deep ࣖࣖΣ́e homage to his native Austria in the trio which is in the form of a true Ländler. As for the finale, this can best be described in the words of Karl Geiringer, one of Haydn’s principal German biographers; “A musical comedy with its flirtatious girl, its miserly old bachelor, and hilarious disguises seems to come to life in this amusing piece”. ͉ፗɡ Hector Berlioz 1803-1869
ࡥʥᝉɾϋ La mort de Cléopâtre
α The Prix de Rome was awarded annually from 1803 to 1968 ᖓɣᆉܰؒਝነαϭ ංཕೕؿᆉඖcҰαཕȹϽؒਝԙณࣃ by the Académie des Beaux-Arts to the person they judged Аςࡼe࠰ፕɁ̦౦ᏵʱቭࠑᅥነՅ፣c to be the best emerging French composer; a condition being ցؿീАȹࠖݯᅥ྆ዟϤᄘ that those competing for the prize had been accepted asܞɣผ˞ d students at the Paris Conservatoire. The test involved settingټؿჱeᆉّ˿Էȹ೫˿ᜮؿᆉ Ί۹̳βؿႏcЎɖ̦Εᖓ a given text as a cantata for solo voice and orchestra and theكؿޚ ֈϾȹݒˀɥeܰؒਝАςࡼྒఔ˞ұؿ prize comprised, in addition to a useful financial package, a ࣦ࿘cஈΛАςࡼҡྨડྨኝ Ķ ͉ፗɡ̒ω helpful level of publicity and support, an official recognition ֺᗙe of a composer’s worth and an obligatory period of residenceכ˱ࣂୄ in the Italian capital. To win the Prix de Rome was considered ፗɡؿˎ̴ʦྦྷԫɥ˞ࠑᅥݯพc͉ፗɡ the ultimate accolade amongst French composers, and many͉ ᛷˢԎɺܰነᔢؿ tried repeatedly to secure the honour. Berlioz was successfulע۾ ɖΐϊୌᔢΛα Ķ .ࢿɥ Ķ ˢፖϭαɷɃᚾʱቭࠑᅥ at his fourth attempt ነcɖΐϊᏵӯᖓɣᆉؿ༅ࣟe ࣂˢɰАȿȹࠖဳ֞ᅥςdȹᙌჱd Parental opposition to a musical career meant that much of ȹࠖᎴᅊςdడࠖς˞ʥȹᙌჱो Berlioz’s youth was devoted to the study of medicine – to Рւc႓ˢϬਐॶȹᎾЩɻɖྡྷɺݯ༦e which he was clearly unsuited – and it was only in 1826ؒ ȹαɺԷcˢɰๅࣂΉɣผе͚ჱෙഥ that he was able to enrol into the Paris Conservatoire and ിᄗᒾӰᅥςɺॶۗhα thereby place himself in a position to compete for the Prixڳ୧ɾϋc α ˢʹઅʹჷcንടϴϝ̛ԓᘰ de Rome. By that time he had already composed an ցീАȿࡥʥᝉ orchestral work, a cantata, a mass, several songs and anܞ࣓ኣڬα ԓ߶h ɾϋĶ ȹωˢϬᘨτɊӷҐోྔჟeˢΕ opera, Les francs-juges, so it is probably fair to say that he Αኙ፣ᄘ༞i҈ྦྷϬɯ႓cωȹցผᘰc believed that he was well set to win the prize on his first Ӏ attempt. Within a year he duly submitted the obligatoryڏగiሉˢࠨɖผཕᆉ҈cԅܰכ
ଉͅࠉԹϬɯؿࠓࣟm ЄɺᜑଅֲϤݯc cantata – La mort d’Orphée – which was pronounced ցؿീ˥ unplayable by the judges. The following year, 1828, heܞᄘАmೕϬʑʶؿϹjɣผ ༠e again entered, this time winning second prize withٲࠤ˞ࠑᅥ۾ˢጙኍୣΊi෮֨ ,ࣩබᆡ㉎cᎶྔჟeɺࣱ႓ Herminie, and with his setting of the following year’s textۂႏݯ҈ؿА҈ ԅ̋ܰȹతੱᗙhിᄗҺցα α ಲɁ La mort de Cléopâtre (“The Death of Cleopatra”), he was ;ንҳဍɽढ़֔৺ convinced he would win. As he wrote in his MemoirsכᏵᆉhαc͉ፗɡୄ ɾϋઑʏe “I told myself that I was bound to win and I reasoned… that since they had already decided to give me the prize, there was no point in cramping my style…Why not let myself go and write…something from the heart?” He was thrilled by the choice of text; “Here was an idea worth expressing in music. I wrote what I believe was an imposing piece…I think it deserved first prize”. Needless to say Berlioz’s confidence proved ill-founded; the judges ፘѿɰɔc͉ፗ elected not to award a prize that year (1829) and BerliozۂᖓɣᆉஈΛᆉА ɖɺԝ̔hЎࡥʥᝉ eventually triumphed the following years with La mort deۂɡαؿᆉА .eϊςࣖࣖΣ́Δూᖒ Sardanapale˖܃ݚඨقȹڳɾϋ Εגࡥʥᝉᐽୄؿߕ Ķ Ґȹૈݓ୰၇၇ йേˢcࡥʥᝉ As with so many winning cantatas from the Prix de RomeڳcๅௐϬϷȿᒾeിᄗکॳ ɾϋʪੜईdʪ༦ˌȿhിᄗˀc͉ፗɡ Berlioz’s 1830 piece has long since fallen into oblivion, ඬc̳ but La mort de Cléopâtre has established itself in theڶԯɻȹϽിᄗ႓iࡥʥᝉݓ୰ྦྷ ΕߕΔүΉϋəcᐽϋࣂ૯Ϭஐ Ķ ߬ᄘˮ repertoire as much as anything else for its vivid portrayal шᗒeˢɺЎࢰࢴȿϋəؿ of the agony of the Egyptian Queen as she prepares۾Ɂᄖᄱؿࠑᅥ˥ ؿʑʶߕ Ķ ɻݒؿ herself for suicide by clasping a venomous snake to herکߕcҡࢰࢴȿϋ ߬ܰ bosom. As Berlioz told one of the examiners the day after ᐰรݯɣᐺcᅥᖪ˞ଡ଼ჱ̎ീ܆ҵ the judging, having been told his music was too forceful ݒੱው̒ܰ܃کሢΕᄉྋm ݯᅟᕀc҈ ȹݒۧતሁᎸұؒϢࢀஈ and extreme; “It’s difficult to write soothing music for܃൙ؿۧતሁe मΔɎc an Egyptian queen who has been bitten by a poisonousٽ൬Ƀˢࠨؿᄉྋcᜑၤीրȹ ˥Ɂ৽ࢀe snake and is dying a painful death in an agony of remorse”. He captured not only that agonising death but the mental anguish which preceded it through a central “Meditation”, headed in the score by a quotation from Shakespeare (“How, if when I am laid into the tomb…”) and incorporating some exceptional adventurous harmonies, framed by four highly charged recitatives, the last movingly seeking leave from the ancient Pharaohs for Cleopatra to enter their tomb and lie with them. ͉ፗɡiࡥʥᝉɾϋ BERLIOZ: La mort de Cléopâtre
.గᅚk҈ؿ࢛হҢȿe C’en est donc fait! Ma honte est assurée. It is so! My shame is complete ,Ϊ̛ௗᅊؿፘᗵc Veuve d’Antoine et veuve de César. Widow of Anthony and widow of Caesarܰ҈ ,ଊΕɌໃɃ۰ɣၐʹɐc Au pouvoir d’Octave livrée, delivered into the power of Octavius .Ӏॶ়Ͼˢ಄Ⴗؿ͌ͮe Je n’ai pu captiver son farouche regard. I have not captivated his cruel gaze҈ ҈ᎾࠧcՇသևহe J’étais vaincue, et suis déshonorée. Already vanquished, I am dishonoured. ᑖᓏȿభ૨ؿྠਯӸʗc En vain, pour ranimer l’éclat de mes attraits, In vain have I profaned my tragic widowhood҈ ;Ɍಲ˲h J’ai profané Ie deuil d’un funeste veuvage; to refresh the splendour of my charmsڳᝉܣࠇ .ɐȿȹʘݽؿोҌe En vain, en vain de l’art épuisant les secrets, In vain have I used all the known artful secrets͂҈ Ґሯ̗Ѿؿᚁᖬ J’ai caché sous des fleurs les fers I have hidden beneath flowers the iron҈ ;ᔀΕ٦ψɾɎh de I’esclavage; bonds of my enslavement ,ؿ՜˥ Rien n’a pu du vainqueur désarmer les décrets. Nothing has averted the conqueror’s decreesّרȹʘᑷɺ֢ .ട॑ȿؿᛷႠ༦˾e A ses pieds j’ai traîné mes grandeurs opprimées. At his feet I have dragged my broken grandeurהΕˢ຺Ɏc҈ ؿ૫कᚮ Mes pleurs même ont coulé sur ses mains My very tears ran spreading upon҈ ˢᔶʹe répandus, his hands. Ўμ৺ࡼપؿɤԫ Et la fille des Ptolémées And the daughter of the Ptolemies .ሯׂe A subi l’affront des refus. has suffered the insult of refusal
ԅԒҗዱ҈তኙؿˀɥ Ah! qu’ils sont loin ces jours, Ah! how distant are those days ΛფႭႩc tourment de ma mémoire, which torment my memory, ,࣯ͥͥc Où sur Ie sein des mers, when on the heaving wavesؐ ཫၐढ़ɤु comparable à Vénus, like Venus ,๑Ϊ̛ௗᅊؿ࿘ᘚc D’ Antoine et de César réfléchissant la gloire, reflecting the glory of Anthony and Caesarܮ Ϲᄨ̗،ɐؿ҈c J’apparus triomphante aux rives I appeared in triumph on the shores !෮ݗݗk du Cydnus! of Cydnus
ԓКጙҐ҈ Actium m’a livrée au vainqueur Actium delivered me ;ɐh qui me brave; to the conquerorʹّרԷ֢ ᗸ Mon sceptre, mes trésors My sceptre, my treasuresނؿ˔Ͻc҈ؿ҈ ͲໃɃˢʹh ont passé dans ses mains; all passed into his hands;
҈ԗಳᝉ৽Ɂe Ma beauté me restait, My beauty remained ۰ɣၐؿО et les mépris d’Octave and Octavius’s scorn ᖓɁؿჴc Pour me vaincre ont fait plus que did more to defeat me thanˈ .ؿඬҡɣe Ie fer des Romains. the Roman sword҈ྦྷ ؿ૫कᚮ Mes pleurs même ont coulé sur ses mains My very tears ran spreading upon҈ ˢᔶʹe répandus. his hands. .ሯׂe J’ai subi l’affront des refus. I have suffered the insult of refusal҈ cԞϬԅၐढ़ؿ Moi! ... qui du sein des mers, I, who from the bosom of the waves҈ ,ݣಐؿॳᕤc comparable à Vénus, comparable to Venus ΕϹᄨ̗،ɐ M’élançai triomphante sprang in triumph upon !෮ݗݗΔᙺk aux rives du Cydnus! the shores of Cydnus
ʣ༜અፌϤԞc Au comble des revers, Overwhelmed with misfortunes, ?ფj qu’aurais-je encor à craindre? what is left for me to fearޅᑹְ҈ ?ფ႓j Reine coupable, que dis-tu? Guilt-laden queen, what hast thou to sayޅຬᗷ૯ࠇؿɤ˔cБτ ҈τᚬ Du destin qui m’accable est-ce à moi de Have I the right to complain ܊՜ලj me plaindre? of my fate? ҈τᚬ˞߱ᅳ Ai-je pour l’excuser les droits de Have I the excuse of the privileges of ?ݯᔄɟලj la vertu? my virtue ҈˥ʩзၬୈe J’ai d’un époux déshonoré la vie. I dishonoured my spouse. ΐݯ҈cࡥʥ C’est par moi qu’aux Romains Because of me Rome .ιȿᖓؿ̗ᒕe I’Egypte est asservie, has enslaved Egypt ΐݯ҈c͠Ϲɤु Et que d’Isis l’ancien culte Because of me the ancient cult of Isis ಲɁᇐܖe est détruit. is destroyed. !Է֛Є˾Єk Quel asile chercher? Where shall I turn҈ ӀτࡼkӀτ൰k Sans parents! sans patrie! Without family! Without homeland! ȿ̷ؿඣէc Il n’en est plus pour moi There is nothing for me !ಲ୮˿֡k que l’éternelle nuit! but the eternity of night҈
Ҷ܆ MEDITATION MEDITATION
,৩ɣؿؒϢcঢ়ൔؿּᄨ˔પc Grands Pharaons, nobles Lagides, Mighty Pharaohs, noble Lagides ᇽϽผɺೕ܅Ϥࢀஈ Verrez-vous entrer sans courroux, will you allow her to enter without wrath, ,मc Pour dormir dans vos pyramides, to rest in your pyramidsٽΥෑټΕᇽϽؿ ?ɺɐᇽϽؿɤ˔j Une reine indigne de vous? a queen unworthy of you
͉ፗɡiࡥʥᝉɾϋ BERLIOZ: La mort de Cléopâtre
ɺkɺc҈ಳᑖᓏȿ Non! ... non, de vos demeures funèbres No! No, I should profane the splendour of .मɾΔؿͮሣe Je profanerais la splendeur. your last resting-placeٽБ ,ͱ˔cᇽϽЩԚɰι۷c Rois, encor au sein des ténèbres, O Kings, even amidst those shades ɖผ࢜Δᘽᔴ҈Ӹᖾe Vous me fuiriez avec horreur. you would fly from me in horror.
҈τᚬ Du destin qui m’accable est-ce à Have I the right to complain ܊՜ලj moi de me plaindre? of my fate? ҈τᚬ Ai-je pour l’accuser, ai-je Ie droit Have I the excuse of the privileges ?߱ᅳݯᔄɟලj de la vertu? of my virtue˞ ,ΐݯ҈c˥ुަীᔴԓዃɬɣಋc Par moi nos Dieux ont fui d’Alexandrie, Because of me our gods fled Alexandria ˥͠ϹɤुಲɁᇐܖe D’lsis Ie culte est détruit. and the cult of Isis is destroyed,
ɺc҈˥ʩзၬୈe Non, j’ai d’un époux déshonore la vie. No, I was the dishonour of my spouse. ,c Sa cendre est sous mes yeux, His ashes are before my eyesکˢؿড়ϘΕ҈ଡ .ˢؿ۷ুႢ҈e son ombre me poursuit. his ghost pursues me ΐݯ҈cࡥʥ C’est par moi qu’aux Romains It is because of me that Rome .ιȿᖓؿ̗ᒕe l’Egypte est asservie. enslaved Egypt ΐݯ҈c˥ुަীᔴ Par moi nos Dieux ont fui Because of me our gods have left ԓዃɬɣಋc les murs d’Alexandrie, the walls of Alexandria, ˥͠ϹɤुಲɁᇐܖe Et d’lsis Ie culte est détruit. and the cult of Isis is destroyed.
.ᑩԈጯྔ҈ؿ˔Ͻe Osiris proscrit ma couronne. Osiris banished my reignڜ༛พɾु ҈߬Ґ́՜͚ԃబɾुᑩऋk A Typhon je livre mes jours! To Typhon I give up my life! ,֮࢜ࠇࠇΔ˳ട҈c Contre l’horreur qui m’environne In the face of the horror which hems me in .ؿᓊ਼e Un vil reptile est man recours. a vile reptile is my resort҈ܰڏԃబؿ୰
!ᖓ،ؿुިc㠳ࠨˮሒȿ҈k Dieux du Nil, vous m’avez trahie! Gods of the Nile, you have betrayed me̛ .۰ɣၐΕӹΕ೩҈e Octave m’attend à son char. Octavius awaits me at his chariot ᐽୄؿࡥʥᝉ Cléopâtre en quittant la vie Cleopatra by her death ɷɐௗᅊk Redevient digne de César! is once more worthy of Caesar! ࣵན Franz Joseph Haydn 1732-1809
୧ΪΕढ़ॗ Arianna a Naxosځ
c౦τɺʭɁಌ႓ˢˮਝ As Haydn’s fame spread across Europe, concerted efforts܃ࣵནΊᅩݘɾ c were made to lure him abroad. But he was not in a positionک৽ɺȿӸeั́ӻɾڳೕࢄcЎˢ ႏݯϬɯ to travel anywhere. Right up until his 58th birthday he wasقɻֺӰ Ķ ȹڌࣵན Ķ ΣˢΕ ”ΕࡼcшΕෙΔСࠁਂԭϴऋ convinced he was, as he wrote, “doomed to stay at homeۿ؇ց߬ .confined to the two Esterházy family palaces in rural Austria ڌα˂ˀᄘ Ⴀࡼપ֚eࣵནΕ Ɂྡྷ On 27th May 1790 he wrote a letter to his master, Princeכ՜༜iಲࣂಲԳՇԹ܊ɻࡤڌ˚ؿ Ε˿భeЎܰɐ۴ؿο෮h҈ܰ˿ᄵᔋe Nicolaus von Esterházy, complaining of his lot; “It is indeed .cੱؗޯಳτᛰeϢϴऋ sad always to be a slave. Yet Providence decrees it so܃˂డ˝ӷӷ̒ ,cᏲϽͅ I am a poor creature”. Four months later, almost to the dayܨּ̛̀fϴऋႠ Ӹ Ⴀጱ˔ ԯɥΪfϴऋႠᘗֻeΪfϴऋႠ Haydn’s situation changed dramatically. Prince Nicolaus ɺ௩ᚭࠑᅥcగҐ֚ɻɣʗࠑᅥࡼ died and was succeeded by his son Anton who did notڳ˔ጱ ʭc like music, dismissed all but a handful of his musicalܫࣵནΕʑ cɁᅕܢ˳ जɎؿכᖽঽhϭ ϬͅᔴᓻΕ staff, and gave those that remained in his employ (Haydnܢ˳Ϭͅ۹cɖΛʭޚϤ˘Ԕτ ,ࣵནɐሰֈၐɖढ़ Ķ ˢᔴϴऋ amongst them) freedom to do what they wanted andܰכʑe more or less, go as they please. Haydn immediatelyۂذϭҐɣʗ፭ӸޅႠᔁࡾࣂɊʗீᙺc जΕࡾɻeˢΑనϬͅӸؿࣱࢠȹඨˮcΈʿ relocated to Vienna, leaving Esterháza with such enthusiasm ᑼᇼय़Ԟϭiౝഠఃԅɺ৺ԭΔΉ that he left most of his belongings behind. Once word got cЎˢ̳ΕՅછɾcɍͫᑼᇼޯಳ round that he was free to travel, offers poured in. Pressburgʹ׃ˢ ˮଊeȹˀcࣵནΕၐɖढ़ؿࡼɻԞȿȹɺ and Naples tempted him, but while he was still deciding ɾ۪cΉˢ႓ˮ˞ɎؿΊ̏i҈ܰͅ࠷ which to choose, a third proposal came completely out of ʨ҈ࠨผௐѢԾᘪ࣊e the blue. A surprise visitor to his Vienna house introducedעԞઅБؿᔁ༏ਅe ᅚؿϬ҈ʍଽᒖಳࡌޯcЎɣลࣵནਿԹ himself abruptly with the immortal phrase; “I am Salomon ᎖᎖೮Ꮆȿᔁ༏ਅ of London and have come to fetch you. Tomorrow we willڏؿ˚ຑԹྡྷΕʪɔc ”ߜਝȿe arrange an accord”. Possibly Haydn’s long period as “slave֡کؿᑼᇼcԭ˂ʑ৽Ӹ to an autocratic master prompted him to acquiesce and .༠ΛЃc̳β within two months he was en route to Englandאα˂ˀɎʟʄࣂ̳cࣵན ምӷߜਝეɠhɐ܃࠘ӹԷ࠷cȹય ဍ፳̯໔ Haydn first set foot on English soil at Dover at 5pm onۄכਆf̠ᙬᄨϽخΕᅥᖪˮ ᖫe̠ᙬᄨ౦ 1st January 1791 and was taken by coach to London whereޚؿࡼ۹਼e̠ᙬᄨၤࣵནܰᓿ ϴऋႠᔁࡾၤࣵནผࠍcѴશᏵࣵན he spent his first night in London at the home of the֡ک music publisher John Bland at No. 45 High Holborn. Bland ֡کɖࣂಌ႓ࣵན ᚬخΕߜਝؿˮۂА ࠷c˿ੴɺ߬ე hࣂࣵནҐԭͫᅥᖪ had met Haydn before, when he had visited Esterháza to ԑi procure publishing rights for Haydn’s music in Englandܨτݒɩ܃͚̠ᙬᄨeԯɻȹͫᅥᖪؿ߇ ࣵནؿࣂ࠰cࡄ̝ࣵན̳ (and make a vain attempt to lure him to the capital). Onܖ˾ᙬᄨਠီˢ̠ .Ɇʪൺeࣵནྦྷ̠ᙬᄨ႓i that occasion Haydn had presented Bland with two scoresڧොڳᗠɥcڧΕ Ɇؿc҈ผ͂ϬɯӞؿ̒ࠇۗԞ One was given, so Bland maintained, after he had calledڧτΡ ;ϬɯɎؿৈ֙c on the composer whilst he was shaving with a blunt razorٵᙬᄨடδҗ̠ܰכ͚e ɆࢬԞᜑࣵནԚ͂hϤࣵན “I would give my best quartet for a good razor”, HaydnڧҐϬɯؿߜਝ c told him, at which point Bland rushed back to his hotelۂɖᑟˮ২ԷcҐ֞ᅥ̒ࠇۗcА ɀࠖؿʹᆨ͚̠ᙬᄨeϤ̊ȹͫᅥᖪగܰ and returned with his English razor which he presented to ୧ΪΕढ़ॗe Haydn who, as good as his word, handed him theځݯɤɻࠑϤᄘؿჱ manuscript of the String Quartet Op. 55 No. 2. The second .୧ΪΕ was the cantata for mezzo-soprano Arianna a Naxosځȿخᒖಳ̠ᙬᄨɐΕ࠷ˮ ढ़ॗcϤ˘ΕࣵནԞԷ࠷܃ɺɔιณА ࠖcࣵནҡጱϬݯɤɻࠑ፡ೄЂۗcЎԑྡྷ Although Arianna a Naxos was duly published by Bland in ɐᅥςξΕ α̠ᙬᄨԷϴऋႠᔁࡾ London and performed there as a new work shortly after ɰᄘΡeϊς˿ॶܰࣵནݯ̛ۤɤɻࠑ Haydn’s arrival with Haydn himself accompanying theک singer on the piano, it had actually been written sometime ܰڬؿȹϽّكҳઆϤᄘؿcЎɰ ࣵནΕၐɖढ़ؿነ́ Ķ ܺϽշԣԣဍؿɤɡe before Bland’s visit to Esterháza in 1789. Possibly originally ࣵནҐϊςᅥᖪ৹̯͚cѴશࣂാ intended for the Venetian mezzo-soprano Bianca Sacchetti, ୧ΪΕढ़ॗcగผতϢؿ̃Ꭰc the first known performer of the work was one of Haydn’sځ ᆢؿೕᐰ̳ؒᆢؿ͂ᐰʿؒe own pupils in Vienna, a certain Miss Peperl, to whom heעผऋП؇෮ αɍ˂cˢᚹ႓ԣԣဍɤɡϊςc sent a copy expressing the hope that she “may be reminded ୧ΪΕढ़ of her master by often singing the cantata Arianna aځ༞҈௩ෲؿكΑᔍ༞i ᄱe̊ȹϽᖐϊςؿ Naxos and that she will pay particular attention to distinctܰ۾cٴॗՇᚭ ΊࡼɺܰПɁc̳ܰဍནʩɁe༦̛ဍႫ articulation and correct vocal production”. In March 1790 ቺᏲޮৌʵᇃcဍནʩɁαԷၐɖढ़ he heard a report of her performance and replied; “That ᅥᖪe my favourite Arianna has been successful is delightfulخࣵནcԷϊςؿऋПܖ news to me”. Another noted performer of the work КԈऋਝ˔ɾɤ was none other than Lady Hamilton who, with Admiral ୧Ϊʔ˚ځീᑟ߸τᗐ ؿ̀Ϣඨ႓cАّɺeऋ࠳ʔ˚ɾХc Lord Nelson in tow, visited Haydn in Vienna in 1800 and .ࡿ༦ procured a specially printed edition of the workܬɁeၤʔ˚ͳ۹˒ذɛࢌɐؿ֯ʹ ΑѴᖘcٵৰৰΔๆӶcಎࣵکעΕቭڳc܃ ʔ˚ݚໃढ़ॗɬeʔ˚ؿȹۧતሁ The anonymous text draws on the ancient tale of theͨͅ ใܹਮcݚᚉˮྦྷऋ࠳ϭϋɺಣؿෲੱh daughter of the King of Crete, Princess Ariadne, who has .been abandoned on Mount Naxos by her lover, Theseus ڬઅടؿാོሁˮПᔴɾߕeɀۧતሁ ውੱᅹಢcᑟ߸ʔ˚߬ࠍྦྷੱɁɰ̷ႩᔴϤ Having slain the Minotaur with Ariadne’s help and spent ༠ྟ˿ȹϋ the night with her, he has crept out before dawn andٲؿാོሁ܃ؿଊྡྷhʔ˚Ε˾ ȿɾؿʶੱe sailed back to Greece. In a tender opening Recitative Ariadne proclaims her undying love for Theseus and in the ensuing Aria sings of the agony of being parted from him. A second, passionate recitative, finds her brought face to face with the reality of the situation; he has abandoned her for ever, while the closing Aria finds her begging for her own death. ୧ΪΕढ़ॗځࣵནi HAYDN: Arianna a Naxos
તሁ Recitativo Recitativeۧ
?ऋ࠳c҈ؿෲɁkБΕ࡚j Teseo mio ben, Ove sei? Ove sei tu? Theseus, my love! Where are you ,ᑹ˞ݯБΕ҈Ӹᖾc Vicino d’averti mi parea, I thought you were beside me҈ .ЎԅࡈԞɺ༦ܰଏമʲؿྒe ma un lusinghiero sogno fallace m’ingannò. but it was only a sweet, false dream Εʨᖾࢄc Già sorge in ciel la rosea Aurora, The rosy dawn rises in the sky andעပϳؿቭع ɖᒨܷȿϳ e I’erbe e i fior colora the grass and the flowers are tinged with colour˹উ٦ڇ ,ቡؿʪඈु Febo uscendo dal mar as Phoebus emergesټȹ Ϭࣵɻ˪˪ʠe col crine aurato. golden-haired, from the sea. ,ɏʩkጱෲؿɏʩc Sposo! Sposo adorato, My husband! Beloved husband ?Б࡚֡˾ȿj dove guidasti il piè? where have you gone Forse le fere ad inseguir ti chiama Perhaps the chase has tempted ذτᓘڈୣ ?ؿБ˾ুႢj iI tuo nobile ardor! your brave spiritڭʵ႖ߜ ԞбcෲɁcБᎶ Ah vieni, ah vieni, o caro, ed offrirò Ah, come, my love, and you shall find a .e più grata preda ai tuoi lacci. sweeter prey for your snaresذҒҡଏؿᓘ ,୧Ϊؿʶ෮c Il cor d’Arianna amante Ariadne’s loving heartځܰ ྦྷБܫෲᄮɌਿȹc che t’adora costante, adoring and constant, ҈ࠣΣᇒЍc stringi con nodo più tenace bind with ever tighter bonds, ᜑෲˌ e più bella la face and let the flame of our love .ҡଞe splenda del nostro amor. burn more brilliantly than everלዝዖҡ ҈ɺॶ҂Շ Soffrir non posse I cannot bear ၤБʗȹԳe d’esser da te diviso un sol momento. to be parted from you a single moment. ෲɁc҈̋ Ah di vederti, o caro, Ah, I am seized, my love, ޜӮБe già mi strugge iI desio; with the desire to see you. .ؿʶݯБඹᅪe ti sospira il mio cuor. My heart sighs for you҈ .Ԟбc҈ؿෲɁe Vieni, vieni idol mio. Come, oh come my idol
(ᄤ Aria (Largo) Aria (Largo ാོሁ
?ؿᗸӴcБΕ࡚j Dove sei, mio bel tesoro? Where are you, my treasures love҈ ?ሂྔӶ҈ؿʶӥj chi t’invola a questo cor? Who tore you from my heartܰ ,ӀτБc҈ݠɺιc Se non vieni, io già mi moro, Without you, I shall die ҈Շɺȿိభe né resisto al mio dolor. I cannot bear such grief. ᇽुc㠳ࠨ߬ܰ෯భc Se pietade avete, o Dei, If you are merciful, 0 gods, ᇼᚹ҈ؿᖅйc secondate i voti miei, hear my prayer ᜑෲɁΑԷ҈Ӹᖾe a me torni il caro ben. and send my beloved back to me. БΕ࡚jऋ࠳cБΕ࡚j Dove sei? Teseo! Dove sei? Where are you? Theseus! Where are you? તሁ Recitativo Recitativeۧ
Ў҈Εྦྷሂ႓j Ma, a chi parlo? But who am I talking to? .Ɍ̋ၘিᚊe Gli accenti Eco ripete sol. My words are responded only by an echoڳ႓ȿc ऋ࠳ӀᚹӮc Teseo non m’ode, Theseus doesn’t hear, ऋ࠳ӀᎶ೮c Teseo non mi risponde, Theseus doesn’t answer, .ࠓ࣯Ґ҈ؿӶȿe e portano le voci e l’aure e I’onde. winds and waves carry my words away ˢɺผӶႩe Poco da me lontano esser egli dovria. He cannot be very far away from me. Էঢ়ؿᗺੈɐc Salgasi quello che più d’ogni altro If I climb that cliff that rises aboveث߬ܰ҈ ޜӮˢe s’alza alpestre scoglio, ivi lo scoprirò. the others, I shall see him from there. ԅܰޅფjʨkʨk Che miro? Oh stelle! Misera me! What is this? Alas! Woe is me! !ࡐɁؿk Quest’è I’Argivo legno! That is the Argive shipځԅܰ ԅԒܰѴᖘɁkऋ࠳k Greci son quelli! Teseo! Those men are Greeks! Theseus! ˢΕk Ei sulla prora! It is he at the prow! …፟ȿ Ah m’ingannassi almen... Ah, I could be mistakenޜஈܰ҈ֶ ɺdɺcȹցɺผ፟e no, no, non m’inganno. No, no, there is no mistake. ˢൠઌȿcҐ҈͕Εԫe Ei fugge, ei qui mi lascia in abbandono. He is fleeing, and abandoning me here. ӀѴશȿc҈Ɂˮሒȿe Più speranza non v’è, tradita io sono. All hope is gone, I have been betrayed. ऋ࠳kऋ࠳kᚹӮලk Teseo! Teseo! M’ascolta! Teseo! Theseus! Theseus! Hear me! Theseus! ʨc҈҄߬ရȿk Ma oimè! vaneggio! Alas, I shall go mad! ࠓ࣯ I flutti e il vento lo involano Wind and waves ̷̷ႩႩЭኆȿˢe per sempre agli occhi miei. are swallowing him up for ever. ᇽुc߬ܰ̋ᕣၔ҈c Ah! siete ingiusti, o Dei, You are unjust, O Gods, !cగܰ㠳ࠨɺʔ̳k Se I’empio non punite! if you punish me and not the traitorڵϤɺᕣၔԅ !ѿ߲࢟ຮؿӘɁk Ingrato! Ingrato! Ungrateful man ?ݯЄ߬ટБֲ՜j Perché ti trassi dalla morte? Why did I save your life҈ ?j Dunque tu dovevi tradirmi! For you to betray me҈ڵగݯȿᜑБԞ߇ ?БؿֻጻՙjБؿ႑Ӱՙj E le promesse? E i giuramenti tuoi? And your promises? Your vows Ӏʶӥkᗟɥk Spergiuro! Infido! Faithless one! Deceiver! Бౘ͕Ɏ҈j Hai cor di lasciarmi? Have you the heart to leave me? ሂผੱ҈j A chi mi volgo? Da chi pietà sperar? To whom should I turnfor compassion? ҈ॎɺᖇȿcᔶᇑΕᛌҋ Già più non reggo, iI piè vacilia I can barely stand, my knees are trembling ȹԳؿߕᏢ e in così amaro istante and the bitterness of this moment makes .ᜑ҈ॳɟؿʶɖΕᛌҋe sento mancarmi in sen I’alma tremante. my heart tremble in my breast
ാོሁ Aria Aria
҈ྟᗙcϋə Ah, che morir vorrei Ah! Would that death might come ,ผΕߎ՜ؿࣂԳԞᐽc in sì fatal momento, at this fateful moment ݼʶ ma al mio crudel tormento but heaven cruelly decreesڳЎɐʨ ߬҈ᘗᙩߕɎ˾e mi serba ingiusto iI ciel. that my sufferings continue. ,ᄵؿૃਯc Misera abbandonata, Poor abandoned woman˿ ӀɁΪᄱi non ho chi mi consola, I have no-one to console me: ෲؿӘɁ chi tanto amai s’invola, he whom I loved dearly҈ .ݼʶൠઌȿe barbaro ed infedel. has cruelly fled ͉ፗɡ Hector Berlioz 1803-1869
La Damnation de Faust, Op. 24 ۂࣺɡᄨؿʨᙵcА ৠˌ Will-o-the-wisp ˦ɤɾၦ Dance of the Sylphs Ϲ൬Ϸς Rakoczy Marchޫּ
ᄧᚊiα Literature had a profound effect on Berlioz throughout hisۂፗɡؿА́૯ՇʼነА͉ ɐιȿଡ଼ɡˈԓ়c creative life. A performance of Hamlet which he attended܃ճཊऋۄˢᜮሌ༦ ऋᗫ in 1827 fired his passion for Shakespeare, leading to anځˈԞҡ࣓ኣଡ଼ჱᄘɎȹᙌჱ܃ ᖓᅩၤ opera (Béatrice et Bénédict), several orchestral worksܢ˳ Кdడࠖဳ֞ᅥς̛̯ χᗫ່ңဍ˔ Λࠖς ˳ܢ (including Roméo et Juliette, Le roi Lear) and a plethora of ౡϤᄘ choral works (including La mort d’Ophélie, Marche funèbre܃ճཊऋۄෙഥ୧ɾϋݯ ؿ້ᓤ൬Ϸς hЩԚݯˢɁАᖪςɖผొʥ pour la dernière scène d’Hamlet). He would even refer to ଡ଼ɡˈԓ Ķࡥʥᝉɾϋ̳ܰȹԝeˢɖᆅ Shakespeare when setting a text by someone else; as we have seen with La mort de Cléopâtre. And it was in the same iАࡥʥᝉɾϋԅαcˢۂෲᄨؿА year that he composed La mort de Cléopâtre that he first ᄘАe͉ፗɡΕΑኙ፣ۂȹω࣓ኣᄨА set verses by his other great literary passion, Goethe. As he ҈ك૯ڳᄘ༞iଡ଼।ᄨᐣಳ᎖ɺАᐰc wrote in his Memoirs; “Shakespeare and Goethe, the silent ؿߕ୮cܰ҈́՜ɾᜲe confidants of my torments. They hold the key to my life”.
כᄨؿᎻჱ༾ടࣺɡᄨȹdɀ˫ʗП Johann Wolfgang von Goethe published his epic play Faust ˂Εαڬh͉ፗɡخαʥαˮ in two parts, the first in 1808 and the second in 1832. fᄨfʑ̿ؿᘭ̯ eۄԅܰ ωઅᘩϊჱٱ Berlioz first encountered it (in a translation made by Gérard ԞΕΑኙ፣ɻᄘ༞i̯࣊˥Ɂོݯ܃ˢ de Nerval) in March 1828 and recalled in his Memoirs the ෲɺᘷʹcಲࣂ effect it had on him; “This marvellous book fascinated meقᜮ˅c҈ɐ૯૯ട়cᓯ ಲԳΕޜc͂ᎁࣂdΕჱdΕഷɐ Ķ ͨЄ from the start. I could not put it down. I read it incessantly, Δʿeˢడ˝͓ԳԷ߬ԗϊАࠑᅥcɖஈ at meals, at the theatre, in the street, everywhere”. Almost αҐ immediately he began to think of setting it to music, possibly ͚ᚊςcɖஈܰ٢ᑂၦჱhˢܰ ʑ̿ᘭ̯ፕݒᖪᄘιᐰᅥၤᅥ྆ۗςࣺɡᄨ as a symphony or as a ballet, and in 1829 set passages in e Nerval’s translation for voices and orchestra and himselfخϬ༅ˮ܃ؿɄౡcಳ paid to have these Eight Scenes from Faust published. ڳɀɊαං܃cЎ֡ۂԞνΑࠖА܃ቱဳˢ ᗐؿᅥςcୄᄘˮ He subsequently withdrew that work, but over the nextޚᘗᙩАၤࣺɡᄨ ࣺɡᄨؿʨᙵeˢҐࣺɡᄨ ီݯࠑᅥผ Ķ two decades he developed his musical response to Faust ჱcα˂ˀΕʱቭ௩ჱࠖe and eventually produced what he himself described as a “concert-opera” – The Damnation of Faust – which was premièred at the Opéra-Comique in Paris on 6th December 1846. ˢξαི߮ᄘАࣺɡᄨ٢ᑂၦჱؿ෮྇c Elements from his early plans to write a ballet remained, as ;Εςɻ Ķ గܰʌયˮؿȹdɀፕݒ Ķ ˿Ӯ we hear in these first two extracts from the work ȹᒨള༌i Will-o-the-wisp: Mephistopheles is in the street and conjures ৠˌiோഥऋΕഷɐਔՑԞĉ௴ৠˌ༐ˮ up the will-o-the-wisps who dance this delicate little minuet, .ࠖඏᆽؿɩүၦςc৫ဍؿႍ࢜Ꭳe with its occasional hints of menace
ɤɾၦiࣺɡᄨΕ،ɐҶҶဣ˾cʲ Dance of the Sylphs: Faust has fallen asleep on the riverbank˦ .ɤࠨݯˢၦe and imagines the Sylphs dancing for him˦
The third extract we hear was not originally inspired by ၤᄨࡈടѧͲಲᗐe͉ፗڳʌયؿɍፕݒ Goethe at all. Over the years that Berlioz was working ɡᑿࣺɡᄨ౨ං՚༝Ͷਝኪͨܞcˮ on his Faust music he travelled extensively, conducting cτɁйേˢiکeͼˑСɾۂϬɯؿА performances of his own music. Due to visit Hungary, he ͼˑСɁ௩ᚭБcగ࣓ኣͼˑСςሁᄘࠖ was advised that, “if you want the Hungarians to like ςɥбeኣ႓τɁొᘪˢઔ͂ȹབͼˑС you, write a piece based on national tunes”. He was પߜඐؒᙬওfּޫϹؿςሁeςሁ̵ pointed in the direction of a tune composed, it is said, ؿ ԈۄˮϬȹϽΊ̉ඏጻfଓ by a gypsy violinist – one János Bihari (1764-1827) – Ϲᐲޫּכౝᑩɩొೄࡼʹ೫cʑࢀᗐ which celebrated the great victories of one Ferenc ਝɁᜑीਝઓෙΔСؿ؝e͉ፗɡԗؒ Rákóczi who had joined forces with the French to ϊᄘιው৽ɁʶؿͼˑС൬ϷςĶϊς wrest his native land from Austrian rule. Berlioz turned α˂ˀΕԣࠖࣂᄤᏵውሌc this into his stirring Marche hongroise which created Εʱቭࠖؿ such a frenzy of admiration at its première in Pest on܃˂ˢҺցҐϊςጪɃడܰכ ࣺɡᄨؿʨᙵeቱဳᄨؿࣺɡᄨၤͼˑС 15th February 1846 that he decided to incorporate it into ȹᒨ The Damnation of Faust due to be premièred in Paris aڳcЎ͉ፗɡڝᛷᗐעϹяӀτޫֶּ cΕςɻైɃȹͲณؿౡiּޫϹ few months later. The fact that Goethe’s Faust has no܃ׇᇽ ൬Ϸςᚊc߶අͶඅӶ༦ͼˑСؿ̡ࡈe obvious connection with Hungary or Ferenc Rákóczi didn’t deter Berlioz, who simply inserted a totally new scene in which an army is being paraded on the Hungarian plains to the strains of the Rakoczy March.
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ࠗ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 Maestro’s Chair – endowed by ᐢܞϽͅ˞Ɏዀ࿚ᖳХ 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
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
ݙԗɓ ᖓഓ ੌѩ৩ ߑ עညӱԙᓱ ቭ¶ Kaori Wilson Li Ming Alice Rosen Cui Hong-wei Fan Yan Ethan Heath
ࡸ⋳ ˔ᒟ *ߑܱ *ਜ਼ᰢᄧ ע͉ ࠾ۤ෧ William Lane Pak Ming Sun Bin Wang Jun * 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
ᙀԞ ᎏဍഥ ඟ࿖ Сԓۚ¶ Jiang Xinlai Philip Powell Feng Rong Samuel Ferrer
´ ࠖ3ULQFLSDO ᐲࠖCo-Principal ½ ༠ཬ ߑᎼК׳ ࠔ׳ Jeffrey Lehmberg George Lomdaridze Jonathan Van Dyke ¶ ХଉࠖAssistant Principal
ĶټЄᒤᅬࡼપਥ* ʹࠗಋဳ֞ᅥ྆྆ነࡗফི߮ᅥ * 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 ۪ࠖɻొೄ ʱဳ ɩ໔ Ꮎᅥኂ ሉೄ Extra players Guest Principal Viola Bassoon Trumpet Percussion Harp
ሳᄫۜ ᖭᕤଉ ֻၬᒚਝɣ̈́ෲᅥᅥ྆ʐஈၤˮ קജॶ ԊᗸΪ ਜ਼ࣽ James Wannan Bao Anh Cheung Ho Sing Tang Wai Chi Amy Tam With kind permission of the Daejeon Philharmonic Orchestra Nguyen# ᅥၙȹਦ Music Celebrations
ષౣʆ㣍ٽʔɣነ࣎ ʀಋᅥೕࢄᐢۂߎ֨ ဟஈዷඓɤɡʥˮّ Prof John C Y Leong, President of OUHK, presented a souvenir to Ms Angela Hui, Director of Development of HKPO and the fellows
ݯ՚αႌᄪɐᖚࣩࢠʥ੫ᅥᗗjಋᅥࠑᅥผ̳ܰᅥၙȹਦؿԙݠ৽e
ɎcऋПᖳХಋᅥ˂ˀؿܛผؿʻټ৪֦ኮඈ෯ഁਥ׳ࠗಋʔɣነʌαᄪूɀɊ՚α࣎ᄪcΕ ࠖȹਦeʌα˂cၙچᓿكէୣʺऋ z ʱͶࡧؿફᓊcАݯ࣎ᄪؿࠇᒨຝ͌ɾȹe˞ᅥผʤcᜑณޭ ྆ফི߮ነࡗcҡΕʔɣነᐾϷȿȹ֞ᅥ̒ࠇۗʟංࠑᅥผcټಋᅥ̒ϽЄᒤᅬࡼપਥ ੀဳ֞ᅥɃ්࣎e
Celebrate the important moments with enchanting music! HKPO concerts will season your anniversaries with delightful tunes. Celebrating its 20th anniversary, with the support from Lam Kin Chung Morning Sun Charity Fund, the Open University of Hong Kong sponsors the concert “Serenading Mozart: Kolja Blacher Returns” on 2 October as one of the highlights of the celebrations and a re-union for the University’s alumni, staff and stake-holders. Earlier in May, four fellows from HKPO under The Robert H. N. Ho Family Foundation Orchestral Fellowship Scheme gave a lunch-time concert at the University with an aim to promote classical music to a broader community.
ᖳХಋᅥ6SRQVRUVKLS2SSRUWXQLWLHV ཋTel: 2721 2030 ཋ൯Email: [email protected]
྆ফི߮ነࡗۗɾʟංࠑᅥผټЄᒤᅬࡼપਥͅ Lunch-time concert by The Robert H. N. Ho Family Foundation Orchestral Fellows ࠗ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
ဟྦկࡗผ BOARD OF GOVERNORS ᇞᗐዷೄ܁ Mrs Janice Choi ͱ́ Mr Chung Shui-ming, GBS, JPעჳʏ́ͱ́ Mr Y S Liu ᒉ ˚ Chairman ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ᘣዉͮͱ́ Mr Jack C K So, JP ͱ́ Mr Chung Shui-ming, GBS, JP ݇ͱ́ Mr Stephan Spurrעᒉ ৹˚ Vice-Chairman ল৻կࡗผ FINANCE COMMITTEE ͱ́ Mr Chung Shui-ming, GBS, JPעஹౝ٧ɡ Dr Peter P F Chan, BBS, MBE, DS, PhD, JP ᒉ ਜ਼˔̢࠷ʩɁ Mrs Michelle Ong Cheung ˚ Chair ᇞᗐዷೄ܁ Mrs Janice Choi ፳ᜃͱ́ Mr Glenn Fok ፳ᜃͱ́ Mr Glenn Fok ЄʩɁ Mrs Paulette Ho 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 ᇞᗐዷೄ܁ Mrs Janice Choi ݇ͱ́ Mr Stephan Spurr ˚ Chair ሳ̷ᗌᏲɡ Sir David Tang, KBE ඡ፦ɬͱ́ Mr Kenny Wong Kam-shan ͉ဦშɤɡ Ms Deborah Biber ാພɤɡ Ms Winnie Chiuٹ ᇯཽʆͱ́ Mr David Zacharias ЄʩɁ Mrs Paulette Ho կࡗผ ENDOWMENT TRUST FUND 7DVKD/DOYDQLɤɡ Ms Tasha LalvaniټᖳХਥ BOARD OF TRUSTEES ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ᄨͱ́ Mr Peter Siembab֤ܪ ͱ́ Mr Chung Shui-ming, GBS, JPעᒉ ˚ Chair ᘣዉͮͱ́ Mr Jack C K So, JP
ஹౝ٧ɡ Dr Peter P F Chan, BBS, MBE, DS, PhD, JP ೕࢄկࡗผ DEVELOPMENT COMMITTEE ჳʏ́ͱ́ Mr Y S Liu ݇ͱ́ Mr Stephan Spurr ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ˚ Chair
Ίᙷᚋਐ HONORARY ADVISERS ஹी؈ɤɡ Ms Joanne Chan ஹ̷ജ㣍 Prof Chan Wing-wah, JP ᇞᗐዷೄ܁ Mrs Janice Choi ɡ Dr the Hon Marvin Cheung, OBE, SBS, JP ЄʩɁ Mrs Paulette Hoۺਜ਼ ՚̷ιͱ́ Mr Vincent Chow Wing-shing, MBE, JP ңࣽɬͱ́ Mr Vance Lee Є൚ᕽɤɡ Ms Pansy Ho Chiu-king ң৩Ϊͱ́ Mr Warren Lee ߈ؒͮͱ́ Mr Hu Fa-kuang, GBS, CBE, JP ષඟ˥შᔢ́ Dr Lilian Leong, BBS, JP ཽ༞ଉቺᏲʩɁ Lady Kadoorie ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ષցԄᔢ́ Dr Ronald Leung, OBE, JP 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 ܪʼᄫɩմ Miss Sheryl Sze Ϸܧो࣊ Executive Secretary ̟ઐᄤଉ Marketing Manager (ઐᄤۧඨ (Concert Promotions ᖚϷܧ ARTISTIC ADMINISTRATION ՚⌿ɤɡ Ms Mio Margarit Chow ஹཽయɩմ Ms Tiphanie Chan ᖚ೪ི Artistic Administrator ᇁፎ Publications Editor
˔ཽᆋɩմ Miss Michelle Wong ஹࡄᏟͱ́ Mr Nick Chan Хଉଉ Assistant Manager ঢ়ज़ᤇʥ Senior Marketing Communications Officer ᖚࡼԑ৻ (Artist Liaison) ඨ˚ͨ
ɩմ Miss Agnes Ng ඡዷɩմ Miss Natalie Wongˬٮд ᖚϷܧХଉ Artistic Administration Assistant ᤇʥඨ˚ͨ Marketing Communications Officer
ɩմ Miss Alice Lamށ׳ ೕࢄ DEVELOPMENT ஈዷඓɤɡ Ms Angela Hui ۪৻˚ͨ Customer Service Officer ೕࢄᐢဟ Director of Development ᅥ྆ԑ৻ ORCHESTRA AND OPERATIONS ᅥ߹ͱ́ Mr Luke Shawٷ ɤɡ Ms Edith Ngעдௗ ೕࢄଉ Development Manager ᅥ྆ԑ৻˚ဳ Head of Orchestra and Operations
ષႼͱ́ Mr Henry Leung ฦჴᙂͱ́ Mr Ambrose Yeung Хଉೕࢄଉ Assistant Development Manager ᅥ྆Ɂԑଉ Orchestra Personnel Manager
ధɩմ Miss Ruby Pang ஹਝຮͱ́ Mr Steven Chan Хଉೕࢄଉ Assistant Development Manager ၦ̎ଉ Stage Manager
ল৻ʥϷܧ FINANCE AND ADMINISTRATION Є܆ણɩմ Miss Betty Ho ߈ࡼᗸɩմ Ms Angel Woo ᅥᖪဳଉ Librarian ল৻ʥϷܧ˚ဳ Head of Finance and Administration ஹᗗўɩմ Miss Vanessa Chan ңႼͱ́ Mr Homer Lee Хଉଉ Assistant Manager ল৻ଉ Finance Manager ᅥ྆ԑ৻ (Orchestra and Operations)
ɩմ Miss Christy Lawٮხͱ́ Mr Wong Chun Kim ᖓژඡ ল৻ʥϷܧ Assistant Manager, ࠑᅥϷܧྡྷୌࡗ Music Administration Intern Хଉଉ Finance and Administration Ԅͱ́ Mr So Kan Pongٶᘣ ਜ਼ཽඓɩմ Miss Cherish Cheung ༜ፏ˚ͨ Transportation Officer (Musical Instruments) ɁɈ༅ଉ Human Resources Manager
ᘣဦജɩմ Miss Vonee So ল৻ʥϷܧঢ়ज़˚ͨ Senior Officer, Finance & Administration
Miss Pamela Chan ஹᗫᄐɩմ ᐲ҈ࠨ ɣᅢɄᅢܧࡗ Receptionist ࠗಋȾ᎘άҳՍʼʝɻʶϷۿઅ ཋiඨभi ષ፦᎘ͱ́ Mr Sammy Leung 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
ႩೕࢄʥᔔఒٽΈɣͬพϤι͓cοΕઐ৽ࠗಋဳ֞ᅥ྆ؿވαऋПݯɮਆ כɣผ ؿʼʝ́ݠeಋᅥᔑϊΉɎͶΈɣผผࡗߎᑢe̵̟ Established in 1998, Club Maestro is an exclusive corporate club for the business community. It aims at the long-term development of the Hong Kong Philharmonic Orchestra and at enrichching citizens’ cultural lives and sense of enjoyment. We heartily thank the following Club Masestro membrs.
ผࡗPLATINUM MEMBERSټ͉
David M. Webb webb-site.com
ᝃ͏ผࡗDIAMOND MEMBERS
Mr Wilfred Ng MH, JP
၆ᗸ͏ผࡗEMERALD MEMBERS
ނकผࡗPEARL MEMBERS
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
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 David Friedۺਝඑ྆τࠉʔ̇ ஹןณ Hsin Chong International Holdings Ltd ਜ਼ဍయ͞ᙎMr & Mrs Lowell & Phyllis Chang Mr Fred William Scholle Ԉઁٖτࠉʔ̇Kerry Holdings Ltdཽ ɤɡMs Tse Chiu MingעષईΪ͞ᙎMr & Mrs Leung Lit On ᑢ൚
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 Mr Jan Leung & Ms Emily Chow Dr & Mrs Carl Fung ਜ਼ᘚ౬ͱ́Mr Cheung Yiu Tong Mr & Mrs Michael & Angela Grimsdick ඟᄪᗌ͞ᙎMr & Mrs Kenneth H C Fung ਜ਼ᄨ᎘ͱ́Mr Cheung Tak Lung ߈͓́ͱ́Mr Maurice Hoo ߈ጙ̳ᔢ́ʥʩɁDr & Mrs Wayne Hu Mr Chow Ping Wah ည٠ജϢMs Teresa Hung ঢ়ᐶ͞ᙎMr & Mrs Ko Ying Dr Affandy Hariman ͱ́ʩɁMr & Mrs Fung Shiu Lam׳ඟͰ ң৪ᒤᔢ́Dr Lee Kin Hung Ms Hu Shu Ms Li Shuen Pui Agnes ͱ́Mr Lawrence Mak Mr Toru Inaokaעோᘚ Dr John Malpas ோᓤᔢ́Dr Mak Lai Wo Ms Liu Ying ధ̷ါᔢ́ʥʩɁDr & Mrs Pang Wing Fuk Mrs Anna Marie Peyer Mr Joseph Pang ᅾܭჴͱ́Mr Poon Chiu Kim Raymond ᔢ́Dr Paul Tat Ming Sheaעஹౣʼͱ́Mr Stephen Tan ༠ The Hon Mr Justice William Stone ผTin Ka Ping Foundation ౦ʼ́ͱ́Mr Eric M S Tsangټࡼݰਥ̈́ Ms Carley Shum & Mr Jeff Szeto ֝ݘᔢ́Dr Tsao Yen Chow Ms Tsang Kwai Fong Mr Tsunehiko Taketazu Wang Family Foundation ᑢయक़ɤɡMs Tse Wai Shun Susanټҹᄩନ෯ഁਥ Ȼʨ͓͞ᙎMr & Mrs Ivan Ting ͱ́Mr Wong Po Yan ߈ҁࡄͱ́Mr Wu Chi Kongړඡ Ms Cindy Tse ͨ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 ஹұᄨᔢ́ʥʩɁDr & Mrs Chan Kow Tak Capital Well Investment Limited ผZhilan Foundation Mr David Chiu ஹᒤႩͱ́Mr Chan Hung Yuen Robertټ٠ᙬਥ 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 Ԉઁٖτࠉʔ̇ ঢ়ᐶ͞ᙎMr & Mrs Ko Ying ާɣᇯઠProfessor David Clarkeཽ Kerry Holdings Limited ່ጷፓɡDr M T Geoffrey Yeh ፳ዷᎨͱ́Mr Fok Wing Huen ඟݯԙͱ́ʥඟ፳֗หɤɡ ႻဳᖳХɁBronze Patron Mr Alex Fung & Mrs Hanne Froseth-Fung HK$30,000 – HK$49,999 ЄݰЇͱ́ʩɁ͞ᙎ ၖၕᖳХɁJade Patron Mr & Mrs Phyllis & Adolf Ho ષࡼ͞ᙎMr & Mrs Alan Leong HK$5,000 – HK$9,999 Item Industries Ltd ңɣι͞ᙎMr & Mrs Henry & Angelina Lee Mr Ian D Boyce ңኹ࿘ɡDr Lee Shu Wing Ernest Mr Chan Ka Kui Mr Leung Cheuk Yan Mrs Anna Chen Mr Richard Li Mr Chu Ming Leong Mr Lo Cheung On, Andrew ᒉ܆ᔢ́Dr Chung See Yuen ж̷๑ͱ́Mr Lui Wing Chiu ᗐࡼඐᔢ́ʥʩɁDr & Mrs Kwan Ka Hung ோሣιͱ́Mr Mak Fai Shing ټᎉЕჴ֨ਥ Lok Yu Kim Ching Memorial Fund Mr & Mrs John & Coralie Otoshi ࣍শ෮ਝτࠉʔ̇ Ѱɷ́ͱ́Mr Shum Choi Sang Long Hin Creative International Ltd Ms Ophelia Tam Mr Wong Kong Chiu ᇞႚͱ́Mr Tony Tsoi ඡܱജɡ Dr Dominic S W Wong, GBS,OBE,JP ଞ̡ʔᖬϷτࠉʔ̇ Zennon & Pierre Company Limited
ઠөඖ͌༅Хዀ࿚ EDUCATION OUTREACH SUPPORTER
The Hongkong Bank Foundationټ㟱ᔔႺϷ෯ഁਥ ࠗಋɻജ๏ࣩτࠉʔ̇The Hong Kong and China Gas Company Limited ENDOWMENT TRUST FUND ټᖳХਥ
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
.ȹȾɄɍᾳ˞ɐዀ࿚ᖳХ˞ι͓e The Endowment Trust Fund was set up in 1983 with these initial sponsorsכټᖳХਥ
ਆᖚමക PAGANINI PROJECT
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 •
ϊི߮ͅਆᖚමകೕʥୂᓱeThis project is initiated and organizated by Business for Art Foundation.
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 էୣʺऋiʱͶࡧؿફᓊޭ Serenading Mozart: Kolja Blacher returns 2&3 Oct 2009 Fri & Sat 8PM ࠗಋɣผਦࠑᅥᜨ HK City Hall Concert Hall HK$280 $200 $140 $100
ʱͶࡧcეۗɩొೄ Kolja Blacher, director/violin
ຝ͌Programme ୣʺऋ ͚ᚊςˈऋ MOZART Symphony No. 41 Jupiter ഒਅ ɩొೄԾۗς SCHUMANN Violin Concerto ۂࣜ˿ʩਥ ɩէςcА TCHAIKOVSKY Serenade, Op. 48
ࠖˮᖳХiࠗಋʔɣነ Opening performance is sponsored by The Open University of Hong Kong ผټ৪֦ኮඈ෯ഁਥ׳ዀ࿚iܛࠖˮʻ Opening performance is supported by Lam Kin Chung Morning Sun Charity Fund
ࠇᒨઐʍFEATURED CONCERT ષूx˸˖ᇂ Butterfly Lovers – A Legend Reborn 9&10 Oct 2009 Fri & Sat 8PM ࠗಋʼʝɻʶࠑᅥᜨ HK Cultural Centre Concert Hall HK$300 $220 $160 $100
ܞશc׳ Jahja Ling, conductor
ᑃ৩cɩొೄ Xue Wai, violin
ຝ͌Programme ඡߗ ͚ᚊѵςĶၤષूྦྷ HUANG RUO Still / Motion ஹ፡Є˻ႚ ષूɩొೄԾۗς CHEN/HE Butterfly Lovers Violin Concerto ᄨͥʺК Ʉ͚ᚊς DVORÁKˇ Symphony No. 8
ผټࠖˮᖳХiณജඑ྆ਥ Opening performance is sponsored by Sunwah Foundation Ɋ˂ɊˀˮᖳХi̷ඊႺϷ 10 Oct performance is sponsored by Wing Lung Bank
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