ʪ̀ณɈ൴i፡ೄࠔܞĶ˔ϡԙ Swire New Generation: The next sensation – Yuja Wang
ಝһࣵ ຝ͌ ̀ۂ ࣳᖓࡐഥʩ 'ɣሁȹ͚ᚊςcАܞ Muhai Tang ҄ conductor ᇅ ၦςiɺʪ҄ؿཽ҄͑ ϡԙ ୄςiɊʗݠᅱ˔ ፡ೄ ۂYuja Wang ࣳᖓࡐഥʩ &ɣሁɍ፡ೄԾۗςcА ϷĶ҄ piano ᕀၤᛰۗ˚ ɺʪ҄ؿ҄
xɻͤࢠx ճਥß ʨʿէᖭ׳ ᗲؿᄤ ঢ়ҳ˿ʩ ɣࣵၤӺʱ༠ؿ ᇅ ԑܨᙬ༠˔ɥؿ˺ ҄ؿɩϷ αႦؿ˔ɥၤʔ˚ ร҄ ʱࣟ༠ؿຝˀ Ķ ࣵᗒ
Programme PROKOFIEV Symphony No. 1 in D, Op. 25 Classical Allegro Larghetto Gavotte: Non troppo allegro Finale: Molto vivace PROKOFIEV Piano Concerto No. 3 in C, Op. 26 Andante – Allegro Theme and Variations Allegro ma non troppo – Intermission – RIMSKY- Scheherazade, Op. 35 KORSAKOV The Sea and Sinbad’s Ship (Largo e maestoso) The Tale of the Kalender Prince (Lento) The Young Prince and Princess (Andantino quasi allegretto) Festival at Baghdad – The Shipwreck (Allegro molto)
ܱ౨ɍ Ɏʟࣂࠇᅌe ˀ˂כᅌcຝ͌ੀقͰႠ ଊ )0 ˀؿࠑᅥผࠗͅಋཋ̎̒̎˂ The 26 Jun concert is broadcast live on RTHK Radio 4 (FM Stereo 97.6 – 98.9 MHz). The programme will be repeated on 30 Jun (Wed) at 2pm. ΊᖳХڥ Title Sponsor ΈϽᜮଠ cᇼᗐઌʹొཋʥԯˢᚊባສeʑɺඝࠕdᙘᄧd፣ࠑֶ፣ᄧeूɣࡼτȹ҄ؿࠑᅥeکሌᅥ Dear patrons For a wonderful concert experience, kindly switch off your mobile phone and other beeping devices before the concert begins. Photography, recording, filming, eating or drinking are not allowed. We wish you a very enjoyable evening.
(ࠗಋဳ֞ᅥ྆ಋᅥܰԓݘਂʑԮეኒΔ The Hong Kong Philharmonic Orchestra (HKPO Ͻؿᅥ྆ɾȹcᔔఒࠗಋʼʝ́՜༩ȹ˖c is one of Asia’s leading orchestras. Enriching Hong Kong’s ɍɊαԞɰೕࢄιඑജɁၤࣵ̔ࠑᅥ၀ߜؿ cultural life for over a century, the Orchestra has grown intoٶ ˮᅥ྆cмʵ˖ވज़ᖚࡼ̎ᘆᖚeಋᅥ a formidable ensemble of Chinese and international talents in the last three decades, attracting world-class artists to Ұα༦൚༦ȹϛʄɊؿˮcᘩ৽ɀɊຒ perform on the same stage. HKPO annually touches the lives of ᅥ়ؿʶe 200,000 music lovers through more than 150 performances.
ɣϴ۹fജऋეኒɎc Under the leadership of its internationally renowned conductorܞΕԔᙷਝؿ αˮ৺ Edo de Waart, HKPO continues to scale new heights in musicalٶಋᅥؿᖚˋ̡ྨঢ়ࢋeಋᅥ Ͳࡨ͚ᚊςӡͶdჱࠑᅥผdඨ̀ᅥς excellence. The continuing cycle of Mahler symphonies and ,cҡ challenging programming outside the traditional repertoireۿؿྩณς͌cяݯᅥ়ֺᆅʘ౨̔˞ ᅥտؿ have become highly anticipated events as well as musical ιݯᅥ྆ᖚೕࢄؿԈೡຌe -ᅕӴΛ٧ؿᒫԈෙჱࠑᅥผ milestones for the Orchestra. Beethoven’s Fidelio opera-inڈࠇᎻc ʥ৺ؿɣΔɾɺ˿cϤԯˢၤಋᅥ concert and Mahler’s Das Lied von der Erde are inarguably the i፡ೄࡼແˤd major highlights of the 2009/10 season. Many great artistsܢ˳ڬؿᕷᅥኋ̜ܱ̎ ,ॗʩਥʥңၐcɩొೄࡼਜ̷਼քʥ perform with the HKPO, from pianists Jean-Yves Thibaudetּˈ ɣొೄࡼ͠СeඨթܞᖓऋӇਥ Boris Berezovsky and Paul Lewis, violinist Sarah Chang to cellist Steven Isserlis. Last October, the audiences were ಋᅥؿ၀ˮcҡᜑᄤɣܞ˂Ɋכɣ thrilled with the performance of the HKPO under the baton ᅥ়जɎ૯ԳͿോe of the legendary Gennadi Rozhdestvensky.
ιݯ From April 2006, The Swire Group Charitable Trust becameټপਥڌα˂cʪ̀එ྆෯ഁ ᅥ྆ؿࠖᖳХc˞Хജऋྡྷଊˢྦྷᅥ྆ؿ the Hong Kong Philharmonic’s Principal Patron, enabling ѩᗙeϊݯಋᅥ̌ɐɣؿͬพᖳХc˥ᅥ྆ Maestro de Waart’s artistic vision for the Orchestra to be ,ၦ̎ᑺ൬ realized. Swire’s sponsorship of the Hong Kong Philharmonicވ˖˞ΕᖚɐτҡɣؿೕࢄcΉ ؿࣂcੀঢ়ˋๅؿˮᄤɣ̵̟cᜑҡ the largest in the Orchestra’s history, supports artistic growth ΛɁઅᘩԷ̀ࠑᅥe and development as the Orchestra takes its place on the world stage, and brings performances of musical excellence to the widest possible public. ॵฉ૯૯၇κcዶรઐᄤ HKPO stays in tune with our city by presenting the orchestra̟ےಋᅥࠗಋؿ ผΈආᄙcੀ၀ؿࠑᅥผ in unexpected venues and bringing the excitement ofمဳ֞ᅥϭ ԷΈࡼΈʸcɻɺʭࠇ߬ˮҡ༦ཋ̎ the concert experience to every home through radio and ൠΔ television broadcasts. These included, the largest symphonicכܢ˳ሌcʥཋ഼ᔝᅌͲಋ̵̟ event of the year, Swire Symphony Under the Stars at Happy ͚ᚊۗ z ʪ̀ێ༝ᅥᐾϷؿͲαɣ Valley. The Orchestra runs a comprehensive schools education ಋᅥfܱէf͚ᚊςeݯȿొঢ়Ͳಋɻd programme, HSBC Insurance Creative Notes, bringing the joy ɩdऋࣦነ́ྦྷ̀ࠑᅥؿጙመcಋᅥᐾፒ of classical music to primary, secondary and special school ፮෮ࠑଲcొԜЛ kids, and once in a while, the Orchestra drops the formality ofړࠑᅥઠөི߮㟱ᔔ ࠑᅥผʥΈඖઠөݠ৽eᅥ྆͛ཹምˮक़̀ the classical concerts to crossover with Western and Chinese .ࠑᅥؿᆲᕿc౨ᑼᇼɻd̔ݚϷʹ̎ pop stars ᜮଠઅᘩ̀ࠑᅥeڇˮcмʵҡΛα The Orchestra also builds its reputation and raises its artistic ᐰᙷ standards by touring. In 2007/08 season, the Orchestra͓ۺಋᅥؿࣵ̔Ԁিˮcᜑᅥ྆Εಋ̔ ʥ൬ȹүొʠᖚˋ̡eᅥտcಋᅥʗ performed in the Shanghai Spring International Music ਝࠑᅥຝʥ˵ԕਝࠑᅥຝɻ Festival and the Beijing Music Festival. In 2009, the OrchestraܬɐࣵɾכП αcᅥ྆ҡΕϴ۹fജऋؿეኒ undertook a major six-concert tour of China, including the eޚڋ ɎԷᄤήܱࣵࠑᅥᜨd˵ԕਝࡼɣჱʥɐࣵ Xinghai Concert Hall in Guangzhou, Beijing’s National Centre for the Performing Arts and Shanghai Grand Theatre under ɣჱАɻਝԀcݯᄤɣɻਝᚹଠˮʒ the leadership of Maestro Edo de Waart. ၀ࠑᅥผe
In February 2008, the Hong Kong Arts Development Council α˂ཕೕᖚઐᄤ honoured the HKPO with the Arts Promotion Award, inכࠗಋᖚೕࢄѫ αԞι˲ᒷ recognition of its success in expanding its audience base andٶಋᅥٲ˞ᆉʀࠗಋဳ֞ᅥ྆c ࢄᜮଠᄙࠍᏵՅʔଠʻܛe gaining public support in recent years.
The Hong Kong Philharmonic Orchestra is financially supported by the Government of the Hong Kong Special Administrative Region ༅Х SWIRE is the Principal Patron of the Hong Kong Philharmonic Orchestra֚ܧਂܧࠗಋဳ֞ᅥ྆ࠗͅಋऋПϷ ࠗಋဳ֞ᅥ྆ࠖᖳХiʪ̀එ྆ The Hong Kong Philharmonic Orchestra is the Venue Partner of the Hong ࠗಋဳ֞ᅥ྆ݯࠗಋʼʝɻʶΔ͟Ђ Kong Cultural Centre Salute ᑢ͟Ђ to Our Partners kܛࠗಋဳ֞ᅥ྆টʶᑢ˞ɎᖳХዀ࿚ؿྐྵష༅Хʻ The Hong Kong Philharmonic Orchestra would like to express our heartfelt thanks to the Partners below for their generous sponsorship and support!
˚߬ᖳХ ࠖᖳХ MAJOR FUNDING BODY PRINCIPAL PATRON
ຝ͌ᖳХMAJOR SPONSORS
CIC Investor Services Limited a subsidiary of Crédit Industriel et Commercial, France
ߎཋ(852) 2721 2030 ֶཋ൯ϭ[email protected] ၤ҈ࠨᐲeٴΣ્݅τᗐᖳХֶࢶಁԑփcᚭ For sponsorship and donation enquiries, please feel free to contact us on (852) 2721 2030 or via email at [email protected]
˞ʔ̇ߜʼΊီѵIn alphabetical order of company name 湯沐海 Muhai Tang
指揮 conductor
湯沐海由2006年起，擔任蘇黎世室樂團藝術 Muhai Tang has been Artistic Director and Chief Conductor 總監兼總指揮。他又於2009/10樂季起出任上海 of Zurich Chamber Orchestra since 2006. In season 2009/10, he becomes Artistic Director of Shanghai 愛樂及鎮江交響樂團藝術總監，及自2009年起 Philharmonic and Zhenjiang Symphony. Since 2009, he has 擔任漢堡交響樂團客席首席指揮。 been Principal Guest Conductor of Hamburg Symphony.
Son of a famous film director in China, he has always been 他的父親為國內著名導演，自小便深被音樂舞台 drawn to the musical stage, and conducted operas on 吸引，曾於世界各地指揮歌劇演出，其中包括在 several continents. He has led in many productions while he was Chief Conductor of the Finnish National Opera in 任職赫爾辛基芬蘭國家歌劇院總指揮期內的多套 Helsinki. In 2007, he conducted fully-staged performances 歌劇製作。2007年，他指揮譚盾歌劇《茶》。 of Tan Dun’s opera Tea.
His international recognition began when Karajan invited 他的國際指揮事業，始於1983年卡拉揚邀請他 him to conduct the Berlin Philharmonic in 1983. The 指揮柏林愛樂，該次成功演出帶來與柏林愛樂 success led to reengagement with Berlin and invitations 再度合作的機會，以及世界各大樂團的邀請， from leading orchestras such as the London Philharmonic, Leipzig Gewandhaus, Staatskapelle Dresden, Orchestre 包括：倫敦愛樂、萊比錫布商管弦樂團、德累 de Paris, Sydney Symphony and San Francisco Symphony 斯頓樂團、巴黎樂團、悉尼交響樂團、三藩市 among others. He has worked with great artists such as 交響樂團等。曾與他合作的名家包括有：羅斯卓 Rostropovich, Menuhin, Perlman, Rampal, Argerich and Mutter to name just a few. 波維契、曼奴軒、普爾文、雷波爾、亞嘉莉殊及 梅達等等。 Under his leadership, Zurich Chamber Orchestra has explored many chamber works, and received great accliams for performances of Haydn in particular. He has also held 蘇黎世室樂團在他領導之下，探索許多室樂 Principal Conductor positions with Royal Philharmonic 作品，特別以海頓作品最為人稱許。他又曾任 Orchestra of Flanders, China National Symphony, 多個樂團的首席指揮，包括法蘭德斯皇家愛樂、 Queensland Orchestra in Australia (currently their Conductor Laureate and Artistic Advisor), and Gulbenkian 中國國家交響樂團、澳洲昆士蘭樂團 (現任桂冠 Orchestra in Lisbon, where his 12 years tenure enhanced 指揮及藝術顧問)、及里斯本古本克安樂團等。 the orchestra’s reputation with international tours and recordings. 後者在他12年的領導下，巡迴國際演出及灌錄 多套大碟，樂團聲望大為提升。 In 2005 and 2006, he conducted the orchestra of the Shanghai Conservatory (where he himself studied as a student) in Berlin, as part of the Young Euro Classic Festival. 2005及2006年，他於柏林歐洲青年古典音樂節 In 2007, he brought students from the Shanghai 指揮母校 ─ 上海音樂學院樂團。2007年，他帶領 Conservatory to collaborate with the German Youth 學院與德國青年樂團合作，於柏林音樂廳演出 Orchestra, culminating in two performances at the Berlin Konzerthaus, a tour through six major cities of China, and 兩場音樂會、巡迴中國六大城市及於2009年作 in 2009 a Chamber Orchestra Tour. In 2007, he became 室樂樂團巡演。他於2007年起成為上海音樂 Head of the Conducting Department at the Shanghai 學院指揮系主任及上海音樂廳藝術總監。他並為 Conservatory, and Artistic Director of Shanghai Concert Hall. He is also Conductor Laureate of National Symphony 中國國家交響樂團桂冠指揮。 Orchestra of China.
他曾灌錄多張唱片，其中由Teldec發行、指揮結他 Among Muhai Tang’s many recordings, he won a Grammy® Award in 2002 for the Guitar Concertos by 演奏家伊斯本及古本克安樂團演繹譚盾及勞斯的 Tan Dun and Christopher Rouse with guitarist Sharon Isbin 結他協奏曲專輯，更於2002榮獲格林美獎。 and the Gulbenkian Orchestra, for Teldec.
˔ϡԙ Yuja Wang
፡ೄ piano
ؿᖐc˞ιᆃ Yuja Wang is widely recognized for playing that combinesึޔϡԙ˞ཫᔔఒd౩ࣩ˔ ๅᖑcᘚਝᅥኋeജଞན the spontaneity and fearless imagination of youth with܁ۗࡼؿ the discipline and precision of a mature artist. The ൯ంിԯ̀াɻʶࠖҌ̒cɍᖙ̟ Washington Post called her Kennedy Center recital début iᚹ༦ጱӸ “jaw-dropping” and following her San Francisco recital͐ٲ܃Εɍᖙ̟ࠖڬԑం ॗ z ፡ೄӠ˿˞ᄦτ début The San Francisco Chronicle wrote “To listen to her܆ۗcБผࠇณ ΛΡe in action is to re-examine whatever assumptions you may have had about how well the piano can actually be played.” αcၤख़ෲᅥࠖ۹АcտЩΕɣ ˀ̯ʥᒚਝԀe In 2006, Yuja débuted with New York Philharmonic and֡ک።ဍეɎcၤᅥ྆ ͅդ performed the following season under Maazel during ߜਝԈʥ୩ᙬכȹᅥտʑcɌ டࢬეɎၤ the Philharmonic’s Japan/Korea tour. That same seasonכ ˮcαܞጻʩ˺ she performed in Leeds, U.K, and toured the Netherlands under Temirkanov, and in 2008 toured the U. S. with the كވ˖e౦ၤΛٲ̈́۩ᅥ྆Ԁিਝັ ࡐd Academy of St. Martin in the Fields led by Marriner. Yuja˱ʱဍؿᄾdؐɡནd٠ܢ˳Ίᅥ྆ˮc ᅥ྆d has performed with many of the world’s prestigiousے͚ᚊᅥ྆dވ˖ɍᖙ̟͚ᚊᅥ྆dณ ᘣቭ˖ࠑᅥᜨဳ֞ᅥ྆dɻਝෲᅥd1+.͚ᚊ orchestras, including Baltimore, Boston, Chicago, San Francisco, and the New World symphonies as well as ,ˮዟۗʥ۩ᅥ Philadelphia Orchestra in the U.S., and Tonhalle Orchestra̟ےΈɣވ˖כᅥ྆೩೩e౦ ̯dັ༠ഥdဍᄾʥ China Philharmonic, and NHK Symphony. She has appearedځࠑᅥผcɌց౨ၤ ࠏဍˈ߁೩˚߬ࠑᅥຝؿˮe in recitals and chamber concerts worldwide, and regularly appears at festivals including the Aspen Festival, Santa Fe Chamber Music Festival, the Gilmore Festival, and the .iΕҧμജეኒ Verbier Festivalܢ˳ʌᅥտcؿࠖˮ ɎcၤݤҪᐈෲᅥdਝਝࡼ͚ᚊᅥ྆ʥʞః ͚ᚊᅥ྆Аeԯˢࠖ˳ܢiΕӓႫಝɡ This season marks her début with the Los Angeles ၤओ Philharmonic, National Symphony Orchestra and Pittsburghܞʱ۹ځɎၤ࠷͚ᚊᅥ྆ʥͅܞ Symphony, all led by Dutoit. Other engagements include, iʹ۹Ᏽᑼၤܢ˳ຝˀᅥ྆ˮeԯˢˮ débuts with the London Symphony led by Tilson Thomas ɍᖙ̟ʥณ˖ވ͚ᚊᅥ྆ ͅӓႫΛɡܞ d and the Lucerne Festival Orchestra led by Abbado. Other ˀ̯1+.͚ᚊᅥ྆ʥɡᘣቭ˖ࠑᅥᜨဳ֞ highlights include reengagements with San Francisco and ᅥ྆А ͅҧμജܞ e New World Symphonies led by Tilson Thomas, and NHK Symphony in Japan, Tonhalle Orchestra in Switzerland led by Dutoit. ϡԙܰ'*ː࿏Ɏਿᙔᖚࡼcؿࠖਜ਼˔ ԙኂᅥ Yuja is an exclusive artist for DG. Her début recording׳ɣဥۗსςʥᆻୌς࿘Ᏽࣟ Ӏτᅥඅ ୂПؿొΊਝ Sonatas & Etudes, was nominated for a Grammy® Award ዟۗˮ in the Best Instrumental Soloist Performance (without ٶα۹ԙࠖਜ਼ਿፎe ፡ೄᔵႌፕݯ Orchestra) category and was named Best Début Album ઐˮؿɀਜ਼ਿፎᛰܰ%%&ࠑᅥᔵႌؿ of 2009 by International Piano magazine. Yuja’s second ,ǐ༠ּӇਥď˺ּd album, Transformation, which includes works by Stravinskyܢ˳Ұ˂ɾፕcς͌ e Scarlatti, Brahms and Ravel, was recently released and wasۂճּۤဍؿАּ̠ the Disc of the Month of the BBC Music Magazine. ਝʑdכڏαΕ˵ԕˮ́cξ౨ כϡԙ˔ Born in Beijing in 1987, Yuja made her earliest public ԕɻ̕ࠑᅥነ performances in China, Australia and Germany, and studied˵כዌݘʥᄨਝʔۗcԎ ,̯ࠑᅥຝԾۗςɣᑩ at the Central Conservatory of Music in Beijing. In 2002ځכ࠳ୌeαc ɻᏵᆉcԎɃᚾਸແࠑᅥነcαᘰ she won Aspen Music Festival’s concerto competition and αᖚࡼᆉe entered The Curtis Institute of Music. In 2006 Yuja receivedڇဍᄾ the Gilmore Young Artist Award.
ϡԙɾৈ֙Ͼ਼ࠗͅಋ࣍Ѹৈ֙ᖳХ˔ Yuja Wang’s hotel accommodation is sponsored by The Langham, Hong Kong ࣳᖓࡐഥʩ Sergei Prokofiev 1891-1953
Symphony No. 1 in D, Op. 25 Classical̀ۂɣሁȹ͚ᚊςcА' Allegro҄ ᇅ Larghetto ၦςiɺʪ҄ؿ҄ Gavotte: Non troppo allegroཽ͑ ୄςiɊʗݠᅱ Finale: Molto vivace
༞eˢϬɩ Prokofiev had always been something of a rebel and hisڵࣳᖓࡐഥʩͅնϭୄɖτᒨᔴ ϬɯኟτɁ early progress through life had usually seen him get hisڌϷ҈ॖcϤ˘Ϭ഼รঢ়c૯҈ ࠑᅥɷജcПɁ߬ܰɺႏcగผˢ഼ݯ own way convinced of the astonishing musical talent he possessed and the ignorance of all who failed to see in eಳcˢᐢ့ܰࠑᅥु೧cࠑᅥɷജكಲ him the same measure of greatness as he saw himself. He ᖓڜˢˎጱܰ ࡼྊఒכͅ˘ಲ˿ສဘcϤ certainly was something of a child prodigy, and being the ȹఒؿ්ؿ́ଐ˚ဳ cˎ̴ɖτڲ only son of the wealthy production manager for one of লɈɣɈࣛˢeࣳᖓࡐഥʩʄัᄘˮȹࠖ the rich southern Russian estates, he was given generous dȾัᄘˮჱcϣ൬ັ֤ఃࠑᅥነ financial and parental support to develop his undoubtedۂА cΕነ౨ංɰ߬ musical talents. He wrote his first composition at the age ofڵֲʦכࣂαඩัeͅ ұጱϬۗϬɯؿȹ፡ೄԾۗςcຳ෮ሚም five, an opera when he was nine and was admitted to the .ֺτАςྻԝඨcᄘˮȹࠖࠖάԳԶϦؿ St. Petersburg Conservatory at the remarkable age of 13 There his rebellious streak saw him demanding to perform ڏcݮᘚϬɯؿࡈֲ Ķ ᎣടϢۂɺԾА his own First Piano Concerto himself and riding roughshod Ϭ௩eԑྡྷɐcˮАςࡼּࣟीጻʩ؎؎ over all compositional conventions and traditions. He ̳ܰˢϢɾȹ గ౦ΕࣳᖓࡐഥʩϹ̀ొୂς took vicarious pleasure in shocking his tutors by flaunting ˮࣂcɣฎɣᒻΔɻபᔴe his originality in a series of acidic, harsh and dissonant compositions. Indeed one of his tutors, the eminent ɺผᄘभ̳ؿ composer, Glazunov, ostentatiously walked out of aܫஐࣳᖓࡐഥʩܞּࣟीጻʩ .ᑹ˞ performance of Prokofiev’s Scythian SuiteڏஃरАhࣳᖓࡐഥʩܘࠑᅥcɖɺᎷ ޚᔿϳcᄘА၇፭ࣵནࠓࣟؿȹ͚ᚊςi ؿሁֲc Prompted by Glazunov’s charge that he could notޚ۹dٽؿᅥޚؿᅥ྆ஃᅡd ,ட࿚ɖᅚᗲᔑcҡ՜Ίݯ͚̀ᚊςe write “real” music or compose according to the rules Prokofiev decided to prove his tutor wrong with his First ˢϬӰi҈ᘨc߬ܰࣵནֆΕɁ˖cˢɖผ Symphony, which he wrote strictly along the lines of one e҈గܰذɁࠓࣟcȹࠍмνณԑܛړȹࠍ of Haydn’s symphonies; using the same size orchestra, with α˂ˀ ᄘᅚؿȹ͚ࠖᚊςeᅥς movements of the same length, using the same keys and ಶؿ adhering to the same rigid structure. Prokofiev himselfڣ૮ݯۂΕັ֤ఃࠖeˢᛷಳɺА called it his Classical Symphony; “It seemed to me that had ڇٽؿٴιȿˢՇᚭڳࣂ౨ᅥςhЎϊς̀ cగᜑˢϢɣɺঢ়ጙe Haydn lived to our day he would have retained his own styleۂА while accepting something of the new at the same time. This was the kind of Symphony I wanted to write.” He clearly did not intend this to be a pastiche or mockery of the Classical style, but he was less than happy that this one work – first performed in St Petersburg on 8th April 1918 – became his most popular and enduring composition. ɣኝ As an only son Prokofiev was excused military serviceވ˖ࣳᖓࡐഥʩӸݯࡼɻዟɥcΕȹω cˢϾΕ during the First World War, and, as he was living in a smallٱα ѾhרࣂᏵᑥЛcɺ͂ ȹૈɩҦcֺ˞αɀ˂̠ဍ village not far from St. Petersburg, he also managed toٶڃః֤ັ avoid the revolutionary ferment into which all of Russia ਝΈΔؿࣂ࠰cɖॶᑷ༦ڜʇၐКࠎ՜ં was plunged by the Bolsheviks in 1917. So 1916 and 1917 ᙃඤeΐϊ ϭ αྦྷˢԞ႓ܰऋП̡፷ were particularly peaceful years for Prokofiev and gave him ࣂංΕٽϣ࠻cᑹॶ܆يؿˀɥcɺЎτ time to think, meditate and go for long walks in the country. ࠁ̔ౙүeˢᄘ༞i҈ܰΕ̈́யౙүࣂА “I composed my “Classical” Symphony while walking ͚ᚊςؿeࠖ˿ෲؿςɥcɺඩཫ through the fields”, he wrote, and there is certainly morè ࣩЍؿcҡࠇ߬ؿܰАςࡼɖ than a breath of fresh air blowing through this delightfulيмȿȹɟณ ᄘΡؿୄ music. That Prokofiev wanted this to be, above all, aٱϭҐޅ҄cѴશᅥςࣩᚭ ᅥઌc˞ȹԳ෮ᑷЛ༜͂ɩɍ֞ؿᅥ happy piece, is shown in his discarding of his original final ˤ౧e movement in order to replace it by one in which he had deliberately avoided using any minor chords. ࣳᖓࡐഥʩ Sergei Prokofiev 1891-1953
Piano Concerto No. 3 in C, Op. 26 ۂɣሁɍ፡ೄԾۗςcА& ϷĶ҄ Andante – Allegro ᕀၤᛰۗ Theme and Variations˚ ɺʪ҄ؿ҄ Allegro ma non troppo
αc Prokofiev began work on what eventually became his ࣳᖓࡐഥʩؿɍ፡ೄԾۗς৽೫ࣂܰ ,ؿԑe Third Piano Concerto in 1911 while he was still a student܃ɊαܰڳࣂˢᑹΕұነcЎᆨ but it was a further 10 years before he was able to ڏα ࣂᏵཕቧႝդᆉc̴ጱ ˢଓพ complete it. In 1914 he graduated and, as a present for ొᘪˮ፠ᜑˢࣁϷcΔᒨͨእeˢҺց˾࠷c winning the Rubinstein Prize, his mother offered to pay for ҒԷऋቧԈഷჱ Ķڏɺɔ܃үא˂α him to take a holiday wherever he chose. He chose London. ɖగܰӓԓਥͶʩˢؿ٢ᑂၦ྆Ε࠷ؿ Arriving there in June 1914 he soon found his way to the ਥΔcϤ˘ɀၦտࡄࡄնeӓԓਥͶʩᑼᇼ Drury Lane Theatre where Serge Diaghilev and his ballet ࣳᖓࡐഥʩᄘАȹᙌ٢ᑂၦჱcЎ፭ടȹω company had just embarked on their second season in the ߜਝ˂ˀۧЗኝ cȹʘˮ English capital. Diaghilev invited Prokofiev to compose a ɣኝᕶೕވ˖ ᖓcτ֗ ballet score, but the First World War (England declaredڜΑٵؿዀผནι؞ᄧeࣳᖓࡐഥʩ th αcˢႏݯΕ itself at war on 14 August) effectively put paid to any ᑷ༦ኝာࠎ՜৽ඤhԷȿ ဍʇၐК؝ɎcˀɥɖɺผΡ༦cֺ˞ˮӶ chances of a performance. Returning to Russia Prokofiev̠ managed to avoid the horrors of war and revolution until, eࡈ̯҈ܨਝeᔴ൰Пʂؿԭαංcˢԗಳ in 1918, he realised that life under the Bolsheviks was ࡐჱ့̨ɐˢؿჱɍኸɾᛞc˱٠ not going to be easy for him, so he fled to America. Two ࡐჱဳଉᄙೕ́ውई years in exile did not extinguish his rebellious streak and in˱αˢၤ٠ Ў he argued so aggressively with the authorities at the 1920 ܰכਨcѹჱɐঽˮeࣳᖓࡐഥʩج cಌ႓ˢจ Chicago Opera that they immediately withdrew their offer܃ൠԷؒਝeˢҒɐӓԓਥͶʩ ಲᇂɐؿ٢ᑂၦჱeၦჱܰɐȿc to stage his opera The Love for Three Oranges. Prokofievکԅᙌ ,ЎΕʱቭ࠷ԭΔ̖ડνecࣳᖓ went off to France where he caught up with Diaghilev ࡐഥʩൠԷ̠Ͷෑ̛ࣵȹɩҦౙʶcΕ persuaded him to revive his earlier ballet score, saw it fail ԅਿʶАςe in both Paris and London and, eventually, sought refuge in a small village on the Brittany coast where he gave himself over totally to composing. Ε̠Ͷෑ̛cࣳᖓࡐഥʩࠇใȿஈΛၤɍ፡ೄ In Brittany Prokofiev resurrected the various sketches he ˂ˀѧιͲςe had been making for the Third Piano Concerto and, on α Ծۗςτᗐؿᓿᆨc th ࡐჱτ෮ɐɍኸɾᛞࣂ 28 September 1921, completed the work. Having˱ˢ੪٠ heard that the Chicago Opera was planning to stage The ΕיΑਝcɍ፡ೄԾۗςؿᅥᖪɖٵగ Love for Three Oranges, he returned to the US with the ωંɃٍय़ Ķ ჱʹڏ҄۾ϷңeЎˢ Concerto in his luggage and soon was once again embroiled ߬ұˢႏ˿ȹංሒኸɥؿɣʔ̇cАݯɍኸ in controversy when, learning that he was expected to ɾᛞؿۧඨʹݒcЎˢᒾಳׂȿeЌኣȿ endorse a major commercial producer of oranges as a ผؿ means of promoting his opera, he brusquely refused. For thisمࡐɐݚ˱༞ᄨঢ়Δؿˢcɐιݯ٠ α˂ˀ high moral stand he became the hero of Chicago society ɍ፡ೄԾۗςcܰכߜඐe ࣳᖓࡐഥʩጱϬኪͨዟۗ cᆅੱؿᚹଠ and, as a result, enthusiastic crowds flocked to the première ࠖࣂ ໜಐϤϭcϤ˘ᚹΣᖂΣሶeࣳᖓࡐഥʩ of the Third Piano Concerto, which Prokofiev gave in the th ɁɖٛցऋПᒉෲϊς Ķ Εˢʄࠖ፡ೄԾۗ city on 16 December 1921. Its reception was little short̯ of ecstatic. For his part Prokofiev clearly had a particular ςcˢ̋ᙠ፣༦ȹࠖe affection for the work; it was the only one of his five piano concertos which he recorded. ȹᅥѮܰᅥςԯɻȹࠤज෮ؿΔʿi ፡ೄۗˮͅɐϷ̡Ϸ֞࿚ιؿݒc̳ܰ Among the notable features of the work is a short passage जؿݒໃeɀᅥ of ascending parallel chords from the piano, at the endړαؿউᆨȹ ʄ of the first movement, which is the only passage in theܰ܃αؿউᆨc˚ᕀ༦ ؿ˚ᕀˮϬ ɰ finished Concerto to have survived from those initialکੜईؿᛰۗeɍᅥؿ˚ᕀᒖಳΛαˈྦྷ ,αɷ༜͂Էɍ፡ೄԾۗς sketches of 1911. The theme of the second movement Εܰڳᄘιc ࠍe˚ᕀ̋ઔ͂፡ೄؿ͉ᒄc̯Ԟ့̨Ε which is then subjected to a series of five dramatically contrasting variations, dates from 1913, while that of Ԟኙ߸i܃ᅥ̒ࠇۗઔ͂eЎࣳᖓࡐഥʩ֞ the third movement, which uses only the white notes of ௰ሁc۾նᘨᅚᄘؿ̒ࠇۗcᚹԞผ҈ the piano keyboard, was put into the Concerto in 1921, ΕԾۗςؿୄςԚ͂e although it was written many years earlier. Prokofiev hadיֺ˞ҺցҐҥࢿ originally planned this theme to be part of a string quartet but, as he recalled, “I began to think a quartet of this kind would sound monotonous, so I decided to use the material in the finale of the Concerto”. ճਥঢ়ҳ˿ʩ׳ Nikolai Rimsky-Korsakov 1844-1908
Scheherazade, Op. 35 ۂʨʿէᖭcА (ᗲؿᄤ The Sea and Sinbad’s Ship (Largo e maestoso ɣࣵၤӺʱ༠ؿ (ᇅ The Tale of the Kalender Prince (Lento ԑܨᙬ༠˔ɥؿ˺ (҄ؿɩϷ The Young Prince and Princess (Andantino quasi allegretto αႦؿ˔ɥၤʔ˚ (ร҄ Festival at Baghdad – The Shipwreck (Allegro molto ʱࣟ༠ؿຝˀ Ķ ࣵᗒ
ճਥ Ķ ঢ়ҳ˿ʩัɃᚾັ֤ఃࣵ߶ At the age of 12, Rimsky-Korsakov had enrolled in the׳ ҙӸ College of Naval Cadets in St Petersburg from where heܫնᘨݯᗒiڳ܃ነcαଓพ ɐ graduated in 1862. By then, however, he was beginning to܃ˢଓพכࣵ߶cɌᘆӸࠑᅥeЎͅ feel torn between a naval life and one devoted to music ༠ɍαؿٽѾcࢄר໔ځ߬Էၱࣩ and the fact that he was immediately expected to join the ᅩݘ೩Δc͇ᇼঽ͢Ɍڲd˵֡کॾೡ steamship Almaz on a three-year cruise, taking in North Ķ and South America and Europe, prompted him to apply ٽ˩ɺˢঽ͢ؿɁc̳ܰˢؿ ɺᏵғ τᒨɺੱ for a discharge. This was refused (by his brother who wasڏɖగܰࣵ߶ነᐢဟ cֺ˞ˢ cˢ߶ɻؿ Director of the Naval College) so he settled, with apparently܃ᖓڜɺᗙΔҙӸࣵ߶eΑԷ Ԟˢ little reluctance, into navy life. Back in Russia his naval܃ॶᎶ˟cڏᓻ৻Ұʨ̋߬ԭɩࣂ̞́ ॶҐ߶৻ၤࠑᅥcኪͨȹऋПݯˢ duties only took up a couple of hours each day and he wasכୄ ኪͨ eventually permitted to combine both interests in a jobقኒࡗeˢȹܞϤஉؿᓻϽ Ķ ࣵ߶ᅥඅ ಕȿ specially created for him; that of Inspector of Naval BandsڨᓻϽcαณͨࣵ߶ɣϫ which he held until the post was axed by an incoming ͲʶͲ෮ҙӸࠑᅥeஈΛʿࠍڏcˢ܃ᓻϽ Navy Minister in 1884. Thereafter he committed himself Ԟ႓cˢടΊؿဳ֞ᅥςʨʿէᖭɖᅚ wholeheartedly to music. In many ways he was able to ԭိጙመؿౠe combine both interests in what has become his mostܰ famous symphonic work, Scheherazade. αcαΕഠˈ።ࠖcכʨʿէᖭᄘ e Composed in 1888, Scheherazade was premièred theۂȹғक़ဳ֞ᅥА܃ճਥঢ়ҳ˿ʩ׳ᙔ following year in Leipzig and was one of Rimsky-Korsakov’s ˺׳ˢѼࢀܰ҈ȹАආݒؿୄeΕࣟ ֺ͂ؿဳ֞ᅥ྆ᇁԹʑc҈ؿኂҌ̝ɰ last purely orchestral works. He described it as “closing a ԑ period of my work at the end of which my orchestrationܨeАςࡼ˞ȹɝཌྷȹէؿڇᘅˌक़ٶడ had attained a considerable degree of virtuosity within ݯᔂ̯cᄘιࠖ̒ᅥؿȹɝཌྷȹէ͚ᚊ the limits of the normally constituted orchestra used by ςeࡈ̯Ұᅥؿᅟᕀܰࠑᅥീ෪cЎୂ Glinka”. Based on episodes taken from the Arabian Nights, ԑԞီՓe Rimsky-Korsakov originally gave each of the four movementsܨୌྻ˞ᅥֺ߸ؿڳ˖܃ of this “Symphonic Suite after 1001 Nights” a purely musical heading; these are customarily replaced by the titles of the various episodes depicted by the music. ɣࣵၤӺʱ༠ؿ The Sea and Sinbad’s Ship ਿؿᘣɽ˔ The menacing opening brass theme represents the despoticٲဲՐՐ߾ɁؿႻဳ˚ᕀˤ ҳႠԈԓeˢႏݯɤɁͲˋֲฦ٦cֺ˞̋ၤ Sultan Shariar (who believes all women to be fundamentally unfaithful and determines to kill each of his wives after just Ұծɥͳ۹ȹયcɀʨగҐઌeᗫؿ one night with her), while the sensuous violin theme which ٞႠּ݅ᄨכٞႠּ݅ᄨhͅٲˤڬ܁ɩొೄફ recurs throughout the work represents Scheherazade as ,ɖ she weaves her nightly tale. Rimsky-Korsakov, the ex-sailor܁ԑcફܨҰયݯᘣɽ˔ᇁ ճਥ Ķ ঢ়ҳ˿ʩˮӸࣵ߶cֺ˞ూᖒ was particularly vivid in his musical portrayal of the sea׳ࠇଊe ɣࣵూᖒʮԯ́৽eΕݣಐؐᏟɻcӺʱ༠ؿ and here, above a vastly swelling ocean, Sinbad’s ship rises and plunges over the waves as it explores the trading מ࣯ᏟɻࣺҶcॗͿ۹ၤԈᙬ˺ȹؿൗ ॾ༞e routes around India and Sri Lanka.
ԑ The Tale of the Kalender Princeܨᙬ༠˔ɥؿ˺ A solitary bassoon depicts the young man who, as a վዟؿʱဳԳིȹҘιߕϷཤؿؐ member of the Persian Qalendaris peoples, has made a vow αႦɁcΐݯӸݯ˺ᙬ༠ɁϤೕ༦႑߬ɺᒾ՚༝ perpetually to travel the world spreading the message of Ͷਝඨ͠ᙬઠe Islam and does so in the disguise of a Holy Man.
αႦؿ˔ɥၤʔ˚ The Young Prince and Princess ɥၤαႦʔ˚ؿभᄿෲੱeʔ˚ Here we have the pure love between a handsome prince˔ژଊΕܰߜ Вၦe and his young princess who, at one point, dances aּځ༐෮ྸᅉɁؿکҡΕ˔ɥࠍ tantalising Arabian dance before him. ʱࣟ༠ؿຝˀ z ࣵᗒ Festival at Baghdad – The Shipwreck כτɁ˥ٞႠּ݅ᄨϬɯʋಳӸா፮ྊc Scheherazade is reminded of the Sultan’s threat and ؿۃۃԑɾȹeͱܰȹባܨᑟˮ˿ְؿܰ recounts one of her most thrilling stories. First the bustle ᆅባؿʱࣟ༠ᤇඑcᘗϤ̀֯Ў and energy of a Baghdad Fair followed by the escape toܰ܃ࠑᅥhಳ ΕࠓᅘɻᅁΉ sea of a strange but handsome Bronze Rider whose ship isڳႻᕉɡীԷɣࣵ Ķ ڇؿژߜ ٞႠּ݅ᄨؿዟۗ dashed against the rocks during a storm. The Bronze RiderٲႻᕉɡ༤ᗒȿeˤڇɣ͏e Ⴛᕉɡc has perished and Scheherazade, in the shape of the soloڇੵڷܫɩొೄۗˮႦܹؿѮᐰc ԑcɰݯ violin, mourns his fate in a soft and beautiful epilogue toܨʵɁɃؿڬȹڬɖйേɣࡼcȹ ȿϋəۤ९e the work; which also tells us that her feat of telling such captivating stories night after night has managed to secure her release from the Sultan’s death-threat.
ຝ͌ʍଽɻʼᓺᘭiሲኮѻ Programme notes by Marc Rochester
ࠗಋဳ֞ᅥ྆ Hong Kong Philharmonic Orchestra
ȹɩొೄ First Violins
χၳ ܆˔ สۺࡧց֦ ષ John Harding Leung Kin-fung Wong Sze-hang Zhu Bei ٽɍ৹྆ ٽɀ৹྆ ٽConcertmaster ȹ৹྆ٽ྆ First Associate Second Associate Third Associate Concertmaster Concertmaster Concertmaster PHOTO Bobby Lee PHOTO ϴ۹fജऋ Edo de Waart ᖚᐢဟ࠹ᐢܞ Artistic Director & Chief Conductor ˉജ ೡ͓ Ґʼౠ ࣔᗫ Mao Hua Cheng Li Ba Wenjing Gui Li ᐢܞϽͅ˞Ɏዀ࿚ᖳХ Maestro’s Chair – endowed by The Octavian Society & Y.S. Liu Foundation
࠵ᘂ ٮଔਝ ᗫڣ ᎘Ѵ Long Xi Mao Yiguo Rachael Mellado Ni Lan
ඡֱཽ # ࢘ᰟ ਜ਼Ѵ ڋ˔ Wang Liang Christine Wong # Xu Heng Zhang Xi Kar-yee PHOTO Lawrence Chan PHOTO ᘣ݇শ ՚ᙂࠔ Perry So Zhou Tengfei ඖ͌ਂمઠөʥܞХଉ Assistant Conductor (Education and ɀɩొೄ Community Programmes) Second Violins
´ߑȻ ¶ષʼ☚ ཽᇘ ༻˃͎ࠗ Fan Ting Leslie Ryang Katrina Rafferty-Ma Miyaka Suzuki Moon-sun
ɥ ሲɾણ ңཽ༞ ʿᅳكɻ̈́ڣ Tomoko Tanaka Mao Cheng Chi-man Ricardo de Mello Fang Jie
#ᅥϽͅ˞Ɏዀ࿚ᖳХ ਝጙพӝɁႺϷؒ # Musician’s Chair – endowed by Societe Generale Private Banking ڋᓯѩ༞ ѳਝต ᅾѸ ژЄཽ PHOTOS Gallant Ho Ka-chun Russell Kan Wang-to Mo Kwok-fai Martin Poon Cheung Chi Wai & Keith Hiro Ting-leung ɀɩొೄ Second Violins
፫Χ *݀ு *ჳٟѴ *˔ຣ Alisa Yan Yuqing *Ke Xue *Liu Fang-xi * Wang Yue
ɻొೄ Violas
ᖓഓ ੌѩ৩ ߑ ע࠾ᛷऽ ¶ညӱԙᓱ ቭ´ Andrew Ling Kaori Wilson Li Ming Alice Rosen Cui Hong-wei Fan Yan
ࡸ⋳ ˔ᒟ ע͉ ࠾ۤ෧ ͓ژټ ݙԗɓ Ethan Heath Jonathan Kim William Lane Pak Ming Sun Bin Wang Jun
*ߑܱ *ਜ਼ᰢᄧ * Fan Xing *Zhang Shu-ying
ɣొೄ Cellos
ዷ ஹֱз + ᗐΪ ஹέݘ׳¶ دᎏɈԿ ½ʿኮ´ Richard Bamping Fang Xiaomu Dora Lam Chen Yi-chun + Anna Kwan Ton-an Chan Ngat Chau
ңι* ׳Ⴉ ፳ ңႼᘡ Ѩԓעਜ਼ Cheung Ming-yuen Timothy Frank Li Ming-lu Yalin Song * Li Cheng
Гࠑɣొೄ Double
Basses ´ࠖPrincipal Acting Principal ³ᎏဍഥ ¶ۚᙀԞ ඟ࿖ Сԓ ³ ອଉࠖ Philip Powell Jiang Xinlai Feng Rong Samuel Ferrer ½ ᐲࠖCo-Principal ¶ ХଉࠖAssistant Principal
+ ᅥϽͅ˞Ɏዀ࿚ᖳХ ټઢว֨ਥٹ + Musician’s Chair – endowed by C. C. Chiu Memorial Fund ĶټЄᒤᅬࡼપਥ* ʹ༠ཬ ߑᎼК ࠗಋဳ֞ᅥ྆྆ነࡗফི߮ᅥ׳ ࠔ׳ Jeffrey Lehmberg George Lomdaridze Jonathan Van Dyke * Fellows of The Robert H.N. Ho Family Foundation Orchestral Fellowship Scheme ࠗಋဳ֞ᅥ྆ Hong Kong Philharmonic Orchestra
ର ର Piccoloٽ Flutes
´̌ᄨಿ ¶ያࠏᅩ ܪࡼᇘ Megan Sterling Olivier Nowak Linda Stuckey
ߜਝဳ ᔶᓫဳ Cor Anglais Oboes
ڌஹዿ ࠏဍႫ ½̠ߗ١´ Michael Wilson Ruth Bull Christopher Chen
Гࠑ௰ᓫဳ Bass ௰ᓫဳ Clarinet Clarinets
´̌Ϊी ¶̌ࡼ ᓯʼ Andrew Simon John Schertle Michael Campbell
Гࠑʱဳ Contra ʱဳ Bassoon Bassoons
¶ңࣽɬ ੌीټ½ Kam Shui Vance Lee Adam Treverton Jones
໔ Horns
´ࠏோК ½ᖓԿ܆ ¶՚ౣͦ ң᫉ձ ңʭ፲ ঢ়ҁሑ Mark Vines Lisa Rogers Chow Chi-chung Natalie Lewis Homer Lee Siu-lam Marc Gelfo
໔ٽ ɩ໔ Trumpets Trombones
Կ ജ༠ᄨ ´ࠏඏᅥ ࠏɈթ܆К ¶ୣּ˺´ Jonathan Clarke Christopher Moyse Douglas Waterston Jarod Vermette Maciek Walicki
໔ٽГࠑ ɣ໔ ցࠑར Bass Tuba Timpani Trombone
Ӵဍ ´݇ ´ᕡᅥ܆ Michael Priddy Paul Luxenberg James Boznos
Ꮎᅥኂ ሉೄ ᒄᆚ Percussion Harp Keyboard
؎່֗´ ࣮Ӵࣚ ષ৩ജ ߈ૠᎵ ´̌ਥ༞´ Shaun Tilburg Raymond Leung Sophia Woo Christopher Sidenius Shirley Ip Wai-wa Shuk-fai
ऋᅥʹ Гࠑɣొೄ Ꮎᅥ Extra players Double Bass Percussion
ֻၬࠗಋɩ͚ᚊᅥ྆ʐஈၤˮ ஈι ᇞ͓ᄨ ՚ࢄѻ Simon Hui Choy Lap Tak Chau Chin-tung* With kind permission of the Hong Kong Sinfonietta
ࠗಋဳ֞ᅥ྆ Hong Kong Philharmonic Orchestra
ΊᙷᖳХɁ HONORARY PATRON ਨϷկࡗผ EXECUTIVE COMMITTEE ւ The Chief Executive ჳʏ́ͱ́ Mr Y S LiuٽܧϷ ౦ᇚᚬͱ́ The Hon Donald Tsang Yam-kuen, GBM ˚ Chair
ͱ́ Mr Chung Shui-ming, GBS, JPע໎ԑѫ BOARD OF GOVERNORS ᒉ ჳʏ́ͱ́ Mr Y S Liu ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ˚ Chairman ᘣዉͮͱ́ Mr Jack C K So, JP ݇ͱ́ Mr Stephan Spurr ͱ́ Mr Chung Shui-ming, GBS, JPעᒉ ৹˚ Vice-Chairman ল৻կࡗผ FINANCE COMMITTEE ͱ́ Mr Chung Shui-ming, GBS, JPעᒉ ஹी؈ɤɡ Ms Joanne Chan ˚ Chair ਜ਼˔̢࠷ʩɁ Mrs Michelle Ong Cheung ാພɤɡ Ms Winnie Chiu ፳ᜃͱ́ Mr Glenn Fokٹ ፳ᜃͱ́ Mr Glenn Fok ჳʏ́ͱ́ Mr Y S Liu ͱ́ Mr Nicholas Sallnow-Smithע๖ͮͱ́ Mr Lam Woon-kwong, GBS, JP ᘣͰ׳ ષඟ˥შᔢ́ Dr Lilian Leong, BBS, JP ᪐ඏ࢟ͱ́ Mr Benedict Sin Nga-yan ჳཎɾ㣍 Prof Liu Ching-chih ඡ፦ɬͱ́ Mr Kenny Wong Kam-shan ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ඡʼᘚͱ́ Mr Robert T. Wong ͱ́ Mr Nicholas Sallnow-SmithעᘣͰ ᪐ඏ࢟ͱ́ Mr Benedict Sin Nga-yan ᘐಁկࡗผ FUNDRAISING COMMITTEE ᘣዉͮͱ́ Mr Jack C K So, JP ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ݇ͱ́ Mr Stephan Spurr ˚ Chair ሳ̷ᗌᏲɡ Sir David Tang, KBE ඡ፦ɬͱ́ Mr Kenny Wong Kam-shan ᇞᗐዷೄ܁ Mrs Janice Choi ാພɤɡ Ms Winnie Chiuٹ ᇯཽʆͱ́ Mr David Zacharias 7DVKD/DOYDQLɤɡ Ms Tasha Lalvani կࡗผ ENDOWMENT TRUST FUND ৹˚ Vice-ChairټᖳХਥ BOARD OF TRUSTEES ͱ́ Mr Chung Shui-ming, GBS, JP ՚໎͓ߘɤɡ Mrs Leigh Tung Chouעᒉ ᄨͱ́ Mr Peter Siembab֤ܪ Chair˚ ᘣዉͮͱ́ Mr Jack C K So, JP ๖ͮͱ́ Mr Lam Woon-kwong, GBS, JP׳ ჳʏ́ͱ́ Mr Y S Liu ೕࢄկࡗผ DEVELOPMENT COMMITTEE ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ݇ͱ́ Mr Stephan Spurr ˚ Chair Ίᙷᚋਐ HONORARY ADVISERS ஹ̷ജ㣍 Prof Chan Wing-wah, JP ஹी؈ɤɡ Ms Joanne Chan ɡ Dr the Hon Marvin Cheung, OBE, SBS, JP ɣᇯઠ Prof David Gwilt, MBEۺਜ਼ ՚̷ιͱ́ Mr Vincent Chow Wing-shing, MBE, JP ң৩Ϊͱ́ Mr Warren Lee Є൚ᕽɤɡ Ms Pansy Ho Chiu-king ષඟ˥შᔢ́ Dr Lilian Leong, BBS, JP ߈ؒͮͱ́ Mr Hu Fa-kuang, GBS, CBE, JP ჳʏ́ͱ́ Mr Y S Liu ཽ༞ଉቺᏲʩɁ Lady Kadoorie ሳ̷ᗌᏲɡ Sir David Tang, KBE ષցԄᔢ́ Dr Ronald Leung, OBE, JP ࠏோКͱ́ Mr Mark Vines Ѱɷ́ͱ́ Mr Shum Choi-sang, SBS, OBE, MA, JP ඡߜೇɤɡ Ms Ada Wong Ying-kay, JP ฦᚁᅨᏲɡ The Hon Sir T. L. Yang, GBM, JP ϷܧɁࡗ MANAGEMENT ̟ઐᄤ MARKETING ᘣѣӪͱ́ Mr So Hau Leung ᖭͰ̵ͱ́ Mr Paul Tam Ϸܧᐢസ Chief Executive ̟ઐᄤᐢဟ Director of Marketing
ஹဦɤɡ Ms Rida Chan ஹࡄᏟͱ́ Mr Nick Chan Ϸܧो࣊ Executive Secretary ̟ઐᄤ৹ଉ Deputy Marketing Manager
Miss Natalie Wong ᖚϷܧ ARTISTIC ADMINISTRATION ඡዷɩմ Marketing Communications Officer ՚⌿ɤɡ Ms Mio Margarit Chow ᤇʥඨ˚ͨ ᖚ೪ིᐢဟ Artistic Administrator ஹཽయɩմ Ms Tiphanie Chan ᇁፎ Publications Editor ˔ཽᆋɩմ Miss Michelle Wong Хଉଉ Assistant Manager Ȼඔɩմ Miss Natalie Ting ᖚࡼԑ৻ (Artist Liaison) ઠөʥ̔ࢄᘐ˚ͨ Education and Outreach Coordinator
Mr Jason Wan ɿҁশͱ́ ˿ԫɩմ Miss Alice Luk ᖚϷܧХଉ Artistic Administration Assistant ͬพඨ˚ͨ Corporate Communications Officer
ɩմ Miss Alice Lamށ׳ ೕࢄ DEVELOPMENT ɤɡ Ms Edith Ng ۪৻˚ͨ Customer Service Officerעдௗ ೕࢄଉ Development Manager ᅥ྆ԑ৻ ORCHESTRA AND OPERATIONS ᅥ߹ͱ́ Mr Luke Shawٷ ᒚֱཽɩմ Miss Kary Hon Хଉೕࢄଉ Assistant Development Manager ᅥ྆ԑ৻˚ဳ Head of Orchestra and Operations
ధɩմ Miss Ruby Pang ฦჴᙂͱ́ Mr Ambrose Yeung Хଉೕࢄଉ Assistant Development Manager ᅥ྆Ɂԑଉ Orchestra Personnel Manager
ল৻ʥϷܧ FINANCE AND ADMINISTRATION ஹਝຮͱ́ Mr Steven Chan ౣʆͱ́ Mr David Yiu ၦ̎ଉ Stage Managerۢ ল৻ʥϷܧ˚ဳ Head of Finance and Administration Є܆ણɩմ Miss Betty Ho Librarian ңႼͱ́ Mr Homer Lee ᅥᖪဳଉ ল৻ଉ Finance Manager ஹᗗўɩմ Miss Vanessa Chan Хଉଉ Assistant Manager ʼ৪ͱ́ Mr Alex Kwok ᅥ྆ԑ৻ (Orchestra and Operations) ল৻ʥϷܧ Assistant Manager, Хଉଉ Finance and Administration ɩմ Miss Christy Lawٮᖓ ࠑᅥϷܧྡྷୌࡗ Music Administration Intern ਜ਼ཽඓɩմ Miss Cherish Cheung Human Resources Manager Ԅͱ́ Mr So Kan PongٶɁɈ༅ଉ ᘣ ༜ፏ˚ͨ Transportation Officer (Musical Instruments) 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
Ⴉೕࢄʥᔔఒ̵̟ٽɣผऋПݯᆅෲဳ֞ᅥؿͬพʥɁɡϤஉcοΕઐ৽ࠗಋဳ֞ᅥ྆ؿ ؿʼʝ́ݠeಋᅥᔑϊΉɎͶΈɣผผࡗߎᑢe Club Maestro is established for the business community and individuals who are fond of symphonic music. It aims at supporting the long-term development of the Hong Kong Philharmonic Orchestra and enriching cultural life. We heartily thank the following Club Maestro members.
ผࡗPLATINUM MEMBERSټ͉
David M. Webb webb-site.com
ᝃ͏ผࡗDIAMOND MEMBERS
Mr Wilfred Ng MH, JP
၆ᗸ͏ผࡗEMERALD MEMBERS
ނकผࡗPEARL MEMBERS
Mr Peter Siembab
Miss Aliena Wong
˞ʔ̇ߜʼΊီѵIn alphabetical order of company name Λᑢʻܛ Thank You for Your Support
༠ͅটᑢ෮kٲࠗಋဳ֞ᅥ྆ΕϊΉ˞Ɏਆพዀ࿚ʥᆅʶɁɡ The Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support.
CHAIR ENDOWMENT FUNDټᅥ྆ϽᖳХਥ The Maestro’s Chair endowed byټᖳХਥܞᐢ The Octavian Society Limited Y.S. Liu Foundationټჳʏ́෯ഁਥ The Musician’s Chair endowed byټᅥᖳХਥ C.C. Chiu Memorial Fundټઢว֨ਥٹ ਝጙพӝɁႺϷSociete Generale Private Bankingؒ
αANNUAL FUND
ဳᖳХɁGold Patron ႺဳᖳХɁSilver Patron ႻဳᖳХɁ Bronze Patronټ >HK$100,000 HK$50,000 – HK$99,999 HK$30,000 – HK$49,999 ଈ͞ᙎMr & Mrs E Chan Mr & Mrs David Friedۺਝඑ྆τࠉʔ̇ ஹןณ Hsin Chong International Holdings Ltd ਜ਼ဍయ͞ᙎMr & Mrs Lowell & Phyllis Chang Mr Fred William Scholle ɤɡMs Tse Chiu MingעԈઁٖτࠉʔ̇Kerry Holdings Ltd ષईΪ͞ᙎMr & Mrs Leung Lit On ᑢ൚ཽ ʔ̇ټඡʭশϐʼዡਥ Mr & Mrs S H Wong Foundation Ltd कᖳХɁPearl Patronע ᗸᖳХɁ Ruby Patron ၖၕᖳХɁJade Patron HK$10,000 – HK$29,999 HK$5,000 – HK$9,999 HK$3,000 – HK$4,999 ஹ፷ɤɡMs Vivien C C Chan ಲΊˊAnonymous ಲΊˊAnonymous Mrs Anna Chen Mr Barry John Buttifant ஹᒤႩͱ́Mr Chan Hung Yuen Robert Mr Cheung Ngai Sing ஹࢯᔢ́Dr Edmond Chan Mr Cheng Kwan Ming ᇞᏨԄͱ́Mr Edwin Choy ષᖳͱ́ʥ՚ཽ̡ɤɡ ሲң፦٧ɤɡMs Eva Cheng Dr & Mrs Carl Fung Mr Jan Leung & Ms Emily Chow ਜ਼ᘚ౬ͱ́Mr Cheung Yiu Tong ҁө༜৽ਝτࠉʔ̇ Mr & Mrs Michael & Angela Grimsdick ਜ਼ᄨ᎘ͱ́Mr Cheung Tak Lungڋ Gloss Mind Sports International Ltd ЄͰ◸ᔢ́Dr William Ho Mr Chow Ping Wah ඟᄪᗌ͞ᙎMr & Mrs Kenneth H C Fung ߈͓́ͱ́Mr Maurice Hoo Dr Affandy Hariman ߈ጙ̳ᔢ́ʥʩɁDr & Mrs Wayne Hu ည٠ജϢMs Teresa Hung ЄΪɤɡMs Gloria Ho ঢ়ᐶ͞ᙎMr & Mrs Ko Ying Ms Li Shuen Pui Agnes Ms Hu Shu ͱ́ʩɁMr & Mrs Fung Shiu Lam Dr John Malpas Mr Toru Inaoka׳ඟͰ ң৪ᒤᔢ́Dr Lee Kin Hung ధ̷ါᔢ́ʥʩɁDr & Mrs Pang Wing Fuk ᗐˀജᔢ́Dr Kwan Yat Wah Mike ષඟ˥შᔢ́Dr Lilian Leong, BBS, JP ᅾܭჴͱ́Mr Poon Chiu Kim Raymond Ms Liu Ying ͱ́Mr Lawrence Mak The Hon Mr Justice William Stone Mr Joseph Pangעோᘚ ோᓤᔢ́Dr Mak Lai Wo Ms Carley Shum & Mr Jeff Szeto ᅾણձɩմMiss Lily Poon Man Nei ᔢ́Dr Paul Tat Ming SheaעMrs Anna Marie Peyer Mr Tsunehiko Taketazu ༠ Mr Peter Siembab Ȼʨ͓͞ᙎMr & Mrs Ivan Ting ᘣኹ࿘ͱ́Mr So Shu Wing Vincent ஹౣʼͱ́Mr Stephen Tan Ms Cindy Tse ౦ʼ́ͱ́Mr Eric M S Tsang ผTin Ka Ping Foundation Ms Tsang Kwai Fongټࡼݰਥ̈́ ֝ݘᔢ́Dr Tsao Yen Chow ᑢయक़ɤɡMs Tse Wai Shun Susan Wang Family Foundation ߈ҁࡄͱ́Mr Wu Chi Kongټҹᄩନ෯ഁਥ ͱ́Mr Wong Po Yanړඡ ඡ൫܆ͱ́ʩɁMr & Mrs Y S Wong ͨᚪзͱ́Mr David Yee Kwan Yam Λᑢʻܛ Thank You for Your Support
༠ͅটᑢ෮kٲࠗಋဳ֞ᅥ྆ΕϊΉ˞Ɏਆพዀ࿚ʥᆅʶɁɡ The Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support.
STUDENT TICKET FUNDټነ́༅Хਥ
कᖳХɁPearl Patronע ဳᖳХɁGold Patron ᗸᖳХɁRuby Patronټ >HK$100,000 HK$10,000 – HK$29,999 HK$3,000 – HK$4,999
㞫́ႺϷHang Seng Bank Mr Ian D Boyce Ms Deborah Biber ஹұᄨᔢ́ʥʩɁDr & Mrs Chan Kow Tak Capital Well Investment Limited ผZhilan Foundationټ٠ᙬਥ Mr David Chiu ஹᒤႩͱ́Mr Chan Hung Yuen Robert ңٟ̽ɤɡMs Doreen Lee Mrs K L Chan ႺဳᖳХɁSilver Patron ષయ౬ᔢ́Dr Thomas W T Leung ՚ᄮജɤɡMs Catherine Mo Wah Chau Lo Kar Foon Foundation ஹ৪ജͱ́Mr Chen Chien HuaټHK$50,000 – HK$99,999 ᖓࡼ㚺෯ഁਥ ͨᚪзͱ́Mr David Yee Kwan Yam Ms Katherine Cheung Ԉઁٖτࠉʔཽ̇ Mr & Mrs Ko Ying Professor David Clarke Kerry Holdings Limited ঢ়ᐶ͞ᙎ ާɣᇯઠ ່ጷፓɡDr M T Geoffrey Yeh ፳ዷᎨͱ́Mr Fok Wing Huen ඟݯԙͱ́ʥඟ፳֗หɤɡ ټጙઠөʥ෯ഁਥڌ Shun Hing Education and Charity Fund Mr Alex Fung & Mrs Hanne Froseth-Fung ඟ৩ጙͱ́Mr Fung Wai Hing ႻဳᖳХɁBronze Patron ၖၕᖳХɁJade Patron ЄݰЇͱ́ʩɁ͞ᙎ Mr & Mrs Phyllis & Adolf Ho HK$30,000 – HK$49,999 HK$5,000 – HK$9,999 Item Industries Ltd Anonymous (2) ષࡼ͞ᙎMr & Mrs Alan Leong ಲΊˊ ңɣι͞ᙎMr & Mrs Henry & Angelina Lee Mr Chan Ka Kui ңኹ࿘ɡDr Lee Shu Wing Ernest Mrs Anna Chen Mr Leung Cheuk Yan Mr Chu Ming Leong ң৩ࢯͱ́Mr Alex Li Dr Chung See Yuen ᒉ܆ᔢ́ ңౡϷͱ́Mr Richard Li Dr & Mrs Kwan Ka Hung ᗐࡼඐᔢ́ʥʩɁ ᖓఊ& Joe Joe Dr Lo Xina Mr Lo Cheung On, Andrew ж̷๑ͱ́Mr Lui Wing Chiu ټᎉЕჴ֨ਥ Lok Yu Kim Ching Memorial Fund Mr Ray Luk ࣍শ෮ਝτࠉʔ̇ Long Hin Creative International Ltd ோሣιͱ́Mr Mak Fai Shing Mr Wong Kong Chiu Mr & Mrs John & Coralie Otoshi Oxford Success (Overseas) Ltd Ѱɷ́ͱ́Mr Shum Choi Sang Ms Ophelia Tam ᇞႚͱ́Mr Tony Tsoi ඡܱജɡ Dr Dominic S W Wong, GBS,OBE,JP ଞ̡ʔᖬϷτࠉʔ̇ Zennon & Pierre Company Limited ઠөඖ͌༅Хዀ࿚ EDUCATION PROGRAMME SUPPORTER
Drs. Richard Charles and Esther Yewpick Lee Charitable FoundationټСႼዉඡဒᓙ෯ഁਥ The Hongkong Bank Foundationټ㟱ᔔႺϷ෯ഁਥ ࠗಋɻജ๏ࣩτࠉʔ̇The Hong Kong and China Gas Company Limited ENDOWMENT TRUST FUND ټᖳХਥ
.ȹȾɄɍᾳ˞Ɏዀ࿚ᖳХ˞ι͓e The Endowment Trust Fund was set up in 1983 with these initial sponsorsכټᖳХਥ
ສΔτࠉʔ̇ ټ㟱ᔔႺϷ෯ഁਥ ټপਥڌࠗಋᑩผ෯ഁ The Hong Kong Jockey Club Charities Trust The Hongkong Bank Foundation The Hongkong Land Group
ผټ٦࿏ႺϷ ֱτࠉʔ̇ ࠗಋ໎ˊ෯ഁਥ Citibank. NA Jardine. Matheson & Company Ltd The Tung Foundation
ਆᖚමക PAGANINI PROJECT
ϊི߮ͅਆᖚමകೕʥୂᓱeThis project is initiated and organizated by Business for Art Foundation.
ҹᐌɻͱ́ࢶᖲ Donated by Mr Patrick Wang ɥɩմԚ͂ • Emile Germaine (1907) Violin, played by Ms Tomoko Tanaka Maoكɻ̈́ڣɩొೄfͅ עϴਅfᑢਅ •
ਜ਼ဍయͱ́ࢶᖲ Donated by Mr Lowell Chang ͱ́Ԛ͂ • Lockey Hill (c.1800) Violin, played by Mr Wang Liangڋ˔F ɩొೄfͅ ݤ؝fѴဍ •
ᒉౝݗͱ́ࢶᖲ Donated by Mr Po Chung Ⴉͱ́Ԛ͂ • Dawne Hadded (1991) Violoncello, played by Mr Cheung Ming-yuenע ɣొೄfͅਜ਼ ༠ۄΛ̛f •
໊̌fᖓᙬɡͱ́ࢶᖲ Donated by Mr Laurence Scofield ɩొೄfͅਜ਼ѴɩմԚ͂ • Ansaldo Poggi (1910) Violin, played by Ms Zhang Xi Ϊॖ۹fౝਥ •
ᅥኂࢶᖲINSTRUMENTAL DONATION
ࠗಋဳ֞Ծผਯɤผࢶᖲ Donated by The Ladies Committee of the Hong Kong Philharmonic Society
– ֺࢶᖲɾӢτᅥኂ– Rare instruments donated ɩొೄfͅೡ͓ͱ́Ԛ͂ • Enrico Rocca (1902) Violin, played by Mr Cheng Li Ϊਟঢ়fݤ˺ • ,Jean Baptiste Vuillaume (1866) Violin, played by Ms Bei Zhu • ٽ ɩొೄͅɍ৹྆ ࣚfʱແfၐဍ। • χၳɩմԚ͂ Third Associate Concertmaster Joseph Gagliano (1788) Violin, played by • ٽ ɩొೄͅɀ৹྆ f˱Ԉԓ̗ • ˔܆ͱ́Ԛ͂ Mr Wong Sze-hang, Second Associate Concertmaster ɩొೄc • Cario Antonio Testore (1736) Violin, played by Mr Ni Lan ݤfΪ̛ෙfӓΛ̛˺ • ͅ࠵ᘂͱ́Ԛ͂
ʠᅥ྆ᅥኂॖሔི߮Ϥࢶᖲɾԯˢᅥኂ– Other instruments donated in support of theొܛݯʻ “Instrument Upgrade and Echancement Project” – • ᄨਝᔝβɩ໔ԭʻ • Two German Rotary Trumpets • ᄨਝജࣟढ़ɣ໔Ⱥࡨ • A set of Wagner Tubas • ᐮ໔Ⱥʻ • A Flugelhorn