Saturday, August 5, 2017, 8pm Zellerbach Hall Asian Youth Orchestra Richard Pontzious, conductor Sarah Chang, violin

PROGRAM

Richard STRAUSS (1864–1949) Don Juan, Tone Poem (after Nicolaus Lenau), Op. 20

Jean SIBELIUS (1865–1957) Violin Concerto in D minor, Op. 47 Allegro moderato Adagio di molto Allegro, ma non tanto INTERMISSION

Ludwig van Beethoven (1770–1827) Symphony No. 7 in A Major, Op. 92 Poco sostenuto – Vivace Allegretto Presto Allegro con brio

The Asian Youth Orchestra’s world tour is sponsored by the Home Affairs Bureau of the Government of the Hong Kong Special Administrative Region. Official Carrier: Cathay Pacific Airways • Platinum Patron: Primasia Foundation

Cal Performances’ 2017–18 season is sponsored by Wells Fargo.

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PROGRAM NOTES

very warm welcome to tonight’s con- cians into a superb orchestral ensemble—one cert, one of 21 performances to be that brings wonderful music to audiences Aplayed around the world this summer around Asia and, this year, the world. He has by the 109 members of the Asian Youth Orch - been ably assisted by his co-conductor, James estra (AYO), in a celebration of outstanding Judd, and a group of professional artist faculty talent and great music marking the 20th who work hard to refine the talents of these anni versary of the founding of the Hong Kong young musicians. Special Administrative Region Government. The AYO represents more than the beautiful As such, the government has committed major music they provide. It represents the harmony funding to support this exceptionally ambitious created among these young men and women world tour. from so many Asian countries. While some of The AYO has a wonderful tradition of intro- their home countries may be dealing with po- ducing audiences far and wide to the excep- litical disputes among themselves, these young tional talents of young musicians from across musicians sit side by side as good friends work- Asia, and as a fan—having heard the orchestra ing for the wonderful common goal of perfec- on many occasions, most recently in Hanoi, tion in music. They are symbolic of what we all Vietnam—I can assure you that you are in for would like the world to be. a treat. This five-week world tour will take the AYO Guided with a sure hand by its founder and through Asia, the United States, and numerous recipient of Hong Kong’s Silver Bauhinia Star, European countries. At past performances, Richard Pontzious, the orchestra has been a audiences have responded with true excite- runaway success since its inception, and con- ment. The young musicians of the AYO bring tinues to provide a platform for cultural and them joy and happiness through their tremen- artistic exchange for music lovers from across dous talent and youthful enthusiasm. our region. Every year, the AYO counts on the kindness The Asian Youth Orchestra is a wonderful and generosity of corporate and private bene- example of the best of Hong Kong and Hong factors from around Asia for its support. To all Kong is proud to have the orchestra as cultural who have helped us succeed, the AYO board ambassadors to the world. Please enjoy their and I express our most sincere thanks. concert. But tonight, we invite you to sit back and enjoy. —Mrs. Carrie Lam I am sure you will come away from the concert Chief Executive, Hong Kong thrilled by what you have heard and seen. Special Administrative Region —Jim Thompson Chairman, AYO Board of Director elcome! You are about to enjoy a wonderful experience with the Richard Strauss WAsian Youth Orchestra. Don Juan, Tone Poem This is a very special year for both the AYO (after Nicolaus Lenau), Op. 20 and the place we call home—Hong Kong. It is It was in the 1630 drama El Burlador de Sevilla special for the orchestra because the musicians (The Seducer of Seville) by the Spanish play- are able to bring their music to so many cities wright Tirso de Molina that the fantastic char- of the world during this global tour, and it is acter of Don Juan first strutted upon the world’s special for Hong Kong because this year we cel- stages. Tirso based his play on folk legends that ebrate the 20th anniversary of the return of were at least a century old in his day, and whose Hong Kong to China. These have been 20 years roots undoubtedly extend deeply into some of growth for both the AYO and Hong Kong. Jungian archetype of masculine virility shared, For the past 27 years, Richard Pontzious, the from complementary viewpoints, by men and founder and principal conductor of the AYO, women alike. Don Juan found frequent literary has been molding talented young Asian musi- representations thereafter, notably in works by

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PROGRAM NOTES

Molière, Dumas, Byron, Espronceda, de Mus - though he reels from one to another, at last set, Zorrilla and Shaw. A story of such intense Disgust seizes hold of him, and this Disgust is passion was bound to inspire composers as well the Devil that fetches him.” In Lenau’s version, as men of letters, and Gluck, Delibes, Alfano, Don Juan meets his death in a sword duel with Dargomyzhsky, and half a dozen others wrote the father of one of the women he has seduced. pieces based on the character and his exploits. Disillusioned and empty, ready for death, he The most famous treatment of the tale is, of drops his guard and welcomes his fate. course, Mozart’s Don Giovanni, and it was Strauss’ tone poem captures the feverish through that opera that Richard Strauss first be- emotion and charged sensuality of Lenau’s came acquainted with the Spanish Lothario. In drama, but other than three abstruse excerpts June 1885, Strauss attended a production of from Lenau’s poem that appear in the score, the Paul Heyse’s play Don Juans Ende with his men- composer never gave a specific program for tor, Hans von Bülow, and the drama and its sub- Don Juan. The body of the work comprises ject, building on the influence of Mozart’s themes associated with the lover and his con- masterpiece, made a powerful impression on quests. The vigorous opening strain and a sten- the young composer. torian melody majestically proclaimed by the Strauss started sketching his own Don Juan horns near the mid-point of the work belong to late in 1887, soon after he had met Pauline de Don Juan. The music depicting the women in Ahna in August. Pauline, a singer of consider- his life is variously coquettish, passionate, and able talent, got on splendidly with Strauss, and ravishing. In the closing pages, an enormous they were soon in love and married. The im- crescendo is suddenly broken off by a long si- passioned love themes of Don Juan were written lence. A quivering chill comes over the music. A under the spell of this romance. (The couple re- dissonant note on the trumpets marks the fatal mained apparently happily married for the rest thrust. Quietly, without hope of redemption, of their lives, though Pauline was a renowned the libertine dies. nag. Gustav and Alma Mahler would cross the street to avoid meeting her.) For the program of Jean Sibelius his tone poem, Strauss went not to da Ponte or Violin Concerto in D minor, Op. 47 the Spanish authors, but to the 19th-century By 1903, when he was engaged on his Violin Hungarian poet Nicolaus Lenau. Lenau, born Concerto, Sibelius had already composed in 1802, was possessed by a blazing romantic Finlandia, Kullervo, En Saga, the Karelia Suite, spirit fueled in part by a hopeless love for the the four Lemminkäinen Legends, and the first wife of a friend. In a fit of idealism in 1832, he two symphonies, the works that established his came to America and settled on a homestead in international reputation. He was composing so Ohio for a few months. Disappointed with the easily at that time that his wife, Aïno, wrote to a New World, he returned to Europe, where he friend that he would stay up far into the night to produced an epic on the Faust legend in 1836, record the flood of excellent ideas that had and then undertook a poetic drama based on come upon him during the day. There were, Don Juan. Lenau left the latter work unfinished however, some disturbing personal worries in 1844 when he lost his mind and was admit- threatening his musical fecundity. ted to an asylum, where he died six years later. Just after the premiere of the Second Sym - Lenau’s Don Juan was not a rakish extrovert but phony in March 1902, Sibelius developed a rather a vain, sensual idealist. In the author’s painful ear infection that did not respond eas- words, “My Don Juan is no hot-blooded man, ily to treatment. Thoughts of the deafness of eternally pursuing women. It is the longing in Beethoven and Smetana plagued him, and he him to find a woman who is to him woman- feared that he might be losing his hearing. (He hood incarnate, and to enjoy in the one all the was 37 at the time.) In June, he began having women on earth whom he cannot as individu- trouble with his throat, and he jumped to the als possess. Because he does not find her, al- conclusion that his health was about to give

Opposite: Sarah Chang. Photo by Colin Bell under license to EMI Classics.  PROGRAM NOTES

way, even wondering how much time he might financial reward worth the trouble, so he have left to work. Though filled with fatalistic agreed. The concert consisted of this “Entirely thoughts at that time, he put much energy into New Symphony” by Beethoven, marches by the Violin Concerto. The ear and throat ail- Dussek and Pleyel performed on a “Mechanical ments continued to plague him until 1908, Trumpeter” fabricated by Mälzel, and an or- when a benign tumor was discovered. It took a chestral arrangement of Wellington’s Victory, a dozen operations until it was successfully re- piece Beethoven had concocted the previous moved, and the anxiety about its return stayed summer for yet another of Mälzel’s musical ma- with him for years. (Sibelius, incidentally, en- chines, the clangorous “Panharmonicon.” The joyed sterling health for the rest of his days and evening was such a success that Beethoven’s first lived to the ripe age of 91, a testament to the ef- biographer, Schindler, reported, “All persons, ficacy of his treatment.) however they had previously dissented from his The Violin Concerto’s opening movement music, now agreed to award him his laurels.” employs sonata form, modified in that a suc- The orchestra for that important occasion in- cinct cadenza for the soloist replaces the usual cluded some of the most distinguished musi- development section. The exposition consists cians and composers of the day: Spohr, of three theme groups—a doleful melody an- Schup panzigh, Dragonetti, Meyerbeer, Hum - nounced by the soloist over murmuring strings, mel, and Salieri all lent their talents. Spohr, who a yearning theme initiated by bassoons and cel- played among the violins, left an account of los with rich accompaniment, and a bold, Beethoven as conductor. “Beethoven had ac- propulsive strophe in march rhythm. The de- customed himself to indicate expression to the velopment-cadenza is built on the opening mo- orchestra by all manner of singular bodily tive and leads directly into the recapitulation of movements,” wrote Spohr. “So often as a sfor - the exposition themes. The second movement zando [a sudden, strong attack] occurred, he could well be called a “Romanza,” a descendant thrust apart his arms, which he had previously of the long-limbed lyricism of the Andantes of crossed upon his breast. At piano [soft] he Mozart’s violin concertos. It is among the most crouched down lower and lower as he desired avowedly Romantic music in any of Sibelius’ the degree of softness. If a crescendo [gradually works for orchestra. The finale launches into a louder] then entered, he slowly rose again, and robust dance whose theme the esteemed at the entrance of the forte [loud] jumped into English musicologist Sir Donald Tovey thought the air. Sometimes, too, he unconsciously could be “a polonaise for polar bears.” A bump- shouted to strengthen the forte.” tious energy fills the movement, giving it an air The Seventh Symphony is a magnificent cre- reminiscent of the Gypsy finales of many 19th- ation in which Beethoven displayed several century violin concertos. The form is sonatina, technical innovations that were to have a pro- a sonata without development, here employing found influence on the music of the 19th cen- two large theme groups. tury: he expanded the scope of symphonic structure through the use of more distant tonal Ludwig van Beethoven areas; he brought an unprecedented richness Symphony No. 7 in A Major, Op. 92 and range to the orchestral palette; and he gave In the autumn of 1813, Johann Nepomuk a new awareness of rhythm as the vitalizing Mälzel, the inventor of the metronome, ap- force in music. It is particularly the last of these proached Beethoven with the proposal that the characteristics that most immediately affects two organize a concert to benefit the soldiers the listener, and to which commentators have wounded at the recent Battle of Hanau—with, consistently turned to explain the vibrant power perhaps, two or three repetitions of the concert of the work. Perhaps the most famous such ob- to benefit themselves. Beethoven was eager to servation about the Seventh Symphony is that have his as-yet-unheard A-Major Symphony of of Richard Wagner, who called the work “the the preceding year performed, and thought the apotheosis of the Dance in its highest aspect ...

 PLAYBILL PROGRAM NOTES

Richard Pontzious the loftiest deed of bodily motion incorporated form, the movement is a series of variations on in an ideal world of tone.” Couching his obser- the heartbeat rhythm of its opening measures. vation in less highfalutin language, John N. In spirit, however, it is more closely allied to the Burk believed that its rhythm gave this work a austere chaconne of the Baroque era than to the feeling of immense grandeur incommensurate light, figural variations of Classicism. with its relatively short 40-minute length. The third movement, a study in contrasts of “Beethoven,” Burk explained, “seems to have sonority and dynamics, is built on the formal built up this impression by willfully driving a model of the scherzo, but expanded to include single rhythmic figure through each movement, a repetition of the horn-dominated Trio until the music attains (particularly in the body (Scherzo – Trio – Scherzo – Trio – Scherzo). of the first movement and in the Finale) a swift In the sonata-form finale, Beethoven not propulsion, an effect of cumulative growth only produced music of virtually unmatched which is akin to extraordinary size.” rhythmic energy, but did it in such a manner as A slow introduction, almost a movement in to exceed the climaxes of the earlier movements itself, opens the Symphony. This initial section and make it the goal toward which they had all employs two themes: the first, majestic and un- been aimed. So intoxicating is this music that adorned, is passed down through the winds some of Beethoven’s contemporaries were sure while being punctuated by long, rising scales in he had composed it in a drunken frenzy. the strings; the second is a graceful melody for An encounter with the Seventh Symphony oboe. The transition to the main part of the first is a heady experience. Klaus G. Roy, the distin- movement is accomplished by the superbly guished musicologist and program annotator controlled reiteration of a single pitch. This de- for the Cleveland Orchestra, wrote, “Many a vice not only connects the introduction with listener has come away from a hearing of this the exposition but also establishes the dactylic Symphony in a state of being punch-drunk. rhythm (long–short–short) that dominates the Yet it is an intoxication without a hangover, a movement. dope-like exhilaration without decadence.” To The Allegretto scored such a success at its which the composer’s own words may be premiere that it was immediately encored, a added. “I am Bacchus incarnate,” boasted Beet - phenomenon virtually unprecedented for a hoven, “appointed to give humanity wine to slow movement. Indeed, this music was so pop- drown its sorrow…. He who divines the secret ular that it was used to replace the brief slow of my music is delivered from the misery that movement of the Eighth Symphony at several haunts the world.” performances during Beethoven’s lifetime. In —©2017 Dr. Richard E. Rodda

 ABOUT THE ARTISTS

Asian Youth Orchestra Artists, the AYO has played more concerts in The 109 members of the Asian Youth Orchestra more cities in mainland China than any other (AYO) are among the finest young musicians orchestra based outside the mainland. The AYO in mainland China, Hong Kong, Taiwan, Indo - was the first international orchestra in 50 years nesia, Japan, Korea, Macau, Malaysia, the Phil - to perform in Vietnam; premiered Tan Dun’s ip pines, Singapore, Thailand, and Vietnam. Symphony 1997 with cellist Yo-Yo Ma to mark Chosen through highly competitive auditions Hong Kong’s reunification with China; and has held throughout the region, they join together performed in the White House, at the United for six weeks during the summer, initially for a Nations, and in New York’s Avery Fisher Hall, three-week rehearsal camp in Hong Kong, and the Hollywood Bowl, Amsterdam’s Concertge - then for a three-week international concert tour bouw, Berlin’s Shauspielhaus, Sydney’s Opera with celebrated conductors and solo artists. House, and virtually every major concert hall Cellists Yo-Yo Ma, Steven Isserlis, Mischa across Japan and Southeast Asia. Maisky, Wang Jian, Alban Gerhardt, and Alisa A tuition-free cultural exchange summer Weilerstein, violinists Gidon Kremer, Gil Sha - program that involves Asia’s brightest young ham, Elmar Oliveira, Young Uck Kim, Stefan musicians in exceptional opportunities for study Jackiw, and Cho-Liang Lin, soprano Elly Ame - and performance in an international environ- ling, the Beaux Arts Trio, pianists Alicia de ment, the AYO is designed to ignite a pride for Larrocha, Cecile Licad, Leon Fleisher, and Jean what can be achieved by Asian musicians in Louis Steuerman are among those who have Asia, while affecting a positive influence on the performed with AYO under the direction of brain and talent drain that continues to frustrate principal conductor James Judd, music director all Asian nations. emeritus Sergiu Comissiona, Alexander Schnei - The AYO is a tax-exempt nonprofit organi- der, Tan Dun, and the orchestra’s co-founders, zation qualified under Section 88 of the Hong Yehudi Menuhin and Richard Pontzious. Kong Inland Revenue Ordinance. Contri bu - Since its first performances in 1990, the tions from the United States are tax-exempt award-winning orchestra has played some 366 through Give2Asia. concerts in Asia, Europe, the United States, and Australia to audiences of more than one Richard Pontzious million concertgoers. Millions more have seen Artistic director and conductor of the Asian and heard the ensemble around the world on Youth Orchestra, Richard Pontzious founded CNN, CNBC, NHK, and Radio and Television the AYO in Hong Kong in 1990 with the distin- Hong Kong. guished violinist, conductor, and humanitarian A staggering 22,000 musicians, ranging in age Yehudi Menuhin. from 17 to 27, have auditioned for AYO. Those The idea for the creation of an orchestra that selected for the full-scholarship program study would unite the Asian region and celebrate the with an exceptional artist-faculty of principals talents of the area’s brightest young musicians from the Baltimore, Boston, Minnesota, and came as the result of Pontzious’ work as con- San Francisco symphony orchestras, the Berga - ductor, writer, teacher, and mentor in mainland mo Festival Orchestra (Italy), Milan’s La Scala China, Taiwan, Hong Kong, and Japan. Critics Opera, Rome Theater, La Fenice Teatro Venice, have called the AYO “astonishing” (Seattle Post Teatro Carlo Felice Genoa, Brussels’ Monnaie Intelligencer) and the “finest among youth Opera, Leipzig’s Gewandhaus Orch estra, the orchestras around the world” (San Francisco Orchestra Della Radio Svizzera Itali ana, the Chronicle). Vienna Volksoper, the Triple Helix Trio, and Pontzious’ work with the AYO has led to ex- the Boston and Peabody music conservatories. traordinary collaborations with Yehudi Menu - Winner of the 2015 Nikkei Asia Prize for hin, Sergiu Comissiona, James Judd, Wang Jian, Culture and the 2010 recipient of Japan’s presti- Yo-Yo Ma, Alisa Weilerstein, Alban Gerhardt, gious Praemium Imperiale Grant for Young Steven Isserlis, Elmar Oliveira, Gidon Kremer,

 PLAYBILL ABOUT THE ARTISTS

Elly Ameling, Cho-Liang Lin, Gil Shaham, Pontzious received his private pilot’s license Young Uck Kim, Stefan Jackiw, Jean Luis Steuer - in 2000. Five years later he piloted a single en- man, and Alicia de Larrocha. gine Piper Archer across the United States in the Recent tours with the AYO have included live company of AYO general manager Keith Lau, television and radio broadcasts from the Hong who served as navigator for the trip. Kong Cultural Centre as well as multiple sold- out performances in Beijing’s National Centre Tour Partner: for Performing Arts, Shanghai’s Oriental Arts Sumitomo Mitsui Banking Corporation Centre, the Xian Concert Hall, Kuala Lumpur’s Dewan Petronas Filharmonik, Singapore’s Sarah Chang, violin Espla nade Concert Hall, Hanoi’s historic Opera Recognized as one of the foremost violinists of House (marking that venue’s 100th anniversary), our time, Sarah Chang has performed with the Taipei’s National Concert Hall, and multiple con- most esteemed orchestras, conductors, and ac- cert venues in Japan, not least, Osaka’s Symphony companists in an international career spanning Hall and Tokyo’s Opera City Concert Hall. more than two decades. Since her debut with The Orchestra’s 25th anniversary concert in the New York Philharmonic at the age of eight, the 10,000-seat Hong Kong Coliseum included Chang has continued to impress audiences the participation of more than 300 current and with her technical virtuosity and refined emo- former members of the AYO and a chorus of tional depth. 300 for the “Ode to Joy” finale of Beethoven’s In 2006 Chang was listed in the 20 Top Ninth Symphony. Women in Newsweek magazine’s “Women and In 2010 Maestro Pontzious was honored on Leadership” feature story, and in 2008, she was behalf of the AYO to receive Japan’s Praemium named a Young Global Leader by the World Imperiale Grant for Young Artists, a global arts Economic Forum (WEF). prize, and in 2015 Japan’s Nikkei Asia Prize for In 2012 Sarah Chang received the Harvard Culture and Community. University Leadership Award, and in 2005 Yale Maestro Pontzious was awarded Hong Kong’s University dedicated a chair in Sprague Hall in Bronze Bauhinia Star in 2000, and in 2014 he her name. In 2004 she carried the Olympic was named an honorary fellow of the Hong Torch in New York for the Olympic games, be- Kong Academy for Performing Arts. Two years came the youngest person ever to receive the later he was awarded Hong Kong’s Silver Hollywood Bowl’s Hall of Fame award, and was Bauhinia Star by the Hong Kong government awarded the Internazionale Accademia Musi - for distinguished service to the arts in Hong cale Chigiana Prize in Sienna, Italy. Kong; that same year he was subject of the film Other previous distinctions include the Avery In Search of Perfect Consonance, a documentary Fisher Career Grant, Gramophone’s “Young produced by Academy Award-winning director Artist of the Year” award, Germany’s “Echo” Ruby Yang. Schallplattenpreis, “Newcomer of the Year” hon- The first overseas musician to be invited to ors at the International Classical Music Awards live for an extend time in China after the tu- in London, and Korea’s Nan Pa award. In 2011 multuous years of the Cultural Revolution, Chang was named an official Artistic Ambas - Pontzious served as conductor-in-residence at sador by the United States Department of State. the prestigious Shanghai Conservatory of Music in the early 1980s, toured with the conserva- ASIAN YOUTH ORCHESTRA tory’s orchestra, and conducted the orchestras Suite 15A, One Capital Place of Nanjing, Hangzhou, Fuzhou, and Harbin, 18 Luard Road, Wan Chai where he is credited with reviving that city’s Hong Kong summer arts festival. Tel: (852) 2866-1623 Fax: (852) 2861-3340 www.asianyouthorchestra.com

 ABOUT THE ARTISTS

Artist/Faculty Dr. Darwin Chen (EC) Richard Pontzious, founder/artistic director Adrian Cheng and conductor Arnold Cheng James Judd, principal conductor Winnie Chiu Matthew Ruggiero, faculty emeritus Dr. Roy Chung Dr. Allen Fung STRINGS Keith Griffiths Thanos Adamopoulos, violin (Monnaie Opera, Randolph Kwei Brussels) Prof. Gabriel M. Leung Stefano Pagliani, violin (Orchestra Teatro Dr. David K.P. Li alla Scala, Milan, Italy) Samuel Lin Florin Paul, violin (NDR Symphony Hamburg, Y.S. Liu (EC) Germany) Angela Mackay Yu Sun, viola (Hong Kong Philharmonic Richard Pontzious (EC) Orchestra) Yat Siu (EC) Rhonda Rider, cello (Triple Helix Trio and James Thompson The Boston Conservatory) Ada Tse Anna Kwan, cello (Hong Kong Philharmonic Orchestra) David Sheets, double bass (Baltimore Symphony) Administration Keith Lau, general manager WOODWINDS Corina Ho, secretary Claudio Montafia, flute (ORV Orchestra Regionale Veneta, Italy) STAGE MANAGEMENT Marco Ambrosini, oboe (Teatro Regio Harty Tam Wing Kai, supervisor Orchestra, Parma, Italy) Chris Yeung Kwan Ching, senior stage manager Paolo Beltramini, clarinet (Orchestra Della Soloman Au Tsz Sing, assistant stage manager Radio Svizzera Italiana) Anthony Hau Yu Kin, assistant stage manager Giorgio Versiglia, bassoon (Bergamo Festival Jeff Lai Man Hei, assistant stage manager Orchestra, Italy) Ho Man Hong, intern (Admin & Rehearsal Camp) Nathanael Lai tsun Sum, intern (Admin & BRASS Rehearsal Camp) Andrea Corsini, French horn (Orchestra Ina Wieczorek, tour manager (European tour) Filarmonica della Fenice, Venice, Italy) Barbara Cadei, coordinator (European tour) Fabiano Cudiz, trumpet (Teatro Carlo Felice, Genoa, Italy) TOUR CONSULTANT Eugenio Abbiatici, trombone and tuba Kevin Peterson, Peterson Travel Services, (Orchestra Della Radio Svizzera Italiana) Malaysia

PERCUSSION & HARP PUBLIC RELATIONS Chris Williams, percussion (Baltimore Symphony) Burson-Marsteller, Japan Maria Elena Bovio, harp (Conservatory of Music G. Verdi, Milano) CONCERT MANAGEMENT China: Guangzhou Color of Art Co., Ltd. Japan: Asian Youth Orchestra Japan Board/Executive Committee (EC) USA: Opus 3 Artists James Thompson, chairman Europe: International Classical Artists, Euroean Dr. David K.P. Li, past chairman Artists Management, World Entertainment Tony Tyler, past chairman Company Keith Griffiths, past chairman

 PLAYBILL THE MUSICIANS

Violins Cellos French Horns Chan Cheuk On (Hong Kong) Cheng Yu Tung (Taiwan) Chan Ka Man (Hong Kong) Chan Mei Ting (Malaysia) Chung Wing Ki (Hong Kong) Huang Wun Han (Taiwan) Chan Tzu Yun (Taiwan) Glenn Aquias (Philippines) Kotchakorn Samphalang Chang Ai Ling (Taiwan) Hsu Fang Yu (Taiwan) (Thailand) Chang Tzu Husan (Taiwan) Kunut Chaloempornpong Lim Ngee Cheng (Singapore) Chen Kai Wei (Taiwan) (Thailand) Lin Chia Ying (Taiwan) Do Ngoc Thao My (Vietnam) Liu I Cheng (Taiwan) Lou Chin Ting (Taiwan) Feng Jia Ni (China) Liu Wan Yu (Taiwan) Tiow Xian Liang (Malaysia) Gabriel Art Mendoza Shin Min Ji (Korea) Wang Chi Yang (Taiwan) (Philippines) Tang Chor Yin (Hong Kong) Ikeda Seika (Japan) Yang Kang (China) Trumpets Kim Kyu Ri (Korea) Yeh Yu Ling (Taiwan) Chan Kin Sing (Hong Kong) Lai Cheng Yang (Taiwan) Yu Tun (Taiwan) Pasud Duangchan (Thailand) Lee Chi Ying (Taiwan) Shen Li Hsiu (Taiwan) Leigh Cellano (Philippines) Double Basses Sin Chor Kiu (Hong Kong) Lin An Chi (Taiwan) Chan Yui Woon (Hong Kong) Urushihara Yuki (Japan) Lin Ching Wei (Taiwan) Ho Hei Kan (Hong Kong) Lin Hsiu Ping (Taiwan) Lee Sze Hei (Hong Kong) Tenor Trombones Lin Wei Han (Taiwan) Lee Yat Hei (Hong Kong) Chan Sheung Yin (Hong Kong) Nishihara Rio (Japan) Micah Lejandro Villena Lo Kwok Hin (Hong Kong) Ohki Yukiko (Japan) (Philippines) Xie Yi Shan (China) Shen Chen Yao (Taiwan) Qian Bo Wen (China) Shih Yun Ting (Taiwan) Rey Vincent Sunglao (Philippines) Bass Trombone Shimura Eriko (Japan) Yamanishi Hazuki (Japan) Fu Yao Ji Giuseppe (Hong Kong) Takashima Shiho (Japan) Yeo Zeng Ying (Singapore) Tao Yun Ru (China) You Ji Ci (Taiwan) Tuba Tazaki Yuusei (Japan) Sawamura Hayato (Japan) Ting Ik Peng (Malaysia) Flutes Tse Chun Lap (Hong Kong) Leung Hoi Kei (Hong Kong) Percussion Wang Tong (China) Ma Man Ho (Hong Kong) Cheong Kah Yiong (Singapore) Yeung Sin Hang (Hong Kong) Matsuda Megumi (Japan) Kevin Julius Castelo (Philippines) Yi Jia Jiun (Taiwan) Zhu Yi Feng (China) Kwong Man Wai (Hong Kong) Yoshizawa Erina (Japan) Niu Ji Ran (China) Oboes Pang Yat Lon Godwin (Hong Kong) Violas Bagaskoro Byar Sumirat Chan Tsz Hin (Hong Kong) (Indonesia) Harp Chiang Yen Hsin (Taiwan) Cheng Wai Lam (Hong Kong) Itokawa Kasumi (Japan) Huan Wen Jie (China) Kosaka Reika (Japan) Jiang An Qi (China) Tobori Kyohei (Japan) Joven Edward Aquisap (Philippines) Clarinets Ko Yen Yu (Taiwan) Chien Yu Cheng (Taiwan) Li Cheng Yen (Taiwan) Pang Ting Wai (Hong Kong) Patcharaphan Khumprakop Xiong Ke An (China) (Thailand) Yoshida Yukino (Japan) Shi Xu Wei (China) Song Ji Su (Korea) Bassoons Wang Min Ling (Taiwan) Goh Mok Cheng (Singapore) Wang Yi Di (China) Huang Cheng Yu (Taiwan) Xu Yang (China) Mak Shing To (Hong Kong) Zhang Si Yuan (China) Yasutake Yuta (Japan) Zhao Si Hong (China)

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