ୣʺऋၤսᄨဍႫ Mozart and Mendelssohn
ຝ͌ עඏ˃༻ ࣵན (ɩሁ͚ᚊςੵ֨ܞ Masaaki Suzuki ሣ๕ؿ҄ conductor ɩүၦςiɩ҄ ྺ ܈ௗ͓ʼ ୄςi ɩొೄ ۂBarnabás Kelemen ୣʺऋ *ɣሁɍɩొೄԾۗςcА ҄ violin ྺ ረફς
xɻͤࢠx
ۂսᄨဍႫ ᗫؿᚉϹcА
ۂսᄨဍႫ $ɣሁ͚̒ᚊς෮ɣСcА ݠᅱؿ҄ ҄ؿϷ ҄ؿɻ ܈ᔁဍෑͶݤၦςi
Programme HAYDN Symphony No. 44 in E minor Trauer Allegro con brio Menuetto: Allegretto Adagio Finale: Presto MOZART Violin Concerto No. 3 in G, K216 Allegro Adagio Rondeau – Intermission – MENDELSSOHN The Fair Melusina, Op. 32 MENDELSSOHN Symphony No. 4 in A Italian, Op. 90 Allegro vivace Andante con moto Con moto moderato Saltarello: Presto
ΈϽᜮଠ cᇼᗐઌʹొཋʥԯˢᚊባສeʑɺඝࠕdᙘᄧd፣ࠑֶ፣ᄧeूɣࡼτȹ҄کሌᅥ ؿࠑᅥe 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
עඏ˃༻ Masaaki Suzuki
ܞ conductor
α͓ˀ̯ʱႠ̀ᅥ྆cଊࣂ Since founding Bach Collegium Japan in 1990, Masaaki כעඏ˃༻ ؿᚬۤeˢΛαԞኪͨᅥ྆ Suzuki has established himself as a leading authority on theۂʱႠАܞɰιݯ works of Bach. He has remained their Music Director ever ؿࠑᅥᐢဟcეኒᅥ྆ԀিᅩݘʥਝΈࠇ߬ since, taking them regularly to major venues and festivals ˮΔʥࠑᅥຝc˞รԮܷɈdୀᆽϤभ in Europe and the U.S. and building up an outstanding ؿᖐԔᙷਝᅥኋe reputation for the expressive refinement and authenticity of his performances.
Ί̀ᅥ྆ˮcʌտҡၤ He is now regularly invited to work with renownedكˢᏵᑼၤᅩݘ ࣓ऋ̀ᅥ྆ʥ̥ഠఃʱᖓКᅥ྆ԀিΛ European period ensembles, such as Collegium Vocale Gent eˢɌၤԯˢᅥ྆Аcς͌รݯ and the Freiburger Barockorchester together with whom he̟ےᅩݘ c૪ၰ̠ईནdࣵནdսᄨဍႫdୣʺऋʥ visits several European capitals this season, and modern؟ᄤ instrument orchestras in repertoire as diverse as Britten, eʌᅥտcˢੀეˀ̯ Haydn, Mendelssohn, Mozart and Stravinsky. Highlightsۂ༠ּӇਥ೩А̌ of his current season with Bach Collegium Japan include כෲȻఃਝᖚຝˮc˞ʥכʱႠ̀ᅥ྆ ᒚᄨဍؿடढ़ΛʥᎴᑩԓcɌ a visit to the Edinburgh International Festival as well asܞԕ .ʱቭ۩ᅥ྆d୩ᙬཋ̎۩ᅥෲᅥ྆ʥ performances in Tokyo of Handel’s Rinaldo and Messiahܞੀ He also conducts the Ensemble Orchestral de Paris and τؐɡན͚ᚊ the Netherlands Radio Chamber Philharmonic Orchestraڬ྆೩ḛԞؿࠇ߬ˮ ᅥ྆dቮဍ̯͚ᚊᅥ྆dொऋɽෲᅥdʥᘣቭ˖ and Choir. Forthcoming engagements include the Boston ɣผਦᅥ྆೩೩e Symphony, the Melbourne Symphony, the Rotterdam Philharmonic and the Zurich Tonhalle.
,ಶᙠ፣ʱႠͲࡨ̀ᒄೄ Suzuki’s impressive discography on the BIS labelۂ౦ݯ%,6ː˃༻ ˀ̯ʱႠ̀ᅥ྆ۗʱႠࠇ߬ featuring Bach’s complete works for harpsichord and hisܞc˞ʥۂА ʥրઠჱ༩̒Ɋਜ਼ɣဥcԎི߮ interpretations of Bach’s major choral works and sacredۂА ѧιኬӡͶcιᐜᛎɁcᘰᅥിሌe࣮ર cantatas with Bach Collegium Japan (of which he has already completed over forty volumes of a project to record – ໃd the complete series) have brought him many critical plauditsڛɡంി༞iగ̋τདྷᚁcɷผɺˢؿ О፷ʥ˨Ҹ၀ु̨৽e The Times has written: “it would take an iron bar not to be moved by his crispness, sobriety and spiritual vigour”. ࣂ͛ݯဳࠓೄʥ̀ᒄೄעc༻˃ඏܞȿ Masaaki Suzuki combines his conducting career with ,ʸˮ́cԕᖚʥࠑᅥɣነଓพc his work as organist and harpsichordist. Born in Kobeुכࡼeˢ ճऋɽ he graduated from the Tokyo University of Fine Arts andځ֡ک܃࠳Аςʥဳࠓೄۗeˢ፭˚ Music with a degree in composition and organ performance כࠏಿКࠑᅥነ࠳ୌ̀ᒄೄʥဳࠓೄeˢ̌ ଊݯӡ˚ͨ cԎ and went on to study harpsichord and organ at the ԕᖚɣነι͓ξ౨ࠑᅥӡ Sweelinck Conservatory in Amsterdam. Founder and head of the early music department, he teaches at the Tokyoܞᓻ߁ቧɣነࠑᅥነdັᅥነ۪ͨ ઠc˞ʥ߁ቧነɡ྆ܞe University of the Arts. He is also Visiting Professor of Choral Conducting at the Yale School of Music and Yale α˂c༻˃࿘ᏵཕᄨਝᐲԄͳਝɊΥ Institute of Sacred Music and the conductor of Yale Schola Cantorum. ԯιగeٲ˞࿘ᙷቺc In April 2001, Suzuki was decorated with The Knight’s Cross of the Order of Merit of the Federal Republic from Germany. ௗ͓ʼ Barnabás Kelemen
ɩొೄ violin
ͼˑСɩొೄࡼௗ͓ʼc˞ʨልؿࠑᅥc Hungarian violinist Barnabás Kelemen captivates the music ਝ world with ‘innate musicality’ and a technical executionכᇯం ၘΊ ʥӞؿҌ̝˞ that belongs ‘only to the greatest’ (The Guardian). With a c૪ၰ̀ࣂ౨Էଊˤ؟ᅥኋeˢؿς͌ᄤ repertoire that spans from classical to contemporary music, cҡ౦ˮСࣟແdഒ̛ࣟʥᚋ͉ҧಿ he has performed the Hungarian premières of works byۂА Ligeti, Schnittke and Gubaidulinav, as well as the world ވ˖ؿۂؿͼˑСࠖc˞ʥෑࣟАۂА ࠖe première of violin works by Kurtag.
Kelemen has collaborated with the Royal Liverpool, Helsinki, ࣳdႠဍӺਥdᄮ̛ඣʥذࡼСޒௗ͓ʼ౦ၤ Munich, and Netherlands Radio Philharmonic Orchestras, ୩ᙬཋ̎ෲᅥ೩АcɌၤ።ဍdடࢬd and performed with such esteemed conductors as Maazel, ฦጻʩਥdෙЃdࣦ೩ܞɣˮe Marriner, Janowski, Eötvös, and Fischer. He has performed ࡼࠑᅥᜨdۤࣟᄾʥ˺ժਥ in recitals in the Concertgebouw Amsterdam, Wigmore HallޒճऋɽځכɌ .ࠑᅥᜨᐾϷዟۗผe and Carnegie Hall among others
Future highlights include début with the London ͅʮݤʩ Philharmonic under the baton of Jurowski, and a tour ౨ؿࠇ߬ˮτi࠷ෲᅥࠖٶˢ ਥܞ dၤ̠༠ԣຝˀᅥ྆Ԁিˮ ͅ with the Budapest Festival Orchestra conducted by Fischer. ᐾϷዟۗผʥ He will also appear in recitals and chamber concerts̟ےᅩݘΛכ d˞ʥܞࣦ .ᅥࠑᅥผe throughout Europe۩
Kelemen’s diverse discography has received critical cᏵᅥിʥᅥ়ȹߎ acclaims, including a Diapason d’or with his recording of؟ௗ͓ʼؿːς͌ᄤ Ρിeԯɻּ̠ճɩొೄʥ፡ೄۗსςɣဥ Brahms’s Sonatas for Violin and Piano. His recording of ࠑɞɣᆉcϤˢؿңऋɩొೄʥ Liszt’s complete works for Violin and Piano was awardedټ࿘Ᏽؒਝ Ͳඑc͛࿘ᏵਝңऋԾผཕೕ the Grand Prix du Disque 2001 by the International Lisztۂ፡ೄА Society. Among his recent recordings are a live DVD of Ͳࡨܢ˳ۂ౨Аٶαːɣᆉeԯˢ the complete Mozart Violin Concerti and CDs of Bartók’s .ୣʺऋɩొೄԾۗςଊˮ'9'c˞ʥʱμ Violin Concerto No. 1 and Solo Sonata ȹɩొೄԾۗςʥۗსςዟۗɣဥ೩e Born in Budapest in 1978, Kelemen entered the Franz Ƀᚾ Liszt Music Academy at the age of 11 and took First Prize atڏαΕ̠༠ԣˮ́cั כˢ the International Violin Competition Indianapolis in 2002. αᘰਝͿΪכңऋࠑᅥነc In recognition of his achievements, the Hungarian ,ˢΕ Government awarded him the Sándor Végh Prize 2001ٲढ़ؐԈਝɩొೄɣᑩࠖΊeݯ .αཕೕਟ the Franz Liszt Prize 2003 and the Rózsavölgyi Prize 2003כ֚ܧࠑᅥɐؿιగcͼˑС αཕೕңऋɣᆉʥᖓҳ Since 2005 he has been a professor at the Franz LisztכКɣᆉcɌ ʷဍɣᆉeˢϬαcͨᓻ̠༠ԣ Music Academy Budapest. ңऋࠑᅥነઠe ڋΫुʸ Ryo Terakado
ٽ۪྆ guest concertmaster
Сၐԓັ༠Кቧc̒ัն Born in Santa-Cruz, Bolivia, Ryo Terakado started to playހכ́ڋΫुʸ nd ʭαࠑᅥ violin at the age of four. He won the 2 prize in all Japanڇᘰˀ̯ڏነୌɩొೄcαඩั Youth Musical Competition when he was 14 years old. ነ්ɣነࠑᅥነଓพcשࣝכɣᑩɀΊcˢ He studied violin, chamber music and conducting at the Toho Gakuen School of Music. Upon graduation, he כԭαcˢ܃eଓพܞነୌɩొೄd۩ᅥʥ e became the concertmaster of The Tokyo Philharmonicٽԕෲᅥᅥ྆ኪͨ྆ Orchestra for 2 years. αcˢႩ߳୩ᙬࣵˑޒࡼࠑᅥነ൬࠳ In 1985, he went to the Netherlands to study the baroque Ӹͫٽ྆˞ʱᖓКɩొೄcֻ̀ٛ͠eˢ౦ violin at the Royal Conservatory in Hague under the ၤᅩݘʥˀ̯ΛʱᖓКᅥ྆АcΣiᐥଞ guidance of Sigiswald Kuijken. He has played with ࡼઠਦᅥ྆d࣓ऋ̀ᅥ many Baroque orchestras in Europe and Japan as aޒᖚ̀ᅥ྆dؒਝ ྆dԕʱႠୣʺऋᅥ྆೩೩eˢܰˈСࣂ concertmaster, including Les Arts Florissants, La Chapelle cԎၤᅥ྆ Royale, Collegium Vocale Gent, Tokyo Bach Mozartٽᅥ྆ˀ̯ʱႠ̀ᅥ྆ؿ྆̀ Orchestra among others. He performs concerti by such ᖐʱႠdࠏജѺୣʺऋ೩АςࡼؿԾۗςe composers as Bach, Vivaldi and Mozart regularly with and ˢɌ౦˞ዟۗӸͫᑼԷ෮ɣСʥዌݘˮe is now the concertmaster of La Petite Bande and Bach Collegium Japan. Being invited as a soloist, Terakado . appears frequently in both Italy and Australiaڎαcˢι͓ԕʱᖓКɍࠇۗcၤ ˀ̯ᅩݘԀিכ̀ɣొೄ cԎ ᒄೄ ɐҦ̀ In 1987 he founded the Tokyo Baroque Trio together with Ίݯԕמc܃ˮèᒄೄʹऋּ˱Ƀ Christophe Rousset (harpsichord) and Kaori Uemura (Viola ʱᖓКe αcˢɌၤ࣓ऋ ɩొೄ d̈́ da Gamba). Tours were made in Japan and Europe. The ɣొೄ ͓ɶɾ group is now called the “Tokyo Baroque” since the joining ɻొೄ ʥ༻˃Ӟ ٟɥ ֞ᅥ̒ࠇۗe of harpsichordist Siebe Henstra. In 1999, he founded theु “Mito dell’Arco” string quartet with Sophie Gent (violin), Yoshiko Morita (viola), Hidemi Suzuki (cello). τiʱႠܢ˳cˢ౦ᖐؿς͌ܞАݯȹϽ ؿ̠ᙬఃԾۗςdࣳᑩဍؿ˦ʥୣʺऋ As a conductor, he has conducted Bach’s Brandenburg cᅥ྆ concerti, Purcell’s Fairy Queen, Mozart’s symphonies andܞeˢܰ/HV %RUHDGHVؿۂ͚ᚊς೩А ၤˀ̯ୣʺऋԾผАˮcԎ౦ઐˮ many others. He is the conductor of Les Boreades, the orchestra has been collaborating with the Japan Mozart ۂА ɩէς ۂА ୣʺऋȹԾۗς Society in many concerts and has recorded a live CD of ਿፎe Mozart’s Violin Concerto No. 1, K207 and Serenade K203.
ʱቭࠑᅥነ From 1990 to 1992, Ryo Terakado taught baroque violinכڋαංcΫुʸ ϭ ࡼࠑᅥ at Paris Conservatory (CNSMP) and has been teaching atޒࣵˑכα ઠʱᖓКɩొೄcͨ ,the Hague Royal Conservatory since 1991. From 2007 שነͨઠcϬऋПᑼᇼˮͨˀ̯ࣝ he has become a specially appointed professor in Toho ነ්ɣነࠑᅥነઠe Gakuen School of Music in Japan. ࣵན Franz Joseph Haydn 1732-1809
ɩሁ͚ᚊςੵ֨ Symphony No. 44 in E minor Trauer) ሣ๕ؿ҄ Allegro con brio ɩүၦςiɩ҄ Menuetto: Allegretto Adagioྺ Finale: Presto܈ୄςi
ᄨfС߈ഒႏݯiྦྷ˖ “A symphony in the minor key means something out of theۄࠑᅥነነّВ࢟ АςࡼԞ႓c˞ɩሁᄘ͚ᚊςԎɺఖeΣ ordinary for a symphonist of the 18th century. The minor, as ༠ውੱ the tonality of the outer movements, is the vehicle for theٲࠖѮԭᅥܰɩሁcగܰ߬ expression of passion or grief.” So writes the musicologist భeࣵན͚ᚊςಲဘͿᖬȿೌe Bernhard Rywosch, and that certainly seems to be borne αcܰࣵནɀࠖ˞ɩሁכ͚ᚊςᄘ out in the case of Haydn’s symphonies, the 44th Symphony, ϭݯᅥςՅȿዟऋؿޅᄘιؿ͚ᚊςhˢ dating from 1772, being only the second he had written ȹঁᘭАభჱ up to that time which was cast in a minor key. Haydn wentڳЎߜʼ ᅟᕀ Ķੵ͚֨ᚊς ӰΕˢϬɯؿ້ᓤɐ߬ˮ so far as to give it a unique title –“Trauersinfonie” (whichע͚ᚊς Ķ ҡ ԯɻؿྺᅥe more correctly translates as “Mourning Symphony” but is usually referred to in English as “Tragic Symphony”) – and Ϥ˘cੱ૯Գؿ͚ᚊςɖᎶȿࣂؿ left instructions that its slow movement should be played at .ᖚɣᅸݚӔ㒷༜৽eӔ㒷༜৽նϬᄨਝ his funeral ࣟ׳ჱАࡼ̥ԈᄨԈѴfКϹϝСfඟfК There is also an element of emotional depth in the work ΕੱۂؿჱАшఫၤӔ㒷hӔ㒷ࠑᅥА which was fully in keeping with the general artistic trend cΕࠑ൴ੜd۹҄ྺdי༠ʿࠍ༖ው൙լٲ of the time, described as “Sturm und Drang” after Friedrich ᄘА Maximilian von Klinger’s play Wirrwarr, oder Sturm undقȹکɣɩሁֲؿྦྷˈᑭੜईeࣵན ҕੱࢧϦؿ͚ᚊςcࣂɖཹઔ͂Ӕ㒷 Drang (“Confusion, or Storm and Stress”). This involved the cԎΕϭαංАȿ͚ࠖᚊ heightened expression of human emotions through increasingؒʹ ,ςcҰࠖɖֶΛֶʭτӔ㒷༜৽ؿᄧɥe use of contrast; loud and soft dynamics, fast and slow speeds ˮcࠖ and major and minor tonalities. While up to that pointܞᚬۤࣵནነّᖓႝfᙬҡ ଉ֨ઢೕcܰˢݒ౨ංА Haydn had always aimed to produce symphonies which wereޚ͚ᚊςՇ predominantly lyrical and easy on the ear, now he started to ଉ֨ȹؿᅥိe experiment with the concepts of Sturm und Drang. Between 1768 and 1773 Haydn composed some 12 symphonies all of which, in one way or another, reflected these concepts and have been described by the inimitable Haydn scholar, H C Robbins Landon, as “the most consistently inspired category of Haydn’s art during this period.” ,ȹᅥО࢈Ϥభඬؿ˚ᕀ֞ͅᅥღۗۗˮh Unison strings open the 1st movement with a stark theme e tinged with grief, but when the music opens up harmonicallyۃۃᛰ௩ѤѤdባڳЎᐰ˱Ƀࣂcࠑᅥ ৫ဍైɃԭᒾؿ֞c it bustles along happily enough, the energetic scrubbing ofڳɩొೄΕլδcᅥ྆ the violins periodically stamped on by two sturdy chords from ˞܃ဲؿࣩcܣཫ༑຺ЍؿhᅥѮࠇ the full orchestra. However the opening mood reasserts itself ݞؿ֞Аeيȹ at the end where the movement closes on a bare chord.
ɀᅥᒖܰɩүၦςcЎɩొೄၤГࠑɣొೄ The 2nd movement is a Minuet with a decidedly serious ᛷ༖ᗲhɩొೄΕɻݒն demeanour, taking the form of a canon between violins andע࿚ι˺༛cࣟሁ cݠཫȹҢඈͮcঢ়Ᏻɐؿ bass and with a central Trio introduced by descending violinsێࣂۗˮؿɎϷࠑ ʸ൬۩ʑe in fair imitation of a shaft of sunlight permeating from a high window. ɍᅥ၀ᆽؿ˚ᕀͅτࠑኂؿɩొೄ The 3rd movement is a delicate theme played by muted violins ˮcᔶᓫဳ໔ۗˮܹؿЂۗeۗ with the gentlest of support from oboes and horns. Charming, ᅥक़भ়ɁcӞᗫ˿ෲ Ķ ፕݯࠑᅥ innocent and utterly lovely, it says a lot about the personality ྋႌႼؿᅥcݠݠଊΔԳིȿАّؿֲe of the man that this was his chosen musical epitaph.
̒ᅥ།ȹᅥᅚ˞֞ᅥღۗઘѵྭc The 4th movement opens, as did the first, with unison strings, but ؿ this time in a more vigorous and energetic vein. Nevertheless a͌قЎଊΕҡݠᅱΡ৽eቱဳΣϊcᅥȹ ᆢcੱੜईe sense of seriousness of purpose and intensity is maintained toע the very end. ୣʺऋ Wolfgang Amadeus Mozart 1756-1791
Violin Concerto No. 3 in G, K216 ۂɣሁɍɩొೄԾۗςcА* Allegro҄ Adagioྺ ረફς Rondeau
ಶ At the start of 1775 Mozart was in Munich preparingڣᄮ̛ඣcᘐௐჱ֡کcୣʺऋٱα th ,ࠖɊʗι˲c for the first performance (on 13 January) of his operaכɤ්Ȼ˂ˀؿࠖeͅ Le finta giardiniera. It was a huge success and Mozart ΐϊୣʺऋҺցजΕᄮ̛ඣȹݒࣂංcѴશॶΕ decided to stay on and seek an appointment in that city. ԅ㛾ጷͫԑ Ķ ˿ੴୄᑹܰಲ˲eΐϊ Nothing was forthcoming, so he was obliged to return to ˢɺɺΑԷᔁဍః˾cα˂ࠇΑϽc Salzburg and, in March, resumed his undemanding and ኝֲ unrewarding duties in the court of Prince-Archbishopܥಲܫɣ˚ઠؿࡾ২ടڎ˔Ε݀ᖓཊΛ ɌಲӷؿɮАeϬԅࣂԷαα֛cˢ Colloredo. The reminder of the year was spent in Salzburg ȹᙌݯန୧ԓf where he composed an opera (ll rè pastore) for the Ɂ˔دजΕᔁဍఃcᄘА ɥdКϹϝСɣʔԞϤᄘؿ visit to the city of the Archduke Maximilian, youngest̢ޒऋཊଡ଼ɤ son of Empress Maria Theresa, several inconsequential ჱ cడࠖɩԫޫؿኂᅥςdడࠖઠผࠑᅥ instrumental pieces, a few pieces of church music and four ɩొೄԾۗςeԑྡྷɐcˢȹ́ͳᄘАȿʄࠖ of his five violin concertos, the first having been written ԅࣂˢ two years earlier for performance by Mozart during another کԭαכɩొೄԾۗςcȿȹࠖᄘ Ε෮ɣСЃᖓ࠷ұᓻcЎɖᅚಲ˲Ϥᑹ c vain search for employment, this time in the Italian city .Ɏ̒ࠖܰΕȹαѧιؿe of Florence
Quite why Mozart composed four violin concertos in quick ୣʺऋݯЄΕ౨ʑᄘА̒ࠖɩొೄכϭ succession is open to conjecture, and while he would Ծۗςcϭʌʋଠ႓य़ड़hϤᒖಳˢɣลΕ certainly have performed them on some occasion at ᔁဍఃܺɻጱϬˮ༦ԒᅥςcЎ Salzburg, no records of him doing so exist (the first ࣓ኣত፣cɍɩొೄ evidence of the Third Concerto being performed in Salzburg ᇽᔳΣ˟ڳʼᘆত༗ ԾۗςξȹωΕᔁဍఃˮcܰԯɻੱ was in 1777 when the deeply lyrical second movement ૯ԳؿɀᅥΕαȹᙌჱؿԭྭɾං was played between the acts of a play staged there during Mozart’s absence). The Third Violin Concerto, dated ۗcЎࣂୣʺऋԎɺΕ eɍɩొೄ 協奏曲1775年9月12日脫稿，而且似乎深得 12th September 1775, appears to have been a favourite 莫扎特本人歡心 ─ 他1777年底再次踏上漫長的 of Mozart who took it with him to Mannheim and Paris 求職旅程時，也把樂曲帶到曼海姆和巴黎演出。 in late 1777 during an extended tour to, once more, seek for a new post.
管弦樂複奏樂段直截了當地為第一樂章掀開 A forthright orchestral ritornello opens the 1st movement 序幕，圓號為樂曲添上獵場的氣息。小提琴活 with horns giving off a whiff of the hunting field. The violin 力迫人；莫扎特定是藉此對薩爾斯堡諸公表示 launches itself into the movement with impressive virility; 輕蔑。 here is Mozart, surely, making a defiant gesture at his Salzburg masters. 第二樂章的旋律美妙絕倫，抒情動人，飛騰 The 2nd movement is built around the gorgeously 昂揚，也是全樂章的基礎。主題由獨奏小提琴 lyrical, soaring melody given out by the soloist above an 奏出，底下是配上弱音器的小提琴和柔和地撥奏 accompaniment of muted violins and gently chugging 的大提琴和低音大提琴。 pizzicato cellos and basses.
很諷刺，這首協奏曲的別稱正是「薩爾斯堡人」─ Ironically this Concerto has earned the nickname “Salzburger” – immortalising the city Mozart hated so 莫扎特這麼討厭這個城市，偏偏「薩爾斯堡人」 much – due to the second of two melodies which suddenly 卻令薩爾斯堡名垂千古。第三樂章共有兩個 interrupt proceedings mid-way through the 3rd movement. 旋律，其中第二個正是這個別稱的由來。這個 This melody, a bouncing, bucolic dance which finishes as 旋律是段躍動而充滿鄉土氣息的舞曲，在樂章 abruptly as it begins, has since been identified as a folk 中段突然出現，又突然消失。此後，這個旋 dance called “The Salzburger”. 律與一支叫「薩爾斯堡人」的民間舞蹈就成了 同義詞。 孟德爾遜 Felix Mendelssohn 1 8 0 9 - 1 8 4 7
《美麗的梅露西娜》，作品32 The Fair Melusina, Op. 32
孟德爾遜熱愛文學，孩提時代已跟姐姐芬妮 Given his passion for literature – as children Mendelssohn 搬演《仲夏夜之夢》選段，家人又是歌德的深交， and his sister, Fanny, used to re-enact scenes from 歌德甚至形容年幼的孟德爾遜是個「天才橫溢 A Midsummer Night’s Dream, while among the family’s 的可愛孩子」。因此，大家也順理成章地以為會 close circle of friends was Goethe who described the young Mendelssohn as a “divine, precious boy” – it was only 寫作歌劇 ─ 的確，他寫作第一批歌劇時才 to expected that as a composer he would turn to opera. 11歲；但他喜歡帶寫實主義色彩的文學，而 Indeed he was just 11 when he composed his first operas. 對當時充斥歌劇界的理想化浪漫主義文學不以 But Mendelssohn preferred literature to be tinged with 為然。他雖然約有八齣歌劇 (但只有四齣在他 realism rather than the idealised romanticism which was 生前上演)，但總顯得與這個樂種格格不入。 the stuff of contemporary opera and, despite working on 然而說到把文學作品原原本本地譜成歌曲，他倒 some eight operas (only four of which were ever performed 很在行 (孟德爾遜著有78首歌曲；另外還有45首 during his lifetime), none of these even begins to display 實際上出自芬妮手筆，卻借用孟德爾遜的名義 any real feel for the genre. Mendelssohn was far more at 出版)。而他為舞台劇而寫的劇樂，則把他的 ease setting literature unadulterated as songs (of which he wrote 78 – an additional 45 by Fanny were published 戲劇觸覺發揮得淋漓盡致。他前後共有六齣劇的 under his name), and his sense of drama was best exercised 劇樂，原著分別出自莎士比亞、索福克勒斯、 in the incidental music he wrote for stage plays. In all he 拉辛和雨果手筆；還有兩齣劇的序曲 ─ 分別是 wrote incidental music for some six plays – by Shakespeare, 歌德《平靜的海洋與幸福的航行》和格里爾帕策 Sophocles, Racine and Victor Hugo – and Overtures for 《美麗的梅露西娜》。 two more; Goethe’s Calm Sea and Prosperous Voyage, and The Fair Melusina by Grillparzer. 弗朗茨．格里爾帕策是19世紀奧地利劇作家， th 他以中世紀法國一個傳說為題材，寫成話劇 Franz Grillparzer, a 19 century Austrian dramatist, based 《美麗的梅露西娜》。水妖梅露西娜為了嫁給 his play on a medieval French tale concerning Melusina, a water sprite who adopts human form in order to marry 普瓦捷的雷蒙德伯爵，不惜幻化人身，婚後與 Count Raymond of Poitiers and live with him in the 丈夫居於呂西尼昂一座美輪美奐的城堡裡。伯爵 beautiful castle of Lusignan. Raymond promises never to 本答應絕不會在週六見梅露西娜 (因為她腰枝以 see her on Saturdays (when she temporarily re-grows gills 下的鰓和鰭每逢週六便會現形)，但他到底還是 and fins from the waist down) but eventually his curiosity 敵不過好奇心，終於在一個週六的下午，趁梅露 gets the better of him and peeps at her while she is taking 西娜沐浴的時候偷偷看她。梅露西娜察覺丈夫在 her Saturday afternoon bath. Aware of his prying eyes 偷看，就馬上跑了；但此後呂西尼昂每逢有人 Melusina runs away but forever after her cries can be 離世，人們都會聽到梅露西娜的哭聲。格里爾 heard whenever any inhabitant of Lusignan dies. Grillparzer 帕策曾把這個劇本拿給貝多芬考慮，但貝多芬 offered this libretto to Beethoven, who turned it down, and it was left to Conradin Kreutzer (1780-1849) to turn 推掉了，最後由康拉迪．克拉薩 (1780-1849) it into an opera. Mendelssohn attended the première of 寫成歌劇。克拉薩的《梅露西娜》1833年2月27日 Kreutzer’s Melusina at the Königstädter-Theater in Berlin 在柏林帝都劇院首演，孟德爾遜也是座上客。 on 27th February 1833 and was so smitten by the story দཱུКּᔁؿ (he loathed Kreutzer’s music) that he immediately set to۾Ў ԑ˥սᄨဍႫΣᖂΣሶܨ .ԑ work on a concert overture based on Grillparzer’s storyܨϭɐ৽೫࣓ኣࣟԈဍ֔೪ؿޅࠑᅥ c ᄘАࠑᅥผѵςeᅥς˂ᆨcα˂ˀ Completed in November, it was premièred in London on th Ε࠷ࠖe 7 April 1834.
Mendelssohn’s intention in his overture The Fair Melusina սᄨဍႫؿᗫؿᚉϹѵς˞෮ݯ˚c was not to depict the details of the plot but rather to Ԏɺ့̨ԳིܨԑୀຝeࠑᅥႦޔᕷc̝ќΔ convey the poetic essence of the story; and in its light, ᛷ shimmering qualities the music beautifully captures theעԑЍؿऋϳeςɻτడ୮ܨࢰࢴȿࡈട೧ ʦܮܨԑʑࢀ Ķ ԭʏॖ͚౧ˮଊcԯȹܰͅ fairy-tale character of Grillparzer’s work. There are few cԯɀܰȹ༖༡ʘؿ obvious references to the story in the music – which܁௰ᓫဳʵɃؿݚᗫફ eৱΡ˞྇ೋѼࢀࠑᅥؿߜਝࠑᅥነّ alternates between the fluid melody introduced by the܆ᅥ cಲሃ clarinet, and a more urgent idea – but, always one forێࡌढ़ᄨfμၐႏݯiဲؿ௰ᓫဳࠑ ၸ⥣ɐϷ ˚ᕀ ᑹܰɎϷ ྦྷϽᇃૈ cɣล the picturesque phrase, the British musicologist Donald Tovey considered that “the opening clarinet-figure, whether ȿ൪ʒࣂᚉϹؿɎӸ Ķ ಲሃܰேѮdٲˤ it curls upwards, as in the theme, or downwards, as in the ୰Ӹᑹܰʍ˝ேၤ୰ɾංؿᛕேhɖ˿ॶܰ counterpoints, presumably represents the Saturday lower cܰɤߜඐ͂Ԟࣗ half of the lady, whether fish-like or serpentine or in theك࣯cֶّcగ҈ֺؐ ؿ࣯ؐe compromise of an eel. It may also represent waves of water, or, for all I know, the waves in which ‘die Hähnel’ combed her hair.” սᄨဍႫ Felix Mendelssohn 1809-1847
$ɣሁ͚̒ᚊς෮ɣСc Symphony No. 4 in A Italian, Op. 90 ۂА ݠᅱؿ҄ Allegro vivace ҄ؿϷ Andante con moto ҄ؿɻ Con moto moderato Saltarello: Presto܈ᔁဍෑͶݤၦςi
αcսᄨဍႫ༝ᙴ෮ɣСࣂྦྷਝࡼ Mendelssohn visited Italy in 1830 and fell in love with hЎˢ the country, describing it as “warm and joyous”. He wasɣ́Ρcႏݯ෮ɣСใธdᚭ less impressed by the Italians who, as he wrote in a letter ոո׳ɺౘ࢞ၐeΕΑ݇ڳ෮ɣСɁྦྷ sent back to his sister Fanny in Berlin, “sit around all day ٧ձؿࡼ࣊ɻcսᄨဍႫᄘ༞i෮ɣСɁᎼട wearing wide hats, big butcher’s dogs beside them, their ɣఞɥcɣɣؿੁʩ˓ΕӸࣀፆടcୄˀ necks, cheeks and whole faces sprouting hair, sending up ട፻ᐻؿˉቡcђΕԅ dreadful clouds of smoke and saying rude things to oneٽඁђhɁɁ Эඔ΅ᗔcʃޚሁԟeԭα܃cսᄨဍႫΕ another”. Two years after his visit, Mendelssohn recalled ͚̒ᚊςΑՈ෮ɣСɾϷhα˂c his impressions of Italy in his Fourth Symphony which was ϊςΕ࠷ͅෲᅥဳ֞ᅥ྆ࠖcԎݯսᄨ first performed in London by the Philharmonic Orchestra in May 1833. He was paid £1000 for the Symphony – ɺΛܰʌˀؿ ဍႫԞȹɝߜᔦؿం༭ a sum which, in today’s terms, is not far off £50,000 HK$680,000) – which gives a pretty good indication of) کʄຒߜᔦcЩຒಋʏ̞́ Ķ ͅϊ˿Ӯˢ́ τֺࠤ Ķ the respect with which Mendelssohn was held in his ownذΛფௐՇઐeࣂɁಲဘႏݯϊς ෮ɣС͚ᚊςࣂɰᙷݯඨབɝ̀ɾАh lifetime. Clearly it was thought that the Symphony was Ϥ˘ɖٛցܰАςࡼ̯ɁؿʶΡeˢйേ good value for money – it was described at the time ݯ˅c҈২༦ؿԑ߬ᅕȹͧ as “a composition which will endure for ages” – andک٧ձiԷ͌ Mendelssohn certainly liked it; “It is the most mature thing يc့̨τخፖፖɺᜑᅥςˮڳιᆃe˿ܰˢ I have ever done” he told Fanny. However he withheld its ࣂͱ࠳߯ȹೌ Ķ ЎˢӀτዀผeսᄨဍႫั publication for some years meaning to revise it when he ᅥςగ had the time. He never did, he died at the age of 38 andܰכʋ̰࠳߯hڳᖽcЎᅥςٽ˖గၤ .e the Italian Symphony was published posthumouslyخˮ܃ܨΕˢӸ ؿਝ۹cΐϊ Mendelssohn’s view of Italy as “joyous” is the key to theսᄨဍႫႏݯ෮ɣСܰᚭ st cԯဲ gloriously virile 1 movement, whose athletic openingᚭכሣ๕ࡄੜؿȹᅥᗐᒄΕ and leaping main theme is one of Mendelssohn’s ʥ˚ᕀܰАςࡼτΊؿᅥݒɾȹiဲݠᅱ૽ best-known creations. ᔘᔘ༐༐ؿeڬ࣍c˚ᕀ The 2nd movement, which begins with a rather pompous, ,ᗘЍcϤ hymn-like melody above a steady marching accompaniment܁ɀᅥնࣂؿѕᗫફ ൬ Ķ ኣ႓АςࡼΕᖓጱΛω is said to have been inspired by the many solemn religiousکᖇүڬЂۗ րઠϷͶe processions Mendelssohn witnessed when he was in Rome.
If the first represented the “joyous” aspect of Italian life, the ؿΣ႓ȹᅥଊȿ෮ɣС́ݠᚭ 3rd movement is certainly inspired by the warmth both of ༠ȿ෮ɣСࣩ࠰ใธd the country’s climate and its scenery. All this, though, is veryٲɍᅥగڬȹࠍc .ː much a picture postcard view of ItalyڌעౡϳӞؿȹࠍĶಳϤԒɖɺ༦ܰ βؿ෮ɣСࠓੱೋᇋȿe Only in the 4th movement does Mendelssohn include τΕ̒ᅥcАςࡼɷ͂ɐȿ෮ɣСؿ anything genuinely Italian; a vigorous dance originating̋ from Naples known as a Saltarello which is characterised ऋଐĶᔁဍෑͶݤၦςeᔁဍෑͶݤၦϬ by a great deal of skipping and jumping. This kind of ԅɺ৺cၦү˳фɣ൴ൠ༐үʥᔶӷ༐cݠᅱ effervescent outpouring of joy seems to have been τɈeАςࡼЍ˝ྦྷ෮ɣСိᅥɺ˿ʻؿࣩ Mendelssohn’s most enduring impression of Italy and even as he finished work on the Symphony he claimed; “I have ͐ٲcʋ܃ϭΕ͚̒ᚊςᆨޅɺѿc֨֨ ϣe෮ɣСؿ not yet been able to think calmly and seriously. Memories܆ଊΕᑹɺॶО፷dႏभΔ҈ ҄Αኙʋገᓳട҈e of Italy are just all too merry around me”.
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 ´ࠖPrincipal Basses ³ ອଉࠖActing Principal ³ۚᙀԞ µᎏဍഥ ඟ࿖ Сԓ ½ ᐲࠖCo-Principal Jiang Xinlai Philip Powell Feng Rong Samuel Ferrer ¶ ХଉࠖAssistant Principal µ ອଉХଉࠖActing Assistant 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 香港管弦樂團 Hong Kong Philharmonic Orchestra
短笛 長笛 Piccolo Flutes
●史德琳 ▲盧韋歐 施家蓮 Megan Sterling Olivier Nowak Linda Stuckey
英國管 雙簧管 Cor Anglais Oboes
●韋爾遜 ■布若芙 陳篤信 Michael Wilson Ruth Bull Christopher Chen
低音單簧管 單簧管 Bass Clarinet Clarinets
●史安祖 ▲史家翰 簡博文 Andrew Simon John Schertle Michael Campbell
低音巴松管 巴松管 Contra Bassoon Bassoons
■金瑞 ▲李浩山 崔祖斯 Kam Shui Vance Lee Adam Treverton Jones
圓號 Horns
●韋麥克 ■羅卓思 ▲周智仲 李妲妮 李少霖 高志賢 Mark Vines Lisa Rogers Chow Chi-chung Natalie Lewis Homer Lee Siu-lam Marc Gelfo
小號 長號 Trumpets Trombones
●卡拉克 ▲莫思卓 華達德 ●韋雅樂 韋力奇 Jonathan Clarke Christopher Moyse Douglas Waterston Jarod Vermette Maciek Walicki
低音長號 大號 定音鼓 Bass Tuba Timpani Trombone
貝爾迪 ●陸森柏 ●龐樂思 Michael Priddy Paul Luxenberg James Boznos
敲擊樂器 豎琴 鍵盤 Percussion Harp Keyboard
●泰貝桑 梁偉華 胡淑徽 ●史基道 ●葉幸沾 Shaun Tilburg Raymond Leung Sophia Woo Christopher Sidenius Shirley Ip Wai-wa Shuk-fai
特約樂手 小號 Extra player Trumpet 張浩昇 Cheung Ho Sing HKPO News ࠗ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 ࠇᒨઐʍFEATURED CONCERT ʪ̀ณɈ൴i ፡ೄࠔܞ˔ϡԙ Swire New Generation: The next sensation – Yuja Wang 26&27 Jun 2010 Sat 8pm & Sun 3pm ࠗಋʼʝɻʶࠑᅥᜨ Hong Kong Cultural Centre Concert Hall HK$280 $200 $140 $100
ಝһࣵcܞ Muhai Tang, conductor ˔ϡԙc፡ೄ Yuja Wang, piano ຝ͌Programme ࣳᖓࡐഥʩ ͚̀ᚊς ࣳᖓࡐഥʩ ɍ፡ೄԾۗς ճਥxঢ়ҳ˿ʩ ʨʿէᖭ׳ PROKOFIEV Classical Symphony PROKOFIEV Piano Concerto No. 3 RIMSKY-KORSAKOV Scheherazade
ࠇᒨઐʍFEATURED CONCERT ʪ̀ࠑᅥɣi̠ᙬ Swire Maestro: Wine, Women and Song – Carmina Burana 2&3 Jul 2010 Fri & Sat 8pm ࠗಋʼʝɻʶࠑᅥᜨ Hong Kong Cultural Centre Concert Hall HK$420 $320 $220 $160
Еඊcܞ ɐࣵჱ྆ Yu Long, conductor Shanghai Opera ஹɩψcɤঢ়ࠑ House Choir Chen Xiaoduo, soprano ࠗಋԫ೧྆ ˉcӘঢ়ࠑ The Hong Kong Peter Maus, tenor Children’s Choir cӘɻࠑ̷ןྱ Liao Changyong, baritone ຝ͌Programme ஹԯ፡ ̖ᅥ් ෙဍʩ ̠ᙬ CHEN QIGANG Enchantements oubliés ORFF Carmina Burana
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