ၭᐽષू z ˸˖ᇂਝᄪࠑᅥผٴᚭ Welcome to “Butterfly Lovers – A Legend Reborn” A Celebration of PRC’s 60th Anniversary
ਝ൪αᄪc In celebration of the 60th Anniversary of the People’sۺʌα௩ɻജɁ̵ͳਝ ᇷ ಋᅥਝᄪ Republic of China, Sun Wah Foundation is honoured toۍᘗ˾αณജඑ྆ᖳХؿң be the sponsor of this opening performance of “Butterfly ผԷ Lovers – A Legend Reborn”, following the success of theټࠑᅥผᏵΡിΣᅸcʌαณജඑ྆ਥ ࿘֗ॶᖳХਝᄪࠑᅥผષूz˸˖ᇂ opening performance “Trey Lee + HKPO” national dayڈ ࠖˮe concert sponsored by Sun Wah Group last year.
Sun Wah Foundation is the public services arm of ,ผܰณജඑ྆ᙔɎؿʔऩԑ৻ Sun Wah Group. As a responsible corporate citizenټณജඑ྆ਥ ผஐͨؿዀ࿚cณജඑ྆ Sun Wah is ever vigilant for opportunities to return theمዀ࿚eАݯȹֻኪ rewards of its own success to the community it serves. ټผeਥمผؿ߬cΑ㏾مผcΐᎶټι͓ਥ The Foundation covers a wide variety of public interests ઠөdᖚdʼʝd and activities including support for education, arts andܢ˳c؟ผᖳХؿඖ͌ᄤ ҌʥΈᗘ෯ഁݠ৽eωࠑᅥผܰณജඑ྆ culture, science and technology, and charity work. Thisޫ ݯᄪूਝᄪcɖݯઐ৽ʼʝᖚɌȹ celebration is another highlight of the Foundation inܫผټਥ promoting arts and culture as well as celebrating the ၀еᘆe National Day.
ኒcԎऋП࿘֗ We are very pleased to have the presence of many goodܞᑢΡʤࠨͮᐽڈࠨ҈ friends and truly honoured to have Mr. Tung Chee-hwa, ജͱ́cɻࠗ̕ಋ Vice-Chairman of the Chinese People’s Political ConsultativeۺԾ৹˚໎ܧᑼͲਝ ᐲፒʔ۩˚ͨధജͱ́cɻਝ Conference, PRC, Mr. Pang Qing-hua, Director of theਂܧऋПϷ ऋݢࡗʔອອଉऋݢ Liaison Office of the Central people’s Government inਂܧ͚ࠗಋऋПϷ̔ HKSAR, Mr. Zhan Yong-xin, Acting Commissioner of the ւΨᘪࡗ̂එɁڈผᘪܧࡗ̷ณͱ́cʥϷ Ministry of Foreign Affairs of the PRC in HKSAR, and The ષࢯߜͱ́ኪͨܰωࠑᅥผؿ˚ᓤཽႝe Hon. Leung Chun-ying, the Convenor of the Non-official Members of the Executive Council as our Guests of Honour. Ɂɟتαࠖωˮcࠖᐼ כષू Butterfly Lovers Concerto is celebrating its 50th birthday ؿɩొೄԾۗςࠍ˖ϭʌࡄ˸˖cιݯ since its première in 1959. To commemorate the ۗผؿࠇᒨᅥςcઘ֨ occasion, it has become the main theme for performancesێʌαΕʑΔɣ .ષू՚αۗᆅᅸeʌયࠑᅥผੀۗ in major orchestral events in the Mainland this year Tonight we are proud to present to you this Chinese αАςࡼඡߗऋПАؿ͚ᚊѵς orchestral repertoire prologued with a new andڇᔄജ શc contemporary context by the young Chinese composer׳ࡼܞ cԎͅਝടΊؿജɁ ʥɻਝɩొೄࡼᑇ৩ၤಋᅥඪੱˮષू Huang Ruo. The Hong Kong Philharmonic Orchestra, together with the renowned conductor Jahja Ling and Ծۗςe the violinist Xue Wei, will be a perfect match for a captivating performance. ΈϽཽႝτȹ҄ᗒѿؿયɐeू I wish you all an enjoyable and memorable evening.
૯ɡ%%6-3 Dr Jonathan CHOI Koon-shum BBS, JPڥᇞ ณജඑ྆˚ Chairman of Sun Wah Group ผ˚ Chairman of Sun Wah Foundationټณജඑ྆ਥ
ષू z ˸˖ᇂ ਝ՚αۺᄪूɻജɁ̵ͳਝ Butterfly Lovers – A Legend Reborn A Celebration of PRC’s 60th Anniversary
શ ຝ͌׳ ܞ Jahja Ling ඡߗ ͚ᚊѵς conductor ஹ፡dЄ˻ႚ ષɬВၤूߜ̎ɩొೄԾۗς
ᑇ৩ xɻͤࢠx ɩొೄ
ۂXue Wei ᄨͥʺК *ɣሁɄ͚ᚊςcА violin ሣ๕ؿ҄ ྺ ඏؿɩ҄ ɺʪ҄ؿ҄
Programme HUANG RUO Still / Motion CHEN GANG/ Butterfly Lovers Violin Concerto (1959) HE ZHAN-HAO
– Intermission –
DVORÁKˇ Symphony No. 8 in G, Op. 88 Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo
ܱ౨ɍ Ɏʟࣂ ˀ˂כᅌcຝ͌ੀقͰႠ ଊ )0 ˀؿࠑᅥผࠗͅಋཋ̎̒̎ ˂ ࠇᅌe The 9 Oct concert is broadcast live on Radio 4 (FM Stereo 97.6 – 98.9 MHz). The programme will be repeated on 14 Oct (Wed) at 2 PM.
ΈϽᜮଠ cᇼᗐઌʹొཋʥԯˢᚊባສeʑɺ૰ඝࠕdᙘᄧd፣ࠑֶ፣ᄧeूɣࡼτȹ҄کሌᅥ ؿࠑᅥe Dear patrons For a wonderful concert experience, please kindly switch off your mobile phone and other beeping devices before the concert begins. Photography, recording, filming, eating or drinking are not allowed. Wish you a very enjoyable evening.
ࠖˮᖳХ ˂ˀˮᖳХ Opening performance is sponsored by 10 Oct performance is sponsored by Salute ᑢ͟Ђ to Our Partners kܛࠗಋဳ֞ᅥ྆টʶᑢ˞ɎᖳХዀ࿚ؿྐྵష༅Хʻ The Hong Kong Philharmonic Orchestra would like to express our heartfelt thanks to the below Partners for their generous sponsorship and support!
˚߬ᖳХ ࠖᖳХ MAJOR FUNDING BODY PRINCIPAL PATRON
ຝ͌ᖳХMAJOR SPONSORS
˞ʔ̇ߜʼΊီѵIn alphabetical order of company name
(ࠗಋဳ֞ᅥ྆ಋᅥܰԓݘਂʑԮეኒΔ The Hong Kong Philharmonic Orchestra (HKPO Ͻؿᅥ྆ɾȹcᔔఒࠗಋʼʝ́՜༩ȹ˖c is one of Asia’s leading orchestras. Enriching Hong Kong’s ɍɊαԞɰೕࢄιඑജɁၤࣵ̔ࠑᅥ၀ߜؿ cultural life for over a century, the Orchestra has grown intoٶ ˮᅥ྆cмʵ˖ވज़ᖚࡼ̎ᘆᖚeಋᅥ a formidable ensemble of Chinese and international talents Ұα༦൚༦ȹϛʄɊؿˮcᘩ৽ɀɊຒ in the last three decades, attracting world-class artists to ᅥ়ؿʶe perform on the same stage. HKPO annually touches the lives of 200,000 music lovers through more than 150 performances. ɣϴ۹fജऋეኒɎcܞΕԔᙷਝؿ Under the leadership of its internationally renowned conductor αˮ৺ٶಋᅥؿᖚˋ̡ྨঢ়ࢋeಋᅥ Edo de Waart, HKPO continues to scale new heights in musical Ͳࡨ͚ᚊςӡͶdჱࠑᅥผdඨ̀ᅥς excellence. The continuing cycle of Mahler symphonies and cҡۿؿྩณς͌cяݯᅥ়ֺᆅʘ౨̔˞ challenging programming outside the traditional repertoire, ᅥտؿ ιݯᅥ྆ᖚೕࢄؿԈೡຌe have become highly anticipated events as well as musical ᅕӴΛ٧ؿᒫԈෙჱࠑᅥผڈࠇᎻc milestones for the Orchestra. Beethoven’s Fidelio opera-in- ʥ৺ؿɣΔɾɺ˿cϤԯˢၤಋᅥ concert and Mahler’s Das Lied von der Erde are inarguably the i፡ೄࡼແˤdܢ˳ڬؿᕷᅥኋ̜ܱ̎ major highlights of the 2009/10 season. Many great artists ,ॗʩਥʥңၐcɩొೄࡼਜ̷਼քʥ perform with the HKPO, from pianists Jean-Yves Thibaudetּˈ ɣొೄࡼ͠СeඨթܞᖓऋӇਥ Boris Berezovsky and Paul Lewis, violinist Sarah Chang ɣቝᐽcᄤɣᅥ়ຒʜ፟༦e to cellist Steven Isserlis. The visit of the legendary Gennadi Rozhdestvensky is also an event not to be missed. ιݯټপਥڌα˂cʪ̀එ྆෯ഁ ᅥ྆ؿࠖᖳХc˞Хജऋྡྷଊˢྦྷᅥ྆ؿ From April 2006, The Swire Group Charitable Trust became ѩᗙeϊݯಋᅥ̌ɐɣؿͬพᖳХc˥ᅥ྆ the Hong Kong Philharmonic’s Principal Patron, enabling ၦ̎ᑺ൬ Maestro de Waart’s artistic vision for the Orchestra to beވ˖˞ΕᖚɐτҡɣؿೕࢄcΉ ,ؿࣂcੀঢ়ˋๅؿˮᄤɣ̵̟cᜑҡ realized. Swire’s sponsorship of the Hong Kong Philharmonic ΛɁઅᘩԷ̀ࠑᅥe the largest in the Orchestra’s history, supports artistic growth and development as the Orchestra takes its place on the world stage, and brings performances of musical excellence to the widest possible public. ॵฉ૯૯၇κcዶรઐᄤဳ HKPO stays in tune with our city by presenting the orchestra̟ےಋᅥࠗಋؿ ผΈආᄙcੀ၀ؿࠑᅥผԷ in unexpected venues and bringing the excitement of theمᅥϭ֞ ΈࡼΈʸcɻɺʭࠇ߬ˮҡ༦ཋ̎ʥ concert experience to every home through radio and television ᅥ broadcasts. These included, in the 2007/08 Season, the biggestכܢ˳ሌcཋ഼ᔝᅌͲಋ̵̟ ʸ outdoor symphonic concert of the year, Swire Symphony UnderێտcΕൠΔ༝ᅥᐾϷؿͲαɣ ͚̔ᚊࠑᅥผzʪ̀ಋᅥfܱէf͚ᚊςe the Stars at Happy Valley. The Orchestra runs a comprehensive ݯȿొঢ়Ͳಋɻdɩdऋࣦነ́ྦྷ̀ࠑᅥؿ schools education programme, Creative Notes, bringing the ጙመcಋᅥᐾፒࠑᅥઠөི߮෮ࠑଲc joy of classical music to primary, secondary and special school kids, and once in a while, the Orchestra drops the formality of ԜЛࠑᅥผʥΈඖઠөݠ৽eᅥ྆͛ཹొ the classical concerts to crossover with Western and Chinese ምˮक़̀ࠑᅥؿᆲᕿcց౨ᑼᇼɻd pop stars. ᜮଠઅᘩڇݚϷʹ̎ˮcмʵҡΛἁ ̀ࠑᅥe The Orchestra also builds its reputation and raises its artistic standards by touring. In 2007/08 season, the Orchestra ᐰᙷ performed in the Shanghai Spring International Music͓ۺಋᅥؿࣵ̔Ԁিˮcᜑᅥ྆Εಋ̔ ʥ൬ȹүొʠᖚˋ̡eᅥտcಋᅥʗ Festival and the Beijing Music Festival. In 2009, the Orchestra ਝࠑᅥຝʥ˵ԕਝࠑᅥຝɻ undertook a major six-concert tour of China, including theܬɐࣵɾכП αcᅥ྆ҡΕϴ۹fജऋؿეኒ Xinghai Concert Hall in Guangzhou, Beijing’s National Centre eޚڋ ɎԷᄤήܱࣵࠑᅥᜨd˵ԕਝࡼɣჱʥɐࣵ for the Performing Arts and Shanghai Grand Theatre under .ɣჱɣჱАɻਝԀcݯᄤɣɻਝᚹଠ the leadership of Maestro Edo de Waart ˮʒ၀ࠑᅥผe In February 2008, the Hong Kong Arts Development Council honoured the HKPO with the Arts Promotion Award, in α˂ཕೕᖚઐᄤ recognition of its success in expanding its audience base andכࠗಋᖚೕࢄѫ .αԞι˲ᒷ gaining public support in recent yearsٶಋᅥٲ˞ᆉʀࠗಋဳ֞ᅥ྆c ࢄᜮଠᄙࠍᏵՅʔଠʻܛe The Hong Kong Philharmonic Orchestra is financially supported by the Government of the Hong Kong Special Administrative Region ༅Х SWIRE is the Principal Patron of the Hong Kong Philharmonic Orchestra֚ܧਂܧࠗಋဳ֞ᅥ྆ࠗͅಋऋПϷ ࠗಋဳ֞ᅥ྆ࠖᖳХiʪ̀එ྆ The Hong Kong Philharmonic Orchestra is the Venue Partner of the Hong ࠗಋဳ֞ᅥ྆ݯࠗಋʼʝɻʶΔ͟Ђ Kong Cultural Centre
શ׳ Jahja Ling
ܞ conductor
ਝʥᅩԓΈ˚߬ᅥ྆cԎ˞ԯ Having conducted all of the major orchestras in the USܞશ౦׳ ѧͲdੜईੱᔔఒؿࠑᅥᖐᘰรঢ় and prominent orchestras in Europe and Asia, Jahja Ling’s distinguished career as an internationally renowned eˢଊͨັΔˑࡐܞിძcܰԔᙷਝؿ conductor has earned him an exceptional reputation ͚ᚊᅥ྆ࠑᅥᐢဟcΕͨ̒ᅥտ౨ංяᘰ for musical integrity, intensity, and expressivity. He is ʔଠʥᅥിȹߎஈe in his fourth season as music director of the San Diego Symphony, where his work continues to receive the highest praise from the public and critics alike. Ϭ αၤКԈʩᙬᅥ྆ࠖᏵΡി܃c ˢடᙩտܞᅥ྆ˮc αϭα Since his acclaimed début with The Cleveland ංͨᓻܞ༠ɀɊαc αϭαcˢኪͨ Orchestra in 1985, he has conducted the orchestra ᑩЃ࠷ࠑᅥᜨd in 23 consecutive seasons. He was a member of theכcეኒᅥ྆ܞᅥ྆ؿ྆ conducting staff of The Cleveland Orchestra for 20 years, ࠑᅥຝʥԯˢԀিࠑᅥผˮיȹαȹ۹ؿଞ from 1984 to 2005. From 1985 to 2002, he served ༩ࠑᅥผʥᅥς༩ࠖe as Resident Conductor, leading the orchestra in over 400 concerts and over 550 works at Severance Hall, at .શܰЃᖓԈ༠ᅥ྆̎ᜪਝࡼ͚ᚊᅥ྆ؿ the annual Blossom Festival, and on tour׳ ࠑᅥᐢဟc౦ͨԭඅᅥ྆ؿࠑᅥᐢဟʥڥࣔ Jahja Ling was named Music Director Laureate of the ᖚᐢဟe Florida Orchestra and the National Symphony Orchestra of Taiwan after he served as Music Director and Artistic ܞஃς͌ௐՇᙷ̔cˢ͛ዶรೕઈ Director with these respected organizations. ͚ᚊמˤࠑᅥeα˂cˢၤັ༏ Acclaimed for his interpretation of works in the ณၘ standard repertoire, he is also recognized for the&%$כᅥ྆ʥɣొೄࡼʤʤؿࠖcҡ e breadth of contemporary music included in hisיຝ͌ɻᅌ programmes. In May 2000, his début performance with the St. Louis Symphony and cellist Yo-Yo Ma was શଊݯਝ׳ܞͿ̛߁˱༠cജכ́ featured on the ABC News programme 20/20. ୧ԓࠑᅥነՅכʔ̵cϬ̒ัୌೄcԎ ߁ቧɣነࠑᅥ Born in Jakarta, Indonesia, of Chinese descent and now aכcˢ܃፡ೄۗဨɡነϽcԯ cԎՅɡነϽe United States citizen, Jahja Ling began to play the pianoܞነֻዸ৺ነୌ at the age of four. He received his master’s degree from ܞશϣɃሳٛݠВ࢟դ׳αࡧc The Juilliard School in piano performance, and his Doctor ི߮cϬϊcВ࢟դιݯˢࠑᅥɁ́ɻԮ of Musical of Arts degree from Yale University School ᄧᚊɈؿ࢟ɾȹe of Music, where he studied conducting with Otto Werner Mueller. In the summer of 1980, he was awarded the Leonard Bernstein Conducting Fellowship at Tanglewood, and Bernstein became one of the most influential mentors in his musical life.
ᑇ৩ Xue Wei
ɩొೄ violin
ᑇ৩࠷ᇯంᙷݯȹϽቤɈ̒ࢂؿ Described as “a devastating performer, combining ༠ɈᔔఒΛᅚecˢ formidable technical prowess with great breadth andٲۗࡼcҌᙘɁc variety of expression” by The Guardian, Xue Wei won the ࣂܰୣޫࣜ˿ʩਥɣᑩؿႺᆉ˚c silver medal at the Moscow Tchaikovsky Competition, ʥ˺ဍfСࣦਝɩొೄɣᑩؿۗსςɣᆉ the Sonata prize and Orchestra and Audience prize at˞ α the Carl Flesch International Violin Competition and wasڇᅥ྆ʥᜮଠɣᆉ˚cαˢҡ࿘Ᏽߜਝ voted the LPO / Pioneer UK Young Soloist of the Year in כɻਝؿᑇ৩c͛౦כ é ዟۗࡼαᆉ 1986. Born in China, Xue Wei was also the winner of ʭαɩొೄˈᑩdڇαͲਝᖚ࣎ the China National Violin Competition in 1981, the Carl α˺ဍfСࣦਝɩొೄɣᑩʥ α Flesch International Violin Competition in 1982 and also ˀ̯ਝࠑᅥɣᑩɻᏵᆉe the Japan International Music Competition in 1983.
Xue Wei has recorded for ASV, RCA and Elite. His recent ᑇ৩౦ݯ$69d5&$(OLWH೩ᄥಶ፣ࠑcˢؿ releases were chosen as “Record of the Month” in a ɣဥΛͫᔵႌፕݯҰ˂ɾፕԎᏵঢ়۹ number of publications and received high acclaims. “I ിძe&ODVVLF&'Ķࣜ˿ʩਥiˮ was absolutely riveted by this performance and cannot ૯૯мʵcͿോɻ̰ᚹ༦ˈϊςۗ recall having heard this work played so well or so memorably either on record or in concert.” (Classic CD – cɺሃ፣ࠑқֶࠑᅥผe̯خҡΡdҡᗒѿؿ Tchaikovsky) “Xue Wei’s expressive power and dramatic – ༠Ɉੜc conviction outshine Kennedy strongly.” (GramophoneٲजᐰዀĶּ̠ճսᄨဍႫi Ɉˢؿ̌ऋʥࣵȻནɩొ Brahms / Mendelssohn) His recording of Strauss andרรԮ႓ ೄԾۗςɣဥ࿘ᏵͲߜࠑᅥɣሌొΊcҡ Headington Violin Concertos was nominated in the Brits Awards and was described by Gramophone as “played जᐰዀിݯiᕰᚮdԮ૯۹ؿᖐcܰଊ with panache and deep musical integrity by one of the .”ʌӞؿɩొೄࡼɾȹe outstanding violinists of our time
ᑇ৩ɄัնነୌɩొೄcัϣɃɐࣵࠑᅥ Xue Wei started his violin study at eight, entered the music middle school affiliated to the Shanghai α ัϣɃɻ̕ࠑᅥነc ɻcڃነ Conservatory at 14 and the Central Conservatory at ؿԾХɎՅߜਝ0LGODQG%DQN 19. In 1985, with the assistance of the Lord Mayor ofٽΕ࠷ᤇ ᜨ London and sponsored by the Midland Bank andܧOHLQZRUW %HQVRQႺϷؿᖳХcႩ߳࠷ᤇ. αcαඩั Kleinwort Benson, Xue Wei furthered his study at the ࠑᅥነ൬࠳cֻԈਅe Guildhall School of Music under the instruction of ࡼࠑᅥነcιݯޒߜਝכؿᑇ৩Շາ Yfrah Neaman. In 1989, when he was only 26, he τ̌˞ԞαႦؿdɖܰȹϽജɁઠe became the youngest, and the first Chinese professor at the Royal Schools of Music. ඡߗ Huang Ruo b. 1976כ́
͚ᚊѵς Still / Motion
ʌαܰષूɩొೄԾۗςᇻӻʄɊ՚αe Still / Motion was commissioned by the Shanghai Spring ਝࠑᅥຝݯȿᄪूȹଞԑcऋ෮ 2009 International Music Festival. Its purpose is toܬɐࣵɾ cષूɩొೄԾۗςଐ́ create a contemporary dialogue with the ChineseۂկȿА ȹိଊˤʿβؿྦྷe classic Butterfly Lovers Violin Concerto, which was written 50 years ago and also premièred at the Shanghai Spring
ϣɻਝࠑᅥ International Music Festival. This unique task has given܆ܰᗒؿዀผcᜑ҈ࠇณ me a rare opportunity to re-think the path of Chinese Εԭ҈ܰכӶ༦ؿ༏˞ʥ̰Ԟؿ༏Ήe֡˞ music from ancient times to the present day, and to ɻਝ̀Ϣᅥိ Ķ Ꮋςࡾࠑᅥ Ķ ɻೕઈ consider where this path will lead in the future. cᒖಳԭّΕɻਝяɰܰβ෬ؿ ඨe͚ᚊѵςʗ፷ၤ৽ԭᅥc I looked back to two ancient genres, Chinese opera ፷τࡌˤࡾࠑᅥඏᅥؿᄧɥcడ፷ and Chinese court music, both of which are now a ؿᇃૈ૯૯ఘ൬ɺؿኂᅥୂe৽ྸ dying tradition in China. Still bears its influence from ຝۗݯࠇʶcԞϬɻਝᎻςؿүe the Tang Dynasty court music, also known as Ya Yue˞ڬ ᑜႍݯਥ (Noble Music) in Chinese. It focuses on several static܁cҰᅥΈ˞ȹફ̔̊ ,ᓣcʗПፕϬࣶϐ൙ჱષूᄤຣჱ lines embedded in various instrumental sections. Motion ᆢؿ೫ؒcᜑᚹଠೕ with a focus on rhythm, was inspired by the Brokenע۴ɤ٦eԳ෮ɺұ ιࡈςؿᅡᅚe Steps (Sui Bu) rhythm in Chinese opera. Each movementܙཫɈcҐཌྷؿːݒ जȿࣶϐ൙ჱɻષूؿ˚ᕀcԎɌ is also built on a melodic enigma from two separateړᅥςɺඩ ጪȿᄤຣჱ۴ɤ٦ɻࠗʫؿςሁeɀّ Chinese opera tunes: The Butterfly Lovers tune from eષɬВၤूߜ̎ؿɺυෲੱ Zhejiang Province’s Yue opera, as well as the Emperor’sֻޚႤޚc ,ʔ˚ၤ՚˖ᛷؿ Princess-Flower tune from Cantonese Opera. The music̡ٽԑcຣჱ۴ɤ٦ɻܨ ංؿ through avoiding specific imagery, invites the listenersذ૨ෲੱѫτടଔςɮɾ୮eϤɁ ԑ၀ജɾȹeࠑᅥɐؿ to use their imagination to put the fragmentizedܨၤ̳ɖܰ .τടҡΛࠇؿ෮ຮe̚൚൙ȿΔਟcɌ༎ pieces back together to form the original inspirations ၐ The piece retains the Butterfly Lovers theme and merges܆e͚ᚊѵς˞ȹိଊˤɁؿي൙ȿࣂ ϣၤଉ༦˾cɖࣂ˞ɻਝඨؿ it with the Emperor’s Princess-Flower tune. Both tunes܆˾ signify eternal love of two of the greatest stories of the ผؿȹိާါeم၀ुྦྷଊˤ Chinese classics.
ᅥςؿԭͫ˞፷ၤ৽ؿྦྷ๑ݯࠇʶcʗП The two sections of the piece focus on the dual ᜑᚹଠผ፷ၤ৽ΣЄʃ৽eᒖಳ፷ࣩ relationship between Still and Motion in contrasting ፷c۹ഒᇅcЎҰ፷ྸᇃૈؿࠑଲଫ৽c̡ ways. The differences in each movement allow the Ɍ࿚ιፗᒏϤ፟၃ᇲᔵؿᐰᚊ၉cϤڳ listeners to experience how these two elements interact ଐ́৽c˞෬ᜮؿ৽ྸԞగୄؿ፷ྸe and interplay with one another. Although Still is written Ўᖇցؿຝۗݯ˚eᒖಳ with a quiet and slow character, it generates motion҄˞ڬʦc৽ޚ Έτɺ through the shifting of notes in each static line thatڳ۹҄Ϥɖ˨ݠɈcЎࠑঢ়ॖҥ ؿүͣcၤຝۗؿ۹τଔeͅϊᜮɾcүͣ forms an expansive sound-web. The ultimate stillness ၤຝۗޯᛷȿ፷ၤ৽ؿᔶࠇֲe is achieved by the minimal of movement. Motion ͚ᚊѵς˞ԭடۗؿᅥȹࣩՉιe contrarily focuses on pace in the fast-moving steady ,ȹᅥᑟӠؿܰ፷ྸؿݚၤ˅hɀᅥ rhythm. Although the tempo is quick and energetic ,the pitch material moves at its own varied pace ܮޚଊؿܰ৽ྸؿʗၤe፷৽͚౧c ᐰࠑؿe differing from the speed of the rhythm. From thisכιመeѵςؿ̊ȹመՈΕ ༜͂ȿԭိҌ̝i෬ʗࠑࢽᐰࠑؿ perspective, pace and rhythm both contribute to the .ȹࠑঢ়cЎȹᅥኂֶɺ duality of still and motion˞ّکංeي ّ܃ᅥኂdΕɺࠑๅၤೕᐰؒɾං͚౧e Another interesting factor of Still / Motion is the ৽cѽ֣Ґᐰࠑιᐰଈcቌടכ߬͂˚ experience of sound. Two techniques have been ኂؒcҐᐰࠑ৽ዀΕᅥኂၤᅥኂɾංdᅥኂୂ employed; microtonal effects and dimensionalism of ၤᅥኂୂɾංඨԞඨ˾eȹࠑঢ়ֶȹୂࠑঢ় sound. The former is achieved by alternating the same dɌֶکϭ܃d܃ϭکผ̞ͅϭ́d́ϭ̞d pitch with varied intonations and articulations on the ଫ৽cϳΕ౨ංɺᒾᔝᛰe܃کӼিΔ same instrument or different instruments. The latter, appearing primarily in Motion, is created by orchestration. ඡߗ The sonic motive is like a sound ball, which gets αcख़ passed around from instrument to instrument, from section to section. The same pitch or group or pitches travels from left to right, right to left, front to back, back to front, or in a zigzag, bouncing back and forth, transforming colors along the way.
Huang Ruo New York, 2009 ஹ፡Є˻ႚ Chen Gang / He Zhan-hao b. 1933 כ́ / b. 1935כ́
ષɬВၤूߜ̎ Butterfly Lovers ( Violin Concerto (1959 ɩొೄԾۗς
cਝࡼज़ؿဳ֞ᅥ྆ʥࠑᅥነ Soon after the founding of the People’s Republic of China܃α in 1949, there was a flourishing of new orchestras and ڏۂ༖τஃᅡؿϹβဳ֞ᅥАܰכᘗι͓cޚ conservatories designed after the Western models. The עΕʄɊdʒɊαˤಐଊeూ߸ݯԮᒠ ΣષɬВၤ next two decades also saw a surge of large-scale orchestralۂપࠓࣟؿϹβဳ֞ᅥА̵ works composed by Chinese composers. Some of these ܞߜ̎ɩొೄԾۗςඡ،፡ೄԾۗςྡྷू works, such as the Butterfly Lovers Violin Concerto and the ࠨԮτɻਝપࠓࣟeષूԾۗς˚߬ܰ̚ Yellow River Piano Concerto, are often described as having cʮԯዟۗɩొೄ܁ɐࣵ൙ჱؿࠑሁᄘι˚ફ˞ a strong “national character”. Yet this “national character” ʥ֞ᅥΕۗɐԳ෮мνȿɻਝ߈ೄؿไࠑ really only refers to the musical style of the Han Chinese. Ꮎᅥኂ Though following the formal design of a traditional WesternێҌ̝cᎶ͂ȿԕჱd൙ჱֺ͂ؿ eߗɺ͂ར classical concerto, the Butterfly Lovers Violin Concerto is ێЩೡβʝؿຝۗ ʥԯβ ΣȹԒ̔ਝ distinctly “Chinese” in many ways. For example, sounds ௰͊རၤ Ϥ͂ԯˢᅥኂՅˤ τΣۗʱݤКࣂˤؿᅥς reminiscent of Yueju (Shanghainese opera) can be heard inڬᅥ྆͂ȿ˃ே c ɺ͂̀ᒄೄϤ͂ཋɥ፡ೄcࠓࣟʥࢽࣟࣟ the main melody, portamento techniques of huqin (the ɺɃeΕᐰdኂʥςβɐcષूɩొೄ Chinese bowed lute) are employed in the strings, traditional Ծۗςਥ̯ɐࠥᛆϹʿe Chinese percussion instruments – namely bangu (Chinese opera drum) and paiban (clappers) – are employed, and ूߜ̎ɤҘӘұነcၤષɬВͳྤ their characteristic rhythmic patterns also refer to Peking ɻΛೌด͐ Opera and Yueju. All these are related to the nuances ofޚɊɄכeߜ̎ڴɍ༗cੱ૯ the Chinese language, particularly the wu dialect. ߜ̎ݯɤԫӸcЎكɬВʋɺྦcϭᅢ̎ผʿ ʼɷcɬВᄯᄺιझcכɰҐߜ̎ஈˎू The Butterfly Lovers Concerto draws on the tale of two ફЩञeߜ̎٦ᖼ༦ɬВྋcɎᖼ܃ࡼٵ lovers, Liang Shan-bo (a young man) and Zhu Ying-tai ࡖପcҙᄉࣧෲcષूᔶᔶʝᇦc˖ඨԙe (a young lady). Zhu, disguised as a man, spent three years studying with Liang and they developed a strong affection for each other. Liang, however, had remained unaware of עܰȹࠖ௰ᅥؿԾۗςcᒖಳΕᐢᖪؿ႓ ɻԎ̰ొʥϹʿԾۗς͂ؿۗსςc Zhu’s true identity and, as a consequence, had missed the opportunity to ask for her hand in marriage. Zhu’s father ڊٽdɍ༗ͳᚾdܖউኽ ЎɰӮе͐ П ೕࢄ Ҋdᅢ̎ผdࡖᄉ ʥࠇ selected her a suitable husband, but when Liang realised ʝᇦ ೩ႍ͂eᅢ̎ผɻዟۗɩొೄ what had happened, he died of a broken heart. On her ଊ ɬВ ؿɀࠇۗɰιc wedding day, Zhu saw his grave and, distraught, killed ߜ̎ ၤɣొೄ ᚹଠɺᗒʶეुผြɻᙨ၍e herself on the spot. The dead lovers, according to legend, transformed into a pair of butterflies.
ϤА ਝɊαۺݯᄪू˥ܞϊςܰɻ̕ This single-movement concerto is written in sonata form, cАςّЄ˻ႚၤஹ፡яݯۂؿϹβဳ֞ᅥА as implied by the composers themselves who mention terms αఌʥˮٶαɐࣵࠑᅥነؿነ́eኣ like “exposition”, “development” and “recapitulation” in their ᚉcષूԾۗςؿАcነؿϢׄذخ preface to the score. One of the most memorable moments 師有不同程度的參與，其中包括兩位作曲家的 is the expressive duet between Zhu (the violin) and Liang 老師丁善德教授及該學院小提琴民族學派實驗 (the cello) in the middle of the work. 小組的意見，可說是「富中國社會主義特色」的 「集體創作」成功代表作。 The Concerto was commissioned by the Chinese th government in 1959 to celebrate the 10 Anniversary of the People’s Republic of China. The acknowledged composers, 《梁祝》小提琴協奏曲自俞麗娜及沈榕先後 He Zhan-hao and Chen Gang, were students of the 灌錄了唱片後，風行中國海內外華人社群已近半 Shanghai Conservatory of Music at the time. Recent 個世紀了，改編成其他樂器的版本及重錄的唱 scholarship has revealed that the Concerto was in fact the 片多不勝數。其成功地溶入了中國胡琴指法的 fruit of a collective effort between the two acknowledged 小提琴演奏、中國戲曲板式及鑼鼓的應用，突出 composers as well as their mentors in the Conservatory. 了中國語言 (吳語) 的腔味；而十九世紀末的 西方樂語言及宏大的西式管弦樂音響亦滿足了 The Butterfly Lovers Concerto was first recorded by violinists 中國人「現代化」及「中國強起來了」的想像。 Yu Li-na and Shen Rong, and has since been recorded many times in versions for different instruments. Because of 節目介紹：余少華 the strong Han Chinese flavour in its music, its rich orchestral texture, and the composers’ use of a late 19th century European musical language, the work has, for many, become a musical emblem of a powerful and modernized China.
English translation by Grace Chiang
ᄨͥʺК Antonín Dvoˇrák 1841-1904
Symphony No. 8 in G, Op. 88 ۂɣሁɄ͚ᚊςcА* ሣ๕ؿ҄ Allegro con brio Adagioྺ ඏؿɩ҄ Allegretto grazioso ɺʪ҄ؿ҄ Allegro ma non troppo
,αcᄨͥʺК͇ᇼȹඖ˞ෙͼ۴ਝෙΔС In 1875 Dvoˇrák applied for a state grant for “the young ʑαႦdஔшdτɷജؿೋࡼd፯ࡼ poor and talented painters, sculptors and musicians fromਂ Ѓ the Austrian half of the Empire”. He received the princelyټࠑᅥࡼݯྦྷോؿਝࡼ༅ХcᏵғ ᔾᒖɺʭcЎҡ sum of 400 gold Florins, but more important was theټࣂؿෙΔСஒྫྷ e ׳ᖓ e support given to him by one of the judges on the awardsܛࠇ߬ؿܰᏵിկɾȹdАςࡼּ̠ճʻ ϭ panel, the composer Brahms. So impressed was BrahmsޅcۂሌᄨͥʺКొ͚ؿАճɊʗּ̠ ਆݤКcᄲ੨ˢ། with the music Dvoˇrák had submitted that he wrote toخؿˮ׳ϬɯΕ݇ڌᄘ ϽαႦઆКАςࡼᖋeᔶʿभؿᖋȿ his own publisher, Fritz Simrock of Berlin, urging him to sign up the young Czech composer. A contract was duly ؿͱۂݤКኟτᄨͥʺКֺτАעc߯ drawn up which gave Simrock first refusal on all Dvoˇrák’s cٴᑪൕᚬeᄨͥʺКؿςၦςɣՇᚭ works. Songs, dances and most of all short piano pieces ΐݯԅࣂᑹӀτ ҡԭّڬϤ፡ೄςؿሻ༏ were hugely popular – in the days before the gramophone जᐰዀc߬ᚹࠑᅥcగ͂፡ೄଊᄦˮ c most people heard their music through playing it on the ̟כݤКΐϤᑨȿɣ፠h˿ܰτိᅥςcͅ piano – and made Simrock his fortune. What Simrock Ķԅగܰخɩdι̯ঢ়cΐϊݤКɺ௩ᚭˮ didn’t like, because the market was small and the production ͚ᚊςe costs high, were symphonies.
αc Dvoˇrák wrote the first of his nine symphonies in 1865כᄨͥʺКͳτȾ͚ࠖᚊςcȹࠖᄘ ࣂcˢݯȿᆹɟcΕณໃιؿּ̠ࣟઆК while he was still struggling to earn a living as a viola ᙔᅥ྆ኪͨɻొೄ player in the small 34-piece orchestra which was attachedڃਝࡼჱؿȹɁ ʹeˢҐȹ͚ᚊςࢬ˾ᄨਝᑩc܃㋖ϡ to the new National Theatre in Prague. He submitted it for ,ᄨਝѫӀτೕᑹᅥᖪcᄨͥʺК a prize competition in Germany, but was unsuccessful andכϤᓊhϤͅ ,ᅥςୄΕ since the German authorities never returned the score cАɰፘ̖ۂȿࠖАૃיڏ үc Dvoˇrák gave the work up as lost (it eventually resurfaced inڳαࠇӮʨˀ eಳϤˢӀτΐϊ αcˢɌᄘȿɀ͚ᚊςcαѧιɍ 1923). Undeterred he wrote a second symphony the same ͚ᚊςcαѧι̒cᄘιʄc year, a third in 1873, a fourth in 1874 and a fifth in 1875. eᄨͥʺКၤݤКᖋȿ None of these was published, but with the signing ofخӀτˮ α Simrock’s contract, he was finally able to make his name asכcϤ˖כॶਪ˞͚ᚊςၘΊכcୄ܃ ؿʒ͚ᚊςcҡᜑˢ˞͚ᚊςΊ a symphonist and the publication of his Sixth in 1880خˮ ͚ᚊςؿྸ۹ secured his international reputation in this genre. All theخਝeቱဳΣϊcݤКྦྷˮ ȿȼ͚ᚊς same, Simrock remained reticent about publishing symphoniesخԗᓿᔑeᒖಳݤКؿᆢˮ α and while he did publish both the Seventh (in 1885) and خɍ͚ᚊςؿ࠳߯ خαˮ ٛ͂ʏԞᑪൕɄ͚ᚊς a revised version of the Third (in 1887), he offered a mere̋ڳcˢ خˮ α eᄨͥʺКׂઅՇݤКؿძc US$150 for the Eighth (in 1889) which Dvoˇrák refused to כ .߬ȹҡঢ়ؿძ፠e accept, holding out for a much higher figureܛਠ ᔶʿᑹΕদძᑹძؿࣂ࠰cɄ͚ᚊςɰΕ While the financial arguments were going the Eighth ᘗΕ Symphony had already received its first performanceޚ܃α˂ˀ cԯ ࣟࠖȿּ̠ ਆጻၐᖓΕ࠷ᚹ༦ in Prague (on 2nd February 1890) and subsequently inخၐɖढ़࠷ˮeˮ ঢ়ؿძ፠c߬Ή Vienna and London, where it was heard by the publisher۾ˮȹڏc܃Ʉ͚ᚊς .ᚬeɄ͚ᚊςୄ Novello who offered a generous sum for its publicationخᄨͥʺКൕɎϊςؿˮ ΛαcɄ͚ᚊ It eventually appeared under the Novello imprint in 1892܃hϊخᾳጻၐᖓˮ Ε గᔶᔶιݯˢՇ and for many years vied with the Ninth (“From the Newވ˖ςȾ͚ᚊςณ ؿԭ͚ࠖᚊςeɄ͚ᚊςȿ௰क़ሔኴ World”) as Dvoˇrák’s most popular symphony. Its blend ofٴᚭ dᔔఒؿᎻჱֲѕᗫؿࢽcܰ innocence, folk melody, drama and grandeur make it one܁ؿ̵ફ of his most distinctive compositions and so impressed ɾȹeАςࡼ̯ɁྦྷϬɯؿۂˢዟऋؿА was the composer himself with his own originality that ࡈֲɖɊʗ෮cᑹҐϊςАɡሃʼ he submitted it as his Doctoral thesis to the University of ొ͚ჴኽɣነ αᏵཕɡነϽ cɌҐ̚ Cambridge (which he was awarded in 1891) as well as to Ӹܰဳࠓೄነ cک ּ͚̠ࣟࠑᅥነొ the Prague Conservatoire – formerly the Organ School – αᏵկͨݯ࣎ᐢဟe כcˢ܃ԯ to which he was appointed Director also in 1891.
ݯȹᅥઘ܁ɣొೄᝎᝎྠᚭؿɩሁફ The first movement starts with a sombre cello melody in ՓᎶeࠑ൴൙ೕ܁ର˞҄ᅥؿɣሁફٽѵྭc a minor key answered by a happy little flute in a major Ѝȹࠖ one, before the volume and speed increase and the܌ ᛰੜc۹൙ೕ˱҄c˚ᕀԡೕϤˮ Ķ รఒඨઆК main theme, a kind of jovial march breaks out. There is܁ᚭ҄ؿ൬Ϸςeɀᅥؿફ ؿઆК൰ࠁࠓᗗeྡྷΕȹᒨ something very like a traditional Czech melody in theڴࠓՈcᘃടወ ɖɺೣթcΐݯАςࡼᄘАࣂ̳Ӹ୮ၐॗК second movement and certainly the spirit of the Czech ȹࠓౡӞᗫؿҦໃeԅɬᚨገᓳc̒ࠍ countryside seems to hover over the music; which is eᅥኬԞ႓ hardly surprising since Dvoˇrák wrote the symphony while׳ᑹτࠗᅂქؿኹ ፷ନcɻݒܰ˨൰Ҧࣩࢠؿ༛̵ၦςe he was staying in the beautiful village of Vysok surrounded̡ ඏΛcɻݒ˿ෲ়Ɂ by rolling hills and richly-scented pine forests. There isڬݒؿၦςٱɍᅥ ˮϬᄨͥʺКؿჱདྷ՞ؿᛞɁe even a typically rustic peasant dance in the middle of this܁ؿફ otherwise tranquil movement. The gentle dance which ܰکୄς࣓ኣઆКඨၦᑰఒԈΪၦᄘιcɾ ȹݒ༖̔Ήؿၦςe starts the third movement is far more refined, while the charming and delightful central section is a particularly fine melody which Dvoˇrák had used in his opera The Stubborn Lovers. A more extrovert dance pops up just before the movement gives way to the Finale, which is built around the traditional Czech dance, the Furiant.
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 Maestro’s Chair – endowed by ᐢܞϽͅ˞Ɏዀ࿚ᖳХ The Octavian Society & Y.S. Liu Foundation
࠵ᘂ ٮଔਝ ᗫڣ ᎘Ѵ Long Xi Mao Yiguo Rachael Mellado Ni Lan
ඡֱཽ ࢘ᰟ ਜ਼Ѵ ڋ˔ Wang Liang Christine Wong Xu Heng Zhang Xi Kar-yee PHOTO Lawrence Chan PHOTO ᘣ݇শ ՚ᙂࠔ Perry So Zhou Tengfei ඖ͌ਂمઠөʥܞХଉ Assistant Conductor (Education and ɀɩొೄ Community Programmes) Second Violins
´ߑȻ ¶ષʼ☚ ཽᇘ ༻˃͎ࠗ Fan Ting Leslie Ryang Katrina Rafferty-Ma Miyaka Suzuki Moon-sun
ɥ ሲɾણ ңཽ༞ ʿᅳكɻ̈́ڣ Tomoko Tanaka Mao Cheng Chi-man Ricardo de Mello Fang Jie
ڋᓯѩ༞ ѳਝต ᅾѸ ژЄཽ PHOTOS Gallant Ho Ka-chun Russell Kan Wang-to Mo Kwok-fai Martin Poon Cheung Chi Wai & Keith Hiro Ting-leung ɀɩొೄ Second Violins
፫Χ *݀ு *ჳٟѴ *˔ຣ Alisa Yan Yuqing *Ke Xue *Liu Fang-xi * Wang Yue
ɻొೄ Violas
ݙԗɓ ᖓഓ ੌѩ৩ ߑ עညӱԙᓱ ቭ¶ Kaori Wilson Li Ming Alice Rosen Cui Hong-wei Fan Yan Ethan Heath
ࡸ⋳ ˔ᒟ *ߑܱ *ਜ਼ᰢᄧ ע͉ ࠾ۤ෧ William Lane Pak Ming Sun Bin Wang Jun * Fan Xing *Zhang Shu-ying
ɣొೄ Cellos
ዷ ஹֱз ᗐΪ ஹέݘ׳¶ دᎏɈԿ ½ʿኮ´ Richard Bamping Fang Xiaomu Dora Lam Chen Yi-chun Anna Kwan Ton-an Chan Ngat Chau
ңι* ׳Ⴉ ፳ ңႼᘡ Ѩԓעਜ਼ Cheung Ming-yuen Timothy Frank Li Ming-lu Yalin Song * Li Cheng
Гࠑɣొೄ Double Basses
ࠔ ¶ۚᙀԞ ඟ࿖ Сԓ׳³ Jeffrey Lehmberg Jiang Xinlai Feng Rong Samuel Ferrer
´ ࠖPrincipal ³ ອଉࠖActing Principal ᐲࠖCo-Principal ½ ༠ཬ ᎏဍഥ ߑᎼК׳ George Lomdaridze Philip Powell Jonathan Van Dyke ¶ ХଉࠖAssistant Principal
ĶټЄᒤᅬࡼપਥ* ʹࠗಋဳ֞ᅥ྆྆ነࡗফི߮ᅥ * Fellows of The Robert H.N. Ho Family Foundation Orchestral Fellowship Scheme ࠗಋဳ֞ᅥ྆ Hong Kong Philharmonic Orchestra
ର ର Piccoloٽ Flutes
´̌ᄨಿ ¶ያࠏᅩ ܪࡼᇘ Megan Sterling Olivier Nowak Linda Stuckey
ߜਝဳ ᔶᓫဳ Cor Anglais Oboes
ڌஹዿ ࠏဍႫ ½̠ߗ١´ Michael Wilson Ruth Bull Christopher Chen
Гࠑ௰ᓫဳ Bass ௰ᓫဳ Clarinet Clarinets
´̌Ϊी ¶̌ࡼ ᓯʼ Andrew Simon John Schertle Michael Campbell
Гࠑʱဳ Contra ʱဳ Bassoon Bassoons
¶ңࣽɬ ੌीټ½ Kam Shui Vance Lee Adam Treverton Jones
໔ Horns
´ࠏோК ½ᖓԿ܆ ¶՚ౣͦ ң᫉ձ ңʭ፲ ঢ়ҁሑ Mark Vines Lisa Rogers Chow Chi-chung Natalie Lewis Homer Lee Siu-lam Marc Gelfo
໔ٽ ɩ໔ Trumpets Trombones
Կ ജ༠ᄨ ´ࠏඏᅥ ࠏɈթ܆К ¶ୣּ˺´ Jonathan Clarke Christopher Moyse Douglas Waterston Jarod Vermette Maciek Walicki
໔ٽГࠑ ɣ໔ ցࠑར Bass Tuba Timpani Trombone
Ӵဍ ´݇ ´ᕡᅥ܆ Michael Priddy Paul Luxenberg James Boznos
Ꮎᅥኂ ሉೄ ᒄᆚ Percussion Harp Keyboard
؎່֗´ ࣮Ӵࣚ ષ৩ജ ߈ૠᎵ ´̌ਥ༞´ Shaun Tilburg Raymond Leung Sophia Woo Christopher Sidenius Shirley Ip Wai-wa Shuk-fai
ऋᅥʹ ۪ࠖɻొೄ Ꮎᅥኂ Extra players Guest Principal Viola Percussion
࠾ᛷऽ ՚ࢄѻ ֻၬࠗಋɩ͚ᚊᅥ྆ʐஈၤˮ Andrew Ling Chau Chin-tung# With kind permission of the HK 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
ဟྦկࡗผ BOARD OF GOVERNORS ᇞᗐዷೄ܁ Mrs Janice Choi ͱ́ Mr Chung Shui-ming, GBS, JPעჳʏ́ͱ́ Mr Y S Liu ᒉ ˚ Chairman ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ᘣዉͮͱ́ Mr Jack C K So, JP ͱ́ Mr Chung Shui-ming, GBS, JP ݇ͱ́ Mr Stephan Spurrעᒉ ৹˚ Vice-Chairman ল৻կࡗผ FINANCE COMMITTEE ͱ́ Mr Chung Shui-ming, GBS, JPעஹౝ٧ɡ Dr Peter P F Chan, BBS, MBE, DS, PhD, JP ᒉ ਜ਼˔̢࠷ʩɁ Mrs Michelle Ong Cheung ˚ Chair ᇞᗐዷೄ܁ Mrs Janice Choi ፳ᜃͱ́ Mr Glenn Fok ፳ᜃͱ́ Mr Glenn Fok ЄʩɁ Mrs Paulette Ho ჳʏ́ͱ́ Mr Y S Liu ͱ́ Mr Nicholas Sallnow-Smithע๖ͮͱ́ Mr Lam Woon-kwong, GBS, JP ᘣͰ׳ ષඟ˥შᔢ́ Dr Lilian Leong, BBS, JP ᪐ඏ࢟ͱ́ Mr Benedict Sin Nga-yan ჳཎɾ㣍 Prof Liu Ching-chih ඡ፦ɬͱ́ Mr Kenny Wong Kam-shan ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ඡʼᘚͱ́ Mr Robert T. Wong ͱ́ Mr Nicholas Sallnow-SmithעᘣͰ ᪐ඏ࢟ͱ́ Mr Benedict Sin Nga-yan ᘐಁկࡗผ FUNDRAISING COMMITTEE ᘣዉͮͱ́ Mr Jack C K So, JP ᇞᗐዷೄ܁ Mrs Janice Choi ݇ͱ́ Mr Stephan Spurr ˚ Chair ሳ̷ᗌᏲɡ Sir David Tang, KBE ඡ፦ɬͱ́ Mr Kenny Wong Kam-shan ͉ဦშɤɡ Ms Deborah Biber ാພɤɡ Ms Winnie Chiuٹ ᇯཽʆͱ́ Mr David Zacharias ЄʩɁ Mrs Paulette Ho կࡗผ ENDOWMENT TRUST FUND 7DVKD/DOYDQLɤɡ Ms Tasha LalvaniټᖳХਥ BOARD OF TRUSTEES ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ᄨͱ́ Mr Peter Siembab֤ܪ ͱ́ Mr Chung Shui-ming, GBS, JPעᒉ ˚ Chair ᘣዉͮͱ́ Mr Jack C K So, JP
ஹౝ٧ɡ Dr Peter P F Chan, BBS, MBE, DS, PhD, JP ೕࢄկࡗผ DEVELOPMENT COMMITTEE ჳʏ́ͱ́ Mr Y S Liu ݇ͱ́ Mr Stephan Spurr ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ˚ Chair
Ίᙷᚋਐ HONORARY ADVISERS ஹी؈ɤɡ Ms Joanne Chan ஹ̷ജ㣍 Prof Chan Wing-wah, JP ᇞᗐዷೄ܁ Mrs Janice Choi ɡ Dr the Hon Marvin Cheung, OBE, SBS, JP ЄʩɁ Mrs Paulette Hoۺਜ਼ ՚̷ιͱ́ Mr Vincent Chow Wing-shing, MBE, JP ңࣽɬͱ́ Mr Vance Lee Є൚ᕽɤɡ Ms Pansy Ho Chiu-king ң৩Ϊͱ́ Mr Warren Lee ߈ؒͮͱ́ Mr Hu Fa-kuang, GBS, CBE, JP ષඟ˥შᔢ́ Dr Lilian Leong, BBS, JP ཽ༞ଉቺᏲʩɁ Lady Kadoorie ͢ˀ๑ͱ́ Mr Daniel Ng Yat-chiu ષցԄᔢ́ Dr Ronald Leung, OBE, JP Ѱɷ́ͱ́ Mr Shum Choi-sang, SBS, OBE, MA, JP ඡߜೇɤɡ Ms Ada Wong Ying-kay, JP ฦᚁᅨᏲɡ The Hon Sir T. L. Yang, GBM, JP ϷܧɁࡗ MANAGEMENT ̟ઐᄤ MARKETING ᘣѣӪͱ́ Mr So Hau Leung ᖭͰ̵ͱ́ Mr Paul Tam Ϸܧᐢസ Chief Executive ̟ઐᄤᐢဟ Director of Marketing
ஹဦɤɡ Ms Rida Chan ܪʼᄫɩմ Miss Sheryl Sze Ϸܧो࣊ Executive Secretary ̟ઐᄤଉ Marketing Manager (ઐᄤۧඨ (Concert Promotions ᖚϷܧ ARTISTIC ADMINISTRATION ՚⌿ɤɡ Ms Mio Margarit Chow ஹཽయɩմ Ms Tiphanie Chan ᖚ೪ི Artistic Administrator ᇁፎ Publications Editor
˔ཽᆋɩմ Miss Michelle Wong ஹࡄᏟͱ́ Mr Nick Chan Хଉଉ Assistant Manager ঢ়ज़ᤇʥ Senior Marketing Communications Officer ᖚࡼԑ৻ (Artist Liaison) ඨ˚ͨ
ɩմ Miss Agnes Ng ඡዷɩմ Miss Natalie Wongˬٮд ᖚϷܧХଉ Artistic Administration Assistant ᤇʥඨ˚ͨ Marketing Communications Officer
ೕࢄ DEVELOPMENT Ȼඔɩմ Miss Natalie Ting ஈዷඓɤɡ Ms Angela Hui ઠөʥ̔ࢄᘐ˚ͨ Education and Outreach Coordinator ೕࢄᐢဟ Director of Development ɩմ Miss Alice Lamށ׳ ɤɡ Ms Edith Ng ۪৻˚ͨ Customer Service Officerעдௗ ೕࢄଉ Development Manager ᅥ྆ԑ৻ ORCHESTRA AND OPERATIONS ᅥ߹ͱ́ Mr Luke Shawٷ ષႼͱ́ Mr Henry Leung 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 ߈ࡼᗸɩմ Ms Angel Woo ၦ̎ଉ Stage Manager ল৻ʥϷܧ˚ဳ Head of Finance and Administration Є܆ણɩմ Miss Betty Ho ңႼͱ́ Mr Homer Lee ᅥᖪဳଉ Librarian ল৻ଉ Finance Manager ஹᗗўɩմ Miss Vanessa Chan ხͱ́ Mr Wong Chun Kim Хଉଉ Assistant Managerژඡ ল৻ʥϷܧ Assistant Manager, ᅥ྆ԑ৻ (Orchestra and Operations) Хଉଉ Finance and Administration ɩմ Miss Christy Lawٮᖓ ਜ਼ཽඓɩմ Miss Cherish Cheung ࠑᅥϷܧྡྷୌࡗ Music Administration Intern ɁɈ༅ଉ Human Resources Manager Ԅͱ́ Mr So Kan Pongٶᘣ ᘣဦജɩմ Miss Vonee So ༜ፏ˚ͨ Transportation Officer (Musical Instruments) ল৻ʥϷܧঢ়ज़˚ͨ Senior Officer, Finance & Administration
Miss Pamela Chan ஹᗫᄐɩմ ᐲ҈ࠨ ɣᅢɄᅢܧࡗ Receptionist ࠗಋȾ᎘άҳՍʼʝɻʶϷۿઅ ཋiඨभi ષ፦᎘ͱ́ Mr Sammy Leung Contact us ,ፒʔ۩Хଉ Office Assistant Level 8, Administration Building, Hong Kong Cultural Centre Kowloon, Hong Kong ңࡼ࿘ͱ́ Mr Andrew Li Tel: 2721 2030 Fax: 2311 6229 ༅ޫҌʥඖ͌ଉ Manager, IT & Projects www.hkpo.com ClubMaestro ɣผ
ႩೕࢄʥᔔఒٽΈɣͬพϤι͓cοΕઐ৽ࠗಋဳ֞ᅥ྆ؿވαऋПݯɮਆ כɣผ ؿʼʝ́ݠeಋᅥᔑϊΉɎͶΈɣผผࡗߎᑢe̵̟ Established in 1998, Club Maestro is an exclusive corporate club for the business community. It aims at the long-term development of the Hong Kong Philharmonic Orchestra and at enrichching citizens’ cultural lives and sense of enjoyment. We heartily thank the following Club Masestro membrs.
ผࡗPLATINUM MEMBERSټ͉
David M. Webb webb-site.com
ᝃ͏ผࡗDIAMOND MEMBERS
Mr Wilfred Ng MH, JP
၆ᗸ͏ผࡗEMERALD MEMBERS
ނकผࡗPEARL MEMBERS
Miss Aliena Wong
˞ʔ̇ߜʼΊီѵIn alphabetical order of company name Λᑢʻܛ Thank You for Your Support
༠ͅটᑢ෮kٲࠗಋဳ֞ᅥ྆ΕϊΉ˞Ɏਆพዀ࿚ʥᆅʶɁɡ The Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support.
CHAIR ENDOWMENT FUNDټᅥ྆ϽᖳХਥ
The Maestro’s Chair endowed byټᖳХਥܞᐢ The Octavian Society Limited Y.S. Liu Foundationټჳʏ́෯ഁਥ
αANNUAL FUND
ဳᖳХɁGold Patron ႺဳᖳХɁSilver Patron ႻဳᖳХɁ Bronze Patronټ >HK$100,000 HK$50,000 – HK$99,999 HK$30,000 – HK$49,999
ଈ͞ᙎMr & Mrs E Chan Mr David Friedۺਝඑ྆τࠉʔ̇ ஹןณ Hsin Chong International Holdings Ltd ਜ਼ဍయ͞ᙎMr & Mrs Lowell & Phyllis Chang Mr Fred William Scholle Ԉઁٖτࠉʔ̇Kerry Holdings Ltdཽ ɤɡMs Tse Chiu MingעષईΪ͞ᙎMr & Mrs Leung Lit On ᑢ൚
कᖳХɁPearl Patronע ᗸᖳХɁ Ruby Patron ၖၕᖳХɁJade Patron HK$10,000 – HK$29,999 HK$5,000 – HK$9,999 HK$3,000 – HK$4,999
ஹ፷ɤɡMs Vivien C C Chan ಲΊˊAnonymous ಲΊˊAnonymous Mrs Anna Chen Mr Barry John Buttifant ஹᒤႩͱ́Mr Chan Hung Yuen Robert Mr Cheung Ngai Sing ஹࢯᔢ́Dr Edmond Chan Mr Cheng Kwan Ming ᇞᏨԄͱ́Mr Edwin Choy ષᖳͱ́ʥ՚ཽ̡ɤɡ ሲң፦٧ɤɡMs Eva Cheng Mr Jan Leung & Ms Emily Chow Dr & Mrs Carl Fung ਜ਼ᘚ౬ͱ́Mr Cheung Yiu Tong Mr & Mrs Michael & Angela Grimsdick ඟᄪᗌ͞ᙎMr & Mrs Kenneth H C Fung ਜ਼ᄨ᎘ͱ́Mr Cheung Tak Lung ߈͓́ͱ́Mr Maurice Hoo ߈ጙ̳ᔢ́ʥʩɁDr & Mrs Wayne Hu Mr Chow Ping Wah ည٠ജϢMs Teresa Hung ঢ়ᐶ͞ᙎMr & Mrs Ko Ying Dr Affandy Hariman ͱ́ʩɁMr & Mrs Fung Shiu Lam׳ඟͰ ң৪ᒤᔢ́Dr Lee Kin Hung Ms Hu Shu Ms Li Shuen Pui Agnes ͱ́Mr Lawrence Mak Mr Toru Inaokaעோᘚ Dr John Malpas ோᓤᔢ́Dr Mak Lai Wo Ms Liu Ying ధ̷ါᔢ́ʥʩɁDr & Mrs Pang Wing Fuk Mrs Anna Marie Peyer Mr Joseph Pang ᅾܭჴͱ́Mr Poon Chiu Kim Raymond ᔢ́Dr Paul Tat Ming Sheaעஹౣʼͱ́Mr Stephen Tan ༠ The Hon Mr Justice William Stone ผTin Ka Ping Foundation ౦ʼ́ͱ́Mr Eric M S Tsangټࡼݰਥ̈́ Ms Carley Shum & Mr Jeff Szeto ֝ݘᔢ́Dr Tsao Yen Chow Ms Tsang Kwai Fong Mr Tsunehiko Taketazu Wang Family Foundation ᑢయक़ɤɡMs Tse Wai Shun Susanټҹᄩନ෯ഁਥ Ȼʨ͓͞ᙎMr & Mrs Ivan Ting ͱ́Mr Wong Po Yan ߈ҁࡄͱ́Mr Wu Chi Kongړඡ Ms Cindy Tse ͨᚪзͱ́Mr David Yee Kwan Yam Λᑢʻܛ Thank You for Your Support
༠ͅটᑢ෮kٲࠗಋဳ֞ᅥ྆ΕϊΉ˞Ɏਆพዀ࿚ʥᆅʶɁɡ The Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support.
STUDENT TICKET FUNDټነ́༅Хਥ
कᖳХɁPearl Patronע ဳᖳХɁGold Patron ᗸᖳХɁRuby Patronټ >HK$100,000 HK$10,000 – HK$29,999 HK$3,000 – HK$4,999
㞫́ႺϷHang Seng Bank ஹұᄨᔢ́ʥʩɁDr & Mrs Chan Kow Tak Capital Well Investment Limited ผZhilan Foundation Mr David Chiu ஹᒤႩͱ́Mr Chan Hung Yuen Robertټ٠ᙬਥ ңٟ̽ɤɡMs Doreen Lee Mrs K L Chan ႺဳᖳХɁSilver Patron ષయ౬ᔢ́Dr Thomas W T Leung ՚ᄮജɤɡMs Catherine Mo Wah Chau Lo Kar Foon Foundation ஹ৪ജͱ́Mr Chen Chien HuaټHK$50,000 – HK$99,999 ᖓࡼ㚺෯ഁਥ ͨᚪзͱ́Mr David Yee Kwan Yam Ms Katherine Cheung Ԉઁٖτࠉʔ̇ ঢ়ᐶ͞ᙎMr & Mrs Ko Ying ާɣᇯઠProfessor David Clarkeཽ Kerry Holdings Limited ່ጷፓɡDr M T Geoffrey Yeh ፳ዷᎨͱ́Mr Fok Wing Huen ඟݯԙͱ́ʥඟ፳֗หɤɡ ႻဳᖳХɁBronze Patron Mr Alex Fung & Mrs Hanne Froseth-Fung HK$30,000 – HK$49,999 ЄݰЇͱ́ʩɁ͞ᙎ ၖၕᖳХɁJade Patron Mr & Mrs Phyllis & Adolf Ho ષࡼ͞ᙎMr & Mrs Alan Leong HK$5,000 – HK$9,999 Item Industries Ltd ңɣι͞ᙎMr & Mrs Henry & Angelina Lee Mr Ian D Boyce ңኹ࿘ɡDr Lee Shu Wing Ernest Mr Chan Ka Kui Mr Leung Cheuk Yan Mrs Anna Chen Mr Richard Li Mr Chu Ming Leong Mr Lo Cheung On, Andrew ᒉ܆ᔢ́Dr Chung See Yuen ж̷๑ͱ́Mr Lui Wing Chiu ᗐࡼඐᔢ́ʥʩɁDr & Mrs Kwan Ka Hung ோሣιͱ́Mr Mak Fai Shing ټᎉЕჴ֨ਥ Lok Yu Kim Ching Memorial Fund Mr & Mrs John & Coralie Otoshi ࣍শ෮ਝτࠉʔ̇ Ѱɷ́ͱ́Mr Shum Choi Sang Long Hin Creative International Ltd Ms Ophelia Tam Mr Wong Kong Chiu ᇞႚͱ́Mr Tony Tsoi ඡܱജɡ Dr Dominic S W Wong, GBS,OBE,JP ଞ̡ʔᖬϷτࠉʔ̇ Zennon & Pierre Company Limited
ઠөඖ͌༅Хዀ࿚ EDUCATION OUTREACH SUPPORTER
The Hongkong Bank Foundationټ㟱ᔔႺϷ෯ഁਥ ࠗಋɻജ๏ࣩτࠉʔ̇The Hong Kong and China Gas Company Limited ENDOWMENT TRUST FUND ټᖳХਥ
ສΔτࠉʔ̇ ټ㟱ᔔႺϷ෯ഁਥ ټপਥڌࠗಋᑩผ෯ഁ The Hong Kong Jockey Club Charities Trust The Hongkong Bank Foundation The Hongkong Land Group
ผټ٦࿏ႺϷ ֱτࠉʔ̇ ࠗಋ໎ˊ෯ഁਥ Citibank. NA Jardine. Matheson & Company Ltd The Tung Foundation
.ȹȾɄɍᾳ˞ɐዀ࿚ᖳХ˞ι͓e The Endowment Trust Fund was set up in 1983 with these initial sponsorsכټᖳХਥ
ਆᖚමക PAGANINI PROJECT
ҹᐌɻͱ́ࢶᖲ Donated by Mr Patrick Wang ɥɩմԚ͂ • Emile Germaine (1907) Violin, played by Ms Tomoko Tanaka Maoكɻ̈́ڣɩొೄfͅ עϴਅfᑢਅ •
ਜ਼ဍయͱ́ࢶᖲ Donated by Mr Lowell Chang ͱ́Ԛ͂ • Lockey Hill (c.1800) Violin, played by Mr Wang Liangڋ˔F ɩొೄfͅ ݤ؝fѴဍ •
ᒉౝݗͱ́ࢶᖲ Donated by Mr Po Chung Ⴉͱ́Ԛ͂ • Dawne Hadded (1991) Violoncello, played by Mr Cheung Ming-yuenע ɣొೄfͅਜ਼ ༠ۄΛ̛f •
໊̌fᖓᙬɡͱ́ࢶᖲ Donated by Mr Laurence Scofield ɩొೄfͅਜ਼ѴɩմԚ͂ • Ansaldo Poggi (1910) Violin, played by Ms Zhang Xi Ϊॖ۹fౝਥ •
ϊི߮ͅਆᖚමകೕʥୂᓱeThis project is initiated and organizated by Business for Art Foundation.
ᅥኂࢶᖲINSTRUMENTAL DONATION
ࠗಋဳ֞Ծผਯɤผࢶᖲ Donated by The Ladies Committee of the Hong Kong Philharmonic Society
– ֺࢶᖲɾӢτᅥኂ– Rare instruments donated ɩొೄfͅೡ͓ͱ́Ԛ͂ • Enrico Rocca (1902) Violin, played by Mr Cheng Li Ϊਟঢ়fݤ˺ • ,Jean Baptiste Vuillaume (1866) Violin, played by Ms Bei Zhu • ٽ ɩొೄͅɍ৹྆ ࣚfʱແfၐဍ। • χၳɩմԚ͂ Third Associate Concertmaster Joseph Gagliano (1788) Violin, played by • ٽ ɩొೄͅɀ৹྆ f˱Ԉԓ̗ • ˔܆ͱ́Ԛ͂ Mr Wong Sze-hang, Second Associate Concertmaster ɩొೄc • Cario Antonio Testore (1736) Violin, played by Mr Ni Lan ݤfΪ̛ෙfӓΛ̛˺ • ͅ࠵ᘂͱ́Ԛ͂
ʠᅥ྆ᅥኂॖሔི߮Ϥࢶᖲɾԯˢᅥኂ– Other instruments donated in support of theొܛݯʻ “Instrument Upgrade and Echancement Project” – • ᄨਝᔝβɩ໔ԭʻ • Two German Rotary Trumpets • ᄨਝജࣟढ़ɣ໔Ⱥࡨ • A set of Wagner Tubas • ᐮ໔Ⱥʻ • A Flugelhorn ࠇᒨઐʍFEATURED CONCERT )ϛϢම[୩ңݠ/,9 Bravo! Broadway & Hollywood 16&17 Oct 2009 Fri & Sat 8PM ͠СҳВөᎂ Queen Elizabeth Stadium HK$280 $200 $140 $100 டࢬcܞ Stuart Malina, conductor ϛϢමࡼ broadway singers ᚉጻ Anne Runolfsson ෙဍ Gary Mauer Ⴀթ Doug LaBrecqueּ
ΛࠖϛϢමࠑᅥჱʥ୩ԈݠཋᄧΊςܢ˳ຝ͌ Great songs from Broadway and Hollywood including: Over the Rainbow (Wizard of Oz), Circle of Life (Lion King), My Heart Will Go On (Titanic), Maria (West Side Story), Bring Him Home (Les Misérables), Why God Why (Miss Saigon), Music of the Night and Phantom of the Opera (Phantom of the Opera) etc. ፮ړࠖˮᖳХi㟱ᔔ Opening performance is sponsored by HSBC Insurance
ᆅሒɻHOT PICK ʪ̀ࠑᅥɣiᖓऋӇਥ Swire Maestro: Rozhdestvensky, the Maestro 22&24 Oct 2009 thu & sat 8PM ຝ͌Programme ɩొೄԾۗς ࠗಋʼʝɻʶࠑᅥᜨ ӴΛ٧ HK Cultural Centre Concert Hall BEETHOVEN Violin Concerto HK$420 $320 $220 $160 ጣ༠ঢ়ၐۖ Ɋ͚ᚊς SHOSTAKOVICH Symphony No. 10ܞٛࢬfᖓऋӇਥc Gennadi Rozhdestvensky, conductor ҳᔁfᖓऋӇਥcɩొೄ Sasha Rozhdestvensky, violin
ᆅሒɻHOT PICK Ӟ0DGIRUORYH Mad for love – Sumi Jo 27 Oct 2009 tue 8PM ຝ͌˳ܢΛࠖჱാོሁ Great arias from popular operas ࠗಋʼʝɻʶࠑᅥᜨ HK Cultural Centre Concert Hall including: HK$880 $580 $380 $280 Linda di Chamounix, Rinaldo, , I puritaniܞcڭਜ਼ਝ Zhang Guoyong, conductor Le toreador, Ӟcɤঢ়ࠑ The Merry Widow and Sumi Jo, soprano Candide
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