Trpčeski in double Rachmaninov

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3 Trpčeski in double Rachmaninov Lü Jia conductor Simon Trpčeski piano An all-rachmaninov programme Prince Rostislav Piano Concerto No. 1 in F sharp minor, Op. 1 Vivace Andante Allegro vivace Intermission Rhapsody on a theme of Paganini, Op. 43 Caprice bohémian, Op. 12 The 29 Jan concert is broadcast live on RTHK Radio 4 (FM Stereo MHz). The programme will be repeated on 3 Feb (Wed) at 2pm. 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.

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5 Salute to Our Partners The Hong Kong Philharmonic Orchestra would like to express our heartfelt thanks to the Partners below for their generous sponsorship and support! MAJOR FUNDING BODY PRINCIPAL PATRON MAJOR SPONSORS CIC Investor Services Limited a subsidiary of Crédit Industriel et Commercial, France In alphabetical order of company name

6 The Hong Kong Philharmonic Orchestra (HKPO) is one of Asia s leading orchestras. Enriching Hong Kong s cultural life for over a century, the Orchestra has grown into a formidable ensemble of Chinese and international talents in the last three decades, attracting world-class artists to perform on the same stage. HKPO annually touches the lives of 200,000 music lovers through more than 150 performances. Under the leadership of its internationally renowned conductor Edo de Waart, HKPO continues to scale new heights in musical excellence. The continuing cycle of Mahler symphonies and challenging programming outside the traditional repertoire, have become highly anticipated events as well as musical milestones for the Orchestra. Beethoven s Fidelio opera-inconcert and Mahler s Das Lied von der Erde are inarguably the major highlights of the 2009/10 season. Many great artists perform with the HKPO, from pianists Jean-Yves Thibaudet, Boris Berezovsky and Paul Lewis, violinist Sarah Chang to cellist Steven Isserlis. The visit of the legendary Gennadi Rozhdestvensky is also an event not to be missed. From April 2006, The Swire Group Charitable Trust became the Hong Kong Philharmonic s Principal Patron, enabling Maestro de Waart s artistic vision for the Orchestra to be realized. Swire s sponsorship of the Hong Kong Philharmonic, 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.

7 HKPO stays in tune with our city by presenting the orchestra in unexpected venues and bringing the excitement of the concert experience to every home through radio and television broadcasts. These included, the largest symphonic event of the year, Swire Symphony Under the Stars at Happy Valley. The Orchestra runs a comprehensive schools education programme, HSBC Insurance Creative Notes, bringing the joy of classical music to primary, secondary and special school kids, and once in a while, the Orchestra drops the formality of the classical concerts to crossover with Western and Chinese pop stars. The Orchestra also builds its reputation and raises its artistic standards by touring. In 2007/08 season, the Orchestra performed in the Shanghai Spring International Music Festival and the Beijing Music Festival. In 2009, the Orchestra undertook a major six-concert tour of China, including the Xinghai Concert Hall in Guangzhou, Beijing s National Centre for the Performing Arts and Shanghai Grand Theatre under the leadership of Maestro Edo de Waart. In February 2008, the Hong Kong Arts Development Council honoured the HKPO with the Arts Promotion Award, in recognition of its success in expanding its audience base and gaining public support in recent years. The Hong Kong Philharmonic Orchestra is financially supported by the Government of the Hong Kong Special Administrative Region SWIRE is the Principal Patron of the Hong Kong Philharmonic Orchestra The Hong Kong Philharmonic Orchestra is the Venue Partner of the Hong Kong Cultural Centre

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9 Lü Jia conductor Born into a musical family in Shanghai in the early 1960s, Lü Jia studied conducting at the Central Conservatory of Music in Beijing. Under the instruction of renowned conductor Ms Zheng Xiaoying, he graduated at the top of his class one year early, in The following year, he went to Berlin University of the Arts, where he continued his studies under Professors Hans-Martin Rabenstein and Robert Wolf. In 1989, Lü was awarded both the First Prize and the Judges Prize in the Antonio Pedrotti International Conducting Competition in Trento, Italy, and launched his career as a conductor. Over the past decade and a half, he has conducted 2,000 concerts and operas in Europe and the US, and has cooperated with more than 100 opera houses and orchestras, including the Bayerische Staatsoper in Munich, the Deutsche Oper Berlin and La Scala in Milan. He has also worked with the Berlin Broadcasting Symphony Orchestra, the Hamburg Radio Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Munich Philharmonic, the Bamberg Symphony, the Chicago Symphony Orchestra, RAI National Symphony Orchestra, Orchestra dell Accademia Nazionale di Santa Cecilia in Rome, City of Birmingham Symphony Orchestra, Oslo Philharmonic, the Lyon National Orchestra in France, the Finnish Radio Symphony Orchestra and all the major orchestras in Australia. Lü has been the Principal Conductor for the Trieste Opera, the Tuscany Regional Orchestra in Florence, the Lazio Chamber Orchestra in Rome and Norrköping Symphony Orchestra in Sweden. He has also been a frequent guest conductor with the Hallé Orchestra and the Bournemouth Symphony Orchestra in England, the Dortmund Opera House in Germany and the Milan Giuseppe Verdi Symphony Orchestra in Italy. At present, Lü Jia is Music Director of the Arena di Verona, the world s largest open-air opera theatre and Artistic Director of the Tenerife Symphony Orchestra in Spain. In September 2008, he was named Musical Director and Principal Conductor of the Macao Orchestra.

10 Compiled by William Bruce Compiled by Alexandra Wood with CD SPECTRUM for CELLO 16 contemporary pieces with CD SPECTRUM for VIOLIN 16 contemporary pieces

11 Simon Trpčeski piano Macedonian pianist Simon Trpčeski has established himself as one of the most remarkable young musicians to have emerged in recent years, performing with many of the world s greatest orchestras and delighting audiences worldwide. Simon works regularly with a list of conductors that includes Zinman, Maazel, Jurowski, Ashkenazy, Alsop, Dudamel and Petrenko. He has performed extensively in the United Kingdom, including regular appearances with the London Symphony, Philharmonia Orchestra, London Philharmonic, City of Birmingham Symphony and the Hallé Orchestra. Other European engagements have included performances with the Royal Concertgebouw Orchestra, Rotterdam Philharmonic, Royal Stockholm Philharmonic and the St Petersburg Philharmonic. In North America, he performs regularly with such major orchestras as, the New York Philharmonic, Chicago Symphony and the orchestras of San Francisco and Baltimore among others. In Asia and Australia, Simon has performed with the New Japan Philharmonic, Seoul Philharmonic, Sydney and Melbourne symphony orchestras and on tour with the New Zealand Symphony. Simon has given solo performances in major cities around the world. At the United Nations headquarters on the occasion of the closing of the 62 nd session of the U.N. General Assembly, he was invited to perform by the session s President, H. E. Srgjan Kerim. Simon has received much praise for his EMI recital recordings. The first, featuring works by Tchaikovsky, Scriabin, Stravinsky and Prokofiev, received both the Editor s Choice and Début Album Awards at the Gramophone Awards; the second was an all-rachmaninov disc; the third an all-chopin disc, and in 2008, he released an all-debussy disc which once again gathered widespread critical acclaim. Born in the Republic of Macedonia in 1979, Simon Trpčeski has won prizes in international piano competitions in the UK (London International Piano Competition 2000), Italy and the Czech Republic. In May 2003, he was awarded the Young Artist Award by the Royal Philharmonic Society. A 2002 graduate from the Faculty of Music of the University of St Cyril and St Methodius in Skopje, where he studied with Professor Boris Romanov, Simon currently teaches as a faculty member at his alma mater.

12 Sergei Rachmaninov Prince Rostislav Born on 1 st April 1873, Sergei Rachmaninov was just three when his mother, a former student of the St Petersburg Conservatoire, started him off on the piano. Six years later he had progressed well enough to enrol at the Conservatoire himself, but what was to be a deeply troubled musical career received its first set-back within three years. First his father had to sell the family estates in order to pay off debts, then his sister died of diphtheria and, the last straw, his parents separated. His studies suffered badly and he was obliged to leave the Conservatoire. Luckily his cousin, Alexander Ziloti, a well-known concert pianist and conductor, was able to secure a place for him in Moscow with the noted teacher and pianist, Nikolai Zverev. It was Zverev s habit to take in as lodgers and pupils the sons of aristocratic families; this fed both his social vanity and his homosexual tendencies, although Rachmaninov, never one of nature s beauties, apparently escaped his closer attentions. Zverev was a hard taskmaster. His students had to wear uniform, learn several languages, start their work at 6am and spend 16 hours every day at their studies. Such a strict regime worked on Rachmaninov who became one of the greatest piano virtuosos of all time. However Zverev was less sympathetic towards Rachmaninov s desire to compose and, in 1889 after having spent four years living in Zverev s house, Rachmaninov had to leave claiming that the atmosphere in the house prevented him from composing freely. His mother urged him to return to St Petersburg but Rachmaninov stayed in Moscow to concentrate on his composing and in 1890 produced his first serious works. Three years later he graduated from the Moscow Conservatoire receiving their highest award for composition, the Gold Medal, for his one-act opera Aleko.

13 Rachmaninov s composition teachers at the Moscow Conservatoire included Taneyev and Arensky and when, in 1891, he showed them the early drafts he had prepared for a symphony, they immediately discouraged him. He stopped work on that, and immediately set about composing a single movement Symphonic Poem for orchestra. His inspiration came from a ballad by Tolstoy which described the retreat of Prince Vladimir Monomakh of Kiev and his brother Prince Rostislav following their defeat at the hands of Prince Igor and the Polovtsians in 1093 (an episode in Russian history immortalised in Borodin s great opera, Prince Igor). Ever one to look on the gloomy side of things, Rachmaninov took the lines from Tolstoy s ballad which described the drowning of Prince Rostislav as he and Vladimir attempted to cross the flooded River Stugna; In a foreign land Prince Rostislav lies on the river bed. He lies there in his warrior s shirt of mail with a broken sword. The underwater beauties of the Dnieper love to exchange kisses with him And comb the knight s hair with their golden comb.

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15 RACHMANINOV: Prince Rostislav Rachmaninov s Symphonic Poem Prince Rostislav depicts those lines with singular vividness, showing along the way a mastery of orchestral texture and construction it was by far and away Rachmaninov s most extended composition up to that time- belying the fact that he was not only just 18 when he wrote it, but had only started composing seriously the previous year. The work begins in the cold depths of the river, but from his watery grave Rostislav makes three desperate but vain appeals to his wife, his brother and to the priests of Kiev before he sinks back into oblivion. Naturally, the spirit of Tchaikovsky is never far away (there are passages in the opening section which draw heavily on the older composer s Romeo and Juliet) but, with the ever-present sense of pent-up passion, the beautifully poised climaxes and the sensation of vast waves of orchestral texture pushing the music along with an inexorable inevitability, Rachmaninov s unique musical style is already much in evidence. Rachmaninov never lived to hear Prince Rostislav performed; its first performance was given in Moscow on 2 nd November 1945, two years after his death in exile in America.

16 Sergei Rachmaninov Piano Concerto No. 1 in F sharp minor, Op. 1 Vivace Andante Allegro vivace It was only natural that very early in his composing career Rachmaninov should turn to the piano and, in particular, to the medium of the piano concerto. Having cut his orchestral teeth, as it were, with his first symphonic poem, Prince Rostislav, he quickly set down to work on his First Piano Concerto. The actual origins of the Concerto pre-date Prince Rostislav by a couple of months he made his first drafts (along with those of the abandoned symphony) during the 1890 summer vacation from the Moscow Conservatoire but he only really began to work seriously on it in 1891 and performed the first movement at a students concert on 29 th March Both students and staff were impressed, none more so his teacher Anton Arensky, but Rachmaninov was not and he withdrew the work, only returning to it a quarter of a century later, in September 1917 shortly before he left Russia for good, when he effectively re-wrote the entire work. It was given its first performance in the version heard this evening by the Russian Symphony Orchestra in New York on 28 th January 1919 with Rachmaninov himself as soloist. He retained the original Opus number, but in no sense is this either a youthful or an early work and most of the material was actually written after the Second and Third Piano Concertos which have generally eclipsed the First in popularity.

17 The Concerto opens in heroic fashion with an ominous brass fanfare (actually just a single note) to which the soloist responds with cascading figurations. This eventually gives way to one of Rachmaninov s typically emotionally-charged themes, full of lurking pathos and tragedy. The music, if not the mood, becomes slightly lighter with, again, glittering piano figurations, before a sense of calm again pervades and the violins produce another wonderful Rachmaninov melody around which the piano flies and flutters. The first movement continues to alternate between the high drama of the opening and the more reflective, introspective mood of the two main themes, and after a characteristically schizophrenic cadenza, sometimes spectacularly flamboyant, sometimes totally wrapped up with a deep, burning passion, the movement ends in a blaze of piano pyrotechnics and an abrupt orchestral chord. The horns usher in a piano theme in the central movement which the critic William Mann has described as a cool melody which unfolds at ease, seeming quite capable of prolonging itself forever. This eventually sinks to its rest in utter tranquillity, the spell being broken by the orchestra bursting in with the energetic finale, full of tricky rhythmic complexities, continual give-and-take between soloist and orchestra and with a glorious main theme, introduced in the middle of the movement by the violins, the piano adding its tiny commentary on each phrase. The movement ends, however, not with this theme but in a blaze of exuberance, the orchestra and pianist attempting to outdo each other in energy and dazzling virtuosity.

18 Sergei Rachmaninov Rhapsody on a theme of Paganini, Op. 43 His father may have squandered away all the family fortune, but the stamp of aristocracy and inherited wealth cannot be erased merely by running out of cash, and it was this background which put Rachmaninov in grave danger in the immediate aftermath of the Bolshevik Revolution. He had no choice but to flee Russia and in November 1918 settled in the USA. He had undertaken a number of highly successful concert tours to the USA before the Revolution, and they adulated him as a pianist. His music, however, did not suit American tastes, his compositions coming in for singular ridicule from the American critics who saw it as outmoded and belonging to a dead era and a lost civilisation. (Rachmaninov himself did little to bring himself into line with his adopted homeland, maintaining in his American home a lifestyle, complete with monolingual Russian staff, which made no concessions to the fact that he was no longer in Tsarist Russia.) Obliged to undertake exhaustive coast-to-coast concert tours of the USA on an annual basis, Rachmaninov used these to introduce his own music to an American audience, and for his 1934 tour he produced what has become one of his most popular compositions, the Rhapsody on a theme of Paganini. Composed during a holiday in Switzerland, this was the last of the five works for piano and orchestra the others were all concertos Rachmaninov composed. Based on the last of the 24 Caprices for unaccompanied violin by the Italian violin virtuoso, Nicolò Paganini ( ), Rachmaninov premièred the work with the Philadelphia Orchestra under Leopold Stokowski on 7 th November The Rhapsody on a theme of Paganini begins with a brief introduction, the orchestra providing a kind of skeleton of the theme which eventually is heard from the violins supported by single notes jabbed out by the pianist. This playful mood continues through the first few variations, the piano skipping merrily over the notes and a sense of continually bustling movement from both orchestra and piano. So quickly does the music fly by that it is virtually

19 impossible to keep count of the variations. Gradually, however, the pace slackens until the piece reaches its first moment of silence. The next Variation, the seventh, begins with the piano playing a solemn hymn-like melody. This is the Dies Irae, a 13 th -century chant associated with death, under which cellos and bassoon play Paganini s original theme, and for the rest of the work both themes have an equal slice of the action. Variation eight sets the music rushing along with the piano leading the orchestra across its entire range, the violins imitate the sound of the beating of angels wings in Variation nine, and in the following variations there is something of a battle between the morbid mood of the Dies Irae and Paganini s rather more mischievous theme. Calm settles over the work until, above a gently ticking orchestral background, the piano sets up an elegant dance joined in turn by the clarinet, horn, violins and oboe. After this the lower strings stride in with the original theme gradually swamping the piano until, with Variation 15, the piano indulges in a brilliant piece of solo work. Variation 18 is probably Rachmaninov s most famous creation; sublimely beautiful, this is Paganini s theme inverted and given a new rhythm. The mood lightens, but then it seems as if a great thunderstorm is brewing, as over a menacing orchestral bass the piano chords become more and more dark. The storm eventually breaks and music bursts into sunlight in which both Paganini s theme and the Dies Irae become inseparably intertwined. A thrilling piano solo with the pianist thundering out elements of both themes in octaves is rudely interrupted by the orchestra which joins the piano in a headlong dash for the closing bar only to be pulled up by an ending of pure drama when the Dies Irae, looking as if it is going to have the last word, is swept aside dismissively by a seemingly off-hand piano conclusion.

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22 Sergei Rachmaninov Caprice bohémian, Op. 12 Spurred on by the success of Aleko, Rachmaninov devoted his first years out of the Moscow Conservatoire to composing, producing songs, choral and piano pieces, chamber works and two orchestral showpieces The Rock, inspired by a short story by Chekhov ( On the Road ) and the Caprice bohémien (sometimes known as the Capriccio on Gypsy Themes) which had been inspired by a poem by Pushkin s The Gypsies. This was the same poem that was at the core of Aleko and in working on that score, Rachmaninov had made a special study of gypsy music, visiting many of the itinerant gypsy bands who passed close to his old family home in Novgorod. With Pushkin s poem still very much in his mind, he devised a single movement orchestral work to present, as it were, a condensed picture of the gypsy life portrayed in it, supported by authentic gypsy themes. Caprice bohémien continues the tradition established by Tchaikovsky and Rimsky-Korsakov of writing orchestral Caprices based on the melodies and rhythms of non-russian music and, indeed, Rachmaninov had already approached Tchaikovsky to conduct the work s première. Sadly, Tchaikovsky died in 1893 while Caprice bohémien was not completed until 1894.

23 Dedicated to Pyotr Lodïzhenskaya, the husband of a gypsy singer (Anna Lodïzhenskaya) who had advised Rachmaninov on the gypsy themes used in Aleko, the Caprice bohémien opens with a vigorous side-drum undercurrent to the first of the gypsy themes, a somewhat sorrowful idea announced by pairs of bassoons, horns and clarinets before being taking up by the whole of the orchestral wind and finally, with increased energy, the whole orchestra. The theme is then transformed into something with a much more Russian flavour, at once sombre and majestic. Shivering strings introduce a further manifestation of the theme, this time given out by a solitary clarinet. A desolate cello leads us on to the next theme, a perkier one given out by high woodwind and full of sparkling percussion. This turns itself into a delightfully warm-hearted dance into which the earlier theme and other gypsy melodies join in to create a wonderfully scintillating climax to this, one of Rachmaninov s most exuberant works. Beware! There is something of a sting in the tail at the very end. Programme notes by Marc Rochester

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26 With the compliments of

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28 Hong Kong Philharmonic Orchestra First Violins PHOTO Bobby Lee John Harding Concertmaster Leung Kin-fung First Associate Concertmaster Wong Sze-hang Second Associate Concertmaster Zhu Bei Third Associate Concertmaster Edo de Waart Artistic Director & Chief Conductor Maestro s Chair endowed by The Octavian Society & Y.S. Liu Foundation Mao Hua Cheng Li Ba Wenjing Gui Li Long Xi Mao Yiguo Rachael Mellado Ni Lan PHOTO Lawrence Chan Wang Liang Christine Wong Kar-yee # # Xu Heng Zhang Xi Perry So Zhou Tengfei Assistant Conductor (Education and Community Programmes) Second Violins Fan Ting Leslie Ryang Moon-sun Katrina Rafferty-Ma Miyaka Suzuki Tomoko Tanaka Mao Cheng Chi-man Ricardo de Mello Fang Jie # # Musician s Chair endowed by Societe Generale Private Banking PHOTOS Cheung Chi Wai & Keith Hiro Gallant Ho Ka-chun Russell Kan Wang-to Mo Kwok-fai Martin Poon Ting-leung

29 Second Violins Alisa Yan Yuqing * * Ke Xue * * Liu Fang-xi * * Wang Yue Violas Kaori Wilson Li Ming Alice Rosen Cui Hong-wei Fan Yan Ethan Heath Jonathan Kim William Lane Pak Ming Sun Bin Wang Jun * * Fan Xing * *Zhang Shu-ying Cellos Richard Bamping Fang Xiaomu Dora Lam Chen Yi-chun + + Anna Kwan Ton-an Chan Ngat Chau Cheung Ming-yuen Timothy Frank Li Ming-lu Yalin Song * * Li Cheng Double Basses Jiang Xinlai Jeffrey Lehmberg Feng Rong Samuel Ferrer Principal Acting Principal Co-Principal Assistant Principal Acting Assistant Principal + + Musician s Chair endowed by C. C. Chiu Memorial Fund George Lomdaridze Philip Powell Jonathan Van Dyke * * Fellows of The Robert H.N. Ho Family Foundation Orchestral Fellowship Scheme

30 香港管弦樂團 Hong Kong Philharmonic Orchestra 長笛 Flutes 短笛 Piccolo 史德琳 Megan Sterling 盧韋歐 Olivier Nowak 施家蓮 Linda Stuckey 雙簧管 Oboes 英國管 Cor Anglais 韋爾遜 Michael Wilson 布若芙 Ruth Bull 陳篤信 Christopher Chen 單簧管 Clarinets 低音單簧管 Bass Clarinet 史安祖 Andrew Simon 史家翰 John Schertle 簡博文 Michael Campbell 巴松管 Bassoons 低音巴松管 Contra Bassoon 金瑞 Kam Shui 李浩山 Vance Lee 崔祖斯 Adam Treverton Jones 圓號 Horns 韋麥克 Mark Vines 羅卓思 Lisa Rogers 周智仲 Chow Chi-chung 李妲妮 Natalie Lewis 李少霖 Homer Lee Siu-lam 高志賢 Marc Gelfo 小號 Trumpets 長號 Trombones 卡拉克 Jonathan Clarke 莫思卓 Christopher Moyse 華達德 Douglas Waterston 韋雅樂 Jarod Vermette 韋力奇 Maciek Walicki 低音長號 Bass Trombone 大號 Tuba 定音鼓 Timpani 貝爾迪 Michael Priddy 陸森柏 Paul Luxenberg 龐樂思 James Boznos 敲擊樂器 Percussion 豎琴 Harp 鍵盤 Keyboard 泰貝桑 Shaun Tilburg 梁偉華 Raymond Leung Wai-wa 胡淑徽 Sophia Woo Shuk-fai 史基道 Christopher Sidenius 葉幸沾 Shirley Ip 特約樂手 Extra players 低音大提琴 Double Bass 小號 Trumpet 敲擊樂 Percussion 吳龍翔 Hennessy Ng 張浩昇 Cheung Ho Sing 艾卡斯 * Edward Atkatz* 何銘恩 Jojo Ho * 承蒙馬來西亞愛樂樂團允許參與演出 * With kind permission of the Malaysian Philharmonic Orchestra

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32 Hong Kong Philharmonic Orchestra HONORARY PATRON The Chief Executive The Hon Donald Tsang Yam-kuen, GBM EXECUTIVE COMMITTEE Mr Y S Liu Chair BOARD OF GOVERNORS Mr Y S Liu Chairman Mr Chung Shui-ming, GBS, JP Vice-Chairman Ms Joanne Chan Mrs Michelle Ong Cheung Mr Glenn Fok Mr Lam Woon-kwong, GBS, JP Dr Lilian Leong, BBS, JP Prof Liu Ching-chih Mr Daniel Ng Yat-chiu Mr Nicholas Sallnow-Smith Mr Benedict Sin Nga-yan Mr Jack C K So, JP Mr Stephan Spurr Sir David Tang, KBE Mr Kenny Wong Kam-shan Mr David Zacharias ENDOWMENT TRUST FUND BOARD OF TRUSTEES Mr Chung Shui-ming, GBS, JP Chair Mr Lam Woon-kwong, GBS, JP Mr Y S Liu Mr Daniel Ng Yat-chiu HONORARY ADVISERS Prof Chan Wing-wah, JP Dr the Hon Marvin Cheung, OBE, SBS, JP Mr Vincent Chow Wing-shing, MBE, JP Ms Pansy Ho Chiu-king Mr Hu Fa-kuang, GBS, CBE, JP Lady Kadoorie Dr Ronald Leung, OBE, JP Mr Shum Choi-sang, SBS, OBE, MA, JP Ms Ada Wong Ying-kay, JP The Hon Sir T. L. Yang, GBM, JP Mr Chung Shui-ming, GBS, JP Mr Daniel Ng Yat-chiu Mr Jack C K So, JP Mr Stephan Spurr FINANCE COMMITTEE Mr Chung Shui-ming, GBS, JP Chair Mr Glenn Fok Mr Y S Liu Mr Nicholas Sallnow-Smith Mr Benedict Sin Nga-yan Mr Kenny Wong Kam-shan Mr Robert T. Wong FUNDRAISING COMMITTEE Mr Daniel Ng Yat-chiu Chair Mrs Janice Choi Ms Winnie Chiu Ms Tasha Lalvani Vice-Chair Ms Chou Tung Lap Mao Mr Peter Siembab Mr Jack C K So, JP DEVELOPMENT COMMITTEE Mr Stephan Spurr Chair Ms Joanne Chan Prof David Gwilt, MBE Mr Warren Lee Dr Lilian Leong, BBS, JP Mr Y S Liu Sir David Tang, KBE Mr Mark Vines

33 MANAGEMENT Mr So Hau Leung Chief Executive MARKETING Mr Paul Tam Director of Marketing Ms Rida Chan Executive Secretary Ms Elaine Kwee Marketing Manager (Concert Promotions) ARTISTIC ADMINISTRATION Ms Mio Margarit Chow Artistic Administrator Mr Nick Chan Senior Marketing Communications Officer Miss Michelle Wong Assistant Manager (Artist Liaison) Miss Natalie Wong Marketing Communications Officer Mr Jason Wan Artistic Administration Assistant Ms Tiphanie Chan Publications Editor DEVELOPMENT Ms Angela Hui Director of Development Ms Edith Ng Development Manager Mr Henry Leung Assistant Development Manager Miss Ruby Pang Assistant Development Manager FINANCE AND ADMINISTRATION Ms Angel Woo Head of Finance and Administration Miss Natalie Ting Education and Outreach Coordinator Miss Alice Luk Corporate Communications Officer Miss Alice Lam Customer Service Officer ORCHESTRA AND OPERATIONS Mr Luke Shaw Head of Orchestra and Operations Mr Ambrose Yeung Orchestra Personnel Manager Mr Steven Chan Stage Manager Mr Homer Lee Finance Manager Miss Betty Ho Librarian Mr Alex Kwok Assistant Manager, Finance and Administration Miss Vanessa Chan Assistant Manager (Orchestra and Operations) Miss Cherish Cheung Human Resources Manager Miss Christy Law Music Administration Intern Miss Vonee So Senior Officer, Finance & Administration Mr So Kan Pong Transportation Officer (Musical Instruments) Miss Pamela Chan Receptionist Mr Sammy Leung Office Assistant Mr Andrew Li Manager, IT & Projects Contact us Level 8, Administration Building, Hong Kong Cultural Centre, Kowloon, Hong Kong Tel: Fax:

34 ClubMaestro 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. PLATINUM MEMBERS David M. Webb webb-site.com DIAMOND MEMBERS Mr Wilfred Ng MH, JP EMERALD MEMBERS PEARL MEMBERS Mr Peter Siembab Miss Aliena Wong In alphabetical order of company name

35 Thank You for Your Support The Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support. CHAIR ENDOWMENT FUND The Maestro s Chair endowed by The Octavian Society Limited Y.S. Liu Foundation The Musician s Chair endowed by C.C. Chiu Memorial Fund Societe Generale Private Banking ANNUAL FUND Gold Patron >HK$100,000 Hsin Chong International Holdings Ltd Kerry Holdings Ltd Ruby Patron HK$10,000 HK$29,999 Ms Vivien C C Chan Mrs Anna Chen Mr Cheung Ngai Sing Mr Edwin Choy Dr & Mrs Carl Fung Gloss Mind Sports International Ltd Mr & Mrs Kenneth H C Fung Dr & Mrs Wayne Hu Mr & Mrs Ko Ying Dr Lee Kin Hung Dr Lilian Leong, BBS, JP Mr Lawrence Mak Dr Mak Lai Wo Mrs Anna Marie Peyer Mr Peter Siembab Mr Stephen Tan Tin Ka Ping Foundation Dr Tsao Yen Chow Wang Family Foundation Mr Wong Po Yan Mr & Mrs Y S Wong Mr David Yee Kwan Yam Silver Patron HK$50,000 HK$99,999 Mr & Mrs E Chan Mr & Mrs Lowell & Phyllis Chang Mr & Mrs Leung Lit On Jade Patron HK$5,000 HK$9,999 Anonymous Mr Barry John Buttifant Dr Edmond Chan Mr Jan Leung & Ms Emily Chow Mr & Mrs Michael & Angela Grimsdick Dr William Ho Mr Maurice Hoo Ms Teresa Hung Mr & Mrs Fung Shiu Lam Ms Li Shuen Pui Agnes Dr John Malpas Dr & Mrs Pang Wing Fuk Mr Poon Chiu Kim Raymond The Hon Mr Justice William Stone Ms Carley Shum & Mr Jeff Szeto Mr Tsunehiko Taketazu Mr & Mrs Ivan Ting Ms Cindy Tse Bronze Patron HK$30,000 HK$49,999 Mr & Mrs David Fried Mr Fred William Scholle Ms Tse Chiu Ming Pearl Patron HK$3,000 HK$4,999 Anonymous Mr Chan Hung Yuen Robert Mr Cheng Kwan Ming Ms Eva Cheng Mr Cheung Yiu Tong Mr Cheung Tak Lung Mr Chow Ping Wah Dr Affandy Hariman Ms Hu Shu Mr Toru Inaoka Ms Liu Ying Mr Joseph Pang Miss Lily Poon Man Nei Dr Paul Tat Ming Shea Mr So Shu Wing Vincent Mr Eric M S Tsang Ms Tsang Kwai Fong Ms Tse Wai Shun Susan Mr Wu Chi Kong

36 Thank You for Your Support The Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support. STUDENT TICKET FUND Gold Patron >HK$100,000 Hang Seng Bank Zhilan Foundation Silver Patron HK$50,000 HK$99,999 Kerry Holdings Limited Shun Hing Education and Charity Fund Bronze Patron HK$30,000 HK$49,999 Mr & Mrs Alan Leong Ruby Patron HK$10,000 HK$29,999 Dr & Mrs Chan Kow Tak Mr David Chiu Ms Doreen Lee Dr Thomas W T Leung Lo Kar Foon Foundation Mr David Yee Kwan Yam Mr & Mrs Ko Ying Dr M T Geoffrey Yeh Jade Patron HK$5,000 HK$9,999 Anonymous Mr Ian D Boyce Mr Chan Ka Kui Mrs Anna Chen Mr Chu Ming Leong Dr Chung See Yuen Dr & Mrs Kwan Ka Hung Lok Yu Kim Ching Memorial Fund Long Hin Creative International Ltd Mr Wong Kong Chiu Pearl Patron HK$3,000 HK$4,999 Ms Deborah Biber Capital Well Investment Limited Mr Chan Hung Yuen Robert Mrs K L Chan Ms Catherine Mo Wah Chau Mr Chen Chien Hua Ms Katherine Cheung Professor David Clarke Mr Fok Wing Huen Mr Alex Fung & Mrs Hanne Froseth-Fung Mr Fung Wai Hing Mr & Mrs Phyllis & Adolf Ho Item Industries Ltd Mr & Mrs Henry & Angelina Lee Dr Lee Shu Wing Ernest Mr Leung Cheuk Yan Mr Richard Li & Joe Joe Mr Lo Cheung On, Andrew Mr Lui Wing Chiu Mr Ray Luk Mr Mak Fai Shing Mr & Mrs John & Coralie Otoshi Oxford Success (Overseas) Ltd Mr Shum Choi Sang Ms Ophelia Tam Mr Tony Tsoi Dr Dominic S W Wong, GBS,OBE,JP Zennon & Pierre Company Limited EDUCATION PROGRAMME SUPPORTER Drs. Richard Charles and Esther Yewpick Lee Charitable Foundation The Hongkong Bank Foundation The Hong Kong and China Gas Company Limited

37 ENDOWMENT TRUST FUND The Hong Kong Jockey Club Charities Trust The Hongkong Bank Foundation The Hongkong Land Group Citibank. NA Jardine. Matheson & Company Ltd The Tung Foundation The Endowment Trust Fund was set up in 1983 with these initial sponsors. PAGANINI PROJECT Donated by Mr Patrick Wang Emile Germaine (1907) Violin, played by Ms Tomoko Tanaka Mao Donated by Mr Lowell Chang Lockey Hill (c.1800) Violin, played by Mr Wang Liang Donated by Mr Po Chung Dawne Hadded (1991) Violoncello, played by Mr Cheung Ming-yuen Donated by Mr Laurence Scofield Ansaldo Poggi (1910) Violin, played by Ms Zhang Xi This project is initiated and organizated by Business for Art Foundation. INSTRUMENTAL DONATION Donated by The Ladies Committee of the Hong Kong Philharmonic Society Rare instruments donated Enrico Rocca (1902) Violin, played by Mr Cheng Li Jean Baptiste Vuillaume (1866) Violin, played by Ms Bei Zhu, Third Associate Concertmaster Joseph Gagliano (1788) Violin, played by Mr Wong Sze-hang, Second Associate Concertmaster Cario Antonio Testore (1736) Violin, played by Mr Ni Lan Other instruments donated in support of the Instrument Upgrade and Echancement Project Two German Rotary Trumpets A set of Wagner Tubas A Flugelhorn

38 重點推介 FEATURED CONCERT 迪華特的馬勒三 What Love Tells Me De Waart s Mahler 3 10&11 Feb 2010 Wed & Thu 8pm 香港文化中心音樂廳 HK Cultural Centre Concert Hall HK$320 $240 $180 $120 艾度. 迪華特, 指揮 Edo de Waart, conductor 奧康娜, 女中音 Kelley O Connor, mezzo-soprano 香港管弦樂團合唱團女聲部 Women of the Hong Kong Philharmonic Chorus 香港兒童合唱團 The Hong Kong Children s Choir 節目 Programme 馬勒 第三交響曲 MAHLER Symphony No. 3 熱賣中 HOT PICK 港樂. 交響. 情人夢 HKPO NODAME 19 Feb 2010 Fri 8pm 20 Feb 2010 Sat 3pm & 8pm 香港文化中心音樂廳 HK Cultural Centre Concert Hall HK$280 $220 $180 $120 精彩節目選自 交響情人夢, 最終樂章 電影 Highlights from the movie Nodame Cantabile Finale 熱賣中 HOT PICK 艾度. 迪華特的布魯赫納第八交響曲 Edo de Waart s Bruckner 8 27 Feb 2010 Sat 8pm 香港文化中心音樂廳 HK Cultural Centre Concert Hall HK$320 $240 $180 $120 艾度. 迪華特, 指揮 Edo de Waart, conductor 2010 香港藝術節節目 A 2010 Hong Kong Arts Festival Programme 艾度. 迪華特, 指揮 Edo de Waart, conductor 夢娜飛鳥. 奧特, 鋼琴 Mona Asuka Ott, piano 節目 Programme 布魯赫納 第八交響曲 (1890 諾華克版 ) BRUCKNER Symphony No. 8 (1890 Nowak version) 緊貼港樂最新資訊, 即上 免費登記成為網上會員 Register as our online member for free at to receive our latest news.

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