Swire New Generation: The magic harp of Dan Yu Lü Jia conductor Dan Yu harp Megan Sterling (24/1) flute Programme MÁRQUEZ Danzón No. 2 (23/1) MOZART The Magic Flute: Overture (24/1) GINASTERA Harp Concerto, Op. 25 (23/1) Allegro giusto Molto moderato Liberamente capriccioso Vivace MOZART Concerto for Flute and Harp in C, K299 (24/1) Allegro Andantino Rondo: Allegro COPLAND BERNSTEIN Intermission Appalachian Spring Symphonic Dances from West Side Story 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.
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
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 dewaart, 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.
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
LYON & HEALY Harpmakers to the world since 1889
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 1988. 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.
Dan Yu harp In July 2001 Dan Yu became the first harpist from China to win the 5 th USA International Harp Competition. This prestigious competition, held every three years in Bloomington, has launched the careers of some of the top harpists in the world. Competing against 36 competitors from 14 countries, Dan Yu was unanimously awarded the Gold Medal and also captured two additional prizes, for her interpretation of the Harp Concerto by Ginastera and for the solo work Maqamat by the contemporary Israeli composer, Ami Maayani. As part of the prize, Dan Yu won a unique Commemorative Gold Harp made specially for the Competition by Lyon & Healy Harps, and donated by the Victor Salvi Foundation, as well as a recording contract and recitals in London, New York, France and Japan. A frequent competition winner, Yu was also a winner of the Anne Adams Competition of the American Harp Society for two consecutive years (1995 and 1996). An experienced teacher as well as performer, she was Director of the nationally acclaimed Roanoke County Schools Harp Ensemble from 1999 to 2000. Dan Yu s lyrical interpretations, profound musicality and technical mastery have captivated audiences across three continents. She has performed solo recitals and chamber music concerts throughout the United States, Europe and Asia, and has made her début recitals at the Alice Tully Hall in New York and the Wigmore Hall in London. Other performances include solo recitals at the World Harp Congress in Geneva, and in San Francisco, Salt Lake City, Las Vegas, Denver and Atlanta. Dan Yu was born in Shenyang, Liaoning Province, in 1974. She started to learn the piano at the age of six and the harp at the age of 10, studying with Prof Yue Ping-qiu at the Middle School of Shenyang Conservatory of Music, and in 1993 went to the USA to continue her harp studies. She studied with Dr Ruth Inglefield at the Peabody Institute in Baltimore and Susann McDonald at the Indiana University. Dan Yu appears with the kind permission of Hong Kong Harp Chamber. The harp in tonight s concert, model Salzedo, is provided by Hong Kong Harp Chamber.
Megan Sterling flute Megan Sterling is a first class Honours graduate of the Canberra School of Music, where she studied with one of Australia s foremost teachers, Vernon Hill. She is the winner of a Symphony Australia Young Performer s Award, First Prize and Audience Prize winner at the 1999 National Flute Competition, winner of the inaugural Canberra School of Music/Ansett Concerto Prize, the University of Melbourne Mozart Competition, a Premier s Award, and four-time winner of the Leslie Barklamb Flute Scholarship. Other awards include the Queen s Trust Award, Qantas Overseas Study Travel Award, Peter and Lena Karmel Award and the Friends of the School of Music Prize, which all helped facilitate a study period with Paul Edmund-Davies and Michael Cox in London. In 2003 she was awarded First Prize in the Hungarofest International Flute Competition in Budapest, as well as a special prize for Best Performance of the Petrovics Flute Concerto, broadcast live on Hungarian National Radio. As a soloist, Megan has performed several times with the Hong Kong Philharmonic Orchestra. She has also appeared as concerto soloist with the The Queensland Orchestra, Tasmanian Symphony Orchestra, West Australian Symphony Orchestra, the Academy of Melbourne, and the Hungarian Radio Symphony Orchestra. She has appeared live on Australian National Television, ABC Australia National Radio, Hungarian National Radio, RTHK Hong Kong, and in recital on WGBH, Boston. She has performed recitals in her native Australia, Hong Kong and Shanghai, Budapest, and Boston. She has also appeared in recital at Parliament House for the Australian Prime Minister, and as scholarship winner on the inaugural Australian National Academy of Music tour of Australia. Megan Sterling has been Principal Flute of the Hong Kong Philharmonic since 2002. In addition, she has performed in a Principal role with most of Australia s leading orchestras, as well as with the New Zealand Symphony Orchestra. As a member of the Australian Youth Orchestra and Youth Music Australia s Summer Academy, she worked with the world-renowned flautist, Karlheinz Zoller, former Principal Flute of the Berlin Philharmonic Orchestra. Megan teaches at the Hong Kong Baptist University and the Hong Kong Academy of Performing Arts.
Arturo Márquez b.1950 Danzón No. 2 Described as Mexico s finest living composer, Arturo Márquez was born in Alamos and studied at the Mexico Conservatory of Music and the Taller de Composicion of the Institute of Fine Arts of Mexico, where his tutors included Joaquín Gutiérrez Heras, Héctor Quintanar, Federico Ibarra and Raúl Pavón. He received a scholarship from the French government to study privately with the composer Jacques Castérède in Paris and was subsequently awarded a Fulbright Scholarship which enabled him to continue studies at the California Institute the Arts with Morton Subotnick, Stephen Lucky Mosko, Mel Powell and William Kraft. He has received numerous grants and awards from the Mexican and French governments and been honoured with commissions and fellowships from the Universidad Metropolitana de Mexico, Universidad Nacional Autónoma de México, Festival Cervantino, Festival del Caribe, the World s Fair in Seville in 1992, the Rockefeller Foundation and Consejo Nacional para la Cultura y las Artes. He currently works at the National University of Mexico, Superior School of Music and CENIDIM (National Center of Research, Documentation and Information of Mexican Music) and lives in Mexico City. In addition to film, multimedia and ballet scores Márquez has composed a considerable amount of instrumental, chamber and orchestral music, but is probably best-known for the second of his four Danzón which celebrate with a mixture of exhilarating rhythms and colour and rather more subtle touches, the traditional dance music of Latin America. Danzón No. 2, opens with a sultry clarinet theme above a persistent tapping percussion and flowing piano accompaniment, which, after it has been passed to the oboe and the strings, is interrupted by a sudden change of both speed and dynamic. The rest of the piece switches between this slow, sultry music and jazzy up-tempo dances in a dizzy roller-coaster ride which has been described as bouncing with Latin energy and dance rhythms.
Wolfgang Amadeus Mozart 1756-1791 The Magic Flute: Overture The actor, writer, impresario and singer Emanuel Schikaneder had first met Mozart in Salzburg in 1780. They renewed their acquaintanceship six years later when Schikaneder s acting troupe staged a performance of Beaumarchais The Marriage of Figaro in Vienna; which performance inspired Mozart to set the work as an opera. But the most important connection between the two so far as musical history is concerned is the fact that both men were dedicated Freemasons at a time when the organisation was highly active in Vienna. According to the Mozart scholar William Ober, Mozart s association with Freemasonry brought out many of the best qualities in his character and inspired some of his most touching music, music of high purpose and moral enrichment, to be enjoyed not only for its beauty as all Mozart s music is but for its noble values as well. Mozart had become a Freemason on 14 th December 1784, joining the Benevolence Lodge, which itself had been founded just the previous year. He composed some 10 distinct works for lodge meetings, but the best-known of all his works associated with Freemasonry was his final opera, Die Zauberflöte ( The Magic Flute ), first staged on 30 th September 1791. Schikaneder not only wrote the libretto for Die Zauberflöte with Mozart s connivance incorporating copious references to Masonic symbols and rites but also took the part of Papageno in the first performance and paid for the production, which took place in his own theatre, the Theater auf der Wieden, on the northern outskirts of Vienna. It was probably the greatest success of both Mozart s and Schikaneder s career and within a month had been staged to full houses no less than 20 times.
It is not just in the libretto of The Magic Flute that Masonic references abound. The symbolism of the number three in Freemasonry cannot be overstated and it is no coincidence that the Overture is in the key of E flat major (key signature of three flats), while, after a majestically statuesque opening and scampering string fugato, the momentum is suddenly arrested by wind and brass solemnly intoning the rhythmic sign three groups of three chords of the Second Degree of Freemasonry, implying that Prince Tamino, who is, as the Overture unfolds, being chased by a snake in a wild and rocky landscape, has yet to undergo the third and final part of the initiation process to become a Master Mason.
Alberto Ginastera 1916-1983 Harp Concerto, Op. 25 Allegro giusto Molto moderato Liberamente capriccioso Vivace Although he was born to immigrant parents from Spain and Italy and spent much of his life overseas ending his days in Switzerland, Alberto Ginastera is acknowledged as the greatest Argentinean composer of the 20 th century. Aaron Copland described him as the great hope for Argentine music, while another commentator called him the foremost representative of Argentinean nationalism. He showed his aptitude for music at an early age and at 12 was admitted to the Williams Conservatory in his native Buenos Aires. He composed his first music two years later and before he was 20 had achieved his first major success with his ballet music Panambi. Itwas another ballet score, Estancia composed in 1941, which earned him the respect and admiration of Copland, and it was through Copland that Ginastera met the harpist of the Philadelphia Orchestra, Edna Philips, who was busily enriching the repertoire of her instrument by commissioning new works from many leading composers of the day. In 1956 she commissioned a concerto from Ginastera, but the composer struggled and only with the assistance of another eminent harpist, Nicanor Zabaleta, was he able to complete the work. In the event it was Zabaleta who gave the Concerto s première on 18 th February 1965 with the Philadelphia Orchestra under Eugene Ormandy. The Concerto follows the traditional three movement form, but beyond that it is very much the product of a native South American composer. From the very opening, with its sharply pointed syncopated rhythms and tense harp theme, we are clearly in the realms of Latin-American dance. Florid arpeggios and fading timpani beats lead to the more
reflective second theme after which the music indulges in some nocturnal fluttering before we move back into the virile world of the dance, enhanced by some powerful urgings from the array of percussion which does its best to smother the harp s sterling efforts. The nocturnal mood prevails, however, and the movement ends shrouded in eerie darkness. A lugubrious bass theme introduces the middle movement, other strings adding their voices to create an uneasy and often menacing atmosphere. The harp takes over, its chordal theme interspersed with passages from the woodwind, and, having set the mood for more nocturnal music, the movement maintains this atmosphere until the harp breaks into a cadenza of ever-increasing technical complexity, which leads directly into the third movement. This takes the form of an unceasing moto perpetuo, the harp and orchestra indulging in an unequal battle for supremacy, with more than a few passing references to the music of Messiaen. Stabbing syncopated rhythms from the orchestra and frantic patterings from the harp add to the colourful mix, but at the very end it is the orchestra which deals its fateful and terminal knock-out blow to the harp which, despite valiant efforts, cannot compete with the veritable battery of percussion directed at it.
Wolfgang Amadeus Mozart 1756-1791 Concerto for Flute and Harp in C, K299 Allegro Andantino Rondo: Allegro On a trip to Paris in late March 1778 Mozart encountered a minor French aristocrat, the one-time French ambassador to London, Adrien-Louis Bonnières de Souastre, Count of Guines. The Count was a talented amateur flautist who wanted his daughter, a gifted harpist (who was claimed to be able to play over 200 works from memory), to have composition lessons from Mozart. On his father s advice who had remained behind in Salzburg but bombarded his son with letters full of advice Mozart accepted the Count s daughter as a pupil in the hope that this would lead to a more permanent position in Paris, but he found teaching her a decidedly unrewarding experience; First she is utterly stupid, second utterly lazy. Nevertheless he gave her 24 two-hour lessons and wrote for her and her father this unique double Concerto which appears to have been given its first performance at a private concert in the Count s Paris house during April 1778. Unfortunately, not only did his carefully cultivated relationship with the Count yield no permanent employment, but it transpired that the Count was not entirely straight in his financial dealings, and not only paid for just 12 of his daughter s lessons, but never paid him at all for the Concerto. Full of melody and very much in the manner of the light, fluffy and delicate salon style in vogue amongst the Parisian aristocracy of the late 18 th century, the Concerto begins with a brisk, assertive orchestral introduction after which the two soloists enter. The Count possessed a flute with an extended lower register enabling him to produce lower notes than was usual in the flutes of Mozart s time, and Mozart made use of this extended range in both this and the Concerto s final movements.
The charming Andantino involves much interplay between the two protagonists. The movement begins with a gentle theme from the strings, sounding unusually rich and full-bodied due to the use of a divided viola section. This theme is taken up by the flute above a simple accompaniment of chords from the harp. Later the harp takes on the melodic line with flute interjections the proud father complimenting his daughter on her playing, if you like and both instruments then add decoration and ornamentation to the theme before returning to the opening material. The finale is in the form of a courtly Gavotte, the violins followed by the oboes, introducing a sprightly idea and preparing the ground for the entry of the harp with an altogether new theme. The flute adds its happy, twittering voice, but in this movement it is the harp which has the leading role. After a brief cadenza for both solo instruments (unusually there is a cadenza in each of the three movements) the movement ends with a series of three, crisp, almost curt chords.
Aaron Copland 1900-1990 Appalachian Spring A date etched into the memories of all American schoolchildren is 1492; the year Columbus discovered America. Of course modern-day scholars would have it that the Chinese got there first and, anyway, as there were people already living on the land, presumably the word discovered in either case is inappropriate. Certainly a less contentious date which might profitably be etched into the minds of America s youth is 1990; for in that year the two men who had transformed the American art music scene from a mere pale shadow of Europe to a cultural identify in its own right had died. One was Leonard Bernstein, the other Aaron Copland. How did they go about creating a distinctly American voice in music, especially in country not renowned for the range and diversity of its indigenous music? In the case of Copland, after a few failed attempts to fuse jazz with serious music, he chose to take his inspiration directly from the American landscape and people; from the vast expanses of the prairies to the awe-inspiring mountain ranges, from the small-town settlements often populated by fundamentalist religious sects to the great sprawling cities, with their jagged skyscrapers and seething mass of people. His music in this style was immediately admired and enjoyed, one of the best-known examples of this populist style being Appalachian Spring which won the Pulitzer Prize for music in 1945 and had been commissioned by Martha Graham to accompany a new all-american ballet. She suggested the title Appalachian Spring, which comes from a poem by Hart Crane. Set in the early 1800s Appalachian Spring follows a young couple who marry, set up home in their newly-built farmhouse, and start out on life together as pioneer farmers in a part of rural America, in the foothills of the Appalachian Mountains, known as Shaker Country. The Shakers were a revivalist religious sect which died out in the 1980s noted for their joyful dances and music, especially their hymn tunes. Although the events take place in the season of spring, the Spring of the title refers as much to the springtime
of the American nation. This combination of hope, new life, religious feeling and patriotic zeal are all reflected in Copland s music and when it was premièred in the Library of Congress, Washington on 30 th October 1944 it became an instant success, the New York Times describing it as completely simple, homely, dedicated, and a lovelier work you would have to go far to find. The sections run without a break, beginning with very slow and atmospheric music representing the awakening of spring and the hopes of the young couple as they embark on their new life together. The music takes on an altogether more boisterous character as friends arrive to celebrate the young couple s marriage and to join in their housewarming party. Next comes an extended scene of deep tenderness as the young couple proclaim their love for each other, after which a Revivalist minister and his followers enjoy some typical square dances accompanied by an over-enthusiastic country fiddler. The bride then performs a lively dance, its occasionally sour harmonies and awkward rhythms indicating the fear and trepidation she feels at the new life ahead of her. The party finishes and, in music reprising the opening, the couple are left alone to contemplate their future together. And well might they wonder what the future has in store! As they set out on their daily life represented in music which is a set of variations on the famous Shaker Tune known as Simple Gifts they are suddenly interrupted by the reappearance of the Revivalist minister and four of his women followers. A dark chill comes over the music, and after some menacing thuds, it sets off on a wild, demonic dance, which precedes the minister s stern warning of the strange and terrible aspects of human fate. This, naturally enough, leaves the couple momentarily stunned before they pick up where they had left off and, with the return of the Simple Gifts music, the newly-weds settle down to their new life with an air of deep reverence for each other, for their religious faith and for the new land they are helping to cultivate.
Leonard Bernstein 1918-1990 Symphonic Dances from West Side Story Leonard Bernstein was one of America s most remarkable and versatile musicians. Born in Lawrence, Massachusetts on 25 th August 1918, he started piano lessons at 10 and went on to become a brilliant and accomplished pianist. He was also a remarkably gifted conductor, making a spectacular début when the revered conductor Bruno Walter fell ill and Bernstein stood in at very short notice; he went on to hold the post of Chief Conductor of the New York Philharmonic Orchestra from1958 until his death, and many of the recordings he made remain pinnacles in the history of recording. And alongside both of these, he pursued an active career as a composer both for the concert hall among his major orchestral works are several symphonies and for the musical theatre; West Side Story can be seen as following in the tradition of the great Broadway musicals of Cole Porter. It has been said of Bernstein that; he composed a number of interesting works, several very good ones, but only one true masterpiece. That masterpiece was West Side Story, premièred on New York s Broadway on 19 th August 1957, and running for 734 performances. Set in the slums of New York s west side, it was conceived as a modern version of Shakespeare s timeless love story Romeo and Juliet. Bernstein, in collaboration with his librettist, Stephen Sondheim, decided to swap the wealthy feuding families (the Montagues and the Capulets) of Shakespeare s original for two rival street gangs, and have the two protagonists, Romeo and Juliet, transformed into Tony, the leader of one gang, and Maria, the sister of the leader of the other. An added dimension that was dear to Bernstein s heart was the racial tension prevalent in 1950s New York, so not only were the gangs rival bunches of young thugs but they also came from different racial backgrounds, the Jets were all-white Americans while the Sharks were immigrants from Puerto Rico.
In 1960 Bernstein extracted several numbers from the original score and arranged them into a suite of Symphonic Dances for concert use. Mixing jazz, Latin-American and purely symphonic elements the dances run without a break and follow the basic story line. Prologue: sets the scene of bitter rivalry between the Jets and the Sharks. Somewhere: one of the most famous numbers from the score, where Tony dreams of a place where love can blossom unhindered. Scherzo: a jaunty street scene with the youths enjoying themselves. Mambo: high-tension rivalry between the gangs on the dance floor. Cha-Cha: soft and graceful, the two lovers meet at the dance. Cool Fugue: the Jets spoil for a fight. Rumble: the rival gangs meet with tragic consequences. Finale: the tragic aftermath. Programme notes by Marc Rochester
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
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
Hong Kong Philharmonic Orchestra Flutes Piccolo Megan Sterling Olivier Nowak Linda Stuckey Oboes Cor Anglais Michael Wilson Ruth Bull Christopher Chen Clarinets Bass Clarinet Andrew Simon John Schertle Michael Campbell Bassoons Contra Bassoon Kam Shui Vance Lee Adam Treverton Jones Horns Mark Vines Lisa Rogers Chow Chi-chung Natalie Lewis Homer Lee Siu-lam Marc Gelfo Trumpets Trombones Jonathan Clarke Christopher Moyse Douglas Waterston Jarod Vermette Maciek Walicki Bass Trombone Tuba Timpani Michael Priddy Paul Luxenberg James Boznos Percussion Harp Keyboard Shaun Tilburg Raymond Leung Wai-wa Sophia Woo Shuk-fai Christopher Sidenius Shirley Ip Extra players Clarinet Alto Saxophone Percussion Johnny Fong* Jeffrey Chan Jojo Ho With kind permission of the HK Sinfonietta
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
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: 2721 2030 Fax: 2311 6229 www.hkpo.com
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
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
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
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
FEATURED CONCERT Trpčeski in Double Rachmaninov 29&30 Jan 2010 HK Cultural Centre Concert Hall Fri & Sat 8pm HK$380 $280 $200 $120 Lü Jia, conductor Simon Trpčeski, piano An all-rachmaninov programme Prince Rostislav Symphonic Poem Piano Concerto No. 1 Rhapsody on a theme of Paganini Caprice bohémien HOT PICK Yundi Li & the HKPO 5&6 Feb 2010 Fri & Sat 8pm Programme HK Cultural Centre Concert Hall HK$680 $480 $320 $180 Edo de Waart, conductor Yundi Li, piano WEBER CHOPIN RESPIGHI RESPIGHI Oberon: overture Piano Concerto No.1 Trittico Botticelliano The Pines of Rome Sponsored by: Bank of China (Hong Kong) HOT PICK Yundi Li in recital 8 Feb 2010 Mon 8pm HK Cultural Centre Concert Hall HK$680 $480 $380 $280 Yundi Li, piano An all-chopin programme Sponsored by: Shun Hing Group Register as our online member for free at www.hkpo.com to receive our latest news.