ADELAIDE SYMPHONY ORCHESTRA A N D A D E L A I D E F E S T I VA L C E N T R E P R E S E N T 阿德莱德交响乐团与阿德莱德艺术节中心联合举办 Chinese New Year Concert 中国农历新年音乐晚会 Fe b r ua r y 20 19 Sun 1 0, 5p m 2019年2月10日周日 下午五点 Fe st i val Th e a tre 艺术节中心
WELCOME Welcome to the second Chinese New Year Concert presented by Adelaide Festival Centre and Adelaide Symphony Orchestra (ASO). It is said that Earth Pigs are most content at home, with family. So it is most fitting that we mark the start of the Lunar New Year of the Earth Pig, with a concert among family: artists who are close to us and you, our audience who have come to participate in this celebration. Importantly tonight the talented musicians of the ASO perform with Chinese-Australian artists who are all enjoying a global career: Conductor Dane Lam, cellist Li-Wei Qin and violinist Harmonnia Junus. The varied program is sure to delight young and young at heart and reveal our common humanity through music. We augur that tonight s concert will bring you and your family fortune, good luck and much joy in 2019. 欢迎致辞 欢迎各位莅临由阿德莱德艺术节中心和阿德莱德交响乐团共同举办的第二届中国新春音乐会 俗话说, 猪在家里, 最心满意足 因此, 我们跟家庭们一起分享音乐会, 开启农历己亥猪年是最应景的 我们邀请相熟的艺术家们, 和在坐的观众朋友们, 一起欢庆新春佳节 今晚的重头戏, 阿德莱德交响乐团才华横溢的音乐家们将与在国际舞台上享有声誉的澳籍华裔艺术家们 : 指挥家戴恩兰姆 大提琴家秦立巍 小提琴家熊湉雯一起同台, 给各位表演精彩纷呈的曲目, 老少咸宜, 通过音乐呈现我们人类共同的情感和欢乐 我们预见到今晚的音乐会, 将会在 2019 年给您和家人带来好运, 财富和更多的欢乐 REPERTOIRE 中国新春音乐会节目单 Li Huanzhi (1919-2000) Spring Festival: Overture 春节序曲 李焕之 (1919-2000) Johann Strauss II (1825-1899) Die Fledermaus: Overture Traditional (Arr. Tu Yejiu) (1927-2001) The Brilliant Red Flowers of Shandandan 传统陕北民歌改编交响乐 山丹丹花开红艳艳 屠冶九 (1927-2001) 编曲 Zhou Long (born 1953) The Rhyme of Taigu 交响乐版本 太鼓节奏 周龙 (1953 - ) Peter Ilyich Tchaikovsky (1840-1893) Variations on a Rococo Theme, Op.33 洛克克主题变奏曲 ( 作品 33 号, 费森海根版本 ) 彼得 伊里奇 柴可夫斯基 (1840-1893) Introduction 前奏 (Moderato quasi andante) Theme 主题 (Moderato semplice) Variation I 第一变奏 (Tempo della thema) Variation II 第二变奏 (Tempo della thema) Variation III 第三变奏 (Andante sostenuto) Variation IV 第四变奏 (Andante grazioso) Variation V 第五变奏 (Allegro moderato) Variation VI 第六变奏 (Andante) Variation VII and Coda 第七变奏和终曲 (Allegro vivo) Li-Wei Qin Cello Interval Alexander Borodin (1834-1887) In the Steppes of Central Asia, Op.7 音诗 在中亚细亚草原上 ( 作品 7 号 ) 亚历山大 鲍罗丁 (1834-1887) Liu Tieshan (born 1923) Arr. Mao Yuan (born 1926) Dance of the Yao Tribe 民族管弦乐 瑶族舞曲 刘铁山 (1923 - ) 茅源 (1926 - ) Chen Gang (born 1935) & He Zanhao (born 1933) The Butterfly Lovers Violin Concerto (excerpts) 小提琴协奏曲 梁山伯与祝英台 陈刚 (1935 - ) 何占豪 (1933 - ) Harmmonia Junus Violin Vincent Ciccarello Managing Director, Adelaide Symphony Orchestra 阿德莱德交响乐团董事总经理 Douglas Gautier AM CEO & Artistic Director, Adelaide Festival Centre 阿德莱德艺术节中心 CEO 及艺术总监 Camille Saint-Saëns (1835-1921) Symphony No.3 in C minor, Op.78 Organ : Maestoso Allegro 第三号交响曲 - 管风琴 终曲 ( 作品 78 号 ) 卡米耶 圣 - 桑 (1835-1921) Listen Later This concert will be recorded for delayed broadcast by ABC Classic. You can hear it again on 13 February at 8pm.
CONCERT PROGRAM Li Huanzhi (1919-2000) Spring Festival: Overture Born in Hong Kong to a family originally from Fujian, Li Huanzhi studied in Shanghai and Yanan, rising to become one of the most influential musicians in the People s Republic of China. He was a teacher of distinction at the North China United University, and had associations with the Central Conservatory of Music, the Central Ensemble of Songs and Dances, Central Chinese Orchestra and the Chinese Musicians Association, which he chaired from 1985. Li was one of the composers who pioneered the blending of Western and traditional Chinese music, which in turn led to new performance techniques and sounds from traditional Chinese instruments. His Spring Festival suite is a four-movement work that exploits this melange, which was composed in 1955-56 and premiered in Beijing at the 1956 First National Music Week. Its first movement, the Overture, has become so popular it is often taken for a piece of traditional music. The Overture exists in several orchestrations for Chinese or Western instruments or various combinations thereof. Its musical material, however, is largely drawn from traditional sources, namely the music of the Shanbei region of Shaanxi Province. The dance-filled opening and closing sections both use dance-tunes from Shaanxi that are associated with spring and its traditional activities; a slower central section provides lyrical contrast. In 2007, Li s Overture was one of 30 pieces loaded onto China s first lunar probe, Chang e 1, which beamed the music back across 380,000 kilometres of space. Johann Strauss II (1825-1899) Die Fledermaus: Overture It has been estimated that at certain times of day during the 19th century fully one quarter of Vienna s adult population might have been found at any one of the city s hundreds of dance halls, and the Strauss dynasty, in particular, made such dance music into high art famed throughout the world. Like most of his family, Johann II was always commercially astute, and also composed nearly 18 operettas for a growing and insatiable Viennese market. The third of his completed works in the genre, Die Fledermaus ( the bat ), opened in Vienna in 1874 and has stayed in the repertoire ever since. It is based on a French farce, modified to suit Viennese taste and customs, in which the familiar elements of adultery, mistaken identity and disguise combine to great comic effect in settings as various as the ballroom of a Russian Prince and the local prison. Eisenstein, a young Viennese aristocrat, must serve a night or two in prison for an indiscretion, allowing his wife, Rosalinde, a free evening with her lover, who is, of course, wrongly dragged off to prison. Rosalinde disguises herself as a Hungarian countess and goes to a ball only to discover her maid, also disguised (in her mistress dress) as an actress, and her husband, who thought he d take in a few waltzes before settling in at the lock-up for the night, and who unwittingly tries to seduce his masked wife. The next morning everyone winds up at the prison. There it is revealed that Eisenstein s friend Falke has orchestrated the whole mess in revenge for having been left by Eisenstein to walk home from another drunken fancy dress party in the costume of a bat. The Overture is a mixture of themes from the operetta, beginning with the music from the prison scene in Act III, but dwelling lovingly on the waltz. Gordon Kerry Traditional (Arr. Tu Yejiu (1927-2001)) The Brilliant Red Flowers of Shandandan Lilium pumilum is a species of lily native to Asia. Noted for its bright red blooms, it grows wild in the Loess Plateau, which covers the upper and middle reaches of the Yellow River (Huang He). The lily s brilliant red flowers gave rise to an ancient legend about the River s ancestors who, despite year-round constant labour in the harsh environment, reaped a meagre harvest. This so moved the River Spirit that it cried tears which fell on the barren yellow land and blossomed into the beautiful red flowers of Shandandan. This traditional folk song, inspired by the legend, originated in Shaanxi Province and is one of China s most beloved and well known. A popular version of the song commemorates the Red Army s successful arrival in Shaanxi, where the sight of the flowers in bloom inspired the army to continue its journey. Zhou Long (born 1953) The Rhyme of Taigu Zhou Long was born into an artistic family in Beijing and began music lessons at a young age. As a teenager during the Cultural Revolution he was sent to the countryside, where he worked for five years as a manual labourer on a staterun farm. A back injury caused him to be reassigned to musical duties, and it was during this time that his interest in the synthesis of Eastern and Western aesthetic concepts was sparked. Following subsequent study at Beijing s Central Conservatory of Music he moved permanently to the United States where he has enjoyed a highly successful career as a composer and educator. In 2011 he was awarded the Pulitzer Prize for Music for his opera, Madame White Snake. The Tang dynasty (618-907), widely regarded as a high point in Chinese civilization and culture, has been a source of inspiration for several of Zhou Long s works, including The Rhyme of Taigu (2003). The term taigu refers to the ancient Chinese percussion tradition which, by means of cultural exchange between the two nations, subsequently formed the basis of Japanese taiko drumming. In The Rhyme of Taigu Zhou combines elements from Chinese and Japanese tradition in a contemporary Western context to create a powerful work driven by propulsive rhythms, with percussion and brass to the fore. Historic ritual music from the Ming dynasty Zhihua Temple in Beijing is the inspiration behind the free-flowing middle section featuring a solo clarinet, with woodwinds evoking the sound of the guanzi, a traditional Chinese double reed instrument used in the temple ensemble. A return to the bold opening motifs then drives the work to its explosive conclusion. Symphony Services International Peter Ilyich Tchaikovsky (1840-1893) Variations on a Rococo Theme, Op.33 Introduction (Moderato quasi andante) Theme (Moderato semplice) Variation I (Tempo della thema) Variation II (Tempo della thema) Variation III (Andante sostenuto) Variation IV (Andante grazioso) Variation V (Allegro moderato) Variation VI (Andante) Variation VII and Coda (Allegro vivo) A nostalgia for the world of the 18th century, thought of as refined, elegant and gently civilised, is never far from the surface in the highly Romantic art of Tchaikovsky, and it was Mozart who symbolised for him the best of the former century. This set of variations is his finest tribute to his idol s art.
Tchaikovsky composed the Rococo Variations in 1876 for a cellist and fellow-professor at the Moscow Conservatorium, Wilhelm Fitzenhagen, whose alterations to Tchaikovsky s original are in general usage among players today. The work s introduction and theme are followed by seven variations. In no way does it detract from the success of Tchaikovsky s Variations that the Mozart he emulates contains no turbulent emotions. In short, the Variations are far from the real Mozart. Charming, elegant, deftly written, they are equally gratifying to virtuoso cellists and to audiences. Symphony Australia Alexander Borodin (1834-1887) In the Steppes of Central Asia, Op.7 Borodin was fascinated with the cultural diversity of his native Russia, its nearness to the Middle East and China, and the Eastern influences that had seeped into the fabric of its folk music through the course of history, and which had provided him with a wealth of exotic scales and harmonies to feed his compositions. It was his intention, in the 1880 symphonic picture In the Steppes of Central Asia, to represent images of a patriotic character from Russian history and its place in the East. The following is an account of the original program Borodin intended, and which was published amongst the program notes which accompanied the first performance: In the silence of the monotonous sandy steppes of Central Asia are heard the foreign strains of a peaceful Russian song. From the distance we hear the approach of horses and camels and the melancholy notes of an oriental melody. A caravan emerges out of the boundless desert, escorted by Russian soldiers, and continues safely and fearlessly on its long way under the armed protection of Russia. It slowly disappears. The tranquil songs of the conquerors and conquered and of the native population merge into a common harmony, echoes of which linger on as the caravan disappears in the distance. Symphony Australia Liu Tieshan (born 1923) Arr. Mao Yuan (born 1926) Dance of the Yao Tribe In the 1950s the newly formed People s Republic of China sent classically trained composers out to experience, record and transform the music of ethnic minorities into works that would unify the people and glorify the regime. These composers, as Helen Rees notes, grappled with issues like how much to change minority music to fit the taste of the majority Han people, which languages to use, and so on. The 28-year-old Liu Tieshan was one such, visiting the northern area of Guangdong Province, in China s southeast, in 1951. There he witnessed the Long Drum dances of the local Yao people, who dance while carrying their metrelong instruments, dressed in colourful flowing costumes. Liu composed an ensemble piece based on the Yao dances, and in 1952 his colleague Mao Yuan made a version for symphony orchestra that uses a large range of colour. There are three main elements to the piece: a moderately fast opening where regular phrases are accompanied by a longshort-short rhythm; a contrasting faster section, also in two beats to a bar, and lyrical central section in 3/4. After this, the faster music returns, with a final passage at breakneck speed. Gordon Kerry 2019 Chen Gang (born 1935) & He Zanhao (born 1933) The Butterfly Lovers Violin Concerto (excerpts) The well-known legend of the Butterfly Lovers, which dates from the Jin dynasty (265-420), concerns Zhu Yingtai, the daughter of a rich landowner, who disguises herself as a boy and sets off from her home village to study in Hangzhou. There she meets fellow student Liang Shanbo and, over the next three years, their friendship deepens. On completion of her studies Zhu returns home where she is promised in marriage to the son of a wealthy family. When Liang visits Zhu and discovers her true identity and that she is betrothed to another, the two part and Liang later dies of a broken heart. Before her wedding, Zhu visits Liang s tomb and as a storm erupts, she leaps into Liang s open grave. When the storm subsides the lovers emerge from the grave as butterflies, never to be parted. The tale has seen many dramatic and musical adaptations. Chen Gang and He Zhanhao wrote this orchestral representation in 1959 when they were both students at the Shanghai Conservatory. The concerto is structured in a single movement and closely follows the story s narrative, with melodic references to Shanghai opera and the solo violin drawing on erhu technique (versions also exist for solo erhu and traditional Chinese orchestra). The concerto was premiered to great success in Shanghai on 27 May 1959 and made stars of its composers and its soloist, violinist Yu Lina. The work and the artists fell out of favour in the late 1960s; however in recent decades it has regained popularity and is now a staple of the repertoire for Chinese and, increasingly, Western orchestras. Symphony Services International Camille Saint-Saëns (1835-1921) Symphony No.3 in C minor, Op.78 Organ : Maestoso Allegro One of the foremost French composers of the second half of the 19th century, Saint-Saëns was equally renowned as an organist and pianist. A precocious child prodigy, he made his public debut aged ten at the Salle Pleyel in Paris, when he offered to play, as an encore, any one of Beethoven s 32 piano sonatas. As a composer Saint-Saëns was extremely prolific and wrote with great fluency, and in his works may be found a steadfast adherence to the perennial values of French music: clarity, lucidity and order qualities that have at times led to criticisms of his music as technically brilliant but lacking in vision and depth. He was deeply influenced by Liszt, whose symphonic poem Battle of the Huns inspired the use of the organ in Saint-Saëns Symphony No.3, commissioned by the Royal Philharmonic Society and premiered in London in 1886. It is to Liszt that the published version of the symphony is dedicated. The Organ Symphony is one of Saint-Saëns most frequently performed works and in recent decades has achieved a certain amount of popular success, following its quotation in the soundtrack for the 1995 movie Babe. Notwithstanding its modern association with the little talking pig, the symphony has established itself as an orchestral showpiece in which Saint-Saëns gives literal meaning to the cliché pulling out all the stops. Tonight we hear the finale, in which the climax builds through fanfares, four-hand piano figures, loud organ chords and extensive fugal writing, carrying the work through to its triumphant conclusion. Symphony Services International
DANE LAM Conductor 澳大利亚指挥家戴恩兰姆是中国西安交响乐团的首席指挥和艺术总监 被澳大利亚著名古典音乐杂志 Limelight 誉为 澳大利亚最有才华的年轻指挥家之一 ; 曼彻斯特晚报 称其为 掌握节奏和精准复杂性的大师, 他可以驾驭众多大型及多变的曲目, 是备受赞誉 充满激情的音乐家 在加入西安交响乐团之前, 戴恩在利物浦爱乐青年管弦乐团担任首席指挥, 曾担任荷兰歌剧院副指挥, 并担任法国国家管弦乐团指挥 Kurt Masur 和悉尼交响乐团指挥 Gianluigi Gelmetti 的助理指挥 戴恩于 18 岁时首次与悉尼交响乐团在悉尼歌剧院演出 此后他指挥的身影遍布四大洲的管弦乐团, 包括墨尔本和昆士兰交响乐团, 曼彻斯特小交响乐团, 韦尔比耶音乐节, 索菲亚音乐节管弦乐团, 波多黎各贝多芬管弦乐团 茱莉亚乐团 皇家利物浦爱乐乐团 伦敦爱乐乐团和牛津大学管弦乐团等 戴恩出生于一个音乐世家, 从小学习弹钢琴, 随后学习单簧管演奏 他通过参加澳大利亚交响乐的指挥家发展项目, 接触到指挥 师从 Gwyn Roberts, 在昆士兰大学完成学业后, 22 岁的戴恩被纽约茱莉亚音乐学院的录取, 师从 James DePreist, 攻读研究生学位 他也曾在意大利锡耶纳音乐学院进修, 师从指挥大师 Maestro Gelmetti Australian conductor Dane Lam is Principal Conductor and Artistic Director of China s Xi an Symphony Orchestra. Acclaimed by Limelight Magazine as one of the most talented young conductors Australia has produced and by the Manchester Evening News as a master of rhythmic and articulatory complexities, he has earned a reputation as an electrifying musician in a large and varied repertoire. Prior to Xi an, Dane enjoyed highly acclaimed tenures as Principal Conductor of the Liverpool Philharmonic Youth Orchestra, Associate Conductor with Opera Holland Park and as Assistant Conductor to Kurt Masur at the Orchestre National de France and Gianluigi Gelmetti at the Sydney Symphony. First appearing with the Sydney Symphony in the Sydney Opera House at age eighteen, Dane has since conducted orchestras on four continents including the Melbourne and Queensland Symphony Orchestras, Manchester Camerata, Verbier Festival Orchestra, Sofia Festival Orchestra, Beethoven Orchester Bonn and the Juilliard Orchestra. Recent and future engagements include La traviata at Scottish Opera Don Giovanni Mascagni s Iris Aida and Alice s Adventures in Wonderland at Opera Holland Park as well as a full season of symphonic concerts with the Xi an Symphony Orchestra. Highlights include La traviata Tosca Le nozze di Figaro, Beethoven s Emperor with Yundi Li and Brahms First Symphony. Other engagements have included Opera Holland Park s productions of Aida, Il barbiere di Siviglia and Norma, RTE Concert Orchestra (Dublin), Manchester Camerata, Royal Liverpool Philharmonic Ensemble 10/10, Oxford University Orchestra, British Youth Opera s The Bartered Bride and Paul Bunyan and RNCM Opera s La Clemenza di Tito and Carmen. He made his German début with the Munich Radio Orchestra and his Royal Festival Hall début with members of the London Philharmonic Orchestra as part of London Music Masters Bridge Program. He has conducted in Asia with the Hokkaido Chamber Players and also toured the continent as assistant conductor with the Orchestre National de France. Dane made his New Zealand debut with Dunedin s Southern Sinfonia and has returned on numerous occasions. He led the world première season of Jonathan Henderson s opera Dirty Apple with Opera Queensland. Born into a musical family, Dane began to play the piano as a child, followed by studies in clarinet. He was first introduced to conducting through the Symphony Australia Conductor Development Programme. After completing his study at the University of Queensland under Gwyn Roberts, Dane was accepted (aged 22) as a postgraduate student under James DePreist at New York s Juilliard School. He also studied under Maestro Gelmetti at Siena s Accademia Musicale Chigiana. Patrick Togher Artists Management 2017 LI-WEI QIN Cello An exclusive Universal Music China Artist, Li-Wei Qin has appeared all over the world as a soloist and as a chamber musician. After achieving great success at the 11th Tchaikovsky International Competition where he was awarded the Silver Medal, Li-Wei has since won the First Prize in the prestigious 2001 Naumburg Competition in New York. A superbly stylish, raptly intuitive performer Gramophone Magazine, January 2015) was the description of the cellist s Elgar and Walton concerti recording with the London Philharmonic. During the 17/18 season, Li-Wei made his debut with the London Symphony Orchestra and the Russian Philharmonic Orchestra. He also appeared with the Melbourne Symphony Orchestra as well as China National Symphony Orchestra 2018 North American tour. Other engagements included a return to the Finnish Radio Orchestra, West Australian and Adelaide Symphony Orchestras, China Philharmonic and Auckland Philharmonic Orchestras. Two times soloist at the BBC Proms in London s Royal Albert Hall, Li-Wei has enjoyed successful artistic collaborations with many of the world s great orchestras including all the BBC Symphony Orchestras, the Los Angeles Philharmonic, London Philharmonic, the Rundfunk-Sinfonieorchester Berlin, the NDR-Sinfonierorchester Hamburg, the Konzerthausorchester Berlin, the Basel Symphony, the Prague Symphony, the Osaka Philharmonic, Hong Kong Philharmonic, China Philharmonic, the Sydney Symphony and Melbourne Symphony among many others. Leading conductors with whom he has worked include Marek
Janowski, Jaap Van Zweden, Jiri Belohlavek, Jan Pascal Totelier, Hans Graf, Yu Long, Sir Andrew Davis and Vladimir Ashkenazy, the late Machello Viotti and the late Lord Menuhin. Li-Wei has also appeared with chamber orchestras such as the Kremerata Baltika, Sinfonia Vasovia, the Munich, the Zurich, the Australian Chamber Orchestras. In recital and chamber music, Li-Wei is a regular guest at the Wigmore Hall and for the Lincoln Center Chamber Music Society, New York. He has appeared at the BBC Proms, the Rheinghau, the City of London, the Schlewigs-Holstein and the Mecklenburg Festivals. Li-Wei has collaborated with musicians such as Daniel Hope, Nabuko Imai, Misha Maisky, David Finckel, Wu Han, Vladimir Mendelssohn and Peter Frankel, among many others. Li-Wei s recordings on Universal Music/Decca include the complete Beethoven Sonatas, Works of Rachmaninov with pianist Albert Tiu, Dvořàk Concerto with Singapore Symphony Orchestra and conductor Lan Shui and Elgar/ Walton Concerti with the London Philharmonic. Most recently, courtesy of Universal Music, Li-Wei s 2013 live concert with the Shanghai Symphony and Maestro Yu Long has been released on Sony Classical. Born in Shanghai, Li-Wei moved to Australia at the age of 13, before accepting scholarships to study with Ralph Kirshbaum at the Royal Northern College of Music, Manchester and with David Takeno at the Guildhall School of Music and Drama, London. He was invited to join the BBC New Generations scheme in 2001 and in 2002, Li-Wei received the Young Australian of the Year Award. Other major invitations included appearances at both the 2008 Beijing Olympics (New Zealand Symphony), 2012 London Olympics and the Davos World Economics Forum (Basel Symphony Orchestra). Prior to teaching at the YST Conservatory, Li-Wei was a professor of cello at the Royal Northern College of Music, Manchester. He is also a guest professor at Shanghai and Central Conservatory of Music in China. Li-Wei plays a 1780 Joseph Guadagnini cello, generously loaned by Dr and Mrs Wilson Goh. 秦立巍, 当今世界乐坛上最为杰出的大提琴演奏家之一 ; 他是英国皇家北方音乐学院有史以来最年轻的终身教授 被英国 BBC 广播公司誉为 新一代艺术家 称号等 纽约时报 曾评价他的演奏 拥有无瑕的音准, 钢铁般的技巧和柔美的音色 身为 环球音乐 独家签约中国艺术家, 秦立巍作为独奏家和室内音乐家的演奏遍布世界各地 他先后与英国皇家利物浦爱乐乐团 英国皇家苏格兰国家交响乐团 英国 BBC 广播公司爱乐乐团 BBC 苏格兰交响乐团 洛杉矶爱乐乐团, 伦敦爱乐乐团, 伦敦爱德华音乐学院, 伦敦交响乐团 波地莫室内乐团 俄罗斯国家交响乐团 墨尔本交响乐团 悉尼交响乐团 BBC 威尔士国家交响乐团 布拉格交响乐团 柏林广播交响乐团 中国爱乐乐团 中国国家交响乐团 大阪爱乐乐团, 香港爱乐乐团等合作演出 他也应邀参加 2008 年北京奥运会 ( 新西兰交响乐团 ),2012 年伦敦奥运会和达沃斯世界经济论坛 ( 巴塞尔交响乐团 ) 演奏 秦立巍在演奏之外, 他还致力于音乐教育工作, 包括在英国 新加坡 中国教学 在新加坡杨秀桃音乐学院任教前, 秦立巍是曼彻斯特皇家北方音乐学院的大提琴教授 他还是中国上海音乐学院和中央音乐学院的客座教授 秦立巍 13 岁时便获得中国全国大提琴比赛第一名,1992 年获得澳洲全国大提琴比赛第一名 ; 迄今为止, 秦立巍已包揽了 12 个国际大赛的第一名 1998 年, 秦立巍获得第 11 届柴可夫斯基音乐比赛大提琴银奖 ;2002 年, 秦立巍当选澳大利亚 十大杰出青年 HARMONNIA JUNUS Violin Australian born violinist Harmonnia Junus has performed extensively throughout the United States, Europe, Asia and Australia. Most recently, she appeared with the Evergreen Symphony Orchestra on their Australian Debut Tour The Sound of Taiwan performing at the Sydney Opera House and Brisbane City Hall. Also under the baton of maestro Gernot Schmalfuss, Ms. Junus performed with the Evergreen Symphony Orchestra at the National Concert Hall in Taipei, Taiwan and has appeared with the Sichuan Philharmonic Orchestra in the JaoZi Concert Hall in Chengdu, China with conductor Xu Dong Yang. Ms. Junus has performed in venues including Carnegie Hall, Lincoln Center s Alice Tully Hall, the National Opera Center, Symphony Space, the National Cathedral in Washington D.C. Ms. Junus is the co-founder and Artistic Director of New York based performance collective Artists By Any Other Name - an interdisciplinary ensemble centred around classical music and contemporary dance. The group has been an incubator for a variety of projects that experiment and expand on traditional conventions of the form. As an active chamber musician, Ms. Junus performs regularly with various groups. When touring in Taiwan with pianist Eduard Laurel, the duo performed at the Taichung Seaport Arts Center, Kaohsiung Cultural Center and the National Recital Hall in Taipei. As a member of Ensemble NYC, Ms. Junus performed in New York City, South Korea and Australia. Ms. Junus is the Artistic Director of Young Artist Exchange, a festival where students and teachers from Australia, China and the United States connect through music and the arts. She was also a chamber music coach for Zhang Summer School. Harmonnia Junus earned her Bachelor and Master of Music degrees from New York s Mannes College the New School for Music under the tutelage of Sally Thomas. Other notable teachers include Dr. Goetz Richter, Daniel Phillips, Stephanie Chase and Professor Shi-Xiang Zhang.
出生于澳大利亚悉尼的青年小提琴家熊湉雯演奏身影遍及美国 欧洲 亚洲以及澳大利亚 在卡内基厅, 林肯中心, 国家歌剧中心, 交响乐空间, 华盛顿国家大教堂 高雄文化中心以及悉尼歌剧院, 布里斯班市政厅 阿德雷德市政厅等著名音乐厅, 有经常性的演出 2015 年与指挥家葛诺舒马富斯的带领之下长荣交响乐团于台湾台北国家音乐厅合作演出, 随后参加长荣乐团在澳大利亚歌剧院音乐厅的首演独奏 熊湉雯也曾与四川爱乐乐团在成都的娇子艺术中心合作演出 除了独奏家身份, 熊湉雯也是 纽约艺术家联盟 Artists by Any Other Name 的发起人之一和艺术总监 纽约艺术家联盟 的宗旨是运用艺术共生的想法, 以结合音乐 舞蹈 戏剧 以及视觉艺术的复合表演方式来吸引更多的观众欣赏 她同时也是 国际青少年艺术家节 Young Artist Exchange 的创办人和艺术总监, 通过艺术节的创意课程, 用音乐和艺术, 连接来自澳大利亚 中国和美国的学生和老师 熊湉雯从小师从著名小提琴家张世祥教授及 Goetz Richter 教授, 屡次在澳大利亚青少年小提琴比赛首奖 十六岁负笈至美国纽约, 考入美国纽约曼尼斯音乐学院预备学校, 师从世界闻名的小提琴家 Sally Thomas 教授, 主攻小提琴演奏 2011 年和 2015 年顺利取得纽约曼尼斯新音乐学院学士与硕士学位 The Chinese Art School of SA was founded in 2008, its aim is to provide a place for our community to showcase traditional Chinese culture through Chinese dance. Through this platform, we are introducing Chinese culture, Chinese dance and music, as well as Chinese language to the wider community in South Australia. The Chinese Art School of SA also provides workshops with school and community groups to further cultural exchange and enable experiential learning environments. In the past 12 years, we have been invited to a number of events such as the OZ Asia Festival, China Town Chinese New Year Celebration Street Party and Asia Fest. Jie Zhu, the founder and director of the Chinese Art School, has been nominated for the SA Governor s Multicultural Award and the Educators SA Young Teacher of the Year award and was awarded the Smolicz Language scholarship at the University of Adelaide. CHINESE NEW YEAR CONCERT VIOLINS Natsuko Yoshimoto** (Concertmaster) Cameron Hill** (Associate Concertmaster) Shirin Lim* (Principal 1st Violin) Michael Milton** (Principal 2nd Violin) Lachlan Bramble ~(Associate Principal 2nd Violin) Janet Anderson Ann Axelby Helen Ayers Minas Berberyan Gillian Braithwaite Julia Brittain Hilary Bruer Elizabeth Collins Jane Collins Judith Coombe Alison Heike Danielle Jaquillard Alexis Milton Jennifer Newman Julie Newman Emma Perkins Alexander Permezel Kemeri Spurr VIOLAS Caleb Wright** Michael Robertson~ (Acting Associate) Martin Butler Lesley Cockram Linda Garrett Anna Hansen Rosi McGowran Cecily Satchell Heidi von Bernewitz CELLOS Simon Cobcroft** Ewen Bramble~ Sarah Denbigh Christopher Handley Sherrilyn Handley Thomas Marlin Gemma Phillips David Sharp Cameron Waters DOUBLE BASSES David Schilling** Jonathon Coco~ Louis Cann David Phillips Harley Gray Belinda Kendall- Smith FLUTES Geoffrey Collins** Sabine Daniels Lisa Gill PICCOLO Sabine Daniels* OBOES Rachel Bullen** Renae Stavely COR ANGLAIS Peter Duggan* CLARINETS Dean Newcomb** Darren Skelton BASS CLARINET Mitchell Berick* BASSOONS Mark Gaydon** Leah Stephenson CONTRABASSOON Jackie Newcomb* HORNS Adrian Uren** Emma Gregan Philip Paine Timothy Skelly TRUMPETS Owen Morris** Martin Phillipson~ Gregory Frick TROMBONES Colin Prichard** Ian Denbigh BASS TROMBONE Howard Parkinson* TUBA Peter Whish-Wilson* TIMPANI Andrew Penrose* PERCUSSION Steven Peterka** Jamie Adam Samuel Butler Amanda Grigg HARP Suzanne Handel* PIANO Jamie Cock* Katrina Reynolds* ORGAN Peter Kelsall* ** denotes Section Principal ~ denotes Associate Principal * denotes Principal Player
BOARD MEMBERS Kate Gould (Chair) Vincent Ciccarello Geoffrey Collins Andrew Daniels Elizabeth Davis Byron Gregory David Leon Karen Limb Andrew Robertson MANAGEMENT Executive Vincent Ciccarello Simon Lord Shivani Marx Paola Niscioli Shelley Woodward Shecky Leask Artistic Andrew Groch Vicki McGregor Kane Moroney Development Alexandra Bassett Rae O Connell Hannah Truth Finance, People & Culture Nicole Mathee Karin Juhl Sarah McBride Emma Wight Marketing Tom Bastians Renato Capoccia Cheree McEwin Ashleigh McManus Georgie Phillips Jemma Matthews Leigh Mack Operations Karen Frost Janet Carey Kathleen Cowie Bruce Stewart Declan Smith William Jarman Friends of the ASO Committee Managing Director Director, Artistic Planning Director, People & Culture Director, Marketing & Development Senior Accountant Executive Administrator Artistic Coordinator Learning & Community Engagement Coordinator Audience Development Coordinator Donor Relations Manager Corporate Partnerships Manager Development & Events Coordinator Accountant Accounts Coordinator Payroll and People Coordinator Administrative Assistant Customer Service Manager Marketing Manager Publicist Marketing Coordinator Marketing Assistant Box Office Assistant Box Office Assistant Orchestra Manager Orchestra Coordinator Orchestral Librarian Orchestral Librarian (on leave) Production & Venue Coordinator Production & Venue Coordinator Michael Critchley President John Pike Past President Hon. David Wotton AM & Mr. John Terpelle Vice Presidents Judy Birze Treasurer/Public Officer John Gell Assistant Secretary/Membership Ruth Bloch Secretary Chinese New Year Concert Program Staff Corey McMahon Michele Zhuang Concert Director Concert Coordinator Adelaide Festival Centre is the heart of the arts in South Australia. Established in 1973, it is Australia s first capital city arts venue and hosts more than one million people annually. As well as presenting theatre, dance, music, and exhibitions, Adelaide Festival Centre creates diverse festivals to inspire, challenge, educate, and entertain. We welcome audiences of all ages, experience and cultures. TRUSTEES Michael Abbott AO QC Chair Jim Hazel Deputy Chair Mary Hamilton Phil Hoffmann AM Carolyn Mitchell Tony Smith Kate Thiele Sandy Verschoor, the Right Honourable Lord Mayor of Adelaide MANAGEMENT CEO & Artistic Director Chief Operating & Financial Officer Director of Programming, Development & Venue Sales Director of Marketing, Sales & Audience Engagement Head of Public Affairs Head of Digital Associate Director of Programming Associate Director of Brand & Customer Experience Executive Producer, Cabaret & Commercial Technical Manager Manager Ticketing Manager Philanthropy Manager Food & Beverage Manager Finance & Business Support Manager Human Resources Manager WHS & Risk Douglas Gautier AM Carlo D Ortenzio Liz Hawkins Kristen Eckhardt Ruth Sibley Greg Adams Beck Pearce Yolanda Sulser Ebony Bott Chris Searle Natalie Adam Robyn Brown Ashlesha Chandran Christine Dunthorne Claire George Carolyn Laffin ADELAIDE FESTIVAL CENTRE FOUNDATION Legh Davis (Chair) Cathy Chong Angela Condous AM Cain Cooke Penny Johnson Joan Hardy OAM (Patron) John Sulan QC John Taplin Marion Tropeano Joe Verco AM Lauren Zwaans Adelaide Festival Centre celebrates Adelaide s designation as a UNESCO City of Music.