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House Programme Flipbook 25Apr2015
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Hong Kong Sinfonietta is financially supported by the Government of the Hong Kong Special Administrative Region
Hong Kong Sinfonietta is the Venue Partner of the Hong Kong City Hall
M
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Piano
Florian Uhlig
25.4.2015( Sat) 8pm
Hong Kong City Hall Concert Hall
Conductor
Roberto Fors Veses
Partner Hotel
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ReHKSinfonJanIssue.pdf 1 31/12/2014 12:12 PM
Great Piano Concertos: Florian Uhlig Plays Schumann
Conductor Roberto Fors Veses Piano Florian Uhlig
Dear Patrons,In order to make this performance a pleasant experience for the artists and other members of the audience, pleaserefrain from recording, filming, taking photographs, and also from smoking, eating or drinking in the auditorium.Please ensure that your mobile phones and any other sound and light emitting devices are switched off before theperformance. Thank you for your kind co-operation.
House Rules
72b A54
15
A63
Programme
Beethoven Leonore Overture No 3, Op 72b
Schumann Piano Concerto in A minor, Op 54 Allegro affetuoso Andante espressivo Allegro moltoIntermezzo: Andantino grazioso Allegro vivace
- 15-minute intermission -
Sibelius Symphony No 4 in A minor, Op 63Tempo molto moderato, quasi adagioAllegro molto vivaceIl tempo largoAllegro
FM97.6-98.9www.rthk.hk2015430
2Tonights concert is broadcast live
on RTHK Radio 4 (FM Stereo 97.6 98.9 MHz and www.rthk.hk)
with a repeat on30 April 2015 (Thu) at 2pm.
2199910020092006DECCA201411
2006 20152010FRCM35
Hong Kong Sinfonietta Music Director: YIP Wing-sie Principal Guest Conductor: Christoph POPPEN
3Hong Kong Sinfonietta is one of Hong Kongs
flagship orchestras. With Yip Wing-sie as Music
Director, the orchestra has brought music closer
to the community, and has achieved significant
recognition locally and internationally for its
pass ionate per formances and innovat ive
programming.
Since 1999, Hong Kong Sinfonietta has
collaborated with an illustrious array of international
musicians and groups, including Vladimir
Ashkenazy, Plcido Domingo, Augustin Dumay, Fou
Tsong, Christopher Hogwood, Luciano Pavarotti,
Pinchas Zukerman, The Royal Ballet, Mariinsky
Ballet, Bolshoi Ballet, English National Ballet,
American Ballet Theatre, New York City Ballet,
Stuttgart Ballet and Tanztheater Wuppertal Pina
Bausch. The orchestra has also been a regular
participant at all the major festivals in Hong Kong
including the Hong Kong Arts Festival, Le French
May, Hong Kong International Film Festival and
festivals presented by the Hong Kong Government.
It also partners regularly with Hong Kong Ballet and
Opera Hong Kong in their staged productions.
The orchestra performs year-round with over 100
performances a season and has been the Venue
Partner of the Hong Kong City Hall since 2009.
Apart from standard orchestral repertoire, Hong
Kong Sinfonietta, as an avid believer of keeping
music alive and contemporary, commissions and
performs new works every year and ventures into
crossover concerts both at the City Hall and at the
residency at ArtisTree. Launched in 2006, the HKS
Artist Associate scheme provides a platform for
intensive collaboration with local artists from
different arts disciplines to expand the horizon of
classical music. The orchestras discography includes
CDs of works by Chinese composers on HUGO and
three double-CD albums This is Classical Music on
DECCA. The third album has been awarded a Gold
Record since its release in November last year.
On the educational front, Hong Kong Sinfonietta
has pioneered specially-designed concerts for
different age groups. New concepts on the Hong
Kong concert stage, Good Music for Kids, Good
Music for Babies, Know Your Classical Music,
Short-cut to Classical Music and HKS McDull Music
Project have provided a new realm in audience
development. Since 2010, Hong Kong Sinfoniettas
chamber music concerts have continued to break
down barriers between music and audience as we
perform at unconventional spaces.
On tour, Hong Kong Sinfonietta has been invited to
perform in North America in Canada and New York
City; in Brazil, Argentina and Uruguay in South
America; in Europe at the prestigious Festival
International de Piano La Roque dAnthron, Saint-
Riquier Festival and Les Flneries Musicales dt de
Reims in France, Festival Pianistico Internazionale
Arturo Benedetti Michelangeli and Settimane
Musicali al Teatro Olimpico in Italy, Warsaw
Philharmonic Concert Hall in Poland and in Lithuania;
in China at the Shanghai Spring International Music
Festival and China Shanghai International Arts
Festival (Expo 2010 Shanghai), in Beijing at the
National Centre for the Performing Arts; in Japan in
Nagano and at La Folle Journe in Tokyo and Niigata.
In 2015, the orchestra has been invited to perform in
Korea at the Tongyeong International Music Festival
and will make its dbut in Switzerland in October.
Music Director Yip Wing-sie, one of Asias most
respected conductors, was the winner of the First
Prize and LYRE dOR in the 35th Concours
International de Jeunes Chefs dOrchestre de
Besanon, the Koussevitsky Scholarship, the Seiji
Ozawa Fellowship Award and a prizewinner in the
8th Tokyo International Conducting Competition.
She has studied with Seij i Ozawa, Leonard
Bernstein, Gustav Meier, Gennady Rozhdestvensky
and Norman Del Mar.
The Hong Kong Sinfonietta Limited is a registered charity.
9833/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong
Tel : (852) 2836 3336 Email: [email protected] Fax : (852) 2783 9819 Website: www.HKSL.org
4
20062007
2008
Conductor
Roberto Fors Veses
5Roberto Fors Veses is the Chief Conductor and
Artistic Director of Orchestre dAuvergne, France.
Born in Valencia, Fors Veses studied orchestral
conducting at Accademia Musicale Pescarese and
at the Sibelius Academy in Helsinki, where he
earned his masters degree under the tutelage of
Leif Segerstam.
Fors Veses career progressed in an exponential
way since he won the First Prize and Special Prize in
the Luigi Mancinell i Opera Conductors
International Competition 2006 in Orvieto and
Third Prize at the Evgeny Svetlanov Conducting
Competition 2007. It brought him appearances at
the Bolshoi Theatre, Teatro Regio di Torino, Opra
de Nice, Opra Orchestre National de Montpellier,
Orchestra Sinfonica di Milano Giuseppe Verdi, the
Hague Philharmonic and New Russian State
Symphony Orchestra.
As an expression of his versatility, Fors Veses is
devoted to the symphonic as much to the operatic
repertoire. In 2008, he made his dbut at the
Teatro Regio di Torino conducting Salome and Elisir
dAmore, and at the Bolshoi Theatre with Macbeth.
In the following years, he conducted in several
French theatres: Il Viaggio a Reims, Die Zauberflte,
Cenerentola and Don Pasquale at Opra Grand
Avignon and Opra de Vichy, as well as Lakm at
Opra de Rouen. He has also led productions such
as Amahl and the Night Visitors, Cos fan Tutte, La
Finta Giardiniera at Svenska Teatern of Helsinki and
La Bohme at the Orvieto Opera Festival.
Fors Veses has conducted orchestras including
Orchestre National de Lyon, Orchestre
Philharmonique du Luxembourg, Prague
Philharmonia, St Petersburg Symphony Orchestra,
Spanish Radio Orchestra, Orchestra de Chambre de
Paris, Orquesta de Valencia, Orquesta Sinfnica de
Galicia, Orquesta Filarmnica de Mlaga, Orquesta
de Crdoba and Sinfonia Finlandia.
Recent engagements of Fors Veses include
recordings and tours in Spain and Japan with
Orchestre dAuvergne, performances with State
Academic Symphony Orchestra of Russia, Orchestre
d'Avignon and Orchestre de l'Opra de Rouen as
well as appearance in Murten Classics Festival.
612
1997BBC
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20082014
Piano
Florian Uhlig
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7Florian Uhlig was born in Dsseldorf and gave his
first piano recital at the age of 12. He first studied
with Peter Feuchtwanger and continued his studies
at the Royal College of Music and the Royal
Academy of Music in London, where he lives today.
Uhlig is an unusual combination of opposites: On
one hand, he is rooted in the German music
tradition, which is associated with sobriety, style
and structure. On the other hand, he has
developed during his time in London a more
individual approach to the musical work: trenchant
liberties, eccentric repertoire combinations and a
curiosity for musical rarities.
Uhlig made his orchestra dbut in 1997 at the
Barbican Centre in London. Since then, his many
concerts have taken him to major concert halls in
Berlin, London, Vienna, Munich, Paris, New York,
Istanbul, Caracas, Johannesburg, Seoul and Beijing.
He has played in concert with orchestras such as
BBC Symphony Orchestra, Stuttgart Philharmonic,
German Radio Philharmonic, Dresden Philharmonic,
Polish Radio Symphony Orchestra, Taiwan
Philharmonic, Vienna Chamber Orchestra and
Simn Bolvar Youth Orchestra of Venezuela with
Krzysztof Pendereckis Piano Concerto conducted
by the composer.
Invitations to festivals have taken him, for example,
to Beethoven Festival in Bonn, Mecklenburg-
Vorpommern Festival, Schleswig-Holstein Music
Festival, Menuhin Festival Gstaad, Ludwig van
Beethoven Easter Festival in Warsaw and Hong
Kong Arts Festival. Along with his work as a soloist,
Uhlig is also a sought-after chamber musician and
song accompanist. He was the last partner of the
legendary baritone Hermann Prey. His extensive
repertoire ranges from Baroque to the present, but
does not by any means feature only the ubiquitous
heavyweights of the literature.
Uhligs CD recordings have been released for years
by Hnssler Classic, including the complete works
for piano and orchestra by Schumann and
Shostakovich, as well as the work in progress,
recording all the solo piano works by Schumann. In
2013, a recording was released which includes
piano concertos by Ravel, Poulenc, Franaix and
Debussy, as well as another one with
Resurrection piano concerto by Penderecki. A
CD with Ravels complete works for solo piano
followed in 2014.
Since 2008, Uhlig has been Artistic Director of the
Johannesburg International Mozart Festival. He was
appointed Professor of Piano at Hochschule fr
Musik Carl Maria von Weber in Dresden in 2014.
91920150
1770-1827 72bFidelio
121802Emanuel Schikaneder181418051120180632018145231805
EB
(2) (2) (2) (2) (4) (2) (3)
10
18101856A54
1841Fantasie813184611
Ferdinand Hiller28ACAAA2/4F(ABA)C
A
(2) (2) (2) (2) (2) (2)
1865-1957A63
Aino190851349191019113
11
19099
Eero JrnefeltKareliaKoli191143
StenhammarPaul Weingartner6019129[Delius]tritone
Glocktubular bells()glockenspiel
(2) (2) (2) (2) (4) (2) (3)
Nick BreckenfieldNick Breckenfield
whatsonwhen.com13-
12
Ludwig van Beethoven (1770-1827)
Leonore Overture No 3,Op 72bBeethoven made three attempts to compose hissingle opera, which he always wanted to callLeonore (the name of the heroine). However, sinceits final reincarnation it has been known as Fidelio,which refers to the male identity taken by itsheroine. Moreover Beethoven wrote four overturesfor it, three of which unfortunately rather laHollywood are called Leonore Nos 1, 2 and 3. It isthe odd one out, called Fidelio which is now firmlyensconced as the overture to the opera as weknow it.
Beethoven was notorious for agonising over hisworks, and he left sketchbooks full of possibleworkings. Commissioned in 1802 by the thenmanager of Vienna's Theater an der Wien,Emanuel Schikaneder (Mozart's original Papagenoand, indeed, l ibrettist of The Magic Flute),Beethoven worked on this escape opera for 12years. Its first, three-act incarnation, was premieredon 20 November 1805 but only lasted threeperformances. Immediately revised it only played
two nights from 20 March 1806, and it had to waita further eight years to reach a final version, in twoacts. In fact, that had to wait for its own secondperformance, on 26 May 1814, to be heralded bythe Fidelio Overture specially written for it.
When originally unveiled, the 1805 version hadbeen preceded by Leonore Overture No 2, whereasfor the first revision, just four months later, this hadalready been superseded by tonights LeonoreOverture No 3. The exact composition date ofLeonore Overture No 1 is not known, and there arevarious arguments to say it was his first attempt orit was written for a later private performance anddiscarded unplayed. Suffice to say Beethoven'schange of heart about the quite-similar second andthird Leonore overtures was to do with hisrealisation that, based so closely on the operasnarrative, using either of them as a curtain raiserwould spoil the opera. Thus he made his fourthattempt in Fidelio: lighter, shorter, and less overtlybased on the operas themes. And what were thethemes? Well the story concerns Leonore who, inan attempt to find and free her husband Florestan, imprisoned by the evil Pizarro dressesas a boy, Fidelio, to infiltrate the castle whereFlorestan is being held prior to his execution.
Two orchestral classics that perhaps typify the romantic 19th century preface an early 20th-century masterpiece in tonights concert. Beethovens overture (one of four he composed for hissingle opera) is as Wagner remarked a music drama in itself, while Schumanns famous PianoConcerto took a number of years to become a concerto, having started out as a single-movement work (the one we know as the opening movement).
After the interval, the austere, awesome power of Sibelius Fourth Symphony stands as a furthercommemoration of the Finnish composers 150th anniversary. Personal demons might have beenthe inspiration, but somehow the dark, brooding power of the music seems to offer a foretasteof what would happen only three years after the symphonys composition as Europedegenerated into war.
Programme Notes
131313
Leonore Overtures Nos 2 & 3 are in many ways verysimilar. Both begin with a slow descending scale,which leads to a woodwind chorale based onFlorestans Adagio aria from Act 2 In des LebensFrhlingstagen (In Lifes Springtime). Beethovenshortened this in Leonore No 3 and cuts to thefamous Allegro theme, quickly building. Onceagain the action is twice interrupted by the off-stage trumpet calls the fanfares changed in keyfrom the operas E-flat to B-flat to fit the overtureskey of C more easily. The music then builds againto the breathtaking and remarkable final coda,without doubt justifying Wagners comment thatthis is less an overture to a music drama than amusic drama itself.
Instrumentation of this piece
Strings: 1st & 2nd violins, violas, cellos, double basses
Woodwinds: flutes (2), oboes (2), clarinets (2), bassoons (2)
Brass: horns (4), trumpets (2), trombones (3)
Timpani
Robert Schumann (18101856)
Piano Concerto in A minor,Op 54
Allegro affetuoso Andante espressivo Allegro molto
Intermezzo: Andantino grazioso
Allegro vivace
Schumanns Piano Concerto was only finished aftera lengthy break after his original inspiration. It wasstarted in 1841, the year after his marriage to ClaraWieck, in the form of a single movement Fantasie,which corresponds to the opening movement.When Clara played it through on 13 August shewas just two weeks away from giving birth to theirfirst child, Marie. Whether because of Schumannsdifficulty in getting this single movement workpublished or not, four years later he decided to addthe Intermezzo and Allegro Vivace to form arecognisable concerto, although he himself was stillunsure of its hybrid nature, describing it assomething between a symphony, concerto and a
grand sonata. Clara gave the first performance ofthe full work on 1 January 1846 in Leipzig, withFerdinand Hiller as conductor. Needless to say, shewas heavily pregnant again: her fourth child wasborn on 8 February.
Scored for classical orchestra (double winds,trumpets and timpani, but no trombones), theconcerto opens with a thrilling call-to-arms forboth soloist and orchestra (the lengthy tuttiintroduction of old being firmly dispensed with).After the piano thunders down the keyboard, theoboe quietly intones the pulsing theme, which isthe germ for the whole work, first in A minor(followed by the soloist) and then in C major (ineffect the second subject), before A-flat brings aduet for solo clarinet and rippling soloist. Festiveand fully developed, with many distinctive changesof atmosphere, the music returns to the openingflourish, this time passed between the orchestraand soloist, before the recapitulation aims forA major. Schumann, wary perhaps of performerswhims, notated the cadenza, returning the musicto A minor, before the coda transforms the themeinto a brisk 2/4, ending with brilliance.
A delicate four-note phrase, passed between soloistand orchestra, opens the short Intermezzo(F major). In ternary form, this chirpy opening andclosing theme is contrasted with the lyrical warmthof the C major cello theme in the middle. However,the movement does not end as expected: insteadthe woodwinds remind us of the first movementstheme, and accelerate straight into the Finale, therondo theme of which is a direct development ofthe opening movements kernel. Spirited andsyncopated, with delicious episodes between eachof the themes reappearances, the music ends (withno solo cadenza) in a fitting blaze of A major.
Instrumentation of this piece
Strings: 1st & 2nd violins, violas, cellos, double basses
Woodwinds: flutes (2), oboes (2), clarinets (2), bassoons (2)
Brass: horns (2), trumpets (2)
Timpani
Solo piano
14
Jean Sibelius (18651957)
Symphony No 4 in A minor,Op 63
Tempo molto moderato, quasi adagio
Allegro molto vivace
Il tempo largo
Allegro
A drinker and a smoker (he favoured long, blackcigars), Sibelius developed a throat tumour, whichwas diagnosed at a biopsy in Helsinki. With nofunds to be able to pay for the operation, Sibeliusand his wife, Aino, went on a trip round Helsinkibusinesses to try to raise funds, and eventually thedirector of an insurance company gave up hisoffices full days takings. In late May 1908, Sibeliustravelled to Berlin to have the offending tissueremoved, although it took 13 attempts, and leftSibelius with hardly any voice for a time. It stoppedhim smoking for some eight years after, for fear ofrecurrence, but in fact he lived another 49 years.
However, the fear of what might have beencertainly took its toll, most pertinently in his FourthSymphony, started in the spring of 1910 andfinished a year later. He referred to it as both apsychological symphony and my most spiritualcomposition. March 1911 entries in his diary alsogive an indication of his worries, which includedfears for life being cut short, surrendering to fateand, more prosaically, bad reviews and continuingcash flow problems. There are also commentsabout turning to pleasanter thoughts, and how inthe symphony he has faced-up to God to fight forlife, as well as references to joyful art andlightness which have been seen as a Nietzscheanreference to an idea that by enduring sufferingleads to its own sense of fulfilment.
Yet the music seems so much more oppressive thanthat, despite the lightening of textures in theFinale. In addition to his health and wealth scares,it is often recounted that the icy landscape thatseems to be conjured up particularly in the firstmovement, was inspired by a trip Sibelius made toKoli, in northernmost Karelia in September 1909
with his brother-in-law (and neighbour), EeroJrnefelt. Credence to that interpretation can besought in Sibelius dedication of the Symphony toJrnefelt, but one must also remember Sibeliusconstant denials of any programmatic influence.
Sibelius himself conducted the premire at aconcert of his music in Helsinki on 3 April 1911,where it was met with some consternation. Aperformance in Gothenburg (conducted byStenhammar) was hissed at, but it fared betterthere than in Vienna: when Paul Weingartnerattempted to conduct it the musicians refused toplay it and some 60 years passed before Viennaactually heard it. In September 1912 Sibeliusconducted the Symphony in London, where it wasrespectfully received (Delius called it no ordinarymusic), but still remained a rarity.
The opening Adagio, which Sibelius asks to beplayed Hard, like destiny, builds an ominous,sonorous low-string theme, based on the tritone(an augmented fourth), which is about the furthestaway you can get from the normal harmonicrelationships (triads) in traditional symphonies. Along cello solo develops, then muted brass raspingsintroduce a second subject, but much of themovement is sparingly scored, bleak and (perhaps)despairing. The low-string tritone that opened themovement returns at the end before dying away.
The Scherzo cannot ever get far from threateningtritones either, and the main oboe theme isplaintive rather than overtly carefree and jocular.String oscillations lead into an unsettling section(doppio pi lento) which dispel any sense ofrelaxation, even more so as the music simply stops.
The slow movement has the feel of some ofShostakovichs haunted Adagios with long,meandering wind solos (starting with flute andclarinet), accompanied by mainly low strings. Asecond stage has an oboe duet (likened to aFinnish cow horn duet) and then an oscillatingfigure which builds to a climax, but the texturespare away again almost immediately. The suddenuse of triads offer surging strings a much moreconsolatory theme, but the movement ends with
15
the lonely flute and clarinet handing over the finalfew bars to desolate strings, underpinned by a fewpizzicato bass chords.
There is a more joyful swagger to the music of theAllegro Finale, but behind everything is the tritonethat gives an edge to the proceedings. There is alsoa new instrument added to the texture marked inthe score Glock. This has caused some dispute should it be bells (as in tubular bells) or, as moreusually heard today (and in tonights concert), aglockenspiel? Just take a moment to consider howit would sound with the alternative instrument: justanother riddle in this Symphony. Typical Sibelianstring ostinatos, and then a long pizzicato sectionpropel the music on, with snatches of the lighteropening music suddenly overtaken by surgingorchestral effects. Brass and strings, seeminglyopposed, build to a climax, re-introducing thebells/glockenspiel and the music plunges back intouncertainty. Flute and oboe interjections oversighing strings, then a sudden hint of the veryopening cello mood lead to a gloomy reiteratedchord, not a defiant end, but rather a tired,disconsolate farewell.
Instrumentation of this piece
Strings: 1st & 2nd violins, violas, cellos, double basses
Woodwinds: flutes (2), oboes (2), clarinets (2), bassoons (2)
Brass: horns (4), trumpets (2), trombones (3)
Percussion: timpani, glockenspiel
Nick Breckenfield, 2015British programme-note writer Nick Breckenfield was the
Classical Music and Opera Editor for whatsonwhen.com for 13 yearsand now works for the Borletti-Buitoni Trust
which awards young classical music artists
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CD ad bw ol.pdf 1 19/3/15 1:47 pm
Flute
Oboe
Clarinet
Bassoon
Horn
Trumpet
Trombone
Bass Trombone
Tuba Timpani Percussion
Harp Keyboard
Akiyo UESUGI (on leave)
Marrie Rose KIMMami FUKUHARA
FONG Hiu-kai Johnny CHEN Chiu-yuan
CHIN Hing-sangMinako TAGUCHI
PAW Man-hing HermannMasumi HIGASHIDESHUM Hing-cheungBenny KWAN
HUANG ShanDanilo DELFIN
Christopher RODGERSCHAN Hok-yin
KONG Tze-man Jason
LAM Wing-tsan
Akihiro MURAMOTO
CHAU Chin-tungRieko KOYAMA
Ann HUANG
Alan CHU
Violin
Viola
Cello
Double Bass
James CUDDEFORDConcertmaster
CHEUNG Man-yui KittyAssociate Concertmaster
LE Hoai-namSecond Violin Principal
TSAI LooSecond Violin Assistant Principal
CAI Pak-yiFENG Jia (on leave)Eiko HOSAKAJIA Shu-chenJohn KRUERAmbrose LUILUO Wei-minPANG Hiu-wanYANG Yu-siYIP Siu-hayCHAN Shaw-nan SharonKiann CHOWMark HUI
CHAN Tsz-shun ElvisLAU Sum-yinRingo CHANCHIN KongKIM Bo-hyun NGAN Sing-on
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Masami NAGAI Santiago COSTA MARTNEZCHENG Hiu-man Phoebe
16
Notes1. Guest Principal Flute Sami JUNNONEN ().2. Freelance Musicians: Brian CHAN (), CHENG Yan-ho (), CHEUNG Ho-sing (), CHOI Tsz-wing (),
DU Lan (), FENG Rong ()*, Cecilia HO (), JIM Wai-man (), Otto KWAN (), Jeffrey LEHMBERG ()*,LI Xiao-hui (), Yuko SAITO (), TONG Wing-ka Penny (), WONG Chun-hong John ().* with kind permission of the Hong Kong Philharmonic Orchestra
Hong Kong Sinfonietta Music Director: YIP Wing-sie Principal Guest Conductor: Christoph POPPEN
Principal Assistant Principal Orchestral Associate
17
Hong Kong Sinfonietta Limited
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YIP Wing-sie
Principal Guest Conductor
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Ms Rotina PangRuth & Sidney
Mr David Sin Wai-kinMrs Lisa SiuMr and Mrs Robert C. TangPatrick & Selena TsangMs Veronica Wai
Dr Tsao Yen-chowDr & Mrs
Arthur Van Langenberg Anonymous
2121
Student Ticket Scheme DonorsDiamond Donors (>HK$100,000)
Ms Cecilia Fok Dr & Mrs Patrick S.C. Poon Shih Wing Ching Foundation Ltd Zhilan FoundationJade Donors (HK$50,000 to HK$99,999)
CLP Holdings Limited
AnonymousRuby Donor (HK$30,000 to HK$49,999)
Dr Chan Kow Tak Dr Chung See Yuen
Premium Friends Alisan Fine Arts
Dr Thomas H C Cheung
Dr Steven Woon-cheong Lam
Dr Lee Shiu & Dr Jennie Mui Lee Vincent W S Lo Mr David Sin Wai-kinMr T L Tsim Christine Van Anonymous
Asia Insurance Co Ltd
Mr Patrick Chan Dr Irene Chau
Dr & Mrs Douglas Cheung Mr Geoffrey KoMr and Mrs Lam Ting Kwok PaulNathaniel Foundation Limited Ms Rotina Pang Wai Wah Foundation Ms Christine Yip Anonymous
BELIEVING MUSIC CANMr Iain BruceDr Eugene K ChanJonman, Monika & Joel Chan FamilyMr Chan Kwan HoMs Anatasia ChaoMr P L ChoyProf David ClarkeMr Paul Jackson Jacobelli Family Stephanie & Amelie JatTasha Lalvani Dr Ernest Lee Dr Liu Bing FaiMs Anna LukHayden Majajas & Andy Chen
Prof Mak Su-yin Miss Jennifer Mok Nathan Ng & Nathalie Ng Mr & Mrs Nigel & Winny Ng Mr Ng Wing Fui NicholasMr Mark Tong Mr & Mrs Paul Tsang Mr T L TsimDr Wong Hin Yeuk Mr Wong Nai HayMr Marcus WooMs Alice Yeung Anonymous
Pearl Donors (HK$10,000 to HK$29,999) Opal Donors (HK$1,000 to HK$9,999)
!Thank you to the following parties for their continued support!
CASH CASH Music Fund
Consulat Gnral de France Hong Kong et Macao
Home Affairs Bureau
Leisure and CulturalServices Department
Radio Television Hong Kong
Swire Properties Tom Lee Music Co Ltd
22
Donation Form
Autopay Direct Debit ( Monthly Donation Only)Name of Party to be Credited (The Beneficiary) Hong Kong Sinfonietta Limited Bank No. Branch No. Account No.004 168 165066 001
/ My/Our Name(s) as recorded on Statement/Passbook My/Our Bank Name and Branch(in block letters)
Bank No. Branch No. My/Our Account No.
My/Our Address as recorded on Statement/Passbook if different from above My/Our Bank Account Signature(s)
Date
Credit Card Visa Mastercard
For monthly credit card donation:I hereby authorize the bank to debit my credit card account to make a monthly donation ofthe above stated amount to the Hong Kong Sinfonietta Limited until further notice. I agreethe validity of this agreement will continue before or after the expiry date of my credit cardaccount. Cancellation or variation of this authorization shall be given to the Hong KongSinfonietta Limited ten working days prior to the date on which such cancellation orvariation is to take effect.
Card Number
Expiry Date
Issuing Bank
Cardholders Name on Card
Cardholders Signature
Date
American Express This card is for one-off donation only.
9832783 9819Please return this form to 3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong or fax to 2783 9819.
Mr/Miss/Mrs/Ms/Dr/Prof Surname First Name Tel E-mail
Address
Name to be acknowledged in house programme (1,000 if donation is more than HK$1,000) (Eng) Mr/Miss/Mrs/Ms/Dr/Prof Anonymous
Your personal data will be treated as strictly confidential and will be used for issuing official receipts and other communication purposes.
DONOR INFORMATION
For Official Use Only For Hong Kong Sinfonietta Use Only (Donors Ref. #)
For Bank Use Only (Signature(s) verified)
DONATION METHOD
/
/
/
I/We hereby authorize my/our above named Bank to effect transfers from my/ouraccount to that of the above named beneficiary in accordance with such instructions asmy/our Bank may receive from the beneficiary and/or its banker and/or its bankerscorrespondent from time to time provided always that the amount of any one suchtransfer shall not exceed the limit indicated above.
I /We agree that my/our Bank shall not be obliged to ascertain whether or not notice ofany such transfer or reversal notice has been given to me/us.
I/We jointly and severally accept full responsibility for any overdraft (or increase inexisting overdraft) on my/our account which may arise as a result of any suchtransfer(s).
I/We understand that I/we must maintain sufficient funds in the account one businessday (before the close of branch banking hours) before the transfer date (as specified inthe instructions received by my/our Bank from the beneficiary and/or its banker and/orits bankers correspondent from time to time) for the transfer authorized herein. I/Weagree that should there be insufficient funds in my/our account to meet any transferauthorized herein, my/our Bank will be entitlted, at its absolute discretion, not to effectsuch a transfer in which event the Bank may levy its usual charges and may cancel thisauthorization at any time without notification to me/us. For the avoidance of doubt, theBank may cancel this authorization at its sole discretion at any time without prior notice.
This direct debit authorization shall have effect until further notice or until the expirydate written above (whichever shall first occur). I/We agree that if no transaction isperformed on my/our account under such authorization for a continuous period of 30months, my/our Bank reserves the right to cancel the direct debit arrangement withoutprior notice to me/us, even though the authorization has not expired or there is noexpiry date for the authorization.
I/We agree that any notice of cancellation or variation of this authorization which I/wemay give to my/our Bank shall be given at least two working days prior to the date onwhich such cancellation/variation is to take effect.
ChequeI enclose a cheque of the above stated amount as my one-off donation to the Hong Kong Sinfonietta Limited.
I would like to support the Hong Kong Sinfonietta with HK$ __________________ monthly donation for its General Fund
Student Ticket Scheme one-off donation
22Donation form can be found on page 22
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Tickets at URBTIX 2111 5999 | www.URBTIX.hk Programme Enquiries: 2836 33366 For ages 6+ Hong Kong Sinfonietta reserves the right to change the programme and artists
Hong Kong Sinfonietta is financially supported by the Government of the Hong Kong Special Administrative Region
Hong Kong Sinfonietta is the Venue Partner of the Hong Kong City Hall
Paul Meyer is a figure of rare grace and relaxed elegance in classical music.
Herald Tribune
Clarinet Paul Meyer
E
DITH
HEL
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Co-presenter
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services sponsored by the Leisure and Cultural
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23.5.2015( Sat) 8pm
Hong Kong City Hall Concert Hall
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Programme 57 104Ravel Pavane pour une Infante DfunteNielsen Clarinet Concerto, Op 57Debussy Premire RhapsodieSibelius Symphony No 6, Op 104
Music Director/Conductor Yip Wing-sie