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House Programme Flipbook 7Jan2016
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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
Principal Guest Conductor/Violin/Presenter
Christoph Poppen
7.1.2016 ( Thu) 7:30pm Chamber works by Brahms
9.1.2016 ( Sat) 7:30pm Symphonic works by Brahms
HK Jockey Club Amphitheatre, HK Academy for Performing Arts
S
AS
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V Piano Colleen Lee
//Principal Guest Conductor/Violin/Presenter
Christoph Poppen
Inspired by Brahms series All About Brahms
Dear Patrons,To avoid undue disturbance to the performers and other members of the audience, please switch off the beeping devices on your alarm watches,pagers and mobile phones before the performance. We also forbid eating and drinking, as well as unauthorized photography, audio or videorecordings in the auditorium. Thank you for your co-operation.
House Rules
Kathleen Ng Customer Services Manager Tel: 2584 8500 Fax: 2584 8739
Hong Kong Academy for Performing Arts
1 Gloucester Road, Wanchai, Hong Kong
P3 About Hong Kong Sinfonietta
P6 About Christoph Poppen and Colleen Lee
P10 About Johannes Brahms
p14 7.1.2016 Chamber works by Brahms
p22 9.1.2016 Symphonic works by Brahms
7.1.2016 Piano sponsored by
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Soldier_HP ad-OP 1.pdf 1 29/12/15 2:17 pm
3199910020092006DECCA201411
2006 2015102010FRCM35
Hong Kong Sinfonietta Music Director: YIP Wing-sie Principal Guest Conductor: Christoph POPPEN
4Hong 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,
Krzysztof Penderecki, Pinchas Zukerman, The Royal
Ballet, Mariinsky Ballet, Bolshoi Ballet, English
National Ballet, American Ballet Theatre, 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,
Les Flneries Musicales dt de Reims and
Saint-Riquier Festival 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 was invited to perform in
Korea at the Tongyeong International Music Festival
and made 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] Website: www.HKSL.org
5 Flute
Oboe
Clarinet
Bassoon
Horn
Trumpet
Trombone
Bass Trombone
Tuba
Timpani
Percussion
Harp
Keyboard
Akiyo UESUGI
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 CUDDEFORD (on leave)Concertmaster
CHEUNG Man-yui KittyAssociate Concertmaster
LE Hoai-namSecond Violin Principal
TSAI LooSecond Violin Assistant Principal
CAI Pak-yiFENG JiaEiko HOSAKAJIA Shu-chenJohn KRUERAmbrose LUILUO Wei-minPANG Hiu-wanChikako SASAKIYANG Yu-siYIP Siu-hayCHAN Shaw-nan SharonKiann CHOWMark HUI
CHAN Tsz-shun ElvisLAU Sum-yinRingo CHANCHIN KongNGAN Sing-on
CHANG Pei-chiehLaurent PERRINHO Kwok-chee KareyPARK Si-wonWU Yin-yinYIP Chun-hei Eric
Masami NAGAI Santiago COSTA MARTNEZCHENG Hiu-man Phoebe
Hong Kong Sinfonietta Music Director: YIP Wing-sie Principal Guest Conductor: Christoph POPPEN
Principal Assistant Principal Orchestral AssociateNotes
1. Guest Principal Flute: YOO Young-Joo ().2. Freelance Musicians:
CHAN Ping-chi (), CHAN Shiu-hang Olive (), CHAN Ting-yuen Timothy (), Shelagh HEATH (), Cecilia HO (),LI Xiao-hui (), Mandy LO (), MAN Hay (), Rosie MILLS GOH (), Izumi NIKAIDO (), TENG Yuk Sophia (),Winty WAN (), Anthony WONG (), WONG Chun-hong John ().
3. HKAPA students (with kind permission of the Hong Kong Academy for Performing Arts):DU Juan Jane (), TANG Wing-shuen Rebecca (), YEUNG Kin-man Sunny ().
6 Principal Guest Conductor/Violin/Presenter
Christoph Poppen
1995200620062011
NDRWDRSWR
2009
197819962000200320012005ARD
S
AS
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V
7Currently Principal Conductor of the Cologne
Chamber Orchestra and Artistic Director of the
Marvo International Music Festival in Portugal
which he founded in 2014, German conductor
Christoph Poppen begins his tenure as Hong Kong
Sinfoniettas Principal Guest Conductor this season.
From the start of his conducting career, Poppen has
established a reputation for his innovative
programming and commitment to contemporary
music. From 1995 to 2006, Christoph Poppen was
Artistic Director of the Munich Chamber Orchestra,
establishing the ensembles new profile in a short
period of time. His distinctive programmes, often
contrasting classical and contemporary styles with
numerous commissioned works, were highly
successful. In 2006, Poppen was appointed Music
Director of the Radio Symphony Orchestra
Saarbrcken and was in charge of overseeing and
artistically guiding the merger of his orchestra with
the Radio Orchestra Kaiserslautern. From 2007
until 2011, he was Music Director of the newly
formed Deutsche Radio Philharmonie.
Christoph Poppen is a frequent guest conductor
around the world and has appeared with
orchestras such as the Vienna Symphony,
Staatskapelle Dresden, Deutsches Symphonie-
Orchester Berlin, Detroit Symphony, Bamberg
Symphony, Camerata Salzburg, Netherlands
Philharmonic Orchestra, Orquestra Sinfnica do
Estado de So Paulo, Indianapolis Symphony, New
Japan Philharmonic and Singapore Symphony
Orchestra. He also has a strong presence in Italy,
performing regularly with the countrys leading
orchestras and at festivals such as the Venice
Biennale, as well as giving masterclasses.
During the current season, Poppen continues a
close collaboration with the Cologne Chamber
Orchestra and returns to Basel and Detmold
Chamber Orchestras, Orchestra Haydn, Orchestra
del Teatro Carlo Felice, Orchestre dAuvergne,
Athens State Orchestra and Denmark Odense
Symphony. He also toured with Tongyeong Festival
Orchestra and Gidon Kremer in Korea, Japan and
Hong Kong.
Also in demand as an opera conductor, Poppen
recently conducted a new production of Glucks
Iphignie en Aulide at Staatsoper Stuttgart and led
the new production of The Abduction from the
Seraglio at Aalto-Musiktheater Essen. In 2009, he
conducted The Pearl Fishers at Oper Frankfurt
which led to an immediate re-invitation for The
Magic Flute. He has also worked closely with
Tiroler Landestheater in Innsbruck, in projects
including The Magic Flute, La Clemenza di Tito,
Falstaff, Arabella and Otello. He was the Musical
Director for Sing for Me, Death, a new production
commissioned by the RuhrTriennale 2009 with
music by Claude Vivier.
As a prize-winning violinist, Christoph Poppen co-
founded the Cherubini Quartett in 1978. He was
appointed professor of violin and chamber music at
Hochschule fr Musik Detmold, and later at Hanns
Eisler Hochschule fr Musik in Berlin, where he was
President from 1996 through 2000. From 2001
through 2005, he was Artistic Director of the
renowned ARD International Music Competition.
Since 2003, he is professor of violin and chamber
music at Hochschule fr Musik und Theater in
Munich.
82010-2011 Piano/HKS Artist Associate 2010-2011
Colleen Lee
2010/2011200515BBC42
20032003Seiler152008
Colleen Lee was Artist Associate of the Hong Kong
Sinfonietta in 2010/2011 and was featured in the
orchestras tours to South America and Italy. Since
winning the 6th Prize at the prestigious
International Fryderyk Chopin Piano Competition in
Warsaw in 2005, she has performed extensively
around the world and has collaborated with such
orchestras as the BBC National Orchestra of Wales,
Galacia Royal Philharmonic Orchestra, Philharmonic
Orchestras of Israel, China, Warsaw and Sendai as
well as Hong Kong Philharmonic. Lee has been
featured at festivals including the International
Chopin Festival in Poland, Pianoforte-Festival
Meissen in Germany and International Keyboard
Festival in New York. Her performance in Magic
Piano & Chopin Shorts at the 42nd Hong Kong
Arts Festival had garnered rave review.
Born in Hong Kong, Lee received her training at
The Hong Kong Academy for Performing Arts
under Eleanor Wong and at Hochschule fr Musik
und Theater in Hannover under Arie Vardi. Prizes
she has won included First Prize at the Third
International Seiler Piano Competition in Germany,
the 2003 Dorothy Mackenzie Artist Recognition
Award, Pro Musicis International Award and Third
Prize, Critic and Audience Prizes at the 15th
International Competition for Piano and Orchestra
in Cant, Italy. She received the Award for Young
Artist from the Hong Kong Arts Development
Council in 2008.
Lee currently teaches at The Hong Kong Academy
for Performing Arts and is the Honorary Artist-in-
Residence of Hong Kong Institute of Education.
10
Johannes Brahms1833-1897
Eduard Hanslick
40ClaraSchumann18531020
199015
Eduard RemnyiJoseph Joachim
11
C1F2F5
1028 N e u eZeitschrift fr Musik
M i n e r v a
Kronion18
7679116117118119
30
185818591115
12
Most people, when they think of Brahms, imagine
the be-whiskered elderly gentleman of many a
photograph. A man, perhaps, curmudgeonly stuck
in his ways, standing against progress in general
and as is well known the newfangled music by
the likes of Wagner in particular (although this
perception was more because the Viennese critic
Eduard Hanslick was pro-Brahms and virulently
anti-Wagner).
What we forget is the young, clean-shaven
firebrand that young Brahms actually was, even
though we do not have to look hard to find
evidence. Here is Clara Schumann who would
become Brahms mentor and friend for over 40
years, confiding to her diary one day in October
1853 after the 20-year-old Brahms had burst into
her and husband Roberts lives:
Here is one of those who comes as if sent
straight from God. He played us sonatas,
Scherzos etc. of his own, all of them
showing exuberant imagination, depth of
feeling and mastery of form. Robert says
there was nothing he could tell him to take
away or add. It is really moving to see him
sitting at the piano, with his interesting
young face which becomes transfigured
when he plays, his beautiful hands which
overcome the greatest difficulties with
perfect ease (his pieces are very difficult)
and, in addition, these remarkable
compositions. (quoted in Malcolm
MacDonalds The Master Musicians Series:
Brahms, Oxford University Press, 1990,
p15).
Brahms had plucked up enough courage to visit his
hero Robert Schumann and was invited to play
through his works. His musical talent had seen him
able to break away from the poverty of his
upbringing in Hamburg to tour as accompanist to
the violinists Eduard Remnyi and Joseph Joachim.
Thankfully Brahms meeting with Schumann went
better than his earlier meeting with Liszt (an
introduction arranged by Liszts Hungarian
compatriot, Joachim), when Brahms reputedly fell
asleep during Liszts own performance of his only
Sonata. In Dsseldorf, chez Schumann, Brahms
played through his works which included no fewer
than five sonatas (the ones we know as No 1 in C,
Op 1; No 2 in F-sharp minor, Op 2 and No 3 in F
minor, Op 5; but there were at least two other
early sonatas that were subsequently lost).
Robert was as bowled over as his wife. By the end
of the month, he had publicly acknowledged
Brahms in an article, entitled New Paths, which
was published, unbeknownst to Brahms, in
Schumanns magazine Neue Zeitschrift fr Musik.
In the issue dated 28 October he wrote:
Sooner or later... someone would and
must appear, fated to give us the ideal
expression of the times, one who would
not gain his mastery by gradual stages, but
rather would spring fully armed l ike
Minerva from the head of Kronion [i.e. the
son of Kronos = Zeus = Jove]. And he has
come, a young blood at whose cradle
graces and heroes mounted guard. His
name is Johannes Brahms, from Hamburg,
where he has been creating in obscure
silence... He carries all the marks of one
who has received a call. Seated at the
piano, he began to disclose wonderful
vistas... There were sonatas, or rather veiled
13
symphonies; songs whose poetry would be
clear even if you were ignorant of the
words, though a profound singing melody
runs through them all; individual piano
pieces of almost demonic nature and
charming form; then violin and piano
sonatas, string quartets and all so
different from one another that each
seemed to flow from a fresh spring... and
so on (ibid, p18).
And yet, having proved himself to Schumann, and
seen his three sonatas rapidly published, Brahms
never wrote another piano sonata. At the end of
his life having only turned to a relatively few sets
of variations in between times his last six
published sets of piano pieces (Opp 76, 79, 116,
117, 118 and 119) were collections of small works
rhapsodies, capriccios, intermezzi, fantasies, a
ballade and a romance but they were just 30 of
what is estimated to have been many, many more
presumably the rest Brahms destroyed.
With his larger scale works, the story is different.
Compared to the impassioned burst of activity at
the piano keyboard, Brahms was here much more
reticent. Apart from two early (and utterly
wonderful) Serenades (Opp 11 and 15 composed in
1858 and 1859), the gestation for his first concerto
and first symphony was lengthy: as we will see on
Saturday, for the latter it was nearly quarter-of-a-
century. But, even though the number of such
works is low four symphonies, four concertos,
two overtures and the Haydn Variations all these
works are mainstays of concert repertoire: a fact
probably no other composer can match.
Such a relatively small number of works is evidence
of the care Brahms lavished on their composition, as
well as the weight of responsibility he felt in
following in the footsteps of Beethoven. In a sense,
he is Beethovens true successor, even if critical
comparisons with Beethoven caused Brahms much
anguish in the creation of his major works such
extraordinary praise must have caused Brahms some
problems: how could he live up to such a
reputation? Whereas the line through Weber,
Berlioz, Liszt and particularly Wagner developed the
programmatic side of music, Brahms stuck boldly to
an abstract form with no overtly outside references
on which to hook his work. He wrote music with a
purpose of its own, not to describe a dramatic or
emotional scene. Not that emotion or drama is
absent from his music as Christoph Poppens two
concerts around New Year aims to prove.
14
//Principal Guest Conductor/Violin/Presenter
Christoph Poppen
7.1.2016 Chamber works by Brahms
ProgrammeB18 String Sextet No 1 in B-flat, Op 18
I I Allegro ma non troppo Violin: Le Hoai-nam, Pang Hiu-wan Viola: Chan Tsz-shun Elvis, Lau Sum-yin Cello: Wu Yin-yin, Ho Kwok-chee Karey
A100 Sonata for Piano & Violin No 2 in A, Op 100I I Allegro amabile
Violin: Christoph Poppen 2010/2011 Piano: Colleen LeeHKS Artist Associate 2010/2011
B115 Clarinet Quintet in B minor, Op 115I I Allegro
Clarinet: Fong Hiu-kai Johnny Violin: Cheung Man-yui Kitty, Kiann Chow Viola: Ringo Chan Cello: Yip Chun-hei Eric
E40 Horn Trio in E-flat, Op 40IV IV Allegro con brio
Horn: Paw Man-hing Hermann Violin: Chikako Sasaki Piano: Alan Chu
G25 Piano Quartet No 1 in G minor, Op 25IV IV Rondo alla Zingarese
2010/2011 Piano: Colleen LeeHKS Artist Associate 2010/2011 Violin: Christoph Poppen Viola: Chan Tsz-shun Elvis Cello: Chang Pei-chieh
15
1 9 2 9
Cobbetts Cyclopedic Survey of Chamber Music1963
24
18368811151672526608 8710140781001083899FAESonatensatzWoO2114115120
absolute music20121947Brahms the Progressive
16
B18
I
278D1212
A100
I
1886
B115
I
Richard Mhlfeld114115120FE1891
17
BD
E40
IV 1 8 6 5
Lichtenthal1884Dort inden Weiden Steht ein Haus1865216/88
G25
IV
18611116
18621116Hellmesberger Quartet1501cimbalom
Nick BreckenfieldNick Breckenfield
whatsonwhen.com13-
18
What is not mentioned above in a brief overview of Brahms life and works are his
chamber works. Tonight in a neat numerical progression we have one composer and
works requiring from two to six players.
Again his contribution is rather modest, as summarised at the start of the entry on
Brahms in Cobbetts Cyclopedic Survey of Chamber Music from 1929 (reprinted 1963):
The chamber-music of Brahms comprised 24 works, which probably represent
scarcely a quarter of the bulk of composition which he devoted to that branch
of his art. Works of art are like icebergs; what is allowed to see daylight is but a
fifth of the whole
What we have are the two early string sextets (Opp 18 and 36), two string quintets
(Opp 88 and 111), three string quartets (the Op 51 pair and Op 67), three piano
quartets (Opp 25, 26 and 60), three piano trios (Opp 8 existing in two, substantially
different versions 87 and 101) and horn trio Op 40. Then there are the string sonatas:
three for violin (Opp 78, 100 and 108), two for cello (or viola: Opp 38 and 99) and the
sonata movement, originally intended as a contribution to the collective FAE sonata for
Joachim and later published separately as Sonatensatz (WoO2). And finally there are the
works for clarinet, the Clarinet Trio Op 114, Clarinet Quintet Op 115 (also arranged as a
sonata) and the two Op 120 sonatas. And that is it.
Our five excerpts tonight three first movements and two final ones take us from one
of the earliest (the First String Sextet) to one of the latest (the Clarinet Quintet). Each
are absolute music and not programmatic. This is music for musics sake and Brahms
was a master of it. Yes, he follows musical rules and formulas but he was also
innovative. These might be subtle, but it is worth remembering that Arnold Schnberg,
who created twelve-tone music a couple of decades after Brahms death, was a big fan,
writing an essay in 1947 extolling, as its title suggests, Brahms the Progressive. He
also made an orchestration of Brahms First Piano Quartet the Finale of which we hear
in its original chamber version tonight.
Programme Notes
19
String Sextet No 1 inB-flat, Op 18
I Allegro ma non troppo
Brahms was 27 when he wrote the first of his twostring sextets (the second was composed five yearslater). Only one of his official chamber workshad preceded it the Piano Trio Op 8, which waslater much refashioned (although it is possible thata number of the movements that eventually settledinto his three string quartets had already beensketched) but in between had come the twoSerenades, the first of which had originally been anonet and only later expanded to full orchestra.There is no doubt he had learnt from theexperience and, in taking up a rather rare line-upfor chamber music, for two violins, two violas andtwo cellos that had only principally been utilised byLouis Spohr (and then only a single sextet), Brahmsfashioned two subtle masterpieces.
They are both big-boned works and owe much toSchuberts late chamber works. The openingmovement of the first, cast in sonata form (twocontrasting themes presented in the exposition,which then go through development only to berestated in the recapitulation before the end),opens with the cellos theme underpinned byoscillating accompaniment on one viola. If youlisten with your eyes closed you might instinctivelyfeel this is music in regular four beats, but Brahms(as he liked to do all his life) is fooling you: it is inthree beats, and that very contradiction fuels thedrama of the music, even though the secondtheme is not dramatically that different save forits tendency to highlight solo lines. It is alsointeresting to note that Brahms was happy toaccept his violinist friend Joachims advice inrecasting the opening to delay the change of key(to D-flat, originally in the 12th bar) and tostagger the introduction of all the instruments.The end of the movement the last 12 bars is,apart from the last two chords (and upbeat) pizzicato. Only then do you really get a sense of athree-beat waltz lilt.
Sonata for Piano & ViolinNo 2 in A, Op 100
I Allegro amabile
Brahms was often inspired musically on his summerholidays and both his Second and Third ViolinSonatas were started in the summer of 1886 whileholidaying in Switzerland. The Second was finishedthen and there (while the Third was not completeduntil two years later), as were various songs aboutflowers which also fed into the Sonata.
There is another song that seems to haunt the veryopening of the Sonata perhaps perversely, giventhe antipathy between Wagnerites andBrahmsians. The very first three notes echo Walthervon Stolzings prize song from Wagners DieMeistersinger von Nrnberg (which gave rise to anickname for the sonata as the Meistersinger),although any similarity is surely purely coincidental.More indicative of the movements mood is theunusual tempo indication amabile (lovable,amiable, affable). Also listen for Brahms neataural trick in using five-bar phrases, with the violinonly entering on each fifth bar of the first threephrases. The piano then again plays solo for fivefull bars, before the violin takes the theme in thesixth bar. There is no exposition repeat, though aclimax marks the end of the exposition, meltingdirectly into the development. Relaxed andeffortlessly lyrical, Brahms song inspirationsintertwine seamlessly in this, the sonatas longestmovement.
20
Clarinet Quintet in B minor,Op 115
I Allegro
Towards the end of his career, in something of anIndian summer, Brahms composed four chamberworks inspired by the clarinettist Richard Mhlfeld the Clarinet Trio Op 114, the Clarinet QuintetOp 115 and the two Op 120 Clarinet Sonatas (No 1in F minor; No 2 in E-flat). Composer and playermet first in 1891 and Brahms, obviously bowledover, composed the Trio and Quintet for Mhlfeld,who he called his Frulein Klarinette, that verysame year. The silky nature of the clarinets tonechimed with Brahms late autumnal style and allfour of his works for the instrument and its playerare suffused with a nostalgic glow.
The opening of the Clarinet Quintet has anintroduction for strings alone just four bars where the violins introduce a falling motif, latterlyunderpinned by an off-beat pulse by viola andcello. From this rises the clarinet, gently adoptingthe violinists opening motif, while the strings latteradopt a spikier, staccato, secondary idea. Thedevelopment falls into two parts, the secondslower, where Brahms is at his most subtle.Throughout, but particularly here, the texturesconstantly pare away to leave lovely duos forclarinet and, in turn, violin, viola and cello. AndBrahms constantly plays harmonic tricks betweenthe B minor of the quintet as a whole, but also itsrelative major, D. After the recapitulation properthere is another return in the final bars, theviolinists repeating their opening motif, but nowthe clarinet leads its fellow players to a hushed andgentle close.
Horn Trio in E-flat, Op 40 IV Allegro con brio
Quarter-of-a-century before the Clarinet Quintet, inearly summer of 1865, Brahms (once again onholiday, this time at Lichtenthal in the Black Forest)composed his four-movement Horn Trio. It is anunusual combination horn, violin and piano butBrahms also sanctioned performances with theusual Piano Trio formation with cello taking thehorn part and eventually, in 1884, also published itwith the viola taking the horn part.
This is the first of our two final movements, andBrahms does not disappoint: we could not havechosen two more exciting examples to end.Originally, Brahms conceived the work for a valve-less or natural horn, although he did sanctionperformances of valved instruments (like modernhorns). And the third and final movements share afolk-song theme (Dort in den Weiden Steht einHaus There in the Willows stands a House),which was a particularly favourite of Brahmsmother, who had died on 1 February.
In a performance of the whole work, the Finalebreaks the sombre mood of the Adagio thirdmovement, but the folk song gets carried throughinto the 6/8 gigue, speeded up and in a completelydifferent mood. But, as one might expect, it is themain instruments hunting associations that arereally to the fore, heard at the very start on theviolin with its steady quaver theme all-too-redolentof galloping horses, and later joined by the hornwith its subsequent halloos.
21
Piano Quartet No 1 inG minor, Op 25
IV Rondo alla Zingarese
The thrill of the hunt makes way for the thrill of thedance, and a Hungarian gypsy dance at that, in theFinale of Brahms First Piano Quartet. This wascomposed or rather completed in the autumnof 1861 (Brahms had earlier shown movements tohis musical friends: Clara Schumann, JosephJoachim and others), and it was Clara Schumannwho took the piano part in the works premire on16 November that same year, in Brahmsbirthplace, Hamburg. Exactly a year later, on 16November 1862, Brahms played it with membersof the Hellmesberger Quartet at his first everconcert in Vienna (two weeks later he played a solopiano recital), where presumably the fieryHungarian Finale went down well, given thatVienna was the capital of the Austro-HungarianEmpire, and what we know as the capital ofmodern Hungary, Budapest, is only 150 miles eastof Vienna and both straddle the Danube.
Perhaps Brahms was repaying a compliment toJoachim, who had written a Hungarian Concertowhich he dedicated to Brahms. Joachim,commenting to Brahms about this final movement,wrote: You have outstripped me on my ownterritory by a considerable way and you canunderstand why. Brahms might also have had theGypsy Rondo Finale to Haydns Piano Trio Op 1 inmind. The speed never lets up in the fervour of thefirst two distinct themes. In the first you can hearthe piano imitating the traditional Hungariancimbalom while the second is both magisterial andimposing. A little more air is allowed in during thecentral, slower section, before the first two themestake over again. If I say any more you will miss all theexcitement, so I shall end by simply pointing out thatwe will pick up the Hungarian connection atSaturdays orchestral exploration of Brahms music.
Nick Breckenfield, 2016
British programme-note writer Nick Breckenfield was theClassical Music and Opera Editor for whatsonwhen.com for 13 years
and now works for the Borletti-Buitoni Trustwhich awards young classical music artists
Poppen_HP ad_v6.pdf 1 30/12/15 9:17 am
22
/Principal Guest Conductor/Presenter
Christoph Poppen
9.1.2016 Symphonic works by Brahms
ProgrammeG Hungarian Dance No 5 in G minor
(Orchestrated by Albert Parlow)
80 Academic Festival Overture, Op 80
56a Variations on a Theme of Joseph Haydn, Op 56a Chorale St Antoni: Andante Var I: Poco pi animato Var II: Pi vivace Var III: Con moto Var IV: Andante con moto Var V: Vivace Var VI: Vivace Var VII: Grazioso Var VIII: Presto non troppo Finale: Andante
Intermission
C68 Symphony No 1 in C minor, Op 68I I Un poco sostenuto Allegro
E98 Symphony No 4 in E minor, Op 98IV IV Allegro energico e passionato Pi allegro
23
1861D1854Otto Grimm18556/41856Detmold18591127141873211855187718831885Tragic Overture188021186913101873
24
18241888G186918802111018721310561116Anvil Polka20Ede Remnyi21
(1) (1) (2) (2)
(2) (4) (2) (3)
80University of BreslauBernhard Scholz1879311
181880
SalzkammergutJanissary Overture188115201853
GttingenRkcziMarch1819von Binzer
25
Jena
(2) (1) (2) (2)
(2) (1) (4) (3) (3) (1)
56a
BFeldpartitasKarl Ferdinand Pohl
Ignaz Pleyel187019301873passacagliaground bass126/8
26
Max Kalbeck
(2) (1) (2) (2)
(2) (1) (4) (2)
C68I
1854
D15186218681876114Otto Dessoff
C8C
(2) (2) (2) (2)
(1) (4) (2)
27
E98IV
18841885StyriaMrzzuschlagIgnaz BrllMax Kalbeck
18851025MeiningenHans von Blow189737
150Nach Dir, Herr, Verlanget Mich3020
(2) (2) (2) (2)
(1) (4) (2) (3)
Nick BreckenfieldNick Breckenfield
whatsonwhen.com13-
28
On Thursday we left German composer Johannes Brahms with furious Hungarian rhythms pounding
between piano and three string players in the Finale to his First Piano Quartet, which was composed in
1861. Tonight, keeping the Hungarian connection, we start with one of his popular Hungarian Dances,
before going on to explore some of his small canon of orchestral works.
As outlined in the biographical introduction Brahms orchestral output is relatively small, although almost all
of it finds a regular place on modern concert platforms: the four symphonies, the four concertos (two for
Brahms own instrument, the piano, one for violin and one for violin and cello), two overtures and his
Haydn Variations, as well as a choice few of his Hungarian Dances. Only the two early serenades tend to be
undervalued but they really are worth hunting out.
As it happened, the first of the serenades (No 1 in D originally for a small ensemble of just nine players, but
later orchestrated) was composed around the time of Brahms First Piano Concerto, which took him four years.
That concerto typifies the struggle Brahms faced in how to write for orchestra after, seemingly, Beethoven had
said it all. In spring 1854 Brahms friends Otto Grimm and the violinist Joseph Joachim attested to three extant
movements of a piano concerto, but by 1855 it was being described as a symphony. A year later, the year in
which Schumann died, Clara Schumann was describing it as a concerto. Here a slow movement was dropped (it
seemingly became the funeral march in his Ein Deutsches Requiem his major choral work) and was replaced
by the 6/4 Adagio we now know. It proved still an untameable beast: in 1856 Joachim had been sent the
Rondo Finale, which Brahms had been able to work on having moved away to Detmold, although he still
commented: I have neither judgment nor any more power over the work. It will never come to anything. Yet,
it was rehearsed in January 1859 in Hanover with Brahms at the keyboard and Joachim conducting, with the
first performance proper on 27 January with the Leipzig Gewandhaus.
The story does not end there, as it was to be another 14 years before the full score was published. That was
in 1873, which was still three years before Brahms allowed his First Symphony, which he had been
composing for 21 years, to be heard (see the comment above that the piano concerto had transformed into
a symphony in 1855). Given Brahms terror of being compared to Beethoven (and, hence, found wanting),
imagine what he would have felt when one critic hailed his First Symphony as being Beethovens Tenth.
Yet, after such a long and tortured compositional process, Brahms symphonic juices seemed to have been
let free. His sunny Second Symphony (another product of an idyllic summer holiday) followed quickly the
following year, 1877. And there are only two years between his Third and Fourth Symphonies, composed in
1883 and 1885 respectively.
In between the two pairs of symphonies he composed a pair of overtures that seem to represent two sides
of his character: the often-forgotten more jocular side, his Academic Festival Overture and the more sombre
Tragic Overture, which were written side-by-side on holiday (again!) in 1880. He described them as One is
full of tears, the other full of laughter. That was also the year of Brahms second published set of
Hungarian Dances, which took his total up to 21 individual pieces, originally for piano four hands and later
orchestrated by various composers. As it happened Brahms himself only orchestrated three from his early
piano set that had been published in 1869. His orchestrations of Nos 1, 3 and 10 date from 1873, which
was the year of his first major orchestral success, his Variations on a Theme of Joseph Haydn, which as we
will see are based on a theme which was probably NOT by Haydn.
Programme Notes
29
Orchestrated by Albert Parlow (18241888)
Hungarian Dance No 5 inG minorBrahms 21 Hungarian Dances, originally for piano,
four hands and published in two stages (and four
books) in 1869 and 1880, were designed for home
consumption (like the slightly later Dvork Slavonic
Dances). Brahms arranged the first ten in 1872 for solo
piano and orchestrated three himself Nos 1, 3 and
10. Soon all the others were orchestrated (some more
than once), including the last five by Brahms friend
Antonn Dvork. Nos 5, 6 and then 11 to 16 were
orchestrated by Albert Parlow, a military bandmaster
(eventually becoming director of music of the Prussian
army), perhaps otherwise best known for his Anvil
Polka (guess which instrument that uses?)
Although from Hamburg, Brahms was very much
affected by Hungarian gypsy music. When he was
20, Brahms had accompanied the Hungarian
violinist Ede Remnyi on a major tour, and another
of his great friends and colleagues was the
Hungarian violinist Joseph Joachim, for whom he
wrote both his Violin Concerto with its gypsy
Finale and the Double Concerto.
Surely one of the most famous of all the Hungarian
Dances, if only as an encore, the Fifth has a
swaggering gait announced by clarinets and violins
with chugging bassoons, horns, violas, cellos and
basses, that ever-so-gently speeds up. There are
two subsidiary sections, each playing with the idea
of suddenly slowing for a couple of bars before
resuming speed. It is left to the first and second
melodies to bring the dance to a close. It all goes
to show that Brahms could have fun.
Instrumentation of this piece
Strings: 1st & 2nd violins, violas, cellos, double basses
Woodwinds: flute (1), piccolo (1), oboes (2), clarinets (2),
bassoons (2)
Brass: horns (4), trumpets (2), trombones (3)
Percussion: timpani, cymbals, snare drum, tambourine,
triangle
Academic Festival Overture,Op 80Suggested by Bernhard Scholz, the conductor of the
local Breslau Orchestral Society, the University of
Breslau (then in Germany, now in Poland and
renamed ), conferred on Brahms an
honorary Doctorate on 11 March 1879. The citation
described him as artis musicae severioris Germania
nunc princeps (the most famous living German
composer of serious music). Scholz, an ardent
admirer of Brahms music, wrote to the composer
exactly a week later: Will you write us a Doctoral
Symphony for Breslau? We expect a Festal Ode at
least. But 18 months were to elapse before Brahms
was able to announce that he had composed an
Academic Festival Overture, which he described as
a cheerful potpourri of songs la Supp, while
feeling that the title was a little stuffy.
Predictably, while he spent the summer of 1880 in
his regular summer retreat at Bad Ischl in the
Salzkammergut working on the Academic Festival
Overture, he worked on a more sombre corollary,
the Tragic Overture, describing the pair: One is full
of tears, the other full of laughter. In the
Academic Festival Overture he revelled in forging a
number of student songs into a finally wrought
and disciplined score, despite the largest variety of
percussion he ever requested (bass drum, cymbal
and triangle on top of the usual timpani). He
sometimes called it his Janissary Overture a
term used to describe Turkish-style military music
and suggested that it could work well for a military
band, although he did not feel competent enough
to make the arrangement himself. He conducted
both Overtures at Breslau on 5 January 1881 the
Academic Festival Overture receiving its premire
to great acclaim.
In his choice of themes, Brahms celebrated both
student and academic life, although he had not
been a student himself, nor held any academic
post. However, he had tasted some of the more
energetic student shenanigans some 20 years
30
earlier, in 1853 when his friend Joachim (the
violinist) had been attending lectures in Gttingen.
Here they had both enacted the initiation fox-
ride round the common-room table and, lo-and-
behold, that same theme (Was Kommt Dort von
der Hh? What Comes Here from on High?)
occurs in the Overture. It starts, however, with an
adaptation of the Rkczi March, quiet on strings
and bassoons. It has been suggested that two
following fragments are references to student
drinking songs: Vom Hohn Olymp Herab (From
High Olympus) and Fiducit (Confidence),
while these are definitely followed both by the
Landesvater (Father of the country) melody,
where the second violins take the tune, with the
firsts remaining on high, and a Thuringian folk
song which had been set to angry words by von
Binzer in 1819 as a protest at the disbanding of the
Jena Students Association (Wir Hatten Gebauet
ein Stattliches Haus We Have Built a Stately
Home). Bassoons, in duet, introduce the fox-
ride theme and the themes are cleverly recapped
and varied before being topped by the maestoso
coda, for which Brahms uses the academic song
Gaudeamus Igitur, with lyrics that obviously
appealed to his practical, no-nonsense mind: So
let us rejoice while we are young... After joyful
youth and troublesome age, the ground will have
us.
Instrumentation of this piece
Strings: 1st & 2nd violins, violas, cellos, double basses
Woodwinds: flutes (2), piccolo (1), oboes (2), clarinets (2),
bassoons (2), contrabassoon (1)
Brass: horns (4), trumpets (3), trombones (3), tuba (1)
Percussion: timpani, cymbals, triangle, bass drum
Variations on a theme byJoseph Haydn, Op 56a
Chorale St Antoni: Andante
Var I: Poco pi animato
Var II: Pi vivace
Var III: Con moto
Var IV: Andante con moto
Var V: Vivace
Var VI: Vivace
Var VII: Grazioso
Var VIII: Presto non troppo
Finale: Andante
Brahms immediate inspiration for his first set oforchestral variations (his last in effect is the Finale tothe fourth symphony, we hear at the end) camefrom the second movement of an open-air windoctet work in B-flat, one of six Feldpartitas,discovered by Karl Ferdinand Pohl from the Esterhzyarchives at Eisenstadt. This simple chorale forSt Anthony was assumed to be by Haydn (as Haydnhad spent decades in the service of Prince Esterhzathere), although modern scholarship now suggests itwas by one of Haydns pupils Ignaz Pleyel.
Not that the attribution to the great Haydn didBrahms work any harm at all it, needless to say,was a great success from its very first performance.Brahms noted down the theme from the secondmovement (the actual music was not publisheduntil the 1930s) in 1870 and eventually produced atwo-piano set of variations in 1873, with the moreimportant orchestration following soon afterwards.It has been argued that, even though playedwithout pause, the eight variations framed by thetheme and the Finale neatly reflect symphonicform. The theme and first three variations can beregarded as a buoyant first movement; Variation IVis the slow movement; Var V to VII (two vivaces anda grazioso) acting as an "undercover Scherzo andthe last variation with the Finale acting as a fineclosing movement, complete with a five-barground bass, la passacaglia, which he had useagain to end his last symphony 12 years later.
31
The statement of the theme is left like theoriginal source for woodwind, with only lowerstrings pizzicato in addition. One of thefascinations for Brahms was the irregular length ofthe theme here five bars rather than the normalfour (hence the five-bar ground bass in the Finale).The fel icity of Brahms instrumental andcompositional inspiration in each variation needsno introduction, although it is perhaps worthmentioning that Var V, in 6/8, has been likened to aMendelssohn Scherzo, and that the Grazioso of VarVII was claimed by Brahms early biographer MaxKalbeck to represent one of St Anthonystemptations. Given the nature of the music, thattemptation seems to be feminine: the mostatrocious because it is the sweetest.
Instrumentation of this piece
Strings: 1st & 2nd violins, violas, cellos, double basses
Woodwinds: flutes (2), piccolo (1), oboes (2), clarinets (2),
bassoons (2), contrabassoon (1)
Brass: horns (4), trumpets (2)
Percussion: timpani, triangle
Symphony No 1 in C minor,Op 68
I Un poco sostenuto Allegro
Writing a symphony is no joke! Brahms claimed.It seems that Brahms had started thinking aboutwriting a symphony as early as 1854, when hisfriend and mentor Robert Schumann went madand threw himself into the Rhine and when he firstheard Beethovens Ninth Symphony (the Choral).But the resultant sketches finally became the FirstPiano Concerto in D minor, Op 15. Eight years laterit is clear that the first movement (at least) of anew symphony was sketched (although withoutthe slow introduction that now precedes it)because he showed it to Clara Schumann. In aletter dated 1 July to their mutual friend, theviolinist Joseph Joachim, Clara described it assomewhat harsh, but I have quickly becomeaccustomed to it.
By 1868 the Finale was under way. Brahms wroteto Clara with the horn theme, using it for anextempore greeting with the words: Thus blewthe shepherds horn today. But it was to be afurther eight years before Brahms was sufficientlyhappy to publicly release the work, and even theday before the premire he was still shortening themiddle movements and debating alterations to theFinale. It eventually was heard for the first time on4 November 1876 at Karlsruhe with the orchestraof the Grand Duke of Baden, conducted by OttoDessoff.
It had the longest gestation period of any ofBrahms works, but it was definitely worth thewait. The slow introduction to the first movement un poco sostenuto was an afterthought, but it isso well conceived and written that it sounds as ifthe rest of the symphony springs from theseopening bars. Unlike the slow preludes to Haydnand Mozart symphonies, the mood and themes ofthe opening return in the slower final pages of themovement, and its ideas are firmly integrated intothe main Allegro section.
There is a note of tragedy in the tramping rhythm(pedal C on the basses with timpani reinforcement)as well as the introductions two themes whichtravel in opposite directions. While the strings striveupwards in semitone steps, the winds counteractagainst them by playing a descending theme inthirds (a prevalent motif of the symphony as awhole). Winds and pizzicato strings play a fallingseventh and then a falling sixth, keeping theatmosphere gloomy. A swelling theme for strings,then a flute, violin and bassoon slow descendingscale leads back by way of the timpani quavers tothe opening tramping theme, this time over atimpani roll. A melancholy oboe solo isaccompanied by horn, taken by flute and thencellos who quietly lead into the main Allegro.
The Allegros first four bars are a speeded upversion of the very opening theme and the fallingsevenths and sixths soon recur, with the swellingtheme not far behind all over a short-longrhythm. Quieter wind sections, with more relaxedhorn and clarinet calls, are not allowed to interruptfor long. With tension as the keynote, the music isrestless and continually moving especially with a
32
descending, triple-quaver accented figure firstintroduced by the violas, then reiteratedthroughout the whole movement, rich in bothorchestral and thematic invention. The seriousnessof musical purpose is quite breathtaking.Eventually, over halting timpani beats, the paceslackens and the coda ends with a hopeful plea inC major, after the turbulence of the movement asa whole.
Instrumentation of this movement
Strings: 1st & 2nd violins, violas, cellos, double basses
Woodwinds: flutes (2), oboes (2), clarinets (2), bassoons (2),
contrabassoon (1)
Brass: horns (4), trumpets (2)
Timpani
Symphony No 4 in E minor,Op 98
IV Allegro energico e passionato Pi allegro
Brahms Fourth Symphony was written during thesummers of 1884 and 1885 at Mrzzuschlag inStyria. Brahms and Ignaz Brll played it through ontwo pianos to an assembled crowd, one of whom,the writer Max Kalbeck, found the Finalespassacaglia an unfitting end to a symphony and sorecommended that it be published as a separatework. He also told Brahms to drop the Scherzo andcompose two new movements to end the work.Typically Brahms simply stuck to his guns: ifvariation form was good enough for Beethoven inthe Finale of his Eroica Symphony, then it was goodenough for Brahms.
The premire was in Meiningen, rehearsed by Hansvon Blow, but conducted by the composer himselfon 25 October 1885. Present was the newlyappointed assistant conductor of the orchestra,Richard Strauss. The first audiences were unsure ofthe symphony, but the Viennese took it to theirhearts. At a performance given by the ViennaPhilharmonic on 7 March 1897, less than a month
before his death, Brahms was given a greatovation. Von Blow described it as quitestupendous and Brahms beloved ClaraSchumann was full of praise.
Adding trombones to his instrumental armoury forthe first time in this symphony, Brahms ends hisorchestral canon with a display of instrumentalpower. The Finale starts with the woodwind, whointroduce an eight-bar ground bass theme takenfrom Bachs cantata BWV 150: Nach Dir, Herr,Verlanget Mich (For Thee, O Lord, I long), onwhich the whole movement is based. The wholeedifice is constructed as a passacaglia (that is, withthe accompanying ground bass line regularlyrepeated). In total there are 30 variations, with theeight-bar ground bass skilfully preserved. Brahmsuses various combinations of instruments for hisvariations, from a beautiful single flute solo to thewhole orchestra. The movement ends with a codaof tremendous breadth and energy (Pi allegro). Inturning to an almost disused form to end his lastand most challenging symphony, Brahms showedhis skill in not only assimilating all before him, buthis ability to look forward.
Instrumentation of this movement
Strings: 1st & 2nd violins, violas, cellos, double basses
Woodwinds: flutes (2), oboes (2), clarinets (2), bassoons (2),
contrabassoon (1)
Brass: horns (4), trumpets (2), trombones (3)
Timpani
Nick Breckenfield, 2016
British programme-note writer Nick Breckenfield was theClassical Music and Opera Editor for whatsonwhen.com for 13 years
and now works for the Borletti-Buitoni Trustwhich awards young classical music artists
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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
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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
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Student_Tix_2015_p38.pdf 1 29/12/15 17:31
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Soldier_HP ad-OP 2-rev.pdf 2 30/12/15 5:35 pm
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Soldier_HP ad-OP 3-rev2.pdf 3 30/12/15 5:14 pm