Berezovsky plays Tchaikovsky

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3 Berezovsky plays Tchaikovsky Perry So conductor Boris Berezovsky piano RTHK Production Team Radio Production Audio Producer Calvin Lai Presenters Jenny Lee Ben Pelletier Simulcast Producer Raymond Chung Simulcast Presenter Jenny Lee TV Production Executive Producer Henry Wan Programme LIADOV The Enchanted Lake, Op. 62 TCHAIKOVSKY Piano Concerto No. 1 in B flat minor, Op. 23 Allegro non troppo e molto maestoso Allegro con spirito Andantino semplice Prestissimo Tempo 1 Allegro con fuoco Intermission PROKOFIEV Symphony No. 5 in B flat, Op. 100 Andante Allegro marcato Adagio Allegro giocoso Producer Edde Lam Assistant Producer Tang Chun-cheong Music Score Advisor Tina Ma Mobile Production Unit Jolly Tang Radio and TV Outdoor Broadcast Engineering PCCW Broadcasting Section The 23 Apr concert is recorded by RTHK and is broadcast live on RTHK Radio 4 (FM Stereo MHz). The audio/visual recording will be simulcast via TVB Pearl, on RTHK Radio 4 and RTHK s website ( on 12 Jun (Sat) at 2:35pm. Dear patrons For a wonderful concert experience, kindly switch off your mobile phone and other beeping devices before the concert begins. Photography, recording, filming, eating or drinking are not allowed. We wish you a very enjoyable evening.

4 The Hong Kong Philharmonic Orchestra (HKPO) is one of Asia s leading orchestras. Enriching Hong Kong s cultural life for over a century, the Orchestra has grown into a formidable ensemble of Chinese and international talents in the last three decades, attracting world-class artists to perform on the same stage. HKPO annually touches the lives of 200,000 music lovers through more than 150 performances. Under the leadership of its internationally renowned conductor Edo de Waart, HKPO continues to scale new heights in musical excellence. The continuing cycle of Mahler symphonies and challenging programming outside the traditional repertoire, have become highly anticipated events as well as musical milestones for the Orchestra. Beethoven s Fidelio opera-inconcert and Mahler s Das Lied von der Erde are inarguably the major highlights of the 2009/10 season. Many great artists perform with the HKPO, from pianists Jean-Yves Thibaudet, Boris Berezovsky and Paul Lewis, violinist Sarah Chang to cellist Steven Isserlis. Last October, the audiences were thrilled with the performance of the HKPO under the baton of the legendary Gennadi Rozhdestvensky. From April 2006, The Swire Group Charitable Trust became the Hong Kong Philharmonic s Principal Patron, enabling Maestro de Waart s artistic vision for the Orchestra to be realized. Swire s sponsorship of the Hong Kong Philharmonic, the largest in the Orchestra s history, supports artistic growth and development as the Orchestra takes its place on the world stage, and brings performances of musical excellence to the widest possible public.

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

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

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9 蘇柏軒於 2008 年 10 月正式加入香港管弦樂團擔任助理指揮, 同年勇奪俄羅斯聖彼得堡第五屆 國際浦羅哥菲夫指揮大賽 冠軍及特別獎, 成為該大賽有史以來第三位獲得冠軍殊榮的參賽者 他是洛杉磯愛樂首屆 杜達梅駐團指揮計劃 指揮之一, 在這個為期六星期的計劃當中, 他分別指揮洛杉磯愛樂演出四場音樂會, 並擔任大師馬錫爾及佩特連科的助理, 完成計劃後隨即獲邀再度合作 2009/10 樂季, 他首度於莫斯科及澳洲演出, 分別指揮俄羅斯國家交響樂團及昆士蘭交響樂團 此外, 他又將指揮密爾沃基交響樂團 紐西蘭交響樂團 日本愛樂 北荷蘭交響樂團 奧維多阿斯圖里亞斯公國交響樂團等 除了每樂季指揮約 25 場港樂音樂會外, 蘇柏軒更領導及設計港樂的一系列外展及教育活動 他與俄羅斯冬宮樂團緊密合作, 每年於樂團假聖彼得堡舉行的春季及夏季音樂節演出 蘇柏軒於 1982 年在香港出生, 耶魯大學比較文學系畢業, 是著名文學理論家霍奎斯特之徒 於耶魯畢業後, 他曾跟隨霍普金斯大學畢保德音樂學院指揮系總監 瑞士指揮家兼名師邁耶, 以及美國學者冼佳亞學習 蘇柏軒又於希臘雅典贏得米特羅波里斯大獎, 及獲得香港特區政府民政事務局頒發嘉許狀, 以表揚其藝術成就 蘇柏軒現正接受世界級指揮大師 港樂藝術總監艾度. 迪華特及洛杉磯愛樂音樂總監沙羅倫的指導 蘇柏軒為中國黃山國際音樂節創辨人, 並擔任音樂節的音樂總監 Perry So joined the Hong Kong Philharmonic Orchestra in October 2008 as Assistant Conductor. In the same year, he received the first and special prizes at the Fifth International Prokofiev Conducting Competition (held in St Petersburg), only the third time the top prize has been awarded. One of the inaugural Dudamel Conducting Fellows at the Los Angeles Philharmonic, Perry So has just completed an extended six-week residency with the Los Angeles Philharmonic (conducting four concerts and assisting Lorin Maazel and Vasily Petrenko) and resulting in immediate re-invitation. This 2009/10 season includes his Moscow début with the State Symphony Orchestra of Russia and his Australian début with the Queensland Symphony Orchestra. Other upcoming engagements include débuts with the Milwaukee and New Zealand Symphony Orchestras, the Japan Philharmonic, the Noord-Nederlands Orkest and the Orquesta Sinfónica del Principado de Asturias in Oviedo. In addition to an average of 25 concerts each season in Hong Kong, he has redesigned and spearheaded the orchestra s outreach and educational programmes. He maintains a close relationship with the State Hermitage Orchestra of Russia with whom he performs annually during the spring and summer festivals in St Petersburg. Born in Hong Kong in 1982, he graduated from Yale University in Comparative Literature, where he studied with noted literary scholar Michael Holquist. He subsequently studied conducting under Swiss pedagogue Gustav Meier at the Peabody Institute. He was also a prizewinner at the Mitropoulos Competition in Athens and received a commendation from the Hong Kong Home Affairs Bureau for his international musical accomplishments. His current mentors include Edo de Waart and Esa-Pekka Salonen. Perry So founded and directs the Huangshan International Music Festival, set in the mountains of central China.

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11 Boris Berezovsky piano Hailed as the truest successor to the great Russian pianists (Gramophone), Boris Berezovsky has established the reputation both as the most powerful of virtuoso pianists and a musician gifted with unique insights and great sensitivity. Born in Moscow, Berezovsky studied with Eliso Virsaladze and Alexander Satz. Subsequent to his London début at the Wigmore Hall in 1988, The Times described him as an artist of exceptional promise, a player of dazzling virtuosity and formidable power. Two years later he won the Gold Medal at the International Tchaikovsky Competition. Berezovsky is regularly invited by such prominent orchestras as the Philharmonia (with Slatkin), New York Philharmonic (Mazur), Munich Philharmonic, Oslo Philharmonic, Danish National Radio Symphony (Segerstam), Frankfurt Radio Symphony (Kitaenko), Berlin Symphonic Orchestra (Janowski), Rotterdam Philharmonic and the Orchestre National de France. He often performs in the most prestigious recitals series, such as the Berlin Philharmonic Piano series, Concertgebouw piano series and the Royal Festival Hall Piano series. With Teldec, he has recorded works by Chopin, Schumann, Rachmaninov, Mussorgsky, Balakirev, Medtner, Ravel and the complete Liszt Transcendental Studies. His recording of the Rachmaninov sonatas was awarded the Preis der Deutschen Schallplattenkritik, and his Ravel disc was recommended by Le Monde de la Musique, Diapason, BBC Music Magazine and the Sunday Independent. He also won the BBC Music Magazine Awards in He also collaborated with violinist Makhtin and cellist Kniazev in a DVD of Tchaikovsky s Pieces for piano, violin and cello, and Rachmaninov s Trio élégiaque A la mémoire d un grand artiste, receiving the 4 stars Diapason d or. With Warner Classics, the trio also recorded works by Shostakovich and Rachmaninov, awarded the Choc de la Musique in France, the Gramophone award in England, and the Echo Classic 2005 in Germany. His solo live recording of Chopin/ Godowsky received the Diapason d or. With Mirare Harmonia Mundi, he recorded Rachmaninov s Preludes, the complete Concertos, and another CD for two pianos. A live recording from the Royal Festival Hall and La Grange de Meslay Festival recitals devoted to Liszt came out in January 2010.

12 利亞多夫 Anatol Liadov 魔湖, 作品 62 The Enchanted Lake, Op 年 5 月, 莫斯科舉行了一場音樂會, 向到訪的斯拉夫代表團致意 俄羅斯樂評人弗拉基米爾. 斯塔索夫 ( ) 出席音樂會後, 在樂評的末段寫道 : 但願我們的斯拉夫貴賓不會忘記今日的音樂會 俄國音樂家人數雖少, 但已形成強力集團 但願他們的詩意 情感 才華和智慧, 會令貴賓終生銘記 他後來把五位俄國作曲家 ( 巴拉基列夫 鮑羅丁 寇爾 穆索斯基和林姆斯基 - 高沙可夫 ) 統稱為 強力集團 ( 今日大家多以 俄國五人團 稱呼他們 ), 對他們寄予厚望, 希望他們能塑造出獨一無二的俄國音樂 利亞多夫雖非 五人團 成員, 卻與五人團過從甚密 ; 穆索斯基就跟斯塔索夫說過, 利亞多夫 原創性豐富, 顯然是個俄國樂壇新秀 利亞多夫在聖彼得堡音樂學院唸書時, 曾是林姆斯基 - 高沙可夫的作曲學生, 但 20 出頭時卻因長期蹺課及欠交作業而被開除 儘管利亞多夫跟隨林姆斯基 - 高沙可夫學作曲的日子不多, 但兩人一直私交甚篤 利亞多夫的合唱作品 墨西拿的新娘 大獲好評後獲母校聘為樂理及和聲導師, 林姆斯基 - 高沙可夫後來被學院解僱時, 利亞多夫也請辭以示抗議 ; 另外, 兩人又合寫了一本和聲教科書和編輯了格林卡作品全集 The Russian critic Vladimir Stasov ( ) attending a concert given in Moscow during May 1867 in honour of a visiting Slav delegation, ended his review with the words; God grant that our Slav guests may never forget today s concert; God grant that they may forever preserve the memory of how much poetry, feeling, talent, and intelligence are possessed by the small but already mighty handful of Russian musicians. That phrase Mighty Handful he was later to use to describe a group of five composers, more usually referred to now as The Five Balakirev, Borodin, Cui, Mussorgsky and Rimsky-Korsakov -, Rimsky-Korsakov whom he saw as the great hope for creating a uniquely Russian musical heritage. Although he was never one of The Five, Anatol Liadov was a close associate of them, Mussorgsky describing him to Stasov as a new, unmistakable, original and Russian young talent. He was, for a brief time, one of Rimsky-Korsakov s composition pupils at the St Petersburg Conservatoire, but in his early 20s was expelled for his persistent failure to turn up for lessons or to complete assignments. Yet the two remained close friends and when Rimsky-Korsakov was dismissed from his post Liadov, who, following the success of his choral work The Bride of Messina had been appointed instructor of theory and harmony at the St Petersburg Conservatoire, resigned in protest. The two men collaborated on a harmony textbook and together edited the complete works of Mikhail Glinka.

13 利亞多夫十分厭惡形式化的藝術, 他自言 : 藝術是臆造的, 是童話, 是鬼魅 給我一個童話故事 一條飛龍 一些天馬行空的東西, 我就高興了 這種思想也是 魔湖 的核心 魔湖 是他最膾炙人口的管弦樂曲之一,1909 年 2 月 21 日聖彼得堡首演, 齊爾品指揮 樂曲原是一齣歌劇的片段, 但由於利亞多夫實在太懶散 ( 他老是如此 ), 歌劇一直沒能完成 魔湖 似乎沒有特定情節, 作曲家以描繪音樂圖畫為務, 甚至以 一幅樂團的幻想圖畫 為副題 為了令聽眾集中在樂曲的整體氣氛而不是任何明確的 故事情節, 他摒棄了鮮明的旋律, 避免清晰的節奏, 調配出豐富流麗的管弦色彩, 以隆隆作響的低音大提琴掀開序幕, 營造深不見底的印象 音樂雖以靜態為主, 但不乏柔和的起伏搖盪, 聽起來延綿不絕 潺潺水聲偶然響起 時而是兩根長笛, 時而是豎琴和鋼片琴 短暫地捕捉了晚霞景緻, 但祥和平靜的氣氛卻從未間斷 樂曲的結尾與開端相似, 沉沒在無盡的靜謐裡, 沉沒在深遂的寂寥中 Liadov had a deep-seated dislike of formalized art; Art is a figment, a fairy tale, a phantom. Give me a fairy tale, a dragon, something unreal and I am happy. That philosophy is at the heart of one of his most popular orchestral scores, The Enchanted Lake, premièred in St Petersburg on 21 st February 1909 conducted by Nicolas Tcherepnin. This was originally intended to be part of an opera which, with the extreme laziness which affected his entire career, Liadov never got round to finishing. It appears not to be based on any specific story, Liadov concerned purely with creating a musical picture; indeed he went so far as to subtitle the work A Fairy Picture for Orchestra. To focus the listener s attention on the general mood of the piece rather than any defined story-line Liadov dispenses with clearly defined melodies and clean-cut rhythms and produces a rich wash of orchestral colour starting with a low rumbling from the basses creating an impression of immense depth. While the music is fundamentally static the whole thing gently heaves and sways with the surface largely remaining unbroken. Occasional ripples sometimes depicted by a pair of flutes, sometimes by harp and celesta break through and momentarily catch the evening sunlight, but the calm, tranquil atmosphere is never broken and the piece ends, as it begun, way down in the depths of infinite stillness.

14 柴可夫斯基 Pyotr Il yich Tchaikovsky 降 B 小調第一鋼琴協奏曲, 作品 23 莊嚴而不太快的快板 有精神的快板 質樸的小行板 極急板 回復原速 熱烈的快板 樂團的四音下行音型 一連串驚天動地的鋼琴 和弦 柴可夫斯基藉此讓第一鋼琴協奏曲達到 先聲奪人的效果 除了貝多芬第五交響曲和巴赫 D 小調觸技曲與賦格曲外, 大概沒有哪首樂曲的 開端是同樣膾炙人口 被拿來開玩笑的次數同樣 多 被胡亂引用的情況同樣頻繁的了 澳洲傑出 鋼琴家 作曲家暨樂壇怪傑格蘭傑形容此曲是 他的 戰馬 他騎著這匹戰馬東征西討, 四出 征服觀眾 大部分觀眾都對此曲的開端耳熟 能詳, 但認識全曲的卻少之又少 ; 儘管如此, 樂曲 仍然是最受歡迎 演出機會最多的鋼琴協奏曲 之一 諷刺的是, 作曲家本人認定俄羅斯會對 此曲嗤之以鼻, 所以安排樂曲 1875 年 10 月 25 日 在美國波士頓首演 柴可夫斯基認定此曲難獲青睞並非杞人憂天 樂曲脫稿後, 他原本自信滿滿, 深信這是一首 傑作 創作過程嘔心瀝血, 他自言 要在腦中把 迫出樂段來 在房間踱來踱去好幾小時, 才有靈感寫作 但到了 1875 年 1 月底, 他對樂曲 也頗滿意了, 就在聖彼得堡音樂學院為尼古拉. 魯賓斯坦彈奏一遍 柴可夫斯基最初屬意魯賓 斯坦負責首演的鋼琴獨奏, 但他後來憶述魯賓斯 坦對樂曲反應欠佳 : 他一言不發 一片死寂 我從琴椅上站起來, 問他 : 怎麼樣? 然後他 就連珠炮似的 說我的協奏曲一文不值 無法 Piano Concerto No. 1 in B flat minor, Op. 23 Allegro non troppo e molto maestoso Allegro con spirito Andantino semplice Prestissimo Tempo 1 Allegro con fuoco With the possible exceptions of Beethoven s Fifth Symphony and Bach s Toccata and Fugue in D minor the opening of no other musical work has become so familiar, so parodied and so frequently used out of context as the pattern of four descending notes from the orchestra followed by a succession of crashing piano chords with which Tchaikovsky s First Piano Concerto seeks to grab the listener s attention. The great Australian pianist, composer and eccentric, Percy Grainger, described this as his War-Horse on which he rode into battle countless of times to subdue an audience, and while only a tiny fraction of the people for whom the opening is familiar have any idea of what follows, it still ranks as one of the best loved and frequently performed of all Piano Concertos. Ironically, though, Tchaikovsky was so convinced that the work would receive a hostile reception in Russia that he sent it to America where it was premièred in Boston on 25 th October Tchaikovsky s fear of the work s rejection did not stem from any misguided feelings of insecurity. Quite the reverse. When he completed the work he was utterly convinced he had composed a masterpiece. It had been a hard struggle; as he wrote at the time he had to hammer passages...out of my brain and walk up and down the room for hours before ideas came. But towards the end of January 1875 he felt happy enough with the result that he played through it privately at the St Petersburg Conservatoire to Nikolai Rubinstein to whom he had dedicated the Concerto and who was expected to be the soloist at the work s première. As Tchaikovsky later reported Rubinstein s reaction was not good: Not one word was said absolute silence...i got up from the piano. Well? I said. Then a torrent burst from Rubinstein... My concerto was worthless and unplayable... bad, trivial, vulgar. Only

15 演奏 又差勁又瑣碎又庸俗 僅一 兩頁有少許價值 柴可夫斯基一怒之下在樂譜封面上劃掉了魯賓斯坦的名字, 改把樂曲題獻給傑出德裔大指揮家暨鋼琴家保露 行將巡迴美國演出的保露對樂曲讚賞有加, 認為它 高尚 有力 新穎 ; 後來保露幾天內先後在波士頓和紐約演出此曲, 美國觀眾反應極為熱烈 由圓號聲和震撼的鋼琴和弦構成的開端氣勢如虹, 家傳戶曉 但這些素材隨即消聲匿跡, 無影無蹤 ; 接著的樂段根據烏克蘭民歌寫成, 氣氛輕鬆得多 留意樂章的兩個主題, 分別由單簧管 ( 巴松管和圓號伴奏 ) 和配上弱音器的弦樂奏出, 各有千秋 全樂章長達 20 分鐘 ( 全曲總長度的三分二 ), 因此作曲家有充裕的時間, 既能把多個主題擴充和修飾, 觸及各種情緒和色彩, 又能容納多個難度極高的華采樂段 第二樂章先由長笛掀開序幕, 迷人的主題輾轉由長笛 鋼琴及兩把大提琴奏出 ; 中段速度加快, 與前段形成對比 ; 鋼琴在狂想曲式短段過後重拾柔和氣氛 第三樂章主題以另一烏克蘭民歌為基礎, 旋律仿如熱烈的舞曲, 然後搖身一變, 變得又沉又重 樂團交代了舞曲主題過後, 小提琴含羞答答地引入新主題 新主題儘管初時平平無奇, 但後來卻演變成全曲最宏偉壯觀 最富麗堂皇的高潮樂段 one or two pages had any value. In anger, he crossed Rubinstein s name off the title page and re-dedicated the work to the great German conductor and pianist Hans von Bülow who was shortly to embark on a concert tour of the USA. Von Bülow had no reservations about the work describing it as lofty, strong, and original, and his performance of the Concerto in first Boston and, a few days later, New York received rousing ovations from the American audiences. The powerful opening of the Concerto with its famous horn call and sledge-hammer chords from the piano lays something of a false trail, since this material never again appears. It gives way to rather lighter and considerably more nimble music based on a folk melody from the Ukraine. Two contrasting themes to listen out for come from the clarinet (with an accompaniment from bassoons and horns) and from muted strings, and at over 20 minutes (almost two-thirds of the Concerto s overall length) Tchaikovsky allows himself ample time to expand and elaborate on these themes, producing music which passes through the whole gamut of emotions, moods and colours and includes several truly virtuoso cadenzas for the soloist. The central movement is introduced by a charming flute theme which is quickly taken over by the piano which, in turn, passes it on to a pair of cellos. The central section provides a contrast in speed until a short rhapsodic passage for the piano brings the movement back to the gentle mood of the opening. Another Ukrainian folk song provides the material for the fiery dance-like theme with which the final movement opens. This turns into a stamping dance from the orchestra before the violins tentatively introduce a theme which, innocuous as it might seem at first, is going to produce the grandiose, glittering climax to the Concerto.

16 Sergei Prokofiev Symphony No. 5 in B flat, Op. 100 Andante Allegro marcato Adagio Allegro giocoso With the Bolshevik Revolution of 1917 Prokofiev had left Russia, first for Japan and next to the USA before finally settling in Paris. But in 1936, by which time he was a composer of international repute, he decided to return permanently to his native land; I had not grasped the significance of what was happening in the USSR. I did not realise that the events there demanded the collaboration of all citizens not only men of politics but men of art as well. He was welcomed back with open arms, hailed as the State s most respected composer and allowed, unlike most, to travel overseas to perform and direct his music. With the outbreak of the Second World War Prokofiev, along with other artists, was evacuated to the relative safety of the southern republics. From there he wrote patriotic works which celebrated the struggle of the Soviet State against German aggression. His seventh Piano Sonata was awarded the Stalin Prize in 1943 and the following year he worked on another composition designed to inspire the Russian people in time of war, his Fifth Symphony. Written at a time when the German army were, at long last, beginning to be driven back from Russian soil, Prokofiev declared that in the Symphony he was attempting to sing the praises of the free and happy man his strength, his generosity and the purity of his soul. However with the end of the war the Soviet authorities saw it more as a celebration of the State s glorious victory and soon Prokofiev was getting into trouble with them for refusing to accept that the Symphony was really a paean of praise for Stalin. The Fifth Symphony s triumphant première in Moscow on 13 th January 1945, which Prokofiev himself conducted, was one of his last real moments of personal happiness. Three weeks later he had a heart attack, fell down a flight of stairs and was severely concussed. He recovered from the heart-attack, but head injuries affected him for the rest of his life and he never again was able to play the piano,

17 conduct his music, smoke, drink, drive, play volleyball (one of his most favoured sports) or travel. His interest in composition waned, and while he robustly confronted (or, rather, refused to confront he spent the entire time with his back turned) the Soviet Central Committee when called before them in 1948 to answer accusations that his music was anti-soviet, he subsequently bowed to pressure and confessed that his music had been tainted with an infection caught from contact with some Western ideas. The Symphony begins with a slow first movement, the opening theme played in octaves by flute and bassoon a typical touch of Prokofiev wit, which gradually assumes a more majestic character to conclude with a magnificent celebration implying the greatness of the human spirit, to echo Prokofiev s own words. The nervous and abrupt second movement, with its almost mechanical momentum, has been likened by some to the horrors of war, while others see in it military skirmishes and the rattle of gunfire. Neither comment can be correct; it is actually a reworking of music from Prokofiev s ballet, Cinderella, which had yet to be publicly performed at the time of the Symphony s première. The sorrowful third movement with its plaintive melody may well have been prompted by the terrible price the Russian people had to pay for their heroic resistance to the Nazi invaders, although, once again, some of the material is actually derived from another of Prokofiev s dramatic works, the film-score Alexander Nevsky. However the pessimistic mood is brushed aside in the fourth movement which, after a reflective opening, bustles along with unstoppable energy and a certain amount of impudence. Programme notes by Marc Rochester

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

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

26 Hong Kong Philharmonic Orchestra Flutes Piccolo Megan Sterling Olivier Nowak Linda Stuckey Oboes Cor Anglais Michael Wilson Ruth Bull Christopher Chen Clarinets Bass Clarinet Andrew Simon John Schertle Michael Campbell Bassoons Contra Bassoon Kam Shui Vance Lee Adam Treverton Jones Horns Mark Vines Lisa Rogers Chow Chi-chung Natalie Lewis Homer Lee Siu-lam Marc Gelfo Trumpets Trombones Jonathan Clarke Christopher Moyse Douglas Waterston Jarod Vermette Maciek Walicki Bass Trombone Tuba Timpani Michael Priddy Paul Luxenberg James Boznos Percussion Harp Keyboard Shaun Tilburg Raymond Leung Wai-wa Sophia Woo Shuk-fai Christopher Sidenius Shirley Ip Extra players Guest Principal Percussion Cello Double Bass Clarinet Percussion Matthew Prendergast* Letty Poon Hennessy Ng Rita Au Louis Siu Lily Hoi With kind permission of the Malaysian Philharmonic Orchestra

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

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

30 ClubMaestro Club Maestro is established for the business community and individuals who are fond of symphonic music. It aims at supporting the long-term development of the Hong Kong Philharmonic Orchestra and enriching cultural life. We heartily thank the following Club Maestro members. PLATINUM MEMBERS David M. Webb webb-site.com DIAMOND MEMBERS Mr Wilfred Ng MH, JP EMERALD MEMBERS PEARL MEMBERS Mr Peter Siembab Miss Aliena Wong In alphabetical order of company name

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

32 Thank You for Your Support The Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support. STUDENT TICKET FUND Gold Patron >HK$100,000 Hang Seng Bank Zhilan Foundation Silver Patron HK$50,000 HK$99,999 Kerry Holdings Limited Shun Hing Education and Charity Fund Bronze Patron HK$30,000 HK$49,999 Mr & Mrs Alan Leong Ruby Patron HK$10,000 HK$29,999 Mr Ian D Boyce Dr & Mrs Chan Kow Tak Mr David Chiu Ms Doreen Lee Dr Thomas W T Leung Lo Kar Foon Foundation Mr David Yee Kwan Yam Mr & Mrs Ko Ying Dr M T Geoffrey Yeh Jade Patron HK$5,000 HK$9,999 Anonymous (2) Mr Chan Ka Kui Mrs Anna Chen Mr Chu Ming Leong Dr Chung See Yuen Dr & Mrs Kwan Ka Hung Dr Lo Xina Lok Yu Kim Ching Memorial Fund Long Hin Creative International Ltd Mr Wong Kong Chiu Pearl Patron HK$3,000 HK$4,999 Ms Deborah Biber Capital Well Investment Limited Mr Chan Hung Yuen Robert Mrs K L Chan Ms Catherine Mo Wah Chau Mr Chen Chien Hua Ms Katherine Cheung Professor David Clarke Mr Fok Wing Huen Mr Alex Fung & Mrs Hanne Froseth-Fung Mr Fung Wai Hing Mr & Mrs Phyllis & Adolf Ho Item Industries Ltd Mr & Mrs Henry & Angelina Lee Dr Lee Shu Wing Ernest Mr Leung Cheuk Yan Mr Alex Li Mr Richard Li & Joe Joe Mr Lo Cheung On, Andrew Mr Lui Wing Chiu Mr Ray Luk Mr Mak Fai Shing Mr & Mrs John & Coralie Otoshi Oxford Success (Overseas) Ltd Mr Shum Choi Sang Ms Ophelia Tam Mr Tony Tsoi Dr Dominic S W Wong, GBS,OBE,JP Zennon & Pierre Company Limited EDUCATION PROGRAMME SUPPORTER Drs. Richard Charles and Esther Yewpick Lee Charitable Foundation The Hongkong Bank Foundation The Hong Kong and China Gas Company Limited

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

34 FEATURED CONCERT Angela Hewitt s Mozart & Bach 1&2 May 2010 Sat & Sun 8pm HK City Hall Concert Hall HK$420 $320 $220 $160 Angela Hewitt, director/piano Programme BACH Keyboard Concerto in F minor, BWV1056 MOZART Piano Concerto No. 27 in B flat, K595 BACH Keyboard Concerto in G minor, BWV1058 MOZART Piano Concerto No. 20 in D minor, K466 HOT PICK Paul Lewis plays Beethoven 7&8 May 2010 Fri & Sat 8pm HK Cultural Centre Concert Hall HK$480 $320 $220 $160 Edo de Waart, conductor Paul Lewis, piano 15&17 May 2010 Sat & Mon 8pm HK Cultural Centre Concert Hall HK$520 $380 $280 $180 Edo de Waart, conductor Susan Bullock, Leonore Simon O Neill, Florestan An all-beethoven programme Leonore : Overture No. 3 Piano Concerto No. 5 Emperor Symphony No. 5 The opening performance is sponsored by CIC Investor Services Limited HOT PICK Beethoven s Fidelio opera in concert Lisa Larsson, Marzelline Kristinn Sigmundsson, Rocco Eike Wilm Schulte, Don Pizarro Jon-Michael Ball, Jaquino Andrew Foster-Williams, Don Fernando Shanghai Opera House Chorus Register as our online member for free at to receive our latest news.

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