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

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Piano Ben Kim

12.9.2015( Sat) 8pm

Hong Kong City Hall Concert Hall

Principal Guest Conductor

Christoph Poppen

Principal Guest Conductor Christoph Poppen

Piano Ben Kim

Dear Patrons,In order to make this performance a pleasant experience for the artists and other members of the audience, please refrain fromrecording, filming, taking photographs, and also from smoking, eating or drinking in the auditorium. Please ensure that your mobilephones and any other sound and light emitting devices are switched off before the performance. Thank you for your kind co-operation.

House Rules

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Programme

Mendelssohn Ruy Blas Overture, Op 95

Chopin Piano Concerto No 1 in E minor, Op 11 Allegro maestosoRomance: LarghettoRondo: Vivace

- 15-minute intermission -

Brahms Symphony No 4 in E minor, Op 98Allegro non troppoAndante moderatoAllegro giocoso Poco meno presto Tempo 1Allegro energico e passionato Pi allegro

Great Piano Concertos: Ben Kim Plays Chopin

FM97.6-98.9

2015917231

www.rthk.hkTonights concert is broadcast live on

RTHK Radio 4 (FM Stereo 97.6 98.9 MHz) witha repeat on 17 September 2015 (Thu) at 2pm.

The TV version will be broadcast inArts On Air on RTHK TV 31.

Please stay tuned towww.rthk.hk for details.

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2006 2015102010FRCM35

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,

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 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: enquiries@hksinfonietta.org Website: www.HKSL.org

4 Principal Guest Conductor

Christoph Poppen

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5Currently 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.

6 Piano

Ben Kim

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7Ben Kims performances have gained a burgeoning

international reputation for an uncommon

maturity, integrity and insight. His interpretations

have been lauded among critics and audiences

alike, especially for their imaginative sensibility and

fidelity toward the score.

In 2006 Kims career became a focus of

international attention after he won the First Prize

in the 55th ARD International Music Competition

in Munich. He has garnered comparable critical

acclaim for his engagements at renowned venues

including Carnegie Hall, Kennedy Center, Berlin

Konzerthaus and Warsaw Philharmonic Hall, and at

eminent festivals including Aspen, Ravinia and

Klavier-Festival Ruhr. Recent orchestral engagements

include performances with the symphony orchestras

of Bavarian Radio, MDR Leipzig Radio and

Baltimore, St Petersburg Hermitage State Orchestra

and Ulsan Philharmonic Orchestra.

Kim has performed regularly throughout the USA,

Europe, and Asia, including his orchestral dbut at

Carnegie Halls Zankel Hall with the Olympus

Chamber Players in 2009 and at Suntory Hall in

Tokyo in 2010. In the 2010/2011 season, he

collaborated with Brno Philharmonic on a 13-concert

tour in Japan, and made a number of dbuts in

Germany, including those at the Berlin Philharmonie,

Stuttgart Liederhalle, and Gewandhaus Leipzig, as

well as orchestral dbuts in Japan and Korea at

Toyota City Concert Hall and Seoul Arts Center

respectively.

Kims performances have been broadcast on radio

and TV in the USA, Germany, Poland, the Czech

Republic and Korea. His recording of Chopins

Prludes and Impromptus was released on DECCA

in 2011, and he has additional recordings out on

the Sony Classical and the Klavier-Festival Ruhr

labels.

Kim began studying piano at age five and made his

orchestral dbut at 12. At age 20, Kim completed

an accelerated Bachelor of Music degree program

at the Peabody Conservatory as a student of Leon

Fleisher. He continued his studies at Peabody with

Fleisher together with Moon Yong-hi after

graduating. He was selected to attend the

International Piano Academy Lake Como in Italy

from 2005-2007, a programme for seven pianists,

headed by Martha Argerich and William Grant

Nabor.

Kim currently resides in Berlin, working with Klaus

Hellwig at the Berlin University of Arts. In 2012 he

joined the faculty of the Bowdoin Music Festival in

Brunswick, Maine, and the Valencia International

Piano Academy in Spain.

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1809184795

1844George Hogarth18621844

1849

1839Victor Hugo17Don Salluste[spin-doctor]

Graham Robb

1938391853501171719

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Picador1997215183938

(2) (2) (2) (2) (4) (2) (3)

18101849E11

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Friedrich Kalkbrenner8 Ty t u sWoyciechowski1830112

1831611

Krntnertortheater1831828E91832226Salon PleyelE

11

183545Franois-Antoine HabeneckEFFEEECagitato coda[Hummel] A85

TausigE1830515EkrakowiakKrakw22

(2) (2) (2) (2) (4) (2) (1)

18331897E98

18841885StyriaMrzzuschlagIgnaz BrllMaxK a l b e c k

passacaglia18851025MeiningenHans von Blow189737

Cla raSchumannECC416

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Nach Dir, Herr, Verlanget Mich30

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(2) (1) (2) (2)

(2) (1) (4) (2) (3)

Nick BreckenfieldNick Breckenfield

whatsonwhen.com13-

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Programme Notes

The glories of the romantic 19th-century Central European tradition come together in tonights

concert, with two composers who died tragically young in the first half (Mendelssohn just 38,

and Chopin just 39), joined by a composer of the next generation who is perhaps best known in

those photographs of his mature years, sporting an impressive beard, Johannes Brahms.

Inspired by Brahms. Tonight is the start of a new Hong Kong Sinfonietta series featuring the

music of Brahms with Principal Guest Conductor Christoph Poppen (continuing with the Second

Symphony on 7 November, then two concerts on 7 and 9 January 2016). Brahms came to the

musical worlds notice having arrived unannounced at Robert Schumanns house (friend of

Mendelssohn and early supporter of Chopin) in 1853, died 50 years after Mendelssohn, having

spent his life pursuing his strict musical ideals, rejecting the overtly extra-musical romanticism of

the Wagnerites. Unlike them, Brahms eschewed operatic form and programmatic works, and his

lasting reputation is based on his four magnificent symphonies. In Inspired by Brahms Christoph

Poppen will investigate the other symphonic works and chamber works for a fully-rounded

portrait over two seasons.

Felix Mendelssohn Bartholdy (18091847)

Ruy Blas Overture, Op 95On one of Mendelssohns later visits to Britain, in1844, he included a run-through of his OvertureRuy Blas under the auspices of the LondonPhilharmonic Society. George Hogarth, in his bookThe Philharmonic Society of London, published in1862 (and quoted in Roger Nichols MendelssohnRemembered, Faber and Faber, 1997, pp142-3),related:

The history of this magnificent overture [RuyBlas], in connection with the PhilharmonicSociety, is interesting and characteristic of itsauthor. During the season 1844, whenMendelssohn conducted the SocietysConcerts, this overture (in manuscript) wastried at a morning trial-performance, when, itwould appear, it did not go to thecomposers satisfaction. When Mr Anderson,

after the performance, expressed hisadmiration for the new work, he was surprisedto hear Mendelssohn say, with some heat, thathe was much displeased with it so much,that he would burn it. Mr Anderson saidsomething deprecating such a resolution, butMendelssohn repeated his determination thatit should never be heard in public.

Mr Anderson then said: You have oftenexpressed your admiration of my good master,Prince Albert; I am sure it would gratify him tohear a new composition of yours, so pray letme give him that pleasure by means of theQueens private band. Mendelssohnconsented, on condition that the overtureshould never be publicly performed, and gaveMr Anderson the original orchestral parts. Theoverture was frequently performed atBuckingham Palace and Windsor Castle, to theadmiration of Her Majesty and the Prince.

Sometime after the composers lamenteddeath, Mr Anderson wrote to MadameMendelssohn, informing her of all that hadpassed with respect to this overture, andrequesting her permission to perform it at MrsAndersons next annual concert. Thepermission was kindly given, and the overturewas performed at the ladys concert in theseason 1849; this being the first time it wasever publicly heard in England.

Written in 1839 the last of Mendelssohnsincidental overtures the overture was composedto preface a Berlin production of Victor Hugos RuyBlas which had been remarkably successful in Paristhe previous year. Ruy Blas was the valet of aSpanish grandee, Don Salluste, banished fromcourt by the Queen in 17th-century Madridbecause (he thinks) he has seduced her favouritelady-in-waiting. Before he goes he discovers thatBlas has fallen for the Queen (an earthwormenamoured with a star) and conspires by way ofrevenge to pass him off to the court as a distantrelative. Unwittingly Blas plays the part to themanner born, becomes a spokesman (perhaps wewould now say spin-doctor) for the poor anddispossessed, and wins not just the Queens favourbut also her heart. Graham Robb, Hugos mostrecent biographer, neatly encapsulates the tragicend to the tale: But the triple dream of socialjustice, royal patronage and requited love isshattered... when Don Salluste returns to reveal thedeception. Ruy Blas runs his master through with asword and poisons himself in front of a horrifiedQueen (Graham Robb, Victor Hugo, Picador 1997,p215).

Mendelssohn, seemingly, was not enamoured ofthe plays subject matter and only composed theoverture and a vocal duet for the production underduress. He insisted that it should be referred to asOverture to the Dramatic Fund, as the proceedsof the performance were to go to the orchestrasWidows Fund and, reportedly, started it on oneTuesday evening and finished it the followingFriday morning (8 March 1839).

The music starts with a stately, if brooding,introduction, with flute and violins trying to escapethe gloomy atmosphere. The main Allegro, whichbursts in stormily, is often punctuated by the brassfanfare theme from the introduction. As to whichtheme refers to which character well, it seemsthat Mendelssohn did not really care so do not letit worry you. Just enjoy the dramatic ebb and flowof the music.

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

Frederic Chopin (18101849)

Piano Concerto No 1in E minor, Op 11

Allegro maestoso

Romance: Larghetto

Rondo: Vivace

In April 1830, the month after he premiered his Fminor Concerto, Chopin started to write a secondconcerto. He finished it that August and it waspremiered in private on 22 September, beforebeing unveiled to the public on 11 October Chopins last concert in his homeland. It wasdedicated to the celebrated pianist FriedrichKalkbrenner, who had settled in Paris, whereChopin would also find himself, even though hisfirst destination, when he and his friend TytusWoyciechowski left Poland (as it happens, forgood) on 2 November 1830, was Vienna. Hehoped to replicate the success of his first visit inAugust 1829, when he had given two acclaimedconcerts of his own works. On the way heperformed at least part of the concerto in animpromptu concert in , and then he

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performed it complete with orchestra in the second ofhis two concerts in Vienna, at the Krntnertortheateron 11 June 1831.

But this time Chopin did not find in Vienna thereception he hoped for. After some nine months(including an enforced extension while he tried toorganise a passport to get to France or London),Chopin left and, travelling via Munich (where heperformed the E minor Concerto on 28 August1831 in the hall of the Philharmonic Society,although it is not clear whether he wasaccompanied by orchestra or quintet) andStuttgart, where he heard of the defeat of thePolish uprising and the Russian invasion of Warsawand sank into understandable despair, heeventually arrived in Paris mid-September.

Chopin announced himself to the Parisian audienceat a memorable concert at Salon Pleyel (now SallePleyel) on 26 February 1832, immediately garneringa fantastic reputation that allowed him to enter intohigh society and make a living principally as ateacher and composer. He had already decided thatthe virtuoso lifestyle was not for him and he was forever-more reticent about playing in large publicarenas. Ultimately, he gave five performances basedon the E minor Concerto in Paris, though only twocomplete and, of those, only the last (5 April 1835at a concert at the Thtre-Italien in aid of Polishrefugees) with orchestra, conducted by Franois-Antoine Habeneck.

Known as No 1 because it was published earlierthan the F minor Concerto (No 2), the workopens with a long orchestral introduction,contrasting the E minor first subject with thegentler E major second subject, which eventuallymakes way for the first piano entry with a return tothe first subject. The development starts with thesoloist playing the first theme in C major andcontinues in notably bravura style, including theeffective, dramatic use of trills which one editor,Tausig, trying to improve Chopin's orchestration,disliked so much on the piano that he transposedthem for cellos and basses. Following the example

of one of his heroes, Hummel (his Op 85 concertoin A minor) there is a notable agitato coda.

The Romance, in E, is almost impressionistic. Chopinhimself described it as calm and melancholy,conveying the impression of seeing a belovedlandscape and the memories it conjures up for instance on a fine, moonlit, spring night (letterto Tytus Woyciechowski, 15 May 1830). The pianoindulges in arabesques and, later, legatissimotriplets, slowing to a quiet end.

The jaunty, spiky E major Rondo (although startingin the relative minor) breaks the mood with itsirrepressible exuberance, embodied in twocontrasting themes, the second introduced overgently chugging strings with piano syncopation.The basis here is that of the fast krakowiak with itsdistinctive syncopated rhythms originating as apeasant dance from the Krakw region. Thepianist, as if he has not enough to do, ends upwith no fewer than 22 bars of scales and arpeggiosfor both hands, before the final orchestral dispatch.

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 (1)

Timpani

Solo piano

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Johannes Brahms (18331897)

Symphony No 4 in E minor,Op 98

Allegro non troppo

Andante moderato

Allegro giocoso Poco meno presto Tempo 1

Allegro energico e passionato Pi allegro

Brahms Fourth (and last) Symphony dates fromtwo years after his Third. It 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 passacaglia anunfitting end to a symphony and so recommendedthat it be published as a separate work. He alsotold Brahms to drop the Scherzo and composetwo new movements to end the work. TypicallyBrahms simply stuck to his guns: if variation formwas good enough for Beethoven in the Finale ofhis Eroica Symphony, then it was good enough forBrahms.

The premire was in Meiningen, rehearsed byHans von Blow, but conducted by the composerhimself on 25 October 1885. Present was thenewly appointed assistant conductor of theorchestra, Richard Strauss. The first audienceswere unsure of the symphony, but the Viennesetook it to their hearts. At a performance given bythe Vienna Philharmonic on 7 March 1897, lessthan a month before his death, Brahms was givena great ovation. Von Blow described it as quitestupendous and Brahms beloved ClaraSchumann was full of praise.

The f irst, sonata-form, movement has nopreliminaries, opening with a lilting theme, longand leisurely on violins that starts with a fallingthird, the interval that characterises the wholesymphony (the two outer movements are in Eminor, with the two inner ones either in C theScherzo or certainly veering towards it theAndante moderato encompassing the overallimpression of this falling interval). Elaborated andexpanded, the theme passes between the wind

and strings, growing in stature. A hunting call onwind (dotted crotchetsemiquavertriplet figure)introduces the second theme for horns and cellos,then violins over staccato utterances from the restof the orchestra. Brahms richly forges the ensuingexposition with pizzicato and then more lyricalpassages, also using the hunting call motif. Hedeparts from usual symphonic practice by notrepeating the exposition, although he kids us thathe will by repeating the opening eight bars at thestart of the development. After str identorchestration, the strings have a mysterious,shifting passage which is broken by the huntingcall to make way for the rest of the development.The recapitulation leads to the coda where theopening lilting theme is given out forcefully bycellos, basses and horns, with equally stridentechoes from the rest of the orchestra. Fourdefinite timpani beats close the movement.

The Andante moderato is also in sonata form.Horn, bassoon, oboe and flute intone the rhythmwhich will permeate the movement. Then, over itspizzicato reiteration on strings, the clarinets andbassoons introduce the lyrical theme (reminiscentof their duet in the slow movement of BrahmsFirst Serenade of 30 years before) which is thenhanded to the other wind. When the strings takethe theme, tr iplet semiquavers suffuse theaccompaniment. The cellos introduce the broadcantabile second subject with ebbing and flowingviolin accompaniment. Delicately developed, witha more strident middle section where the tripletrhythms return in force, the movement ends afterthe horn reintroduces the opening rhythms(recalling the alternation between C and E major)for the music to die quietly away.

The fol lowing Allegro giocoso is the onlysymphonic Scherzo Brahms ever wrote, addingpiccolo, contrabassoon and a ringing triangle tohighlight the high-spirits of this jolly movement,where the main theme is introduced at the outset,tutti and fortissimo.

Dispensing summari ly with the fr ivolousinstrumental additions of the Scherzo, the Finaleadds for the first time in the work trombones.

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With the woodwind, they introduce the eight-barground bass theme taken from Bachs cantataBWV 150: Nach Dir, Herr, Verlanget Mich (ForThee, O Lord, I Long ) , on which the wholemovement is based. The whole edif ice isconstructed as a passacaglia (that is, with theaccompanying bass line regularly repeated). Intotal there are 30 variations, with the eight-barground bass skilfully preserved. Brahms usesvarious 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 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), trombones (3)

Percussion: timpani, triangle

Nick Breckenfield, 2015

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

FringeBW_HP AD_OP.pdf 1 28/8/15 8:55 pm

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ArgerichKissinPolliniRubinstein

CDRCA BVCC-37230

AbbadoDutoitTuttiDG 449 719-2

EMI 556798 2DGEMI

HiFi

EMI1960 1959 18KletzkiEMI 5 67549 2

1984 12

20MelodiyaMEL CD 10 00100

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19

E98Carlos KleiberFurtwngler

Bruno WalterDG 457 706-2

( S i rCharles Mackerras)

MeiningenCD

Viennese hornsTelarc 3CD-80450(3CD)

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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 CUDDEFORDConcertmaster

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 KongKIM Bo-hyun NGAN Sing-on

CHANG Pei-chieh (on leave)Laurent 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 Associate

Notes1. Guest Principal Cello Jonathan WEIGLE (), Guest Principal Flute Anna SAHA ().2. Freelance Musicians:

CHAN Ping-chi (), CHAN Ting-yuen Timothy (), CHOI Tsz-wing (), Shelagh HEATH (), Cecilia HO (),JIM Wai-man (), LI Xiao-hui (), LOUIE Lai-lai (), Harty TAM (), TENG Yuk Sophia (),TONG Wing-ka Penny (), WONG Chun-hong John ().

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Honorary Governors

Mrs Alice KING

Mr SHIH Wing-ching

Ms Serena YANG

Board of Governors

Mr Y K CHAN (Chairman)

Dr Patrick S C POON (Treasurer)

Mr Patrick CHAN

Dr CHUNG See-yuen

Mr JAT Sew-tong

Dr Steven LAM

Ms LAU Man-man Lisa

Prof C K Michael TSE

Mr Stephen TAN

Mr Patrick YEUNG

Honorary Company Secretary

Tricor Tengis Limited

Honorary Legal Consultant

Hogan Lovells

Honorary Orthopaedic Surgeon

Dr Dan HOOLEY

HKS Artist Associates Wilson SHIEH (2015-2016) CHU Pak-him (2014-2015) MAK Su-yin (2014-2015) Wendy LAW (2013-2014) LOO Sze-wang (2012-2013) Yuri NG (2011-2013) Colleen LEE (2010-2011) Jason LAI (2009-2011) Samson YOUNG (2008-2009) NG Cheuk-yin (2006-2008)

Administration Chief Executive Officer: Margaret YANG General Manager: LEE Ho-yee Executive Assistant to CEO: Rose HO Accounting Manager: Judith LEE Office Assistant: YANG Jui-yuan

Marketing & DevelopmentPR & Marketing Manager: Amanda MOK

Development Manager: Cynthia CHANAssistant Marketing Manager: Pauline HO

Marketing Officer: Carmen LEUNG

Music Director

YIP Wing-sie

Principal Guest Conductor

Christoph POPPEN

Orchestra & Programme

Orchestra Manager: Marylu CHAN Special Projects Manager: Lily LEE Library Officer: Ivy CHAN Project Officer: Athena WONG Programme Officer: YAU Oi-suet Icy Orchestra Officer: Tobie CHAN Stage Manager: Bobby YEUNG

HK$100

HK$1,000

HK$1,000

Enquiries : fundraising@hksinfonietta.org or (852) 2836-3336.

WE BELIEVE THAT CLASSICAL MUSIC IS FOR EVERYONE.

Apart from standard orchestral repertoire, we go an extra mile to design special concerts tailor-made for di erent music lovers because we believe good music delivered with passion can touch, move and inspire our society.

Hong Kong Sinfonietta relies on public support. Please donate to our General Fund or Student Ticket Scheme!Planning to donate over HK$100?Thank you! We will prepare an o icial receipt for you for tax deduction.

Planning to donate over HK$1,000?Thank you! We will prepare an o icial receipt for you for tax deduction AND your name will be acknowledged for one year in house programmes of major ticketed Hong Kong Sinfonietta concerts.

This is Hong Kong Sinfonietta.

This is ALSO Hong Kong Sinfonietta.

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2015/2016 Sponsors of the 2015/2016 Season Major Sponsors

Partner Hotel

Corporate Members Platinum Members

Serena Yang

Thank You Partners!

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Patrons & DonorsMegaSTAR Patron (>HK$500,000)

Shih Wing Ching Foundation Ltd

SuperSTAR Patrons (HK$100,000 to HK$499,999)

Asia Insurance Co Ltd Mr Chan Yuk-kwan Dr & Mrs Patrick S. C. Poon Dr Patrick Tong

Thank You!Thank you to the following donors and organisationswho have supported us with a donation in the past year.

STARplus Donors (HK$30,000 to HK$99,999)

Dr & Mrs Chan Ka Ho

Mr Patrick Chan

Dedicated Violinist Fund

Mr & Mrs Leung Lit On

Mr Eric Tsang

Anonymous

STAR Donors (HK$10,000 to HK$29,999) Donors (HK$1,000 to HK$9,999)BELIEVING MUSIC CAN Canada Piano CoDr Eugene K ChanJonman, Monika & Joel Chan FamilyMr Chan Si NangMrs Elizabeth ChaoMs Laura Chen Ms Helen CheungKenyon & Leonard ChowMr Lewvis ChoyMs Amanda Chui Flash Mr John Sun-kin Fung Louis Fung Mr Ho Ching PongMs Rose HoMrs Elsie Hui Sophia KaoMs Betsy LaiMr Jackson Lam

Ms Lisa LauMs Anna Lo Mr Tony MaHayden Majajas & Andy ChenPhilippe de Marcillac

Masterpoint Professional LtdMr Anthony NappiMs Jane NgPoon Shing Chi and Liao E WenDr John SandersonMs Amy TamMs Eunice TongMr Paul Tsang Mr & Mrs Paul TsangWig the PigMr Wong Ho Ming AugustineMr Peterson Wong Mr Yip Siu-hay Ms Helen Zee Anonymous

Bei Shan Tang Foundation

Prof T M Chan Dr Irene ChauDr Polly Cheung

Dr Thomas H C CheungDr Vivian Cheung

Vivian W M Cheung

Dr Chung See YuenMr Eugene Fung

Mr William Kwan Cheuk YinMr Allan Leung

Mozarts Fan

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

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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 Donors (HK$30,000 to HK$49,999)

Dr Chan Kow Tak Dr Chung See Yuen

Premium Friends

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

Dr & Mrs Samuel LamMr and Mrs Lam Ting Kwok Paul

Nathaniel Foundation Limited

Ms Rotina Pang Edith and Stephen Sun Wai Wah Foundation Ms Christine Yip

Anonymous

BELIEVING MUSIC CANMr Iain BruceDr Eugene K ChanJonman, Monika & Joel Chan FamilyMiss Julia ChanMr Chan Kwan HoMs Anastasia ChaoMr P L ChoyProf David ClarkeMr Paul JacksonLuca, Caterina, Maurien, Joseph JacobelliStephanie & Amelie JatTasha Lalvani Dr Ernest Lee Dr Liu Bing Fai Ms Anna LukProf Mak Su-yin

Miss Jennifer Mok Mr & Mrs Nigel & Winny Ng Mr Ng Wing Fui Nicholas Ms Winnie NgaiMr Mark Tong Mr & Mrs Paul Tsang Mr T L TsimDr Wong Hin Yeuk Mr Wong Nai HayMr Marcus WooMs Alice Yeung Ms Helen Zee 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

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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

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