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Hong Kong City Hall Concert Hall

Conductor

Ken Lam

Violin

Valeriy Sokolov

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Hong Kong Sinfonietta is financially supported by the Government of the Hong Kong Special Administrative Region

Hong Kong Sinfonietta is theVenue Partner of the Hong Kong City Hall

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ReHKSinfonJanIssue.pdf 1 31/12/2014 12:12 PM

Conductor Ken Lam Violin Valeriy Sokolov

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

Symphonic Variations

Bartk Violin Concerto No 2 Allegro non troppo Andante tranquillo Allegro molto

- 15-minute intermission -

Schumann Symphony No 4 in D minor, Op 120Ziemlich langsam LebhaftRomanze: Ziemlich langsamScherzo: Lebhaft Trio Langsam Lebhaft Schneller Presto

Valeriy Sokolov Plays Bartk Violin Concerto No 2

2199910020092006DECCA201411

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 Fax : (852) 2783 9819 Website: www.HKSL.org

4 Conductor

Ken Lam

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5Ken Lam is currently Music Director of the

Charleston Symphony Orchestra. He is also

Associate Conductor for Education of the Baltimore

Symphony Orchestra, Artistic Director of the

Baltimore Symphony Youth Orchestras, Resident

Conductor of the Brevard Music Center in North

Carolina, Associate Professor and Director of

Orchestra at Montclair State University in New

Jersey and Artistic Director of Hong Kong Voices.

In 2011, Lam won the inaugural Memphis

International Conducting Competition and was a

featured conductor in the League of American

Orchestra's 2009 Bruno Walter National

Conductors Preview with the Nashville Symphony.

He made his US professional dbut with the

National Symphony Orchestra at the Kennedy

Center in 2008 as one of the four conductors

selected by Leonard Slatkin. In recent seasons he

led performances with the symphony orchestras of

Cincinnati and Cincinnati Pops, Baltimore, Detroit,

Memphis, Illinois and Meridian, as well as the Hong

Kong Sinfonietta, Hong Kong Philharmonic and the

Taipei Symphony Orchestra.

In opera, Lam directed numerous productions of

the Janiec Opera Company at Brevard and was

Assistant Conductor at Cincinnati Opera, Baltimore

Lyric Opera and at the Castleton Festival. In recent

seasons, he led critically acclaimed productions at

the Spoleto Festival USA, Lincoln Center Festival

and Luminato Festival in Canada. His run of

Massenet's Manon at Peabody Conservatory was

hailed by the Baltimore Sun as one of the top 10

classical events in the Washington DC/Baltimore

area in 2010.

Previously Lam held positions as Assistant

Conductor of the Cincinnati Symphony Orchestra

and Principal Conductor of the Hong Kong

Chamber Orchestra.

Lam studied conducting with Gustav Meier and

Markand Thakar at Peabody Conservatory, David

Zinman and Murry Sidlin at the American Academy

of Conducting at Aspen and Leonard Slatkin at the

National Conducting Institute. He read economics

at St John's College, Cambridge University and was

an attorney specializing in international finance for

10 years before becoming a conductor.

6 Violin

Valeriy Sokolov

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7Ukrainian violinist Valeriy Sokolov is one of the

most outstanding young artists of his generation.

Winner of the First Pr ize and Special Pr ize

Remember Enescu at the George Enescu

International Competition in 2005, Sokolov

regularly collaborates with the worlds leading

orchestras including the Philharmonia Orchestra,

Chamber Orchestra of Europe, Cleveland

Orchestra, Tonhalle Orchester Zrich, Rotterdam

Philharmonic, City of Birmingham Symphony

Orchestra, Tokyo Symphony and Deutsche

Kammerphilharmonie Bremen. He works

frequently with conductors including Vladimir

Ashkenazy, David Zinman, Susanna Mlkki, Andris

Nelsons, Peter Oundjian, Yannick Nzet-Sguin

and Vasily Petrenko.

Sokolov appears regularly in recital at Thtre du

Chtelet in Paris and is a frequent guest in Les

Grands Interprtes series at Auditorium de Lyon

and at Londons Wigmore Hall. He has also

performed at the Kissinger Sommer, Lockenhaus,

Ravenna and Mecklenburg-Vorpommern festivals.

He recently made his dbuts at Lincoln Center,

Festspielhaus Baden-Baden, Philharmonie Essen

and in Vancouver and Hong Kong. Also a keen

chamber musician, Sokolov enjoys close

collaborations with pianists Itamar Golan, Denis

Matsuev, Nelson Goerner, Nicolas Angelich; cellists

Mischa Maisky, Gary Hoffman, Franz Helmerson

and Leonid Gorokhov; and violinists Vadim Repin,

Lisa Batiashvili and Julian Rachlin.

During the 2014/2015 season, besides returning to

Orchestre National de France, Seoul Philharmonic

and the Royal Stockholm Philharmonic, Sokolov

also made his dbuts with the BBC Symphony,

Seattle Symphony, Hong Kong Sinfonietta, and the

Brussels Philharmonic for concerts at Festspielhaus

in Salzburg and at Musikverein in Vienna.

An exclusive artist with EMI/Virgin Classics, Sokolov

is developing a strong and varied catalogue of

recordings, including the album Enescu: String

Octet & Violin Sonata No 3 with pianist Svetlana

Kosenko in 2009. Sokolovs first concerto DVD

featuring Sibelius Violin Concerto with the

Chamber Orchestra of Europe under Vladimir

Ashkenazy, and the documentary of his recital in

Toulouse in 2004 (Un Violon dans lme [Natural

Born Fiddler] filmed by Bruno Monsaingeon)

received much praise from the critics; the latter

continues to be frequently broadcast on ARTE TV.

Born in 1986 in Kharkov, Ukraine, Sokolov was

awarded a diploma at the International Pablo

Sarasate Violin Competition in Spain in 1999,

which provided him with a scholarship to study

with Natalia Boyarskaya at the Yehudi Menuhin

School in England. He is currently studying privately

with Boris Kuschnir in Vienna.

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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Recorder

Stefan Temmingh

The master of recorders.Abendzeitung

With his recorder he creates absolutely convincing,striking interpretations.

Sddeutsche Zeitung

Music Director/Conductor

Yip Wing-sie*

Harpsichord

Anna Paradiso

Violin

James Cuddeford

31.7.2015( Fri) 11am

Hong Kong City Hall Theatre$220 $160Programme RV443 F DBWV1050 2012*Vivaldi Recorder Concerto, RV443Sammartini Recorder Concerto in FBach Brandenburg Concerto No 5 in D, BWV1050Hendrik Hofmeyr Concerto for Recorder, Harpsichord &

Strings (2012) (Asian premire)*

Tickets at URBTIX 2111 5999 | www.URBTIX.hk Programme Enquiries: 2836 33366 For ages 6+Hong Kong Sinfonietta reserves the right to change the programme and artists

Redeem a cup of coffee or tea after theconcert in the foyer with your ticket.

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1913199481199427191319361939250HenrykGulag Archipelago1940

Andrzej Panufnik20019441936Witold Maliszewski

193819394617KrakwGrzegorz Fitelberg

Krzysztof Meyer12Tadeusz ZielinskiKarol SzymanowskiHarnasie1937

193910018511930

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Petrushka

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

(3)E (1) (1) (2) (1)

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

18811945

1939323Wil lemMengelbergZoltn Szkely193697

Universal EditionBergWeill

30Stefi Geyer1908213195819378193812Tempo diverbunkos19

TransylvaniaContrasts

Josef SzigetiBenny Goodman

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idealgrotesqueCalmo12AComodo

risoluto

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

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

(4) (2) (3)

18101856D120

1841D68913

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1841126Ferdinand DavidD185333JosephJoachim184311FAA

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

Nick BreckenfieldNick Breckenfield

whatsonwhen.com13-

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Witold (19131994)

Symphonic VariationsThe diminutive and dapper figure of Witold

died just a fortnight after his 81st

birthday on 7 February 1994. Born in Warsaw in

1913 his early life in Poland graduating in 1936

on piano, and the following year in composition

was followed by the exigencies of war. Captured by

the invading Nazis in late 1939, he escaped and

had to walk 250 miles cross-country to Warsaw (his

brother Henryk, though, was not so lucky he was

captured by the Red Army, transported to the

Gulag Archipelago for slave labour and died in

1940 from typhoid, exacerbated by starvation). In

Warsaw, and fellow composer Andrzej

Panufnik formed a piano duet and, for four and a

half years, they played not only in the capitals

cafs, but also more dangerously aiding the

resistance for underground meetings. Together

they composed over 200 works to play, but only

s Variations on a theme of Paganini

survived the 1944 Warsaw Uprising.

Before the war had just broken on to

the scene with one of his earliest extant works, the

Symphonic Variations. He had intended it to be his

graduation piece in 1936, but his compositionteacher Witold Maliszewski found it too uglyand turned to two mass fragmentsinstead to get his degree, and then military serviceintervened. Only on being demobbed in 1938 did

return to the Variations sketches, andhe quickly completed the work. It was given itsbroadcast premire on Polish Radio in April 1939,before being premiered publically in the courtyardof Wawel Castle, Krakw on 17 June, withGrzegorz Fitelberg conducting the Polish RadioSymphony Orchestra, during Polands hosting ofthat years ISCM (International Society forContemporary Music) Festival. It marked, in effect,the composers official dbut.

The ten-bar Andante theme in two halves, firstthe solo flute in a gently rising phrase, then thesweetly harmonised strings tracing the otherdirection, before one final bar of the flute risingagain is distinctly folk-like. What follows is a setof unnumbered variations and it is intriguing thatvarious commentators have found differingnumbers of variations, depending on who you read(for example Krzysztof Meyer detects 12 to TadeuszAndrzej Zielinskis eight). More likely is that it isseven, with an extended, fugal coda, and the workcan also be seen to fall into four sections. The first

Two East European works premiered in 1939 preface a central European work that was originally

written almost 100 years earlier, but became known in its later revision from 1851. Despite the

political situation in the late 1930s the music of both and Bartk are virtuosic and

sunny, while Schumanns second-to-be-written but last-to-be-numbered Symphony, belies the

fact that he would soon attempt suicide and end his life in a mental asylum.

There is a connection between all three works in that all suffered an extended break in

composition although neither nor Bartk took as long as Schumann to finish their

pieces.

Programme Notes

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section continues with the first variation, still at thethemes slow tempo. It is mysterious, at first low,then glistening, with separate lines for oboe, hornsand upper reaches of the violins perhaps taking aleaf out of fel low-Polish composer KarolSzymanowskis book (particularly the opening of hisballet Harnasie). Szymanowski died in 1937,between starting and returning to hisSymphonic Variations.

The second section opens with the faster secondand third variations, both neo-classical in vein; thescurrying strings of the former contrasting with thegrumbling bassoons and propulsive string tread inthe spikier subsequent variation. This opens outbroadly (horns and violins), before the cluckingwind typify the fifth variation, that eventually diesaway, ever deeper. The third section comprises twofinal slower variations, the first very reminiscent ofStravinskys Petrushka, with its contrabassoonutterances, quiet skittish glissando-like string motifsand solo flute. The seventh variation alternatessinewy strings and musing wind, before brasschugging build up to something of a climax tointroduce the final section, with woodwind swirlingand short fanfare motif for the oboe and clarinet tosound a fugue for the coda. As a rousing endingthe theme returns on the horns, decorated in fullorchestra colours.

Instrumentation of this piece

Strings: 1st & 2nd violins, violas, cellos, double basses

Woodwinds: flutes (2), piccolo (1), oboes (2),

English horn (1), clarinets (3), E-flat clarinet (1),

bass clarinet (2), bassoons (2),

contrabassoon (1)

Brass: horns (4), trumpets (3), trombones (3), tuba (1)

Percusson: timpani, bass drum, snare drum, triangle,

cymbals, tam-tam, castanets, woodblocks,

xylophone, glockenspiel

Harp, piano, celesta

Bla Bartk (18811945)

Violin Concerto No 2 Allegro non troppo

Andante tranquillo

Allegro molto

Bartks Violin Concerto No 2 was premiered on 23March 1939 in Amsterdam with Willem Mengelbergconducting his famous Concertgebouw Orchestra,accompanying the violinist for whom it was writtenand to whom it is dedicated, Zoltn Szkely.

Szkely one of a number of Hungarian violiniststhat Bartk worked with had requested a violinconcerto some three years earlier and, havingcompleted his Music for Strings, Percussion andCelesta on 7 September, Bartk surprised hisViennese publisher, Universal Edition, by requestingrecent examples of viol in concertos on 7September 1936. They sent him concertos by Berg,Weill and Szymanowski. Bartk had already beenworking on some orchestral sketches, which mighthave been his first idea for Szkely a large-scaleset of variations but the violinist reiterated thathe wanted a three-movement concerto. As ithappened, Bartk amalgamated both ideas, as theresultant concerto has a central slow movementwhich is a set of variations, while the opening andclosing movements are actually variants of eachother: as if refracted through a prism to uncoverdifferent musical facets from much the samemusical material. He wrote to Szkely about thethird movement: strictly speaking, it is a freevariation of the first movement (so I managed tooutwit you. I wrote variations after all).

As it happens, Bartk had already composed aviolin concerto composed some 30 years earlierfor the violinist Stefi Geyer. He gave her themanuscript in February 1908, and she never playedit. He obviously discounted it from his mind,although it was eventually introduced to therepertoire some 13 years after Bartks death and,indeed, after its dedicatees death, in 1958, whichis why we know tonights concerto as No 2.

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Bartk dated his work on the Concerto Aug 1937 Dec 1938, although we have seen he was alreadythinking about it a year earlier. The compositionwas interrupted by concert tours around Europeand a visit to Turkey to collect folk music, as well ashis extensive work seeing his other folk-musiccollections through to publication. The lattercertainly has an impact on the concerto, not leastthe first movement which, when first mentioned inany substance to Szkely, was actually termedTempo di verbunkos verbunkos being a typicalHungarian national dance from the beginning ofthe 19th century: a sort of slow, heroic, march-likemelody Bartk found in Transylvania. As ithappened the folk name did not find its way intothe final score, although it did in acontemporaneous work, Contrasts, for clarinet,piano and violin (written for another of Bartksregular violin partners, Josef Szigeti and clarinettistBenny Goodman no less). Although composedquickly, Contrasts became another delay infinishing the concerto.

All three movements have a myriad of tempomarkings, Bartk alert to the most subtle changesof mood and inflection not indicated by the simplebald markings given above. The opening andclosing movements are similar in their sonataforms, utilising similar thematic material. Harp andstring pizzicato octaves introduce the soloistssinewy opening theme in its rise and fall notunlike theme for his SymphonicVariations. However there is much harsher, morevirtuosic music, typical of the composers frequentpredisposition of contrasting ideal andgrotesque counterparts. The second themeconforms again to the ideal introduced in asection marked Calmo and, perhaps extraordinarily,a twelve tone row, save for ending back on theinitial A. Bartk writes the most rapt sections onlyto interrupt them with orchestral shrieks before amassive cadenza leads to the substantial coda.

The theme and six variations that form the slowmovement are the only large-scale set of variationsBartk composed. On a hushed bed of strings thesoloist introduces the theme, this time falling

before rising. The first variation, sparselyaccompanied by timpani, then shifting stringchords, finds the soloists quietly worrying thetheme, becoming calmer, with little harp andcelesta figures in accompaniment in the secondvariation. Peasant violinists double-stopping(playing two notes together) underpinned by brassand timpani raise the temperature in the thirdvariation, while the soloists buzzing hesitancy risesabove the slow progression of the orchestra in thefourth before the violin leads a delicate string fugalsection. This melts into the flighty Scherzo-like fifthvariation, with drum and flute trying to keep up.The final variation (Comodo) underpins the soloistsornamentations with descending and ascendingpizzicato quavers, leaving only a final pure restatement of the theme.

Perhaps Bartk did not realise the subliminalconnection between the outer movements untilpart way into the composition. With theintervention of the slow movement it might not betotally obvious in performance, although thealternation of ideal and grotesque passages isclear. The Finale does not really have a cadenza butit does make just as much use of the instructionrisoluto (resolute) as the first movement. Thereare some thrilling orchestral fanfares and passagesand much virtuosic interplay, as the concertomercurially moves to its risoluto final bars, theorchestra answering the soloists upward tripletruns before two fortissimo chords to end. Bartksupplied this ending on Szkelys request, asoriginally the ending had been for orchestra onlyand the soloist wanted it to end like a concerto,not a symphony.

Instrumentation of this piece

Strings: 1st & 2nd violins, violas, cellos, double basses

Woodwinds: flutes (2), piccolo (1), oboes (2), English horn (1),

clarinets (2), bass clarinet (1), bassoons (2),

contrabassoon (1)

Brass: horns (4), trumpets (2), trombones (3),

Percusson: timpani, triangle, snare drums, bass drum,

cymbals, tam-tam

Harp, celesta

Solo violin

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Robert Schumann (18101856)

Symphony No 4 in D minor,Op 120

Ziemlich langsam Lebhaft

Romanze: Ziemlich langsam

Scherzo: Lebhaft Trio

Langsam Lebhaft Schneller Presto

In spring 1841, Clara Schumann wrote in their jointdiary of Roberts new symphony: which is to be inone movement, but with an Adagio and a Finale.As yet I have heard nothing of it, but from seeingRoberts bustling and hearing the chord of D minorsound wildly in the distance, I know in advancethat another work is being wrought in the depthsof his soul. Heaven is kindly disposed toward us:Robert cannot be happier in the composition than Iam when he shows me such a work. Workobviously was going well, as she reported a fewdays afterwards: Robert is composing steadily. Hehas already completed three movements and Ihope the symphony will be ready for his birthday [8June]. That deadline passed, but it was ready forClaras birthday on 13 September, coinciding withthe christening of their first child, Marie. Despitethe one-movement hope, the only radicaldeparture of the finished score was that the lasttwo movements (Scherzo and Finale) were elidedinto one. Presenting the score to Clara, Robertwrote in the diary: One thing makes me happy:the consciousness of being still far from my goal, ofbeing obliged to keep doing better, and the feelingthat I have the strength to reach it.

The symphony finally received its premire on 6December, 1841 with the Leipzig Gewandhaus(Mendelssohns orchestra), conducted byFerdinand David (for whom Mendelssohn wouldshortly compose his Violin Concerto), but it wasreceived somewhat less warmly than the SpringSymphony (Schumanns first) the previous March.Schumann opted against publication, and returnedto the score only a decade later, after he hadwritten another two symphonies, published as Nos2 and 3 (Rhenish).

The D minor symphony was eventually publishedlast, in 1853, as No 4 after its revised premire atthe Spring Festival of the Lower Rhine, inDsseldorf on 3 March that year. Interestingly,Schumann inscribed the manuscript of the revisionwith a private dedication to Joseph Joachim, whomthe Schumanns had first seen in Leipzig in 1843when the violinist was only 11 At the time thefirst sounds of this symphony originated, Joachimwas still a small boy; since then the symphony andeven more the boy have grown bigger and for thisreason I dedicate it to him, even if only private.

The revision, both orchestrally and structurally,returned the piece to the very initial conception with the movements seamlessly connected andplayed without pause. However, in it Schumannalso doubled orchestral parts, though in the handsof a good conductor such criticisms that see this asmaking the score too dense melt away.

The slow D minor introduction opens with ansinuous, meandering theme, which gradually buildsand makes way for a swift transition passage intothe thrusting, swirling movement proper. By nowwe have had all the germs for the work: themeandering theme, the leaping violin figureimmediately following it and the stabbing chordswhich accompany the latter. The exposition movesto F major and is repeated before the developmentis heralded by two stern brass calls and the musicgoes through some turbulent passages with awhirlwind of invention, ending with pealing brassand a speeding coda and a gap filled with a windchord, opening the Romance, with its delicateoboe theme in A minor.

Back comes the sinuous theme from the slowintroduction, and a solo violin adds its own filigreeto this remarkably brief intermezzo-style section.The oboe solo returns, here brighter as it is pitchedin A major, to end the movement.

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Scurrying str ings and stressed wind chordscharacterise the D minor Scherzo, contrasted withthe more lyrical and lilting Trio section, whichreturns to the meandering style already featured inboth preceding sections. Both the Scherzo and Trioare repeated before (like Beethovens Fifth) there isa transition passage which grows in tension andvolume to introduce the stabbing theme which isthe Finale proper, now in D major. Vigorouslyworked through, this opening section is fullyrepeated (the movement is in a sonata-likeform). Trombones growling twice (just like the firstmovement) move the music into the development,only slightly less hectic than what has gone before,with horns peal ing in counterpoint to thechugging strings. The two grand chords returnand we are in the final, swaying furlong with twoimposing increases in speed before the finishingpost is reached.

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

Nick Breckenfield, 2015British programme-note writer Nick Breckenfield was the

Classical Music and Opera Editor for whatsonwhen.com for 13 yearsand now works for the Borletti-Buitoni Trust

which awards young classical music artists

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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-chiehLaurent PERRINHO Kwok-chee KareyPARK Si-wonWU Yin-yinYIP Chun-hei Eric

Masami NAGAI Santiago COSTA MARTNEZCHENG Hiu-man Phoebe

Notes1. Guest Principal Flute Sami JUNNONEN ().2. Freelance Musicians: Michael CAMPBELL (), CHENG Mei-kwan Emily (), Shelagh HEATH (),

Cecilia HO (), LEE Shing-chun David (), Vivian LEE (), LI Hau-ling Jacqueline (), Mandy LO (),MAN Hay (), Izumi NIKAIDO (), TENG Yuk Sophia (), TONG Wing-ka Penny (),YAM King-lam (), Gordon YAP ().

Hong Kong Sinfonietta Music Director: YIP Wing-sie Principal Guest Conductor: Christoph POPPEN

Principal Assistant Principal Orchestral Associate

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Hong Kong Sinfonietta Limited

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.

2323

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

Partner Hotel

Corporate Members Platinum Members

Serena Yang

Thank You Partners!

2424

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 Lo Ying Sui Archie 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 Mr John Sun-kin Fung Louis Fung Mr Ho Ching PongMs Rose HoDan and Sheryl HooleyMrs Elsie Hui Sophia KaoMs Betsy LaiMr Jackson Lam

Ms Lisa LauMs Anna LoMr Ambrose Lui Mr Tony MaHayden Majajas & Andy ChenPhilippe de Marcillac

Masterpoint Professional LtdMr Anthony NappiMs Jane Ng Ms Winnie NgaiPoon Shing Chi and Liao E WenMs Amy TamMs Eunice Tong 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

2525

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 Alisan Fine Arts

Dr Thomas H C Cheung

Dr Steven Woon-cheong Lam

Dr Lee Shiu & Dr Jennie Mui Lee Vincent W S Lo Mr David Sin Wai-kinMr T L Tsim Christine Van Anonymous

Asia Insurance Co Ltd

Mr Patrick Chan

Dr Irene Chau

Dr & Mrs Douglas Cheung

Mr Geoffrey Ko Dr & Mrs Samuel LamMr and Mrs Lam Ting Kwok Paul

Nathaniel Foundation Limited

Ms Rotina Pang Wai Wah Foundation Ms Christine Yip

Anonymous

BELIEVING MUSIC CANMr Iain BruceDr Eugene K ChanJonman, Monika & Joel Chan FamilyMr Chan Kwan HoMs Anastasia ChaoMr P L ChoyProf David ClarkeMr Paul Jackson Jacobelli Family Stephanie & Amelie JatTasha Lalvani Dr Ernest Lee Dr Liu Bing FaiMs Anna LukHayden Majajas & Andy ChenProf Mak Su-yin

Miss Jennifer Mok Nathan Ng & Nathalie Ng Mr & Mrs Nigel & Winny Ng Mr Ng Wing Fui NicholasMr Mark Tong Mr & Mrs Paul Tsang Mr T L TsimDr Wong Hin Yeuk Mr Wong Nai HayMr Marcus WooMs Alice Yeung 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

26

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

CM

Y

CM

MY

CY

CMY

K

Student Ticket final.pdf 1 29/05/2013 2:07 PM

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

Tickets at URBTIX 2111 5999 | www.URBTIX.hk Programme Enquiries: 2836 3336www.singfest.hk6 For ages 6+Hong Kong Sinfonietta reserves the right to change the programme and artists

The content of this programme does not reflect the views ofthe Government of the Hong Kong Special Administrative Region.

In collaboration with

Rilling's Bach invariably overwhelms with its simplicity,

its sincerity, its dramatic balance and musical logic.

Los Angeles Times

8.8.2015( Sat) 8pm

Hong Kong City Hall Concert Hall

$360 $260 $150

Chorus Masters

Patrick Chiu Felix Shuen Choruses2015SingFest Choral Academy and2015 Youth Chorus

SopranoJulia SophieWagner

AltoLidia VinyesCurtis

TenorBenjaminGlaubitz

Bass Tobias Berndt

Conductor

Helmuth Rilling

M

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AEL

LA

TZ

BACH 330 BACH 330 is financially supported by the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region

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B. K

OSS

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Hong Kong Sinfonietta isfinancially supported by the Government ofthe Hong Kong Special Administrative Region

Hong Kong Sinfonietta is theVenue Partner of the Hong Kong City Hall

Tickets at URBTIX 2111 5999 | www.URBTIX.hk Programme Enquiries: 2836 33366 For ages 6+ Hong Kong Sinfonietta reserves the right to change the programme and artists

Violin

Veronika Eberle

Eberles introverted intensity and interpretive boldness made an immediate impression.

The New York Times

Her tone is warm, invariably lucid and resonant, and she possesses an admirable ability to adapt it

to the character and style of the composition.Sddeutsche Zeitung

25.7.2015( Sat) 8pm

Hong Kong City Hall Concert Hall

$320 $220 $140

Programme // / A 22Charles Kwong // beforedark . hk . cn / (world premire)Shostakovich Violin Concerto No 1 in A minorSibelius Lemminkinen Four Legends, Op 22

Music Director/Conductor

Yip Wing-sie