house programme

The Hong Kong Arts Festival is a prominentarts event in the cultural calendar of Hong

Kong and the Asia Pacific region. Proudlystepping into its 33rd year, the Festivalcontinues its vigorous pursuit of innovativedevelopment; the presentation of new worksand the provision of quality arts.

In terms of the number and diversity ofprogrammes, the 2005 Festival is one of thelargest festivals to date, offering a wide varietyof inspiring art, music and culturalprogrammes by prestigious internationalartists and leading local talents. I am sure thatthe Festival will further enhance Hong Kong’sstatus as an international cultural metropolis.

I extend our warmest welcome to allparticipating artists and wish all local andoverseas members of the audience a mostenjoyable time.

TUNG Chee HwaChief ExecutiveHong Kong Special Administrative Region

2005

2005

Message from the Chairman

I warmly welcome you to the 33rd Arts Festival.As a premier event in the Hong Kong cultural

calendar as well as the Asia Pacific region, theFestival presents the finest international andregional artists in an intense series of concerts andperformances, as well as showcases the creativityof artistic talent in Hong Kong.

Appreciation and thanks are due to our mainsubventing organisations – the Hong KongGovernment, through the Leisure and CulturalServices Department, and the Hong Kong JockeyClub Charities Trust. Their long and continuedpatronage are what make these culturalpresentations possible.

In addition, we gratefully acknowledge thegenerous support of many corporate sponsors,arts institutions and individuals.

The Festival has always made our programmesaccessible to students and young audiencesthrough half-price student tickets and our YoungFriends Scheme. These schemes are funded by thegenerous donations from numerous corporateand individual donors.

The 2005 Festival offers a rich and stimulatingprogramme, with a variety of captivatingperformances and choices, presenting a diverse rangeof tastes with artistic excellence. We hope to offersomething enjoyable and of interest to everyone.

Above all, I would like to thank you, our patrons, foryour support and participation in the 2005 Festival.

Charles Lee

The Hong Kong Arts Festival is made possible with the funding support of:

2005

7A89268

2005

Message from the Executive Director

The starting point for the programming of this 2005Festival was the idea of contrasting opposites – ‘sacred

and profane’. Both of these elements are rich sources ofcreative impulses for the performing arts in most culturesand this thematic link is evident in much of ourprogramming. We hope these connections and contrastswill make your Festival experience more engaging andmemorable.

Alongside all of our international artists, we are proud topresent many outstanding Hong Kong artists. For example,the Hong Kong Philharmonic Orchestra and the HongKong Repertory Theatre, as well as the fine young HongKong musicians, pianist Rachel Cheung and the Fresh AirBrass Quintet. Other important Hong Kong artists takingpart include Cantonese opera stars Mui Suet-see and LeeLung; Class 7A Drama Group; Chung Ying Theatre; Group89268; the Material Girls; choreographer Daniel Yeungand the remarkable combined talents of Lee Chun-chow,Faye Leong, Gabriel Lee and Chong Mui-ngam in TheFrench Kiss.

In addition, our commitment to commissioning new workfrom Hong Kong and around the world continues, withpieces such as Amber, The Nightingale, All That ShanghaiJazz, Material Girls, i-City, The French Kiss, Come Out &Play and Little Prince Hamlet.

The 2005 Festival will offer a total of 124 performanceswith 42 performing groups (32 overseas and 10 local), twoexhibitions and our Festival Plus programme of talks,seminars and meet-the-artist sessions.

This is one of our largest Festivals to date, in terms of thenumber and the diversity of programmes. I am sure too,that it will be one of our most enjoyable and inspiring. Weare delighted that you could join us.

Douglas Gautier

06 Fazil Say 5

To make this performance a pleasant experience for the artists and other members of the audience,PLEASE switch off your ALARM WATCHES, MOBILE PHONES and PAGERS.

Eating, drinking, smoking, unauthorised photography and audio or video recording are forbiddenin the auditorium. Thank you for your cooperation.

Auditorium, Sha Tin Town Hall

19.2.2005Concert Hall, Hong Kong City Hall

20.2.2005

For programme details19.2.2005 Page 11 20.2.2005 Page 27

1 40

Running time:approximately 1 hour and

40 minutes, including one interval

7Biography

1970

1995 1994

2004

2000

19911996

2001

2002 12003

2003

1998

20012004 K 414 K 467 K 488

Cover Photograph © Baumann / Aufauvre

© Teamaz Arsiray Cmyk

Accommodation for Fazil Say is sponsored by

Fazil Say is flown in by

9

Fazil Say: The Genius from Turkey

Born in 1970 in Ankara, Turkey, Fazil Say studied piano and composition at theAnkara State Conservatory. At the age of 17 he was awarded a scholarship thatenabled him to continue his studies with David Levine at the Robert SchumannInstitute in Dusseldorf. He completed his musical education at the BerlinConservatory in 1995; having won the Young Concert Artists InternationalAuditions in 1994, which launched his international career.

Fazil Say has been a guest performer with the New York Philharmonic, the StPetersburg Philharmonic, the BBC Philharmonic, and many other leading orchestrasworldwide. In addition he has played many leading festivals including the SalzburgFestival, the Ruhr Piano Festival, as well as performing in many leading concert halls.In 2004 he gave his debut at the International Piano Series in London and the WorldPiano Series in Tokyo.

Say’s passion for jazz and improvisation led him to found a ‘worldjazz’ quartet withthe Turkish Ney flute virtuoso, Kudsi Ergüner. During the summer of 2000 thequartet performed in St Denis, Paris, Montpellier and various jazz festivals.

Fazil Say is just as much a composer as he is a pianist. Black Hymns, which hecomposed at the age of 16, was performed as part of Berlin’s 750th anniversarycelebrations. In 1991 he premiered his Concerto for Piano and Violin with the BerlinSymphony, and in 1996 he premiered his second piano concerto Silk Road inBoston. The Turkish Ministry of Culture commissioned his oratorio Nazim, basedon poems by the famous Turkish poet Nazim Hikmet, which premiered in Ankarain 2001 in the presence of Turkey’s president.

The world premiere of Say’s Piano Concerto No 3, commissioned by Radio Franceand Kurt Masur, was performed by the Orchestre National de France in Paris inJanuary 2002 to great public and critical acclaim. His oratorio Requiem for MetinAltiok was premiered in 2003 at the Istanbul Festival in front of an audience of5,000 people and has been recorded on CD. In 2003 he was appointed ‘Artist inResidence’ by Radio France.

Fazil Say’s first recording, a Mozart disc released in 1998, garnered rave reviewsfrom the press. His discography includes Gershwin’s Rhapsody in Blue and I GotRhythm Variations; a highly acclaimed Bach recital; and Stravinsky’s ownarrangement of Le Sacre du Printemps for four hands.

Say has received numerous international awards for this recording, including the2001 Echo-Preis Klassik and the 2001 German Music Critics Best Recording of theYear Award. On his most recent recording released in autumn 2004, Fazil Say playsMozart’s three Piano Concertos – K 414, K 467 and K 488, accompanied by theZurich Chamber Orchestra, conducted by Howard Griffith.

Biography

11Programme

19 February 2005 (Saturday)

Domenico ScarlattiSonata in F major, K 378Sonata in D minor, K 1Sonata in C major, K 159

Wolfgang Amadeus MozartPiano Sonata No 11 in A major, K 331

Andante graziosoMenuettoRondo alla turca

Variations on Ah, vous dirai-je,Maman, K 265

Ludwig van BeethovenAppassionata Sonata in F minor,Op 57

Allegro assaiAndante con moto (leading witha break into)Allegro ma non troppo

Fazil SayCompositions and Improvisations

George GershwinRhapsody in BlueThree Piano Preludes

PreludeBlue LullabySpanish Prelude

15 minute interval

F K 378D K 1C K 159

A K 331

K 265

F 57

13Programme Notes

F K 378D K 1C K 159

(1685-1757)

1685

1720

1738D K 1

C K 159 1752F K 378 1754

A K 3311756-1791

A K331 K330-332

A

A

14

K265 (1756-1791)

1778

F 57 (1770-1827)

1805 F

Programme Notes

15

(1898-1937)

1924 1

1926

Programme Notes

© Arnaud Baumann and Sipa Press

16

Sonata in F major, K 378Sonata in D minor, K 1Sonata in C major, K 159Domenico Scarlatti (1685-1757)

Domenico Scarlatti was born in Naples in 1685. His career falls neatly into twoperiods. The earlier period he spent in his native Italy, where he worked under theguidance of his domineering composer-father, Alessandro, writing for both thetheatre and the church. From this period there date at least a dozen operas, withearly productions in Naples, Rome and London.

The second part of his life from 1720 onwards, was spent in distant Portugal andSpain, living and working in the royal courts at Lisbon, Seville and Madrid. Therehe composed his more than five hundred short single-movement pieces forharpsichord, called ‘sonatas’, dedicated to his royal patron, the Infanta MariaBárbara. These keyboard works still account for the greater part of DomenicoScarlatti’s reputation today.

Only 42 of these were ever published during his lifetime, 30 in London in 1738,under the title Essercizi (Exercises), and these again with 12 others the followingyear. Included in both of these publications was the D minor Sonata (K 1), a livelyAllegro characterised by rippling semiquavers. The two other works performedhere are preserved in manuscripts now in Venice. The C major Sonata (K 159),dating from 1752, is an Allegro in 6/8 time, and the F major Sonata (K 378), dated1754, an Allegro ‘alla breve’.

Piano Sonata No 11 in A major, K 331Wolfgang Amadeus Mozart (1756-1791)

Although there are differing views as to when this piece was composed the sonatain A major, K331 is the second in a set of three sonatas (K 330-332) and has severalinteresting features. Mozart generally used a sonata-form Allegro for the firstmovement in most of his piano sonatas, but here he uses a theme and variationdesign instead. Another interesting point is that each movement of the sonata isbased around the tonality of A. This is unusual as there is typically a change of keyfor the second movement to provide a necessary tonal contrast.

The use of the title alla turca for the last movement may seem exotic, but in thesecond half of the 18th Century there was a vogue across Europe to incorporatethings Turkish into art music. Primarily this involved the use of much percussionand cymbals, and a typically noisy style, rhythmic and usually in duple time. Theuse of the loudly-spread left hand chords in the A major passages is clearly meantto produce this percussive effect. Additionally the movement is a rondo, butunusually the first theme occurs only twice, rather than repeatedly, while at thesame time within the sections Mozart extensively repeats melodic ideas.

Programme Notes

17

Variations on Ah, vous dirai-je, Maman, K 265Wolfgang Amadeus Mozart (1756-1791)

Mozart celebrated New Year 1778 in the German city of Mannheim. His father,Leopold, had sent him there to look for work, but reports got back that the 22year old Mozart was spending too much time drinking and socialising.Consequently, Leopold ordered him to move on to Paris, where Mozart was topresent a number of concerts in which he would play his own compositions. These,it was planned, would prove to all just what a remarkable musician he was!

One of the pieces he wrote to impress his potential employers in Paris was this set ofkeyboard variations. A simple nursery tune, known more widely these days as Twinkle,twinkle little star, is subjected to a dose of Mozart’s very grown-up musical cleverness.

– 15 minute interval –

Appassionata Sonata in F minor, Op 57Ludwig van Beethoven (1770-1827)

It was not Beethoven, but the music publisher Cranz, who gave this work itsnickname Appassionata. Beethoven’s pupil Ferdinand Ries reports that in summer1805, Beethoven “played for me the Allegro of the great F minor Sonata withirresistible force and mighty fire”.

At the heart of the Sonata is the sombre march-like hymn that serves as a themefor the variations making up the second movement (Andante con moto). The finalmovement (Allegro ma non troppo) follows without a break, a dramatic reiteratedchord giving way to the urgent interrogations of tumbling scales and the almostperpetual unrest of the turbulent finale theme.

Programme Notes

18

Rhapsody in BlueThree Piano PreludesGeorge Gershwin (1898-1937)

The piano was central to George Gershwin’s musical life, representing much morethan just his tool of trade as writer of popular show tunes. His early musical trainingwas cursory, and he was never more than proficient at reading music. So it wasthe piano, instead of a page of manuscript paper that served as the essentialcatalyst for his compositions.

Creating music more with his hands than with his head, Gershwin’s true geniuswas as an improviser. He performed his own dazzling piano music, including thissolo version of Rhapsody in Blue, with great panache, but as a performer resistedthe temptation to tackle the piano ‘classics’. Rhapsody in Blue left his piano inJanuary 1924 only partially written down in ‘short score’, on just three or fourstaves. Ferde Grofé, arranger for Paul Whiteman’s New York Palais Royal Orchestra,did the orchestrations, and Gershwin himself was the piano soloist withWhiteman’s orchestra for the premiere three weeks later.

From the first, Gershwin also intended that the work could also be performedeither on the piano alone as here, or with two pianos. The singer Marguerited’Alvarez invited him to perform the two-piano version (with Isidore Gorin) at aconcert late in 1926, and for the same occasion he composed several short soloworks entitled Preludes. His original idea was to imitate Chopin’s set of Preludes inproducing 24 of these works (one in every major and minor key), and call the set‘The Melting Pot’. He only ever started seven or eight, however, and only threewere eventually published as the Preludes for Piano. Of these, the second is sub-titled Blue Lullaby, while Gershwin called another his Spanish Prelude.

All programme notes by Graeme Skinner

Programme Notes

20 Interview

C

A B C D

21Interview

© 1999

© Christian Steiner

22

Fazil Say on Gershwin

InterviewerFazil Say

Where would you place Gershwin’s music today?

Gershwin is really quite unique in the history of music. He wrote highlyindividual music that’s instantly recognisable. If, for example, you hear a tuneon the radio that reminds you of Gershwin, you can be pretty certain that itreally is by him.

When you compare him with a composer like Schoenberg, Gershwin mightseem unprogressive, not to say facile or populist. But don’t forgetSchoenberg’s remark: “The most beautiful work in the world can still bewritten in C major”. Gershwin’s approach to tonality combines a whole seriesof harmonic and melodic ideas with new and exotic elements that fewcomposers had thought of till then: jazz and classical music, America andEurope, black and white link hands here.

What is striking about Gershwin is the incredible speed with whicheach section begins and ends. What do you think of this profusionof themes?

In Rhapsody in Blue, he keeps introducing new themes. It makes me think ofoperatic excerpts. We hear themes A, B, C and D within the very first minute.And by the time we’ve reached the end of the piece – which lasts a total of 17minutes – there are more themes than there are letters of the alphabet.Rhapsody in Blue almost literally bombards us with surprises and fascinatingthemes. I think that’s why it will always be such a favourite with audiences.

Is a song composer really a composer?

The question can’t be asked in those terms. Gershwin wasn’t obliged to limithimself to established forms such as fugue, sonata or rondo. What isimportant is the musical content and what the composer wants to say, hisoriginality. In Gershwin’s music there’s an extraordinary sensitivity and wit anda never-ending stream of harmonic and rhythmic ideas. And then you’ve gotexotic elements that hadn’t been used before such as jazz, ragtime, musicalcomedy and Latin American music.

Interview

23

Schoenberg admired Rhapsody in Blue for its profusion of themes,but he also touched on a more technical aspect, the transitionsbetween them. Could you say something about that?

That’s precisely where Gershwin’s great mastery lies: these little bridgepassages between the themes are really quite inspired. For me, it is these thatexplain the power of this music. To write such brief passages is sometimeseven more difficult than thinking up a tune that will stick in the memory. Butall you need is a motif, a few notes on the clarinet, muted trumpet orwha-wha trombone, and you’re home and dry! And it’s precisely here thatmany listeners say: “That’s the passage I prefer most of all, let’s see howthey’re going to perform it.”

Who were the influences on your interpretation?

As a child, I often had the chance to see Leonard Bernstein playing andconducting Rhapsody in Blue on Turkish television. I myself was 17 when I firstperformed it in the concert hall. It was in Ankara with the ConservatoryOrchestra. Perhaps I’m not being very objective, but I have to admit that, forme, Bernstein remains a point of reference. His is a sophisticated reading, asthough he were playing for a lover, late at night, sitting at the piano, acigarette in his mouth and a glass of whisky in front of him.

How long have you been playing the Three Preludes?

I’ve been playing the Three Preludes since I was a child. I knew that Gershwinhad written other pieces for solo piano, but I didn’t know them all. You rarelyhear them in the concert hall. And so I did some research and have playedthem regularly at recitals.

Among these pieces, which do you find particularly affecting?

I like them all. They’re delightful little miniatures. Like bibelots. I never knowwhich I’m going to like best. It depends on the mood I’m in. I remember flyingin from Los Angeles for a concert in Istanbul. I’d not slept for two days. I thinkit was then that I gave my best performance of Sleepless Night.

© 1999 Fazil SayEnglish translation: Stewart Spencer

Interview

27Programme

20.2.2005 Sun Meet-the-Artist (Post-Performance)

If you would like to meet Fazil Say, please stay behind in the auditorium after the performance

C Hob XVI: 35

E Hob XVI: 31

A Hob XVI: 43

B

20 February 2005 (Sunday)

Joseph HaydnSonata in C major Hob XVI: 35

AllegroAdagioFinale (Allegro)

Sonata in E major Hob XVI: 31ModeratoAllegrettoFinale (Presto)

Sonata in A-flat major Hob XVI: 43ModeratoMenuetRondo (Presto)

Maurice RavelSonatine

Modéré (doux et expressif)Mouvement de menuetAnimé

Fazil SayBlack Earth

Franz LisztSonata in B minor

15 minute interval

29Programme Notes

C Hob XVI: 35E Hob XVI: 31

A Hob XVI: 43 (1732-1809)

E CA 1783

1789

(1875-1937)

1904

1905

1905

33

Sonata in C major Hob XVI: 35Sonata in E major Hob XVI: 31Sonata in A-flat major Hob XVI: 43Joseph Haydn (1732-1809)

What matters to me is not who is playing on what instrument but rather, how theinstrument is being played. So the short Sonatas of Haydn, musically telling shortstories – full of sarcasm, funny, elegant, childish, interesting and singing. All of thisI can find in Haydn’s sonatas and try to find my joy each time… – by Fazil Say

In the mid 1770s Haydn’s attentions began to turn away from his courtly duties asdirector of music to the princely Esterházy family, to the possibility of an internationalcareer. Publishing was a major part of his plans, and among his most successfulventures into print over the next decade were several sets of piano sonatas.

Of the three works performed here, he composed the Sonata in E in the mid 1770s, theSonata in C around 1780 and the A-flat Sonata in summer 1783. All became widelyknown, not only in Austria, France, and Germany, but also in England. There the musicenthusiast, Charles Burney, writing in 1789, warned that some listeners would findHaydn’s music “very odd, or very comical”, but added that the “queerness and comicalitycease, when by frequent repetition, the performer and hearer are at their ease”.

Burney particularly recommended Haydn’s piano sonatas, noting of the outermovements in Haydn’s typical three-movement plan: “There is a generalcheerfulness and good humour in Haydn’s allegros, which exhilarate every hearer”.The contrasting central movements, he found to be “sportive… and evengrotesque for the sake of variety”, but insisted that they were only intermezzibetween the serious business of his other movements.

SonatineMaurice Ravel (1875-1937)

In summer 1904 Ravel became an habitué of the Bohemian Paris ‘salon’ of aFranco-Polish couple, Ida and Cipa (Cyprien) Godebski. Other regular visitors to theGodebski’s apartment over the years included Jean Cocteau, Paul Valéry, AndréGide, Erik Satie and Igor Stravinsky.

The Godebskis cemented their friendship with Ravel at the time of the publicscandal surrounding his fourth and final failure to win the Prix de Rome in 1905. Itwas their brother-in-law Alfred Edwards, then editor of Le Matin, who virtuallyengineered the media frenzy referred to as ‘l’affaire Ravel’. Despite the augustcompany frequently on hand when he visited the Godebskis, Ravelcharacteristically preferred spending time with the couple’s two young children,Mimie and Jean, to whom he read stories and for whom he composed his MotherGoose suite. To their parents, he dedicated his Sonatine, on which he had begunwork shortly before he met the Godebskis. Completed in 1905, it is in threemovements, proceeding from the piquant sonata-form opening, via a modalminuet, to a scintillating moto perpetuo finale.

Programme Notes

35

Black EarthFazil Say (1970-)

Composed in 1997, Black Earth takes its inspiration from Kara Toprak, a celebratedpopular song composed by Asik Veysel, a blind poet and contemporary singer whois extremely famous in Turkey. The poet sings of his desolation after losing hisbeloved, with no friend left but the Black Earth.

Fazil Say’s piano style imitates the sonority of the saz (a traditional Turkish instrument),improvising on the themes of the ballad, in a skilful blend of Turkish folklore, jazz andmodal music. Fazil Say plays this work in both classical music and jazz festivals.

English translation: Charles Johnston© naïve

– 15 minute interval –

Sonata in B minorFranz Liszt (1811-1886)

Liszt studied piano and composition with his father and, when the family movedto Vienna, with Czerny and Salieri. The prodigy undertook his first European andBritish tours in his early teens, but like many child stars quickly tired of touring, andspent his twenties in Paris teaching and studying.

An encounter with the violin virtuoso Paganini was crucial for Liszt in developinghis own phenomenal pianism. He resumed his mature career as a performingvirtuoso in 1839, until deciding, at the instigation of his mistress, Princess CarolyneSayn-Wittgenstein, to redirect his activities to composing and conducting.

From 1848 onwards he was based at the ducal court at Weimar, living withCarolyne and serving as director of the court opera. A creative masterpiece of hisWeimar years, the Sonata in B minor also represents a major innovation in thehistory of the piano sonata, reducing the usual four movements of the traditionalsonata, to a continuous single movement. Moreover, Liszt based this massiveundertaking – a sort of musical quest for enlightenment – on a single set of simplemusical motives, continuously and imaginatively deployed in a variety of dramatictransformations, from the dark, almost funeral opening, through lyrical andvirtuosic episodes, to a grandly exuberant climax and a serene close.

Unless otherwise specified, programme notes by Graeme Skinner

Programme Notes

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Ion GlobalItalian Chamber of Commerce in

Hong KongThe Italian Cultural Society of Hong KongKent Fok@tn PEACOCKKowloon Chamber of CommerceKowloon Hotel Hong KongKwai Tsing TheatreLangham Hotel Hong KongLufthansa German AirlinesLuk Kwok Hotel Hong KongMackie Study

The Mammals The MammalsThe Marco Polo Hong Kong HotelMaster Music LtdMaxim’s Caterers Ltd

Mission Production Company Mission Production CompanyMorn Creations Ltd Morn Creations Ltd

MTR CorporationNaxos Digital Services Ltd Naxos Digital Services Ltd

New Territories Associationof Societies

Norwegian Representative Office Norwegian Representative OfficeThe Panic The Panic

Parsons Music LtdPatsville Company LtdPaul’s Ballet Supplies CentreThe Peninsula Hong Kong

Planet Yoga by Master Kamal Planet Yoga by Master KamalPMC Connection (Hong Kong) PMC Connection (Hong Kong)

PricewaterhouseCoopersRadio 4, Radio Television Hong KongRay Yuen

Ricky Music Factory Ricky Music FactoryThe Ritz-Carlton Hong Kong

Rococo Classic Ltd Rococo Classic LtdRoyal Norwegian Embassy, BeijingSha Tin Town HallShanghai Commercial BankShanghai Fraternity Association HK LtdShun Cheong Record Co LtdShun Hing GroupSil-Metropole Organisation Ltd

Simply Art Simply ArtSole Cultural GoodsSpanish Chamber of Commerce in

Hong KongStarbucks CoffeeStevenson, Wong & CoSunrise MusicSwindon Book Company Ltd

Team and Concepts Ltd Team and Concepts LtdTelevision Broadcasts LtdTIMETom Lee Music Company LtdUniversity Museum and Art Gallery,

The University of Hong KongUniversal Music LtdURBTIXWarner Music Hong KongWing Hang Bank LtdYMCA of Hong Kong

Zenith Designing & Printing Zenith Designing & PrintingServices Ltd Services Ltd

Zonta Club of Hong KongZonta Club of Hong KongZonta Club of Hong Kong EastZonta Club of KowloonZonta Club of the New TerritoriesZonta Club of Victoria

Patron

The Honourable Tung Chee-hwa

Honorary Life PresidentSir Run Run Shaw, CBE

Executive Committee

Mr Charles Y K Lee, GBS, JP

Mr Rafael Hui, GBS, JP

Mr Billy Li

Mr Wayne LeungMr Peter Thompson, SBS, OBE, LLD, JPDr Allan Zeman, GBS, JPMrs Mariana Cheng, BBS, JPMrs Clara WeatherallMr Ronald Arculli, GBS, JPMs Teresa HongMr Timothy Cheung

Programme Committee


Prof Lo King-man, MBE, JP

Prof David Gwilt, MBEMr Nicholas JamesDr Joanna C LeeMr Nelson LeongMr Fredric MaoMr Tam Wing-pong, JPMrs Clara WeatherallMs Yao JueMr Daniel Ng

Mr Joseph Seelig

Finance and Management Committee

Mr Billy Li


Mr Wayne LeungMr Nelson Leong

Development Committee

Mr Wayne Leung

Dr Allan Zeman, GBS, JPMrs Leong Yu-san

Mrs Clara WeatherallMrs Mariana Cheng, BBS, JPMrs Igna DedeuMs Deborah BiberMs Alexandria J AlbersMs Peggy Liu

Honorary SolicitorStevenson, Wong & Co

Hong Kong Arts Festival Trust

Mr Angus H Forsyth

Mr Darwin Chen, SBS, ISOMrs Mona Leong, BBS, MBE, JPMr John C C Chan, GBS, JPMr Rafael Hui, GBS, JP

Mr Martin Barrow, GBS, CBE, JPMr Thomas Kwok, JPDr The Hon David K P Li, GBS, JPMrs Mona Leong, BBS, MBE, JP

PricewaterhouseCoopers

Address: 12th Floor, Hong Kong Arts Centre, 2 Harbour Road, Wanchai, Hong Kong Telephone: 2824 3555 Fax: 2824 3798 / 2824 3722 Website: http://www.hk.artsfestival.org Email: [email protected]

Staff

Douglas Gautier

Programme

Grace Lang

So Kwok-wanMio Margarit Chow

Linda Yip (on study leave)

Eddy Zee

Marketing

Katy Cheng

Alexia ChowChris LamAndy Yau

Development

Angela Hui

Eunice Chan

Accounts

June Yun

Bonia Wong

Administration

Carmen Chu

Virginia Li

Tony Cheng

Staff (contract)

Programme

Elvis King

Tiffany YiuRoy Leung

Andrew Chan

Eva Lau

Christina Lee

Billy ChanCat ChengRufina FungNancy LamKathy LeeGary Leung

Joey Chan

Publication

Daisy Chu

Mya Kirwan Mya Kirwan

John Wong

Marketing

Agatha Ho

Michelle Yeung

Ada Mak

Alfee SoWu Kai-yinPang Leo

Development

Michelle Ching

Administration

Dicky Chan

Published by Hong Kong Arts Festival Society Limited Printed by A.Plus Design Reproduction in whole or in part without written permission is strictly prohibited.

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