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Berezovsky plays Tchaikovsky

Perry Soconductor

Boris Berezovskypiano

Programme

LIADOV The Enchanted Lake, Op. 62

TCHAIKOVSKY Piano Concerto No. 1 in B flat minor, Op. 23Allegro non troppo e molto maestoso – Allegro con spiritoAndantino semplice – Prestissimo – Tempo 1Allegro con fuoco

– Intermission –

PROKOFIEV Symphony No. 5 in B flat, Op. 100AndanteAllegro marcatoAdagioAllegro giocoso

RTHK Production Team

Radio Production

Audio ProducerCalvin Lai

PresentersJenny LeeBen Pelletier

Simulcast ProducerRaymond Chung

Simulcast PresenterJenny Lee

TV Production

Executive ProducerHenry Wan

ProducerEdde Lam

Assistant ProducerTang Chun-cheong

Music Score AdvisorTina Ma

Mobile Production UnitJolly Tang

Radio and TV Outdoor Broadcast Engineering

PCCW Broadcasting Section

The 23 Apr concert is recorded by RTHK and is broadcast live on RTHK Radio 4 (FM Stereo 97.6 – 98.9 MHz). The audio/visual recording will be simulcast via TVB Pearl, on RTHK Radio 4 and RTHK’s website (www.rthk.org.hk) on 12 Jun (Sat) at 2:35pm.

The Hong Kong Philharmonic Orchestra (HKPO) is one of Asia’s leading orchestras. Enriching Hong Kong’s cultural life for over a century, the Orchestra has grown into a formidable ensemble of Chinese and international talents in the last three decades, attracting world-class artists to perform on the same stage. HKPO annually touches the lives of 200,000 music lovers through more than 150 performances.

Under the leadership of its internationally renowned conductor Edo de Waart, HKPO continues to scale new heights in musical excellence. The continuing cycle of Mahler symphonies and challenging programming outside the traditional repertoire, have become highly anticipated events as well as musical milestones for the Orchestra. Beethoven’s Fidelio opera-in-concert and Mahler’s Das Lied von der Erde are inarguably the major highlights of the 2009/10 season. Many great artists perform with the HKPO, from pianists Jean-Yves Thibaudet, Boris Berezovsky and Paul Lewis, violinist Sarah Chang to cellist Steven Isserlis. Last October, the audiences were thrilled with the performance of the HKPO under the baton of the legendary Gennadi Rozhdestvensky.

From April 2006, The Swire Group Charitable Trust became the Hong Kong Philharmonic’s Principal Patron, enabling Maestro de Waart’s artistic vision for the Orchestra to be realized. Swire’s sponsorship of the Hong Kong Philharmonic, the largest in the Orchestra’s history, supports artistic growth and development as the Orchestra takes its place on the world stage, and brings performances of musical excellence to the widest possible public.

HKPO stays in tune with our city by presenting the orchestra in unexpected venues and bringing the excitement of the concert experience to every home through radio and television broadcasts. These included, the largest symphonic event of the year, Swire Symphony Under the Stars at Happy Valley. The Orchestra runs a comprehensive schools education programme, HSBC Insurance Creative Notes, bringing the joy of classical music to primary, secondary and special school kids, and once in a while, the Orchestra drops the formality of the classical concerts to crossover with Western and Chinese pop stars.

The Orchestra also builds its reputation and raises its artistic standards by touring. In 2007/08 season, the Orchestra performed in the Shanghai Spring International Music Festival and the Beijing Music Festival. In 2009, the Orchestra undertook a major six-concert tour of China, including the Xinghai Concert Hall in Guangzhou, Beijing’s National Centre for the Performing Arts and Shanghai Grand Theatre under the leadership of Maestro Edo de Waart.

In February 2008, the Hong Kong Arts Development Council honoured the HKPO with the Arts Promotion Award, in recognition of its success in expanding its audience base and gaining public support in recent years.

The Hong Kong Philharmonic Orchestra is financially supported by the Government of the Hong Kong Special Administrative Region

SWIRE is the Principal Patron of the Hong Kong Philharmonic Orchestra

The Hong Kong Philharmonic Orchestra is the Venue Partner of the Hong Kong Cultural Centre

In alphabetical order of company name

M A J O R F U N D I N G B O D Y P R I N C I PA L PAT R O N

M A J O R S P O N S O R S

Saluteto Our PartnersThe Hong Kong Philharmonic Orchestra would like to express our heartfelt thanks to the Partners below for their generous sponsorship and support!

CIC Investor Services Limiteda subsidiary of Crédit Industriel et Commercial, France

Perry So joined the Hong Kong Philharmonic Orchestra in October 2008 as Assistant Conductor. In the same year, he received the first and special prizes at the Fifth International Prokofiev Conducting Competition (held in St Petersburg), only the third time the top prize has been awarded. One of the inaugural Dudamel Conducting Fellows at the Los Angeles Philharmonic, Perry So has just completed an extended six-week residency with the Los Angeles Philharmonic (conducting four concerts and assisting Lorin Maazel and Vasily Petrenko) and resulting in immediate re-invitation.

This 2009/10 season includes his Moscow début with the State Symphony Orchestra of Russia and his Australian début with the Queensland Symphony Orchestra. Other upcoming engagements include débuts with the Milwaukee and New Zealand Symphony Orchestras, the Japan Philharmonic, the Noord-Nederlands Orkest and the Orquesta Sinfónica del Principado de Asturias in Oviedo. In addition to an average of 25 concerts each season in Hong Kong, he has redesigned and spearheaded the orchestra’s outreach and educational programmes. He maintains a close relationship with the State Hermitage Orchestra of Russia with whom he performs annually during the spring and summer festivals in St Petersburg.

Born in Hong Kong in 1982, he graduated from Yale University in Comparative Literature, where he studied with noted literary scholar Michael Holquist. He subsequently studied conducting under Swiss pedagogue Gustav Meier at the Peabody Institute. He was also a prizewinner at the Mitropoulos Competition in Athens and received a commendation from the Hong Kong Home Affairs Bureau for his international musical accomplishments. His current mentors include Edo de Waart and Esa-Pekka Salonen. Perry So founded and directs the Huangshan International Music Festival, set in the mountains of central China.

蘇柏軒於2008年10月正式加入香港管弦樂團擔

任助理指揮，同年勇奪俄羅斯聖彼得堡第五屆

「國際浦羅哥菲夫指揮大賽」冠軍及特別獎，成為

該大賽有史以來第三位獲得冠軍殊榮的參賽者。

他是洛杉磯愛樂首屆「杜達梅駐團指揮計劃」指揮

之一，在這個為期六星期的計劃當中，他分別指揮

洛杉磯愛樂演出四場音樂會，並擔任大師馬錫爾

及佩特連科的助理，完成計劃後隨即獲邀再度

合作。

2009/10樂季，他首度於莫斯科及澳洲演出，分別

指揮俄羅斯國家交響樂團及昆士蘭交響樂團。

此外，他又將指揮密爾沃基交響樂團、紐西蘭

交響樂團、日本愛樂、北荷蘭交響樂團、奧維多

阿斯圖里亞斯公國交響樂團等。除了每樂季指揮

約25場港樂音樂會外，蘇柏軒更領導及設計港樂

的一系列外展及教育活動。他與俄羅斯冬宮樂團

緊密合作，每年於樂團假聖彼得堡舉行的春季及

夏季音樂節演出。

蘇柏軒於1982年在香港出生，耶魯大學比較文學

系畢業，是著名文學理論家霍奎斯特之徒。於

耶魯畢業後，他曾跟隨霍普金斯大學畢保德音樂

學院指揮系總監、瑞士指揮家兼名師邁耶，以及

美國學者冼佳亞學習。蘇柏軒又於希臘雅典贏得

米特羅波里斯大獎，及獲得香港特區政府民政

事務局頒發嘉許狀，以表揚其藝術成就。蘇柏軒

現正接受世界級指揮大師 ─ 港樂藝術總監艾度．

迪華特及洛杉磯愛樂音樂總監沙羅倫的指導。

蘇柏軒為中國黃山國際音樂節創辨人，並擔任

音樂節的音樂總監。

piano

Boris Berezovsky

Hailed as “the truest successor to the great Russian pianists” (Gramophone), Boris Berezovsky has established the reputation both as the most powerful of virtuoso pianists and a musician gifted with unique insights and great sensitivity.

Born in Moscow, Berezovsky studied with Eliso Virsaladze and Alexander Satz. Subsequent to his London début at the Wigmore Hall in 1988, The Times described him as “an artist of exceptional promise, a player of dazzling virtuosity and formidable power”. Two years later he won the Gold Medal at the International Tchaikovsky Competition.

Berezovsky is regularly invited by such prominent orchestras as the Philharmonia (with Slatkin), New York Philharmonic (Mazur), Munich Philharmonic, Oslo Philharmonic, Danish National Radio Symphony (Segerstam), Frankfurt Radio Symphony (Kitaenko), Berlin Symphonic Orchestra (Janowski), Rotterdam Philharmonic and the Orchestre National de France. He often performs in the most prestigious recitals series, such as the Berlin Philharmonic Piano series, Concertgebouw piano series and the Royal Festival Hall Piano series.

With Teldec, he has recorded works by Chopin, Schumann, Rachmaninov, Mussorgsky, Balakirev, Medtner, Ravel and the complete Liszt Transcendental Studies. His recording of the Rachmaninov sonatas was awarded the Preis der Deutschen Schallplattenkritik, and his Ravel disc was recommended by Le Monde de la Musique, Diapason, BBC Music Magazine and the Sunday Independent .

He also won the BBC Music Magazine Awards in 2006. He also collaborated with violinist Makhtin and cellist Kniazev in a DVD of Tchaikovsky’s Pieces for piano, violin and cello, and Rachmaninov’s Trio élégiaque “A la mémoire d’un grand artiste”, receiving the 4 stars Diapason d’or. With Warner Classics, the trio also recorded works by Shostakovich and Rachmaninov, awarded the Choc de la Musique in France, the Gramophone award in England, and the Echo Classic 2005 in Germany. His solo live recording of Chopin/Godowsky received the Diapason d’or.

With Mirare Harmonia Mundi, he recorded Rachmaninov’s Preludes, the complete Concertos, and another CD for two pianos. A live recording from the Royal Festival Hall and La Grange de Meslay Festival recitals devoted to Liszt came out in January 2010.

The Russian critic Vladimir Stasov (1824-1906) attending a concert given in Moscow during May 1867 in honour of a visiting Slav delegation, ended his review with the words; “God grant that our Slav guests may never forget today’s concert; God grant that they may forever preserve the memory of how much poetry, feeling, talent, and intelligence are possessed by the small but already mighty handful of Russian musicians”. That phrase “Mighty Handful” he was later to use to describe a group of five composers, more usually referred to now as “The Five” – Balakirev, Borodin, Cui, Mussorgsky and Rimsky-Korsakov - , Rimsky-Korsakov – whom he saw as the great hope for creating a uniquely Russian musical heritage. Although he was never one of “The Five”, Anatol Liadov was a close associate of them, Mussorgsky describing him to Stasov as “a new, unmistakable, original and Russian young talent”. He was, for a brief time, one of Rimsky-Korsakov’s composition pupils at the St Petersburg Conservatoire, but in his early 20s was expelled for his persistent failure to turn up for lessons or to complete assignments. Yet the two remained close friends and when Rimsky-Korsakov was dismissed from his post Liadov, who, following the success of his choral work The Bride of Messina had been appointed instructor of theory and harmony at the St Petersburg Conservatoire, resigned in protest. The two men collaborated on a harmony textbook and together edited the complete works of Mikhail Glinka.

1867年5月，莫斯科舉行了一場音樂會，向到

訪的斯拉夫代表團致意。俄羅斯樂評人弗拉基

米爾．斯塔索夫 (1824-1906) 出席音樂會後，在

樂評的末段寫道：「但願我們的斯拉夫貴賓不會

忘記今日的音樂會。俄國音樂家人數雖少，但已

形成強力集團 ─ 但願他們的詩意、情感、才華

和智慧，會令貴賓終生銘記。」他後來把五位俄國

作曲家 (巴拉基列夫、鮑羅丁、寇爾、穆索斯

基和林姆斯基-高沙可夫) 統稱為「強力集團」

(今日大家多以「俄國五人團」稱呼他們)，對他們

寄予厚望，希望他們能塑造出獨一無二的俄國

音樂。利亞多夫雖非「五人團」成員，卻與五人團

過從甚密；穆索斯基就跟斯塔索夫說過，利亞

多夫「原創性豐富，顯然是個俄國樂壇新秀」。

利亞多夫在聖彼得堡音樂學院唸書時，曾是林

姆斯基-高沙可夫的作曲學生，但20出頭時卻因

長期蹺課及欠交作業而被開除。儘管利亞多夫

跟隨林姆斯基-高沙可夫學作曲的日子不多，但

兩人一直私交甚篤。利亞多夫的合唱作品《墨西拿

的新娘》大獲好評後獲母校聘為樂理及和聲導師，

林姆斯基-高沙可夫後來被學院解僱時，利亞多夫

也請辭以示抗議；另外，兩人又合寫了一本和聲

教科書和編輯了格林卡作品全集。

《魔湖》，作品62 The Enchanted Lake, Op. 62

利亞多夫Anatol Liadov 1 8 5 5 - 1 9 1 4

Liadov had a deep-seated dislike of formalized art; “Art is a figment, a fairy tale, a phantom. Give me a fairy tale, a dragon, something unreal and I am happy”. That philosophy is at the heart of one of his most popular orchestral scores, The Enchanted Lake , premièred in St Petersburg on 21st February 1909 conducted by Nicolas Tcherepnin. This was originally intended to be part of an opera which, with the extreme laziness which affected his entire career, Liadov never got round to finishing. It appears not to be based on any specific story, Liadov concerned purely with creating a musical picture; indeed he went so far as to subtitle the work “A Fairy Picture for Orchestra”. To focus the listener’s attention on the general mood of the piece rather than any defined “story-line” Liadov dispenses with clearly defined melodies and clean-cut rhythms and produces a rich wash of orchestral colour starting with a low rumbling from the basses creating an impression of immense depth. While the music is fundamentally static the whole thing gently heaves and sways with the surface largely remaining unbroken. Occasional ripples – sometimes depicted by a pair of flutes, sometimes by harp and celesta – break through and momentarily catch the evening sunlight, but the calm, tranquil atmosphere is never broken and the piece ends, as it begun, way down in the depths of infinite stillness.

利亞多夫十分厭惡形式化的藝術，他自言：「藝術

是臆造的，是童話，是鬼魅。給我一個童話故事、

一條飛龍、一些天馬行空的東西，我就高興

了。」這種思想也是《魔湖》的核心。《魔湖》是

他最膾炙人口的管弦樂曲之一，1909年2月21日

聖彼得堡首演，齊爾品指揮。樂曲原是一齣歌劇

的片段，但由於利亞多夫實在太懶散 (他老是

如此)，歌劇一直沒能完成。《魔湖》似乎沒有特定

情節，作曲家以描繪音樂圖畫為務，甚至以「一幅

樂團的幻想圖畫」為副題。為了令聽眾集中在樂

曲的整體氣氛而不是任何明確的「故事情節」，

他摒棄了鮮明的旋律，避免清晰的節奏，調配出

豐富流麗的管弦色彩，以隆隆作響的低音大提琴

掀開序幕，營造深不見底的印象。音樂雖以靜態

為主，但不乏柔和的起伏搖盪，聽起來延綿不絕。

潺潺水聲偶然響起 ─ 時而是兩根長笛，時而是

豎琴和鋼片琴 ─ 短暫地捕捉了晚霞景緻，但祥和

平靜的氣氛卻從未間斷。樂曲的結尾與開端相似，

沉沒在無盡的靜謐裡，沉沒在深遂的寂寥中。

With the possible exceptions of Beethoven’s Fifth Symphony and Bach’s Toccata and Fugue in D minor the opening of no other musical work has become so familiar, so parodied and so frequently used out of context as the pattern of four descending notes from the orchestra followed by a succession of crashing piano chords with which Tchaikovsky’s First Piano Concerto seeks to grab the listener’s attention. The great Australian pianist, composer and eccentric, Percy Grainger, described this as his “War-Horse” on which he rode into battle countless of times to subdue an audience, and while only a tiny fraction of the people for whom the opening is familiar have any idea of what follows, it still ranks as one of the best loved and frequently performed of all Piano Concertos. Ironically, though, Tchaikovsky was so convinced that the work would receive a hostile reception in Russia that he sent it to America where it was premièred in Boston on 25th October 1875.

Tchaikovsky’s fear of the work’s rejection did not stem from any misguided feelings of insecurity. Quite the reverse. When he completed the work he was utterly convinced he had composed a masterpiece. It had been a hard struggle; as he wrote at the time he had to “hammer passages...out of my brain” and “walk up and down the room for hours” before ideas came. But towards the end of January 1875 he felt happy enough with the result that he played through it privately at the St Petersburg Conservatoire to Nikolai Rubinstein to whom he had dedicated the Concerto and who was expected to be the soloist at the work’s première. As Tchaikovsky later reported Rubinstein’s reaction was not good: “Not one word was said – absolute silence...I got up from the piano. ‘Well?’ I said. Then a torrent burst from Rubinstein... My concerto was worthless and unplayable... bad, trivial, vulgar. Only

樂團的四音下行音型、一連串驚天動地的鋼琴

和弦 ─ 柴可夫斯基藉此讓第一鋼琴協奏曲達到

先聲奪人的效果。除了貝多芬第五交響曲和巴赫

D小調觸技曲與賦格曲外，大概沒有哪首樂曲的

開端是同樣膾炙人口、被拿來開玩笑的次數同樣

多、被胡亂引用的情況同樣頻繁的了。澳洲傑出

鋼琴家、作曲家暨樂壇怪傑格蘭傑形容此曲是

他的「戰馬」─ 他騎著這匹戰馬東征西討，四出

征服觀眾。大部分觀眾都對此曲的開端耳熟

能詳，但認識全曲的卻少之又少；儘管如此，樂曲

仍然是最受歡迎、演出機會最多的鋼琴協奏曲

之一。諷刺的是，作曲家本人認定俄羅斯會對

此曲嗤之以鼻，所以安排樂曲1875年10月25日

在美國波士頓首演。

柴可夫斯基認定此曲難獲青睞並非杞人憂天。

樂曲脫稿後，他原本自信滿滿，深信這是一首

傑作。創作過程嘔心瀝血，他自言「要在腦中把

迫出樂段來⋯」「在房間踱來踱去好幾小時」，

才有靈感寫作。但到了1875年1月底，他對樂曲

也頗滿意了，就在聖彼得堡音樂學院為尼古拉．

魯賓斯坦彈奏一遍。柴可夫斯基最初屬意魯賓

斯坦負責首演的鋼琴獨奏，但他後來憶述魯賓斯

坦對樂曲反應欠佳：「他一言不發 ─ 一片死寂⋯ 我從琴椅上站起來，問他：『怎麼樣？』然後他

就連珠炮似的⋯說我的協奏曲一文不值、無法

降B小調第一鋼琴協奏曲，作品23

莊嚴而不太快的快板─有精神的快板

質樸的小行板─極急板─回復原速

熱烈的快板

Piano Concerto No. 1 in B flat minor, Op. 23Allegro non troppo e molto maestoso – Allegro con spiritoAndantino semplice – Prestissimo – Tempo 1Allegro con fuoco

柴可夫斯基Pyotr Il’yich Tchaikovsky 1 8 4 0 - 1 8 9 3

one or two pages had any value.” In anger, he crossed Rubinstein’s name off the title page and re-dedicated the work to the great German conductor and pianist Hans von Bülow who was shortly to embark on a concert tour of the USA. Von Bülow had no reservations about the work describing it as “lofty, strong, and original”, and his performance of the Concerto in first Boston and, a few days later, New York received rousing ovations from the American audiences.

The powerful opening of the Concerto with its famous horn call and sledge-hammer chords from the piano lays something of a false trail, since this material never again appears. It gives way to rather lighter and considerably more nimble music based on a folk melody from the Ukraine. Two contrasting themes to listen out for come from the clarinet (with an accompaniment from bassoons and horns) and from muted strings, and at over 20 minutes (almost two-thirds of the Concerto’s overall length) Tchaikovsky allows himself ample time to expand and elaborate on these themes, producing music which passes through the whole gamut of emotions, moods and colours and includes several truly virtuoso cadenzas for the soloist. The central movement is introduced by a charming flute theme which is quickly taken over by the piano which, in turn, passes it on to a pair of cellos. The central section provides a contrast in speed until a short rhapsodic passage for the piano brings the movement back to the gentle mood of the opening. Another Ukrainian folk song provides the material for the fiery dance-like theme with which the final movement opens. This turns into a stamping dance from the orchestra before the violins tentatively introduce a theme which, innocuous as it might seem at first, is going to produce the grandiose, glittering climax to the Concerto.

演奏、又差勁又瑣碎又庸俗。僅一、兩頁有少許

價值。」柴可夫斯基一怒之下在樂譜封面上劃

掉了魯賓斯坦的名字，改把樂曲題獻給傑出

德裔大指揮家暨鋼琴家保露。行將巡迴美國演出

的保露對樂曲讚賞有加，認為它「高尚、有力、

新穎」；後來保露幾天內先後在波士頓和紐約

演出此曲，美國觀眾反應極為熱烈。

由圓號聲和震撼的鋼琴和弦構成的開端氣勢

如虹，家傳戶曉。但這些素材隨即消聲匿跡，無影

無蹤；接著的樂段根據烏克蘭民歌寫成，氣氛

輕鬆得多。留意樂章的兩個主題，分別由單簧管

(巴松管和圓號伴奏) 和配上弱音器的弦樂奏出，

各有千秋。全樂章長達20分鐘 (全曲總長度的

三分二)，因此作曲家有充裕的時間，既能把多

個主題擴充和修飾，觸及各種情緒和色彩，又能

容納多個難度極高的華采樂段。第二樂章先由

長笛掀開序幕，迷人的主題輾轉由長笛、鋼琴及

兩把大提琴奏出；中段速度加快，與前段形成

對比；鋼琴在狂想曲式短段過後重拾柔和氣氛。

第三樂章主題以另一烏克蘭民歌為基礎，旋律

仿如熱烈的舞曲，然後搖身一變，變得又沉

又重。樂團交代了舞曲主題過後，小提琴含羞

答答地引入新主題 ─ 新主題儘管初時平平無奇，

但後來卻演變成全曲最宏偉壯觀、最富麗堂皇的

高潮樂段。

With the Bolshevik Revolution of 1917 Prokofiev had left Russia, first for Japan and next to the USA before finally settling in Paris. But in 1936, by which time he was a composer of international repute, he decided to return permanently to his native land; “I had not grasped the significance of what was happening in the USSR. I did not realise that the events there demanded the collaboration of all citizens – not only men of politics but men of art as well.” He was welcomed back with open arms, hailed as the State’s most respected composer and allowed, unlike most, to travel overseas to perform and direct his music. With the outbreak of the Second World War Prokofiev, along with other artists, was evacuated to the relative safety of the southern republics. From there he wrote patriotic works which celebrated the struggle of the Soviet State against German aggression. His seventh Piano Sonata was awarded the Stalin Prize in 1943 and the following year he worked on another composition designed to inspire the Russian people in time of war, his Fifth Symphony. Written at a time when the German army were, at long last, beginning to be driven back from Russian soil, Prokofiev declared that in the Symphony he was attempting to “sing the praises of the free and happy man – his strength, his generosity and the purity of his soul”. However with the end of the war the Soviet authorities saw it more as a celebration of the State’s glorious victory and soon Prokofiev was getting into trouble with them for refusing to accept that the Symphony was really a paean of praise for Stalin.

The Fifth Symphony’s triumphant première in Moscow on 13th January 1945, which Prokofiev himself conducted, was one of his last real moments of personal happiness. Three weeks later he had a heart attack, fell down a flight of stairs and was severely concussed. He recovered from the heart-attack, but head injuries affected him for the rest of his life and he never again was able to play the piano,

Symphony No. 5 in B flat, Op. 100AndanteAllegro marcatoAdagioAllegro giocoso

Sergei Prokofiev 1 8 9 1 - 1 9 5 3

conduct his music, smoke, drink, drive, play volleyball (one of his most favoured sports) or travel. His interest in composition waned, and while he robustly confronted (or, rather, refused to confront – he spent the entire time with his back turned) the Soviet Central Committee when called before them in 1948 to answer accusations that his music was “anti-Soviet”, he subsequently bowed to pressure and confessed that his music had been tainted with an “infection caught from contact with some Western ideas”.

The Symphony begins with a slow first movement, the opening theme played in octaves by flute and bassoon a typical touch of Prokofiev wit, which gradually assumes a more majestic character to conclude with a magnificent celebration implying the “greatness of the human spirit”, to echo Prokofiev’s own words. The nervous and abrupt second movement, with its almost mechanical momentum, has been likened by some to the “horrors of war”, while others see in it “military skirmishes and the rattle of gunfire”. Neither comment can be correct; it is actually a reworking of music from Prokofiev’s ballet, Cinderella , which had yet to be publicly performed at the time of the Symphony’s première. The sorrowful third movement with its plaintive melody may well have been prompted by the terrible price the Russian people had to pay for their heroic resistance to the Nazi invaders, although, once again, some of the material is actually derived from another of Prokofiev’s dramatic works, the film-score Alexander Nevsky. However the pessimistic mood is brushed aside in the fourth movement which, after a reflective opening, bustles along with unstoppable energy and a certain amount of impudence.

Programme notes by Marc Rochester

Edo de Waart

Artistic Director & Chief Conductor

Maestro’s Chair – endowed byThe Octavian Society & Y.S. Liu Foundation

PHOT

O B

obby

Lee

PHOTOSCheung Chi Wai & Keith Hiro

Perry So

Assistant Conductor(Education and Community Programmes)

PHOT

O L

awre

nce

Chan

Hong Kong Philharmonic Orchestra

FirstViolins

SecondViolins

John HardingConcertmaster

Leung Kin-fung

First AssociateConcertmaster

Wong Sze-hang

Second AssociateConcertmaster

Zhu Bei

Third AssociateConcertmaster

Mao Hua Cheng Li Ba Wenjing Gui Li

Long Xi Mao Yiguo Rachael Mellado Ni Lan

Wang Liang Christine WongKar-yee

Zhang Xi

Fan Ting Leslie RyangMoon-sun

Katrina Rafferty-Ma Miyaka Suzuki

Tomoko Tanaka Mao Cheng Chi-man Ricardo de Mello Fang Jie

Gallant Ho Ka-chun Russell Kan Wang-to Mo Kwok-fai Martin PoonTing-leung

Zhou Tengfei

## Xu Heng

#

# Musician’s Chair – endowed bySociete Generale Private Banking

Richard Bamping Fang Xiaomu

Kaori Wilson Li Ming Alice Rosen Cui Hong-wei Fan Yan

Ethan Heath William Lane Pak Ming Sun Bin Wang Jun

** Fan Xing

Violas

Cellos

Chen Yi-chun++ Anna Kwan Ton-an Chan Ngat Chau

Cheung Ming-yuen Timothy Frank Li Ming-lu Yalin Song** Li Cheng

Dora Lam

Alisa Yan Yuqing** Ke Xue

** Liu Fang-xi

** Wang Yue

SecondViolins

**Zhang Shu-ying

Jonathan Kim

Andrew Ling

Principal

Acting Principal

Co-Principal

Assistant Principal

+

+ Musician’s Chair – endowed byC. C. Chiu Memorial Fund

*

* Fellows of The Robert H.N. Ho Family FoundationOrchestral Fellowship Scheme

DoubleBasses

Jeffrey Lehmberg

Philip Powell

Jiang Xinlai Feng Rong Samuel Ferrer

George Lomdaridze Jonathan Van Dyke

BassTrombone

Flutes

Oboes

Bassoons

Clarinets

Horns

Trumpets

Percussion

Megan Sterling

Hong Kong Philharmonic Orchestra

Olivier Nowak

Michael Wilson Ruth Bull

Mark Vines Lisa Rogers Chow Chi-chung

Andrew Simon John Schertle

Kam Shui Vance Lee

Natalie Lewis

Jonathan Clarke Jarod Vermette Maciek Walicki

Michael Priddy Paul Luxenberg

Shaun Tilburg Raymond LeungWai-wa

Sophia Woo Shuk-fai

Christopher Sidenius

James Boznos

Shirley Ip

Cor Anglais

BassClarinet

ContraBassoon

Piccolo

Christopher Chen

Michael Campbell

Adam Treverton Jones

Linda Stuckey

Tuba

Trombones

Harp

Timpani

Keyboard

Homer Lee Siu-lam Marc Gelfo

Christopher Moyse Douglas Waterston

Extra players Percussion

Louis Siu Lily Hoi

Cello

Letty Poon With kind permission of the Malaysian Philharmonic Orchestra

Clarinet

Rita Au

Double Bass

Hennessy Ng

Guest Principal Percussion

Matthew Prendergast*

EXECUTIVE COMMITTEEMr Y S LiuChair

Mr Chung Shui-ming, GBS, JP

Mr Daniel Ng Yat-chiuMr Jack C K So, JPMr Stephan Spurr

FINANCE COMMITTEEMr Chung Shui-ming, GBS, JP

Chair

Mr Glenn FokMr Y S LiuMr Nicholas Sallnow-SmithMr Benedict Sin Nga-yanMr Kenny Wong Kam-shanMr Robert T. Wong

FUNDRAISING COMMITTEEMr Daniel Ng Yat-chiuChair

Mrs Janice ChoiMs Winnie ChiuMs Tasha LalvaniVice-Chair

Ms Chou Tung Lap MaoMr Peter SiembabMr Jack C K So, JP

DEVELOPMENT COMMITTEEMr Stephan SpurrChair

Ms Joanne ChanProf David Gwilt, MBE

Mr Warren LeeDr Lilian Leong, BBS, JP

Mr Y S LiuSir David Tang, KBE

Mr Mark Vines

HONORARY PATRONThe Chief ExecutiveThe Hon Donald Tsang Yam-kuen, GBM

BOARD OF GOVERNORSMr Y S LiuChairman

Mr Chung Shui-ming, GBS, JP

Vice-Chairman

Ms Joanne ChanMrs Michelle Ong CheungMs Winnie ChiuMr Glenn FokMr Lam Woon-kwong, GBS, JP

Dr Lilian Leong, BBS, JP

Prof Liu Ching-chihMr Daniel Ng Yat-chiuMr Nicholas Sallnow-SmithMr Benedict Sin Nga-yanMr Jack C K So, JPMr Stephan SpurrSir David Tang, KBE

Mr Kenny Wong Kam-shanMr David Zacharias

ENDOWMENT TRUST FUNDBOARD OF TRUSTEESMr Chung Shui-ming, GBS, JP

Chair

Mr Lam Woon-kwong, GBS, JP

Mr Y S Liu Mr Daniel Ng Yat-chiu

HONORARY ADVISERSProf Chan Wing-wah, JPDr the Hon Marvin Cheung, OBE, SBS, JP

Mr Vincent Chow Wing-shing, MBE, JP

Ms Pansy Ho Chiu-kingMr Hu Fa-kuang, GBS, CBE, JP

Lady KadoorieDr Ronald Leung, OBE, JP

Mr Shum Choi-sang, SBS, OBE, MA, JP

Ms Ada Wong Ying-kay, JPThe Hon Sir T. L. Yang, GBM, JP

Hong Kong PhilharmonicOrchestra

MANAGEMENTMr So Hau LeungChief Executive

Ms Rida ChanExecutive Secretary

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Miss Michelle WongAssistant Manager (Artist Liaison)

Mr Jason WanArtistic Administration Assistant

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Ms Edith NgDevelopment Manager

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Miss Ruby PangAssistant Development Manager

FINANCE AND ADMINISTRATIONMs Angel WooHead of Finance and Administration

Mr Homer LeeFinance Manager

Mr Alex KwokAssistant Manager,Finance and Administration

Miss Cherish CheungHuman Resources Manager

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Miss Pamela ChanReceptionist

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Mr Nick ChanSenior Marketing Communications Officer

Miss Natalie WongMarketing Communications Officer

Ms Tiphanie ChanPublications Editor

Miss Natalie TingEducation and Outreach Coordinator

Miss Alice LukCorporate Communications Officer

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ORCHESTRA AND OPERATIONS Mr Luke ShawHead of Orchestra and Operations

Mr Ambrose YeungOrchestra Personnel Manager

Mr Steven ChanStage Manager

Miss Betty HoLibrarian

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Miss Christy LawMusic Administration Intern

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David M. Webbwebb-site.com

Club Maestro is established for the business community and individuals who are fond of symphonic music. It aims at supporting the long-term development of the Hong Kong Philharmonic Orchestra and enriching cultural life. We heartily thank the following Club Maestro members.

ClubMaestro

Mr Wilfred Ng MH, JP

In alphabetical order of company name

PLATINUM MEMBERS

DIAMOND MEMBERS

EMERALD MEMBERS

PEARL MEMBERS

Miss Aliena Wong

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Thank You for Your SupportThe Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support.

CHAIR ENDOWMENT FUND

ANNUAL FUND

The Maestro’s Chair endowed byThe Octavian Society Limited

Y.S. Liu Foundation

Ruby PatronHK$10,000 – HK$29,999

Ms Vivien C C ChanMrs Anna ChenMr Cheung Ngai Sing

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Gloss Mind Sports International LtdMr & Mrs Kenneth H C Fung

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Mr & Mrs Fung Shiu LamDr Lee Kin Hung

Dr Lilian Leong, BBS, JPMr Lawrence MakDr Mak Lai Wo

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Dr Tsao Yen ChowWang Family Foundation

Mr Wong Po YanMr & Mrs Y S Wong

Mr David Yee Kwan Yam

Gold Patron>HK$100,000

Hsin Chong International Holdings Ltd

Kerry Holdings Ltd

Mr & Mrs S H Wong Foundation Ltd

Silver Patron HK$50,000 – HK$99,999

Mr & Mrs E Chan

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AnonymousMr Barry John Buttifant

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Pearl Patron HK$3,000 – HK$4,999

AnonymousMr Chan Hung Yuen Robert

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Miss Lily Poon Man Nei Dr Paul Tat Ming Shea Mr So Shu Wing VincentMr Eric M S Tsang

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The Musician’s Chair endowed byC.C. Chiu Memorial Fund

Societe Generale Private Banking

STUDENT TICKET FUND

Gold Patron>HK$100,000

Hang Seng Bank

Zhilan Foundation

Silver PatronHK$50,000 – HK$99,999

Kerry Holdings Limited

Shun Hing Education and Charity Fund

Bronze PatronHK$30,000 – HK$49,999

Mr & Mrs Alan Leong

Ruby PatronHK$10,000 – HK$29,999

Mr Ian D Boyce

Dr & Mrs Chan Kow Tak

Mr David Chiu

Ms Doreen Lee

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Lo Kar Foon Foundation

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Dr M T Geoffrey Yeh

Jade Patron HK$5,000 – HK$9,999

Anonymous (2)

Mr Chan Ka Kui

Mrs Anna Chen

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Dr Chung See Yuen

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Long Hin Creative International Ltd

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Pearl PatronHK$3,000 – HK$4,999

Ms Deborah Biber

Capital Well Investment Limited

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Mrs K L Chan

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Professor David Clarke

Mr Fok Wing Huen

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Item Industries Ltd

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Mr Richard Li

& Joe Joe

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Mr Lui Wing Chiu

Mr Ray Luk

Mr Mak Fai Shing

Mr & Mrs John & Coralie Otoshi

Oxford Success (Overseas) Ltd

Mr Shum Choi Sang

Ms Ophelia Tam

Mr Tony Tsoi

Dr Dominic S W Wong, GBS,OBE,JP

Zennon & Pierre Company Limited

Drs. Richard Charles and Esther Yewpick Lee Charitable Foundation

The Hongkong Bank Foundation

The Hong Kong and China Gas Company Limited

EDUCATION PROGRAMME SUPPORTER

Thank You for Your SupportThe Hong Kong Philharmonic Orchestra would like to express our gratitude to the following corporations and individuals for their generous support.

PAGANINI PROJECT

ENDOWMENT TRUST FUND

INSTRUMENTAL DONATION

Donated by The Ladies Committee of the Hong Kong Philharmonic Society

– Rare instruments donated –

• • Enrico Rocca (1902) Violin, played by Mr Cheng Li

• • Jean Baptiste Vuillaume (1866) Violin, played by Ms Bei Zhu, Third Associate Concertmaster

• • Joseph Gagliano (1788) Violin, played by Mr Wong Sze-hang, Second Associate Concertmaster

• • Cario Antonio Testore (1736) Violin, played by Mr Ni Lan

– Other instruments donated in support of the “Instrument Upgrade and Echancement Project” –

• • Two German Rotary Trumpets

• • A set of Wagner Tubas

• • A Flugelhorn

The Endowment Trust Fund was set up in 1983 with these initial sponsors.

The Hong Kong Jockey Club Charities Trust The Hongkong Bank Foundation The Hongkong Land Group

Citibank. NA Jardine. Matheson & Company Ltd The Tung Foundation

This project is initiated and organizated by Business for Art Foundation.

Donated by Mr Patrick Wang• • Emile Germaine (1907) Violin, played by Ms Tomoko Tanaka Mao

Donated by Mr Lowell Chang• • Lockey Hill (c.1800) Violin, played by Mr Wang Liang

Donated by Mr Po Chung• • Dawne Hadded (1991) Violoncello, played by Mr Cheung Ming-yuen

Donated by Mr Laurence Scofield• • Ansaldo Poggi (1910) Violin, played by Ms Zhang Xi

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1&2 May 2010 Sat & Sun 8pm

HK City Hall Concert HallHK$420 $320 $220 $160

Angela Hewitt, director/piano

Programme

BACH Keyboard Concerto in F minor, BWV1056MOZART Piano Concerto No. 27 in B flat, K595BACH Keyboard Concerto in G minor, BWV1058MOZART Piano Concerto No. 20 in D minor, K466

Angela Hewitt’s Mozart & Bach

FEATURED CONCERT

7&8 May 2010 Fri & Sat 8pm

HK Cultural Centre Concert HallHK$480 $320 $220 $160

Edo de Waart, conductor

Paul Lewis, piano

Paul Lewis plays Beethoven

HOT PICK

An all-Beethoven programme

Leonore : Overture No. 3Piano Concerto No. 5 EmperorSymphony No. 5

15&17 May 2010 Sat & Mon 8pm

HK Cultural Centre Concert HallHK$520 $380 $280 $180

Edo de Waart, conductor

Susan Bullock, Leonore

Simon O’Neill, Florestan

Beethoven’s Fidelio – opera in concert

HOT PICK

The opening performance is sponsored by CIC Investor Services Limited

Lisa Larsson, Marzelline

Kristinn Sigmundsson, Rocco

Eike Wilm Schulte, Don Pizarro

Jon-Michael Ball, Jaquino

Andrew Foster-Williams, Don Fernando

Shanghai Opera House Chorus