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House Programme Flipbook 31Jul2015
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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
H
AR
ALD
HO
FFM
AN
N
Recorder
Stefan Temmingh
Music Director/Conductor
Yip Wing-sie
Harpsichord
Anna Paradiso
Violin
James Cuddeford
31.7.2015( Fri) 11am
Hong Kong City Hall Theatre
P
ELLE
PIA
NO
Dear Patrons,In order to make this performance a pleasant experience for the artists and other members of the audience, please refrain from recording,filming, taking photographs, and also from smoking, eating or drinking in the auditorium. Please ensure that your mobile phones and anyother sound and light emitting devices are switched off before the performance. Thank you for your kind co-operation.
House Rules
RV443
F
DBWV1050
2012
Vivaldi Recorder Concerto, RV443 [Allegro]LargoAllegro molto
Sammartini Recorder Concerto in FAllegroSicilianoAllegro assai
Bach Brandenburg Concerto No 5 in D, BWV1050 AllegroAffettuosoAllegro
Hendrik Hofmeyr Concerto for Recorder,Harpsichord & Strings (2012) Asian premire
IncantatoAllegro vivace Conductor: Yip Wing-sie
Programme
115 Approximately 1 hour 15 minutes with no intermission Redeem a cup of coffee or tea after theconcert in the foyer with your ticket.
2199910020092006DECCA201411
2006 201510
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
passionate performances and innovative
programming.
Since 1999, Hong Kong Sinfonietta has
collaborated with an i l lustrious 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.
The Hong Kong Sinfonietta Limited is a registered charity.
9833/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong
Tel : (852) 2836 3336 Email: [email protected] Fax : (852) 2783 9819 Website: www.HKSL.org
4 Music Director/Conductor
Yip Wing-sie
Y
VONN
E CH
AN
2002
1985351988
2004201510
198619921990200620072010FRCM2013
5A highly respected and influential figure in Asias
orchestral music scene, Yip Wing-sie has been the
Music Director of Hong Kong Sinfonietta since
2002. Positions she has previously held include the
University Artist of The University of Hong Kong,
the Ong Teng Cheong Distinguished Visiting
Professor at the Yong Siew Toh Conservatory of
Music, National University of Singapore, Principal
Conductor and later Music Director of Guangzhou
Symphony Orchestra and Resident Conductor of
Hong Kong Philharmonic Orchestra.
Winner of the First Prize as well as LYRE dOR in
the 35th Concours International de Jeunes Chefs
dOrchestre de Besanon, France in 1985 and a
prizewinner in the 8th Tokyo International
Conducting Competition in 1988, Yip is in great
demand as a guest conductor in Asia. Orchestras
she has conducted include the Central
Philharmonic Orchestra of China, China National
Symphony Orchestra, Shanghai Symphony
Orchestra, Seoul Philharmonic, Osaka Philharmonic,
New Japan Philharmonic, Tokyo Mozart Players, the
symphony orchestras of Sapporo, Yomiuri, Taiwan,
Tasmania, Melbourne and Queensland as well as
the Auckland Philharmonia of New Zealand. In
Europe, Yips engagements have included concerts
with the Orchestre National du Capitol de Toulouse
and the Chambre Orchestre de Besanon in France,
Warsaw Philharmonic in Poland, Spains Tenerife
Symphony Orchestra and the Czech State
Orchestra of Kosice. She has also conducted at
prestigious venues and festivals such as the Vienna
Musikverein (Grossersaal), Beijing Music Festival,
Fukuokas Asian Month Festival in Japan, Hong
Kong Arts Festival and Macao International Music
Festival. Yip has collaborated with such renowned
artists as Augustin Dumay, Fou Tsong, Shlomo
Mintz, Anne-Sophie Mutter, Itzhak Perlman and
Pinchas Zukerman. Operas she has conducted
include Guo Wen-jins Poet Li Bai and the world
premire of La Peintre with Taiwan Philharmonic.
As Music Director of Hong Kong Sinfonietta, Yip
has taken the orchestra on tour in recent years to
Canada, the USA, Japan (La Folle Journe in Tokyo
and Niigata), Korea (Tongyeong International Music
Festival), France (Festival International de Piano La
Roque dAnthron, Les Flneries Musicales dt in
Reims and Saint-Riquier Festival), Italy (Festival
Pianistico Internazionale Arturo Benedetti
Michelangeli in Brescia and Bergamo and
Settimane Musicali al Teatro Olimpico in Vicenza),
Poland (National Philharmonic Hall in Warsaw),
Beijing (National Centre for the Performing Arts),
Shanghai (China Shanghai International Arts
Festival/Expo 2010 Shanghai and Shanghai Spring
International Music Festival), Lithuania and in the
South America in Argentina, Brazil and Uruguay.
Yip wil l lead the orchestra in its dbut in
Switzerland in October, 2015.
Born in Guangzhou and brought up in Hong Kong,
Yip studied at the Royal College of Music in London
before going on to the Indiana University at
Bloomington, USA, where she obtained her
Masters Degree in violin performance and
conducting. As the winner of the Koussevitsky
Scholarship and the Seiji Ozawa Fellowship Award,
Yip spent the summers of 1986 and 1992 attending
the conducting seminar and fellowship programmes
at the Tanglewood Music Center. Her mentors
included great maestros such as Norman Del Mar,
Leonard Bernstein, Seiji Ozawa, Gustav Meier and
David Atherton. In 1990, Yip was named one of
Hong Kongs Ten Outstanding Young Persons. Other
awards she has received include an honorary
doctorate by the Open University of Hong Kong,
Chevalier dans lOrdre des Arts et des Lettres by
the Ministry of Culture and Communication of
France, Fellow of the Royal College of Music
(FRCM), Hong Kong Women of Excellence in the
Six Arts Award by the Hong Kong Federation of
Women and the Bronze Bauhinia Star (BBS) by the
Hong Kong Government.
6 Recorder
Stefan Temmingh 202009201120142014
2008
1978-2010
H
ARAL
D HO
FFM
ANN
7Stefan Temmingh, often compared to the
legendary Frans Brggen, is one of the very few
world-class recorder players: Never has one heard
such sounds from a recorder with such agility and
wide range of tone colours and dynamics, wrote
Corriere della Sera (Milan, Italy) on his dbut CD
Corelli la Mode in 2009. His second CD The
Gentlemans Flute was immediately nominated for
the International Classical Music Awards 2011
(formerly MIDEM Awards). His latest CD, Inspired
by Song with soprano Dorothee Mields and his
ensemble The Gentlemans Band, was released by
SONY/dhm in 2014 and was voted one of the Top
10 CDs of the Year by the critics survey in the
German music magazine Fono Forum.
As an early music specialist, Temminghs repertoire
comprises the complete baroque literature for
recorder. He performs internationally as a chamber
musician and with his own baroque ensemble at
various festivals and concert series throughout
Europe, Asia and Africa, including Leipzig Bach
Festival, Mosel Music Festival, Thuringia Bach
Festival, Halle Handel Festival and the Utrecht Early
Music Festival. As a soloist he plays with orchestras
such as Deutsche Radio Philharmonie, Bochum
Symphony Orchestra, Stuttgart Chamber
Orchestra, Wrttemberg Chamber Orchestra
Heilbronn, Hong Kong Sinfonietta, Cape
Philharmonic Orchestra of South Africa, and also at
the Ludwigsburg Festival. He has released several
CDs and his performances have been broadcast on
radio and TV.
A strong advocate of the recorder with a
repertoire ranging from baroque to modern music,
Temmingh has successfully broken away from the
stereotypes concerning his instrument. With a
strong desire to expand the recorder repertoire, he
regularly commissions new works and many
composers have written for him. In 2008, he was
awarded the contemporary music scholarship by
the City of Munich.
Born in 1978 in Cape Town, Temmingh comes
from a Dutch-South African family of musicians. He
studied with Professor Michael Schneider in
Frankfurt as well as with Markus Zahnhausen in
Munich, where he now lives. Apart from
performing, he also teaches at the Hochschule fr
Musik und Theater in Munich since 2010.
8 Harpsichord
Anna Paradiso
()
1B1
BIS20BBC
BISF
KTH
P
ELLE
PIA
NO
9Anna Paradiso has established herself within a short
time as a harpsichordist of great individuality and
character. She has given concerts not only in Europe
(Scandinavia, England, Germany, France, Italy,
Slovenia) but also in the USA, Japan and Taiwan.
She plays clavichord, fortepiano and pianoforte, in
addition to harpsichord.
Paradiso studied at the conservatory in Bari, Italy,
where she received solo diplomas in piano and
harpsichord. Later she studied under Christophe
Rousset, Gordon Murray and Enrico Baiano. She
holds an Advanced Masters degree in harpsichord
and basso continuo from the Royal College of
Music in Stockholm. She also undertakes research in
basso continuo and historical fingerings using
original sources.
As a soloist and continuo player, Paradiso has
appeared with many Scandinavian ensembles and
orchestras such as Gvle Symphony Orchestra,
Norrbotten NEO, Norrkping Symphony Orchestra,
1B1, Hr Barock, etc. Paradiso has also performed
with musicians such as Lisa Batiashvili, Franois
Leleux and Nils-Erik Sparf. Her repertoire as soloist
with orchestra ranges from Bachs concertos to
modern harpsichord concertos and contemporary
works, some of which she commissioned.
With her husband, the recorder player Dan Laurin,
Paradiso has formed a duo that tours internationally
and has also recorded a programme of 20th-
century English sonatas for BIS records. Together
with Henrik Frendin and Mats Olofsson, they both
play in the ensemble Paradiso Musicale, whose
acclaimed dbut recording was chosen as Record of
the Month by BBC Music Magazine.
Paradiso has recorded for BIS records all keyboard
sonatas by J H Roman with harpsichord and
clavichord, as well as all Romans flute sonatas and
Vivaldi recorder concertos with Dan Laurin. She is
going to record Bachs harpsichord concerto in F
and a contemporary concerto by Vito Palumbo.
Paradiso has taught at the conservatories of
Bolzano and Avellino, Trinity College in London,
Birmingham Conservatoire, Grieg Academy in
Bergen and international courses in Europe, Japan
and Taiwan. Together with Dan Laurin, she gives
seminars and workshops around the world on the
connections between classical rhetorics and
Baroque music. In addition, Paradiso has a DPhil in
Latin and Classical Greek, and has taught Latin and
classical literature at Oxford University and the KTH
Royal Institute of Technology in Stockholm.
10
Violin
James Cuddeford
BBCABC ClassicsTall PoppiesMelba1769
Currently Hong Kong Sinfoniettas Concertmaster,
Brisbane-born James Cuddeford pursued his
studies at the Yehudi Menuhin School, Royal
Northern College of Music and University of
Manchester. His principal teachers were Menuhin in
violin, and Stockhausen and Kurtg in composition.
Awards include First Prize at the 1996 Charles
Hennen International Chamber Music Competition
in Holland.
He has appeared as soloist with orchestras such as
the Camerata Lysy Gstaad of Switzerland, BBC
Scottish National Orchestra, Queensland, Adelaide
and Tasmanian Symphony Orchestras. He was a
member of the Australian String Quartet, Grainger
Quartet and Sydney Soloists. His compositions have
been performed, recorded and broadcast in
Europe, North America and Asia by groups such as
the Nash Ensemble, Australian String Quartet,
Psappha Ensemble, and the Sonos Chamber
Orchestra of New York. James Cuddeford has
recorded several solo and chamber music CDs for
ABC Classics, Tall Poppies and Melba Recordings.
He plays on a violin made by Nicol Gagliano in
Naples, 1769.
Y
VONN
E CH
AN
11
16781741RV443
17LudwigErdmannIgnaz Sieber1703
RV443, 444445 flautinopiccolo
10RV443ripieno16
16951750F
Giuseppe2000250[Giovanni] 300Alexis17201736
FrederickAugusta11231224302416F81612/8F6/816
12
16851750DBWV1050
Weimar17081717Cthen17171722
1721MargraveChristian LudwigSix Concerts avec PlusieursInstrumentsDritornelloBD6/8gigueB
1957 (2012)
CapeTown10020122013217
Hans Huyssen
13
Nick BreckenfieldNick Breckenfield
whatsonwhen.com13-
14
Antonio Vivaldi (16781741)
Recorder Concerto, RV443 [Allegro]
Largo
Allegro molto
The history of the baroque recorder saw theinstruments development from a consortinstrument to a solo one, first seen in France duringthe 17th century, then particularly utilised by HenryPurcell in Britain, before moving to Germany andbeing eventually introduced into Italy. Originally therecorder would have been played by the oboists,and we know the names of two German oboistswho joined Vivaldi at the Venetian orphanage hetaught at in 1703 Ludwig Erdmann and IgnazSieber (although their names have been Italianizedto Lodovico Erdman and Ingazio Siber) so it is nosurprise that the Red Priest (as Vivaldi wasknown) would have quickly written concertos forthe instrument.
There are various types or recorder, encompassinghigh and low pitches, but Vivaldi wrote for thetreble recorder and, in three concertos, theflautino which is generally regarded as thesopranino recorder, as opposed to the piccolo (i.e.the smaller version of the transverse flute) RV443, 444 and 445. The evidence that Vivaldiintended it for the sopranino (playing an octavehigher than the treble recorder) is suggested byhim writing Gl'istromti trasportati al la 4a(transpose up a fourth the part as written) atopthe score. It is thought that Vivaldis recorderconcertos were written before his flute concertos(six of which were published as Op 10).
We hear the first of those sopranino concertos,RV443. In a typical fastslowfast plan, it openswith a spirited orchestral ripieno section (featuringa call and answer motif for the two violin lines) that
returns after each of the more sparselyaccompanied solo sections, where our high-pitchedsoloists nimbly ascends and descends withvertiginous semiquavers. The central slowmovement is suffused with a potent atmosphere,like a heady summers night, heavy with the scentof blossom, before a carnival-like contrasting finalmovement, which sends the sopranino recorderinto the stratosphere as it rises higher and higherabove the orchestra.
Giuseppe Sammartini (16951750)
Recorder Concerto in F Allegro
Siciliano
Allegro assai
Hands up those who have heard of the Sammartinibrothers. Anyone? Giuseppe Baldassari Sammartiniwas the elder of the two by five years (when, in2000, the world was commemorating the 250thanniversary of the death of Bach, did anyone holda candle for the 300th anniversary of the birth ofGiuseppes brother Giovanni Battista Sammartini?)and both were born in Milan, sons of the Frenchoboe player Alexis. Not surprisingly both brothersfollowed their father in becoming expert oboeplayers, and hence also recorder players.
Giuseppe eventually found his way to London inthe 1720s, and spent the rest of his life there,becoming the music master for Frederick, Prince ofWales, his wife Augusta and their family from1736. His Op 1 set of 12 sonatas were dedicated toFrederick, and his 12 Op 3 trios were dedicated toAugusta. His works encompass 24 sonatas for fluteand bass, 30 trios (flutes or violins), 24 concertigrossi, four keyboard concertos, 16 overtures and,
Programme Notes
15
most famously, the recorder concerto in F, whichwe hear now.
Scored for recorder and strings, the opening Allegrois rather stately to start, although the soloinstrument develops quavers, semiquavers and thensolo triplets by way of heralding its main jauntytheme. The longer central section is led by the moreflighty recorder line, underpinned by cello,developing nicely before a return again to the verybeginning to end.
The Siciliano is a typical slow movement with minorkey inflections, in 12/8, and a distinctively lightlyhalting lilt to the long string introduction before therecorder enters. You can easily imagine a hot, sultry,still Sicilian evening with the shepherd playing thislanguorous tune somewhere across the valley.
There is a faster swing to the 6/8, back in F major, ofthe Finale, which includes an accompanied cadenzasection with semiquaver triplets and multiple trills.The recorder is barely silent and requires nimblefingerwork to negotiate Sammartinis intricate lineswhich run right through to the final bar.
Johann Sebastian Bach (16851750)
Brandenburg ConcertoNo 5 in D, BWV1050
Allegro
Affettuoso
Allegro
Unlike Giuseppe Sammartini or Vivaldi, Bach wasnot an intrepid international travel ler. Yet,although he never strayed from his Germanhomeland, he did hold a number of positions inGermany, most importantly in Weimar(17081717), Cthen (17171722) and then, forthe rest of his life, Leipzig and he was perfectlyaware of what was happening, musical ly,elsewhere.
He knew concertos by Vivaldi, adapting a numberfor organ and harpsichord, and followed an Italianmodel when creating these six disparateconcertos, which he himself described, in French,Six Concerts avec Plusieurs Instruments whenbrought together in March 1721 for the MargraveChristian Ludwig of Brandenburg. We know themas the Brandenburg Concertos, although theywere probably composed earlier at Weimar. Themanuscript remained unpublished until afterBachs death.
The opening movement of the Fifth BrandenburgConcerto is by far the longest movement of all theconcertos. Scored for flute (or recorder), violin andharpsichord it opens with a distinctive main themewhich goes up, then down the scale of D. Thethree solo instruments enter the recorder andviolin with smoother, overlapping phrases over thebusy harpsichord accompaniment. The second halfof the movement is given over to a fiendishharpsichord cadenza which is only followed by thefinal tutti repeat of the ritornello theme.
The slow movement, in B minor and marked withfeeling, is for the three solo instruments alone,although the harpsichords two hands are oftenseparate, giving the impression of four lines. Onceagain acting as a haven of calm in the centre oftwo busy movements, the opening passage returnsto gently close the movement.
Jauntily the violin, then recorder and finally theharpsichord (first the left, then the right hand) alltake up the jig theme in 6/8 and back in D major.Violas eventually herald the orchestral entrance.There is a B minor middle section, with distinctiveorchestral phrases and again solo passages for theharpsichord, but the whole of the joyous openingsection is reprised in the tonic to end the work.
16
Hendrik Hofmeyr (born 1957)
Concerto for Recorder,Harpsichord & Strings (2012)
Asian premireIncantato
Allegro vivace
Some 300 years on from the Baroque heyday ofrecorder concertos, it is good to report that withthe advocacy of such modern virtuosi as StefanTemmingh there are contemporary composerswriting new works for Baroque forces.
One such composer is South African HendrikHofmeyr, born in Cape Town, but who studied inItaly in both Florence and Bologna (where elsewould you get the Baroque bug?). He is nowProfessor at the South African College of Music atthe University of Cape Town. With more than 100commissioned works, in 2012 he composed aConcerto for Recorder, Harpsichord and Strings utilising Baroque forces for fellow South AfricanStefan Temmingh, who gave the first performancewith members of the Cape Philharmonic Orchestraat the Seventh Cape Town International SummerMusic Festival on 17 February 2013. The conductorwas Hans Huyssen.
At the time of the premire Hofmeyr commented:
I love the rather other-worldly character of therecorders sound in the context of modernorchestral texture. The instrument tends to bevery light in sound, especially in the low register,and can easily be submerged by all but thelightest orchestral accompaniment. I employ,amongst others, the huge bass recorder, which,despite its size, is probably the softest of them all it sounds rather like a ghostly whisper. It wasexciting to find creative solutions to this problemwithout relegating the orchestra to a merebackground. The forces are those of a Baroqueconcerto (strings and harpsichord), and it wasalso interesting to try and use them in a waywhich did not owe too much too Baroque style.
Cast in two movements, the sound world isimmediately different to our Baroque composers.The harpsichord leads the strings in shiftingshimmering sounds, over which the sopraninorecorder offers up his eerie Incantation (hence themovements title). A solo cello opens a conversationwith the recorder, taken up by the leaders of thetwo violin sections, and eventually the wholeensemble, with the recorder evermore pirouettingaround, reaching a piercing high. At this point thetextures darken and the soloist swaps to themellow bass recorder; later still he plays both aduet with himself on both recorders, before asthe pace quickens slightly he resorts to the high-pitched instrument with which he started. As theorchestral textures quieten it is like a bird being leftto sing to itself as the music dies away.
The second movement, opening with the sopranorecorder, is a typical fast final movement, wherethe plucked sound of the harpsichord is joined bypizzicato (plucked) strings. There is a slowersection, with sparser accompaniment and soloviolin passage, followed by a stuttering recordercadenza which, getting faster, returns us to theopening Allegro vivace. While the ensemble keepup the speed, the soloist swaps to the sopraninorecorder to end, floating high over the textureswith a slower theme, before joining in the finalflourish. Just watch those fingers!
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
17
Flute
Oboe
Clarinet
Bassoon
Horn
Trumpet
Trombone
Bass Trombone
Tuba Timpani Percussion
Harp Keyboard
Akiyo UESUGI
Marrie Rose KIMMami FUKUHARA
FONG Hiu-kai Johnny CHEN Chiu-yuan
CHIN Hing-sangMinako TAGUCHI
PAW Man-hing HermannMasumi HIGASHIDESHUM Hing-cheungBenny KWAN
HUANG ShanDanilo DELFIN
Christopher RODGERSCHAN Hok-yin
KONG Tze-man Jason
LAM Wing-tsan
Akihiro MURAMOTO
CHAU Chin-tungRieko KOYAMA
Ann HUANG
Alan CHU
Violin
Viola
Cello
Double Bass
James CUDDEFORDConcertmaster
CHEUNG Man-yui KittyAssociate Concertmaster
LE Hoai-namSecond Violin Principal
TSAI LooSecond Violin Assistant Principal
CAI Pak-yiFENG JiaEiko HOSAKAJIA Shu-chenJohn KRUERAmbrose LUILUO Wei-minPANG Hiu-wanChikako SASAKIYANG Yu-siYIP Siu-hayCHAN Shaw-nan SharonKiann CHOWMark HUI
CHAN Tsz-shun ElvisLAU Sum-yinRingo CHANCHIN KongKIM Bo-hyun NGAN Sing-on
CHANG Pei-chieh (on leave)Laurent PERRINHO Kwok-chee KareyPARK Si-wonWU Yin-yinYIP Chun-hei Eric
Masami NAGAI Santiago COSTA MARTNEZCHENG Hiu-man Phoebe
Notes1. Guest Principal Cello LIM Hee-young ().
Hong Kong Sinfonietta Music Director: YIP Wing-sie Principal Guest Conductor: Christoph POPPEN
Principal Assistant Principal Orchestral Associate
18
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 : [email protected] or (852) 2836-3336.
WE BELIEVE THAT CLASSICAL MUSIC IS FOR EVERYONE.
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2121
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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 Flash 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 NgPoon Shing Chi and Liao E WenDr John SandersonMs 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
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Student Ticket Scheme DonorsDiamond Donors (>HK$100,000)
Ms Cecilia Fok Dr & Mrs Patrick S.C. Poon Shih Wing Ching Foundation Ltd Zhilan FoundationJade Donors (HK$50,000 to HK$99,999)
CLP Holdings Limited
AnonymousRuby Donors (HK$30,000 to HK$49,999)
Dr Chan Kow Tak Dr Chung See Yuen
Premium Friends
Dr Thomas H C Cheung
Dr Steven Woon-cheong Lam
Dr Lee Shiu & Dr Jennie Mui Lee Vincent W S Lo Mr David Sin Wai-kinMr T L Tsim Christine Van Anonymous
Asia Insurance Co Ltd
Mr Patrick Chan
Dr Irene Chau
Dr & Mrs Douglas Cheung
Dr & Mrs Samuel LamMr and Mrs Lam Ting Kwok Paul
Nathaniel Foundation Limited
Ms Rotina Pang Edith and Stephen Sun Wai Wah Foundation Ms Christine Yip
Anonymous
BELIEVING MUSIC CANMr Iain BruceDr Eugene K ChanJonman, Monika & Joel Chan FamilyMiss Julia ChanMr Chan Kwan HoMs Anastasia ChaoMr P L ChoyProf David ClarkeMr Paul JacksonLuca, Caterina, Maurien, Joseph JacobelliStephanie & Amelie JatTasha Lalvani Dr Ernest Lee Dr Liu Bing Fai Ms Anna Luk
Prof Mak Su-yin Miss Jennifer Mok Mr & Mrs Nigel & Winny Ng Mr Ng Wing Fui Nicholas Ms Winnie NgaiMr Mark Tong Mr & Mrs Paul Tsang Mr T L TsimDr Wong Hin Yeuk Mr Wong Nai HayMr Marcus WooMs Alice Yeung Ms Helen Zee Anonymous
Pearl Donors (HK$10,000 to HK$29,999) Opal Donors (HK$1,000 to HK$9,999)
!Thank you to the following parties for their continued support!
CASH CASH Music Fund
Consulat Gnral de France Hong Kong et Macao
Home Affairs Bureau
Leisure and CulturalServices Department
Radio Television Hong Kong
Swire Properties Tom Lee Music Co Ltd
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Donation Form
Autopay Direct Debit ( Monthly Donation Only)Name of Party to be Credited (The Beneficiary) Hong Kong Sinfonietta Limited Bank No. Branch No. Account No.004 168 165066 001
/ My/Our Name(s) as recorded on Statement/Passbook My/Our Bank Name and Branch(in block letters)
Bank No. Branch No. My/Our Account No.
My/Our Address as recorded on Statement/Passbook if different from above My/Our Bank Account Signature(s)
Date
Credit Card Visa Mastercard
For monthly credit card donation:I hereby authorize the bank to debit my credit card account to make a monthly donation ofthe above stated amount to the Hong Kong Sinfonietta Limited until further notice. I agreethe validity of this agreement will continue before or after the expiry date of my credit cardaccount. Cancellation or variation of this authorization shall be given to the Hong KongSinfonietta Limited ten working days prior to the date on which such cancellation orvariation is to take effect.
Card Number
Expiry Date
Issuing Bank
Cardholders Name on Card
Cardholders Signature
Date
American Express This card is for one-off donation only.
9832783 9819Please return this form to 3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong or fax to 2783 9819.
Mr/Miss/Mrs/Ms/Dr/Prof Surname First Name Tel E-mail
Address
Name to be acknowledged in house programme (1,000 if donation is more than HK$1,000) (Eng) Mr/Miss/Mrs/Ms/Dr/Prof AnonymousYour personal data will be treated as strictly confidential and will be used for issuing official receipts and other communication purposes.
DONOR INFORMATION
For Official Use Only For Hong Kong Sinfonietta Use Only (Donors Ref. #)
For Bank Use Only (Signature(s) verified)
DONATION METHOD
/
/
/
I/We hereby authorize my/our above named Bank to effect transfers from my/ouraccount to that of the above named beneficiary in accordance with such instructions asmy/our Bank may receive from the beneficiary and/or its banker and/or its bankerscorrespondent from time to time provided always that the amount of any one suchtransfer shall not exceed the limit indicated above.
I /We agree that my/our Bank shall not be obliged to ascertain whether or not notice ofany such transfer or reversal notice has been given to me/us.
I/We jointly and severally accept full responsibility for any overdraft (or increase inexisting overdraft) on my/our account which may arise as a result of any suchtransfer(s).
I/We understand that I/we must maintain sufficient funds in the account one businessday (before the close of branch banking hours) before the transfer date (as specified inthe instructions received by my/our Bank from the beneficiary and/or its banker and/orits bankers correspondent from time to time) for the transfer authorized herein. I/Weagree that should there be insufficient funds in my/our account to meet any transferauthorized herein, my/our Bank will be entitlted, at its absolute discretion, not to effectsuch a transfer in which event the Bank may levy its usual charges and may cancel thisauthorization at any time without notification to me/us. For the avoidance of doubt, theBank may cancel this authorization at its sole discretion at any time without prior notice.
This direct debit authorization shall have effect until further notice or until the expirydate written above (whichever shall first occur). I/We agree that if no transaction isperformed on my/our account under such authorization for a continuous period of 30months, my/our Bank reserves the right to cancel the direct debit arrangement withoutprior notice to me/us, even though the authorization has not expired or there is noexpiry date for the authorization.
I/We agree that any notice of cancellation or variation of this authorization which I/wemay give to my/our Bank shall be given at least two working days prior to the date onwhich such cancellation/variation is to take effect.
ChequeI enclose a cheque of the above stated amount as my one-off donation to the Hong Kong Sinfonietta Limited.
I would like to support the Hong Kong Sinfonietta with HK$ __________________ monthly donation for its General Fund
Student Ticket Scheme one-off donation
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