To avoid undue disturbance to the performers and other members of the audience, please switch off your mobile phones and any other sound and light emitting devices before the performance. We also forbid eating and drinking, as well as unauthorized photography, audio and video recordings in the auditorium. Thank you for your co-operation.
The Hong Kong Arts Festival is a highlight of our city’s cultural calendar and a widely celebrated arts event in Asia. Each year it presents a feast of exciting programmes that draw arts lovers from near and far, adding to Hong Kong’s attractiveness both as a home and a tourist destination.
The Festival is an important platform for showcasing local talent alongside the best artists from around the world. With a judicious mix of programmes, it champions new and contemporary works while celebrating great masterpieces, giving audiences much to savour.
I congratulate the Hong Kong Arts Festival on its 40th Anniversary and wish you all a truly memorable evening.
Founded in 1990 by a group of local musicians, Hong Kong Sinfonietta is one of Hong Kong’s flagship orchestras. Together with renowned conductor Yip Wing-sie as Music Director, the orchestra has brought quality orchestral music closer to the community through innovative programming, as well as achieved significant recognition on local and international stages for its passionate and energetic performances.
Since 1999, Hong Kong Sinfonietta has collaborated with an illustrious array of international musicians and groups, including Vladimir Ashkenazy, Plácido Domingo, Augustin Dumay, Fou Ts’ong, Christopher Hogwood, Luciano Pavarotti, Pinchas Zukerman, The Royal Ballet, Kirov Ballet, Bolshoi Ballet, English National Ballet, New York City Ballet and Stuttgart Ballet. 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.
The orchestra performs year-round with over 90 performances a year and is the Venue Partner of the Hong Kong City Hall. Its discography includes CDs of works by Chinese composers on HUGO and two double-CD albums This is Classical Music on DECCA, released in 2008 and 2010. Apart from standard orchestral repertoire, Hong Kong Sinfonietta commissions new works every year and ventures into crossover concerts with other art forms. As an avid believer of keeping music alive and contemporary, Hong Kong Sinfonietta was also the official orchestra for many years for the local contemporary music festival Musicarama. It also partners regularly with Hong Kong Ballet and Opera Hong Kong in their staged productions.
On the educational front, Hong Kong Sinfonietta has pioneered specially-designed concerts for different age groups. New concepts on the Hong Kong concert stage, HKS for Kids, Classical Music for Babies, Short-cut to Classical Music, Know Your Classical Music and HKS McDull Music Project have provided a new realm in audience development. In 2010, the orchestra launched One-hour Classics – a series of special concerts held at unconventional places or times, offering a brand new type of concert experience.
On tour, the Hong Kong Sinfonietta has performed at the Saint-Riquier Festival and Les Flâneries Musicales d’Été de Reims in France, Festival Pianistico Internazionale Arturo Benedetti Michelangeli and Settimane Musicali al Teatro Olimpico in Italy, festivals in Lithuania, Shanghai Spring International Music Festival and at the National Philharmonic Hall in Warsaw. Since 2006, the orchestra has become a regular guest at La Folle Journée in Tokyo with returned visits in 2007, 2009 and 2010. In 2010, the orchestra made its début in Beijing at the National Centre for the Performing Arts, as well as in South America in Brazil, Argentina and Uruguay. It also returned to Shanghai to perform at the China Shanghai International Arts Festival (Hong Kong SAR Programme for Expo 2010 Shanghai – Hong Kong Week Closing Performance).
香港小交響樂團有限公司是註冊之慈善團體。
The Hong Kong Sinfonietta Limited is a registered charity.
香港灣仔譚臣道 98 號運盛大廈 3 樓
3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong
A highly respected and influential figure in Asia’s orchestral music scene, Yip Wing-sie has been the Music Director of Hong Kong Sinfonietta since 2002 and is also the Principal Guest Conductor of the Guangzhou Symphony Orchestra and one of the University Artists at The University of Hong Kong. Positions she has previously held include the Ong Teng Cheong Distinguished Visiting Professor at the Yong Siew Toh Conservatory of Music, National University of Singapore (2005–2006), Principal Conductor and later Music Director of the Guangzhou Symphony Orchestra (1997–2003) and Resident Conductor of the Hong Kong Philharmonic Orchestra (1986–2000).
Winner of the First Prize as well as “LYRE d’OR” in the 35th Concours International de Jeunes Chefs d’Orchestre de Besançon, 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
Since taking First Prize at the 1999 Paganini Competition – the first Japanese and youngest artist ever to do so – Sayaka Shoji has performed with the world's leading conductors including Vladimir Ashkenazy, Sir Colin Davis, Charles Dutoit, Mariss Jansons, Lorin Maazel, Zubin Mehta and Antonio Pappano; alongside orchestras such as the Berliner Philharmoniker, Bayerischer Staatsorchester, Israel Philharmonic Orchestra and the New York Philharmonic.
Recent highlights included concerts with the Gewandhausorchester Leipzig, St Petersburg Philharmonic, NHK Symphony Orchestra, Accademia Nazionale di Santa Cecilia, Tokyo Symphony, Philharmonia and Cincinnati Symphony orchestras, as well as the Orchestre Philharmonique de Radio France.
In addition to a busy schedule of concerto performances, Shoji appears regularly as a recitalist and chamber musician alongside colleagues such as Vadim Repin, Lang Lang, Itamar Golan, Yefim Bronfman, Gianluca Cascioli and Steven Isserlis. Festival appearances have included Verbier, Schleswig-Holstein, Evian, Annecy, the Estate Musicale del Garda, Fêtes Musicales en Touraine, and Folles Journées in Nantes and Tokyo.
Sayaka Shoji records for Deutsche Grammophon. Her début CD with Zubin Mehta and the Israel Philharmonic Orchestra featuring works by Paganini, Chausson and Waxman, was quickly followed by a live recording of her début recital at the Auditorium de Louvre and a further album dedicated to works by Prokofiev and Shostakovich (accompanied on both occasions by Itamar Golan). Sayaka’s most recent concerto recording featured the Mendelssohn and Tchaikovsky Violin Concertos with the Orchestre Philharmonique de Radio France and Myung-Whun Chung while her most recent recital release included a selection of Beethoven Sonatas for Violin and Piano alongside Gianluca Cascioli.
Shoji's teachers have included Zakhar Bron, Saschko Gawriloff, Shlomo Mintz, Uto Ughi and Riccardo Brengola (for chamber music). She graduated from the Hochschule für Musik Köln in 2004 and has since made Europe her permanent base.
Sayaka Shoji performs on the 1729 “Recamier” Stradivarius – kindly loaned by Dr Ryuzo Ueno, Honorary Chairman, Ueno Fine Chemicals Industry Ltd.
伍宇烈 Yuri Ng
駐團藝術家/導演/美術指導/舞者
Artist Associate/Stage Direction/Visual Design/Dance Artist
Born in Hong Kong, Yuri Ng began classical ballet training with Ms Jean Wong and later, at National Ballet School in Canada and (through the Heinz Bosl Scholarship awarded by the Hong Kong Ballet Group) Royal Ballet School in England. He was awarded the Adeline Genée Gold Medal from the Royal Academy of Dancing in 1983 before joining The National Ballet of Canada as a dancer.
Since his return to Asia in 1993, Ng has choreographed for various performing companies and organizations including, Hong Kong Ballet, City Contemporary Dance Company, Hong Kong Dance Company, Hong Kong Repertory Theatre, Actors’ Family, Hong Kong Sinfonietta, Yam Pak Charitable Foundation, Zuni Icosahedron, Edward Lam Dance Theatre, Cloudgate Dance Theatre 2 (Taiwan), Performance Workshop (Taiwan), Godot Theatre (Taiwan), Singapore Dance Theatre, Singapore Arts Festival, Hong Kong Arts Festival, Archi-Tanz (Japan), Aiichi Arts Centre (Japan) and Macao Cultural Centre.
Ng received the “Artist of the Year Award – Choreographer”, from the Hong Kong Artists’ Guild in 1997 and in 1998, he was awarded Prix d’Auteur at the 6th Rencontres Choreographiques Internationale de Seine-StDenis (Bagnolet) with his choreography of Boy Story. His choreography of A Soldier's Story, in collaboration with Hong Kong Sinfonietta, received the Hong Kong Dance Alliance Dance Award 2008.
Recent creations include theatrical choral concert Rock Hard (in collaboration with Ng Cheuk-yin & Patrick Chiu) for New Vision Arts Festival, which won the 2009 CASH Golden Sail Music Award for the Best Serious Music Composition; A Soldier’s Story for Hong Kong Sinfonietta (Expo Shanghai 2010 Hong Kong Week Closing Performance); Firecracker (a Chinese New Year version of The Nutcracker) for Hong Kong Ballet; Sixty Four Great Inventions of China (experimental dance theatre workshop) for Guangdong Modern Dance Company and Hose of Dancing Water (in collaboration with artistic members of Unlock Dancing Plaza).
Other creative projects include, Still Dancing (photography, for Hong Kong Arts Festival); A Cup of Tea (dance video, in collaboration with Maurice Lai); Dream Dances (visual direction, for Hong Kong Dance Company); Anthony Tudor’s Lilac Garden (costume design, for Hong Kong Ballet); Helen Lai’s Very Dance (set & costume design, for City Contemporary Dance Company); Poon Pik-wan’s Dr Tim Ding’s Factory (set & costume design, for Hong Kong Repertory Theatre); Jonathan Wong’s Desert (music video, co-direction with Adam Cheng); and Hong Kong Dance Awards 2007 (Artistic Producer).
Graduated from the Hong Kong Academy for Performing Arts in 2000, Tina Hua is currently Senior Dancer of the Hong Kong Dance Company. Since joining Hong Kong Dance Company in 2001, she has performed in numerous productions including Dream Dances, Desperately Seeking Miss Blossom, Princess Changping and Everlasting Love. Apart from playing the lead role in Red Poppies at the 8th China Arts Festival in Wuhan and Rock Hard at the Hong Kong New Vision Arts Festival in 2008, she has recently starred as Guo Fu in Eagle Companions and Xiao Xue in Painted Face
獲香港舞蹈團批准參與演出
Appearing through the courtesy of Hong Kong Dance Company
白家樂於 1998 年以一等榮譽畢業於香港演藝學院，後加入香港芭蕾舞團。作為香港芭 蕾舞團的高級舞蹈員，他曾在多個芭蕾舞劇中擔任主角，包括《風流寡婦》、《蝴蝶夫 人》、《天鵝湖》、《糊塗爆竹賀新年》，以及巴蘭欽的抽象作品《紅寶石》和韋爾奇的 《空．色》。他在 2002 年獲得香港舞蹈年獎。 2006 年，他的作品 There’s A Fly In This Soup被邀請參加於韓國首爾舉行的第一屆亞太區芭蕾舞蹈節。 2007 年，他為香港芭蕾 舞團的製作《天鵝湖》的第一幕作額外編舞，並獲海外邀請演出。同年，他與香港歌 劇院合作，為《阿伊達》編舞，並於首爾上演。白家樂於 2009 年取得香港演藝學院的 美術碩士學位。近期的工作包括為菲律賓芭蕾舞團編舞的《轉移》，獲得 PhilStage 的傑出編舞獎。
Carlo Pacis joined the Hong Kong Ballet after graduating with First-class Honours from The Hong Kong Academy for Performing Arts (HKAPA) in 1998. As a senior soloist in the company he essayed lead roles in ballets such as The Merry Widow, Madame Butterfly, Swan Lake and Firecracker, and was a principal in abstract works such as Balanchine’s Rubies and Stanton Welch’s Clear. He received the Hong Kong Dance Alliance Award in 2002 for his technical artistry and the depth of his dramatic reading of roles. In 2006, Hong Kong Ballet was invited to perform his work, There's a Fly in This Soup, in the 1st Asia Pacific Ballet Festival held in Seoul, Korea. He did the additional choreography in Act I for the Swan Lake in August 2007 and in October that same year he choreographed for Opera Hong Kong's production of Aida, which also toured to Seoul. In June 2009, Pacis obtained his Master of Fine Arts in Dance degree from the HKAPA and most recently his work for Ballet Philippines, Shifting Wait, won a citation for Best Choreography from Philstage.
王志勇曾為多個國際品牌擔任燈光設計工作，其中包括路易．威登、香奈兒亞太區分店以 及香港環球貿易廣場觀景層等項目。 2010 年成為赫希．貝德納室內設計顧問（香港）首位內部項目燈光設計顧問。 2005 年於巴黎首展藝術裝置 Storytelling - une exposition invisible。 2010 年於香港展出燈光裝置藝術展 A View of Light。
Wong holds a Bachelor of Fine Arts in Theatre Lighting Design Degree with First-class Honours from the HKAPA. In 2005 he was awarded Alexandre Yersin scholarship from the Consulate General of France in Hong Kong and Macao for postgraduate study in France. He was also an exchange student at the Theatre Academy of Finland. Trained as a professional lighting designer in performing arts, Wong has participated in over 100 local and international projects in nine countries since 1998. His versatile stage background has enabled him to engage in projects including drama, dance, concerts, multimedia performances, architecture and exhibitions. Designers and artists he has worked for including John A William, Psyche Chui, Danny Yung and Hervé Robbe. He was the lighting designer of Tears of Barren Hill by Zuni Icosahedron’s 2010 overseas tour.
Wong was also a lighting consultant for Louis Vuitton and Chanel. In 2010, he was the first in-house project lighting consultant for Hirsch Bedner Associates (Hong Kong). His first exhibition as a designer and curator was Storytelling, une exposition invisible (Paris, 2005). In Paris, he also worked for artist Matteo Messervy, urban lighting designer Charles Vicarini and architect agency Atelier Jean Nouvel. In 2010, he showed his lighting installation A View of Light in Hong Kong
Isaac Wong graduated from the School of Theatre and Entertainment Arts of the HKAPA, majoring in Theatre Design (First-class Honours) and currently works as a freelancer. His graduation projects were theatre design for the drama Cherry Orchard, New Apartment and Cantonese opera Shaking Heavenly Bow. After graduation, he worked as a set designer for projects including HoChiMinh In Hong Kong (Hong Kong Fringe Club, 2008), Halloween booth in Ocean Park— Horror Estate & Tomb of Horror; St Augustine (2009), Edo Legendaries (Chivalry Creative Theatre), Lumington (True Light Middle School), Nunsense (Theatre Space, 2010), Callings of the Heart (Sacred Heart Canossian School), Sound Of The Music (Hong Kong Choir of Outstanding Children) and Last Supper (Hong Kong Repertory, 2011)..
葉決定了拉威爾的《圓舞曲》之後，我開始構思挑選其餘的曲目，最後決定用西貝遼士的 D 小調小提 琴協奏曲及《圖奧奈拉的天鵝》。《圖奧奈拉的天鵝》可以說是西貝遼士根據芬蘭神話寫成的交響 詩，關於垂死天鵝與英雄的愛情故事，音樂帶點冷與幽深，而庄司紗矢香是很出色又喜歡思考的演 奏家，演奏感情澎湃的 D 小調小提琴協奏曲是非常適合，我自己也很期待聽她的演繹。
兩首音樂的感覺跟《圓舞曲》相近，讓音樂會可以有統一的氣氛。
(1875-1937)
拉威爾在 1919 年受俄羅斯芭蕾舞團的經理賈吉列夫（Sergei Diaghilev）的委約創作了《圓舞曲》，縱使之前他 花了很長的時間才完成了同樣由賈吉列夫委約的舞劇《達夫尼斯與克洛埃》（Daphnis et Chloé）。拉威爾醞釀創 作一首仿效維也納圓舞曲的作品十年多，他喜歡這種曲式，但也知道要寫得好並不容易。 1911 年，舒伯特的作 品啟發了他的鋼琴獨奏曲《高貴而傷感的圓舞曲》（Valses Nobles et Sentimentales）。一年後他又把舒伯特的 圓舞曲改編成一套芭蕾舞音樂。他創作《圓舞曲》的時候，似乎也同時為此曲撰寫鋼琴獨奏、雙鋼琴和管弦樂 版本。可是賈吉列夫並不喜歡這首作品，浦朗克在其回憶錄《我的朋友與我》（Moi et Mes Amis， 1963 年於巴 黎出版）之中寫道：
第一樂章的開頭，弦樂一片閃爍的樂音，使獨奏清冷、高揚的主題得以浮現，然後變得越來越激動，接著在定 音鼓和陰沉的巴松管的襯托下，漸趨幽暗。一段高潮和簡短、急促的華彩段引出了降 B 大調強有力的第二主 題，由巴松管和大提琴分別奏出，並有撥弦作裝飾。繼而樂曲的密度漸漸稀釋，節奏放緩，僅剩下憂鬱的單簧 管，直到獨奏者再度登場，奏出第二主題，和中提琴對碰。昂揚的降 B 小調第三主題（Allegro molto）由小提 琴帶出，低音弦樂部則不時插入來將之打斷，但不久樂曲的能量又一次減退，讓開首的主題建立起發展部，再 由宏偉的華彩段結束該部，並與隨後的重現部互相重疊。在此，三個主題一如所料依次重臨，第一個先由巴松 管奏出，再交與獨奏者處理。之後一段全新、莊重的樂隊過門帶出了雙簧管，再由它牽引出獨奏者的第二主 題，這次以 D 大調奏出，而且音符的時值也加長了。接著輪到 D 小調的第三主題登場，獨奏者在廣闊的音域中 奔走，炫耀其裝飾技巧，琶音和雙音自然是少不了的。最後則是令人嘆為觀止的尾聲。
降 B 大調的第二樂章，曲式是 ABA 。這章緩慢的浪漫曲，開始是婉轉的木管樂，而在銅管樂甚有層次的和聲 中，帶出了獨奏者高雅、悠長的主題。低音弦樂和震耳的銅管樂，在半音小調的中段把張力漸次加強，在其上 面的獨奏，開始時彷彿把氣氛舒緩下來，但當回到第一主題的時候，卻又融入了艾爾加（ Elgar ）式的富麗堂 皇，再由幽暗的銅管及定音鼓的和聲結束了該個樂章。 D 大調的第三樂章曾被托維爵士（Sir Donald Tovey）恰 當地形容為「北極熊的波蘭舞曲」（Polonaise for the Polar Bears），我們欣賞這個樂章時，便會覺得這句著名 的評語至今仍不過時，其中獨奏的切分音由突出而彷彿步履艱難的伴奏襯托著。第二主題 — 明顯就是托維爵 士所指的波蘭舞曲 — 在 6/8 和 3/4 拍之間自我複製及變換其舞步，而獨奏者則飛舞自如。這個會令聽眾如痴如 醉的、迴旋曲式的樂章，能使獨奏者巧妙地使出一切真功夫，而所有主題都在這 一一重現，獨奏者可以在高 音域的泛音、雙弦和三弦、以及交叉節奏中揮灑自如。最後充滿高潮的幾小節，樂隊強有力的和弦跟獨奏者爬 升的音階作出了強烈的對比。
Ravel described his inspiration thus: “a kind of apotheosis of the Viennese waltz linked, in my mind, with the impression of a fantastic whirl of destiny.” He described the action in the published score: “Whirling clouds give glimpses, through gaps, of couples dancing. The clouds scatter, little by little. One sees an immense hall, peopled with a spinning crowd. The scene is gradually illuminated. The light of the chandeliers bursts forth, fortissimo. An Imperial court, in or around 1855.” The music eventually reaches breaking point and can be seen as a historical comment on the collapse of the Austro-Hungarian Empire, as well as – perhaps –a musical comment on the collapse of tonality which found its most potent expression in the Second Viennese School, led by Arnold Schoenberg.
Instrumentation of this piece
# Strings: first violin, second violin, viola, cello, double bass
In addition to his well-known symphonies, particularly the Second and the Fifth, Sibelius is best known for his single concerto – for his own instrument (although he long ago gave up any thoughts of becoming a virtuoso himself), the violin. It was composed in 1903, having first been mentioned in Sibelius’ letters to his wife, Aino, in September the previous year.
In November 1902 Sibelius went to Berlin to conduct his revised En Saga where he perhaps met up with the renowned violinist (and one time leader of the Helsinki Philharmonic Orchestra), Willy Burmester, who was very keen to hear about the Concerto. Indeed, he followed its progress closely, and Sibelius wanted him to accept the dedication of the work as well as giving its première (tentatively pencilled for March 1904). But, characteristically in Sibelius’ life, economics intervened. Sibelius needed to take evasive action because of his finances and arrange a fund-raising concert before the scheduled première. To make the largest impact, he needed a new work, and so had to use the Violin Concerto.
Ironically the concerts were delayed until 8, 10 and 14 February 1904 – if only he could have waited a month, Burmester could have done the première. Instead, the honour fell to Viktor Novácˇek, teacher at the Helsinki Musical Academy and the concerts took place with Sibelius conducting. Unfortunately, Novácˇek was not up to the task and critical reaction was not good, especially that by Karl Flodin who wrote, first about the performance: “[Novácˇek’s] playing offered a mass of joyless things. From time to time there were terrible sounds and it was impossible to fathom the composer’s meaning, so great was the cacophony;” then about the work itself: “The concerto is, to be honest, boring – something which could not hitherto be said about a composition by Jean Sibelius.”
However, Burmester was still keen and urged Sibelius to reschedule performances that October but Sibelius, always mindful of what Flodin had to say (he had already revised two movements of the Lemminkäinen Suite because they had not satisfied this particular critic), had already decided to withdraw the work for revision. It eventually saw the light of day again – with substantial cuts and reworking in both the opening and closing movements – on 19 October 1905 with the Berlin Philharmonic, conducted by Richard Strauss. Unfortunately Burmester was not the soloist – this time it was the Orchestra’s leader, Karl Halir – simply because by the time the première was settled upon (only four months earlier, which meant that Sibelius had to quickly finish his revisions), Burmester’s diary was already full. Perhaps not surprisingly, despite his initial support and enthusiasm, Burmester’s patience was vastly over-extended and he never took up the Concerto.
Taking Flodin’s criticisms to heart, particularly the swinging statements about the virtuosity of the original version, Sibelius toned down much of this effect in the revision, taking out whole themes and altering others: a second cadenza in the first movement was dispensed with entirely, and in total some five minutes worth of music was cut. Not that there feels as if such wholesale revisions have been undertaken. Interestingly, much more recently the Sibelius estate has allowed the performance and recording of the original version, which makes for a fascinating comparative document.
A carpet of shimmering strings allow the icy, soaring theme for the soloist to float into view, becoming more agitated, then – over timpani and sombre bassoons – turning darker. A climax and a brief scurrying cadenza makes way for the more forceful second subject in B-flat, given first to bassoons and cellos, with pizzicato pointing. The textures pare and pace slows to leave only lugubrious clarinets, before the soloist returns with the second theme, with viola counterpoint. A third theme in B-flat minor, more swaggering (Allegro molto), is introduced by the violins, with interjecting bursts from the lower strings. But again the energy is dissipated, allowing the development to be constructed from the opening theme, which ends in a massive cadenza overlapping into the recapitulation, where the three main themes return as expected, the first given to the bassoon before handing over to the soloist. A new, stately, orchestral link leads to the oboes who usher the soloist back in for the second subject, this time with longer note values, and in D major. The Allegro molto returns (D minor) and the soloist runs the gamut of ornamental technique, with arpeggios and double-stopping, leading to the awe-inspiring coda.
The A-B-A form of the B-flat slow movement Romanza , introduced by meandering wind, eventually, on a stepped brass chord, allows the violin in with the noble, long-breathed theme. Low strings, then blaring brass, build the tension in the chromatic minor middle section, over which the soloist seems at first to offer a calming influence, but then is assimilated into the Elgarian grandeur of the music as it returns to the first theme, ending with sombre brass and timpani chords. The famous comment about the D major final movement still stands the test of time: Sir Donald Tovey remarked of its aptness as a “polonaise for polar bears” with the syncopated soloist constantly underpinned by the distinctive chugging accompaniment. The second theme – obviously what Tovey was referring to – alternates 6/8 and 3/4 in its dance parody, over which the soloist flies freely. Brilliantly taxing for the soloist as it is exhilarating for the audience, this rondo, with all the expected returns of the main themes, has the soloist revelling in high harmonics, double- and triple-stopping and cross rhythms. The final climactic bars contrast the upward scales of the soloist with the forceful chords of the orchestra.
Instrumentation of this piece
# Strings: first violin, second violin, viola, cello, double bass
ambushes him on the banks of the sacred river. Lemminkäinen’s body is cut into pieces and unceremoniously thrown into the river but, thankfully, his mother is also an exponent of magic and is able to piece him back together and bring him back to life. Sibelius, in his original scheme, followed this with a depiction of (the lucky to be alive!) Swan of Tuonela itself, a direct borrowing from what was to have been the prelude to the opera The Building of the Boat. The final part of Sibelius’ musical biography (Lemminkäinen’s Return) sees Lemminkäinen returning home after many wars, and finding memories still warm from his childhood.
Sibelius conducted the first performance of what was then called Sinfniska Dikter till Motiv ur Lemminkäinen Mythen (“Symphonic Pictures”) with the Philharmonic Society Orchestra in Helsinki on 13 April 1896. Sibelius was nervous (which probably explains why the orchestra members seemed unhappy), but the work was very well received. However, as was his wont (in recent years many early versions of Sibelius major works have been researched and recorded), Sibelius made revisions to the works before presenting the whole suite again on 1 November 1897. Originally The Swan of Tuonela was placed third, but Sibelius moved it to follow the opening movement. The Swan of Tuonela and Lemminkäinen’s Return were revised again (the latter cutting a substantial part of its musical argument) and published separately in 1900. However, perhaps mainly because of Robert Kajanus (conductor and Sibelius’ mentor) declaring some qualms about the other movements, Lemminkäinen and the Maidens of Saari and Lemminkäinen in Tuonela were left untouched for forty years. Sibelius did revise them, long after he had stopped composing new works, in 1939, but the onset of the Second World War delayed their publication even further. They were eventually published in 1954, just three years before the composer’s death.
The famous use of the English horn as the plaintive soloist depicting The Swan of Tuonela (here placed third). The first edition of this movement, in A minor, had the following description: “Tuonela, the land of Death, the hell of Finnish mythology, is surrounded by a large river with black waters and rapid current, on which the Swan of Tuonela floats majestically, singing.”
Instrumentation of this piece
# Strings: first violin, second violin, viola, cello, double bass
British writer Nick Breckenfield is Classical Music & Opera Editor of www.whatsonwhen.com
榮譽監察委員
金董建平女士
楊雪姬女士
監察委員會
施永青先生 (主席)
陳鋈鋆先生 (司庫)
鍾思源醫生
康繼弘女士
林煥樟博士
劉文文女士
曾安邦先生
萬美宜女士
王學良先生
葉志衡博士
義務核數師
安永會計師事務所
義務公司秘書
卓佳登捷時有限公司
義務法律顧問
霍金路偉律師行
義務骨科專科醫生
傅偉俊醫生
音樂總監
葉詠詩
駐團藝術家
伍宇烈 (2011-2012)
李嘉齡 (2010-2011)
黎志華 (2009-2011)
楊嘉輝 (2008-2009)
伍卓賢 (2006-2008)
樂團行政 Administration
Honorary Governors
Mrs Alice KING
Ms Serena YANG
Board of Governors
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Ernst & Young
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Tricor Tengis Limited
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Music Director
YIPWing-sie
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Yuri NG (2011-2012)
Colleen LEE (2010-2011)
Jason LAI (2009-2011)
Samson YOUNG (2008-2009)
NG Cheuk-yin (2006-2008)
行政總裁 Chief Executive Officer: 楊惠 Margaret YANG
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霍娉婷 FOK Ping-ting
陳藹晴 Ivy CHAN
舞台經理 Stage Manager: 楊植生 Bobby YEUNG
Hong Kong Sinfonietta 香港小交響樂團
小提琴 Violin
格德霍特
樂團首席
張文蕊
副樂團首席
李海南
第二小提琴首席
蔡路
第二小提琴助理首席
蔡穎
周惜分
馮佳
保 英子
呂灝然
羅蔚敏
潘力
彭曉筠
高橋真珠
丁鈺
黃裕翔
楊宇思
葉紹羲
袁以恆
中提琴 Viola
●陳子信
▽劉琛彥
錢江
何永妍
顏星安
胡斯樂
大提琴 Cello
●張培節
▼貝樂安
何國芝
朴詩媛
黃嘉輝
葉俊禧
低音大提琴 Double Bass
●永井雅美（休假）
James CUDDEFORD Concertmaster
CHEUNG Man-yui Kitty Associate Concertmaster
LE Hoai-nam
Second Violin Principal
TSAI Loo
Second Violin Assistant Principal
CAI Ying-qiong
Sylvia CHOW
FENG Jia
Eiko HOSAKA
Ambrose LUI
LUO Wei-min
PAN Li
PANG Hiu-wan
Matama TAKAHASHI
TENG Yuk Sophia
WONG Yu-cheung
YANG Yu-si
YIP Siu-hay
Jonathan YUEN
CHAN Tsz-shun Elvis
LAU Sum-yin
CHIN Kong
Cecilia HO
NGAN Sing-on
WU Shee-lok
CHANG Pei-chieh
Laurent PERRIN
HO Kwok-chee Karey
PARK Si-won
WONG Ka-fai David
YIP Chun-hei Eric
Masami NAGAI (on leave)
長笛 Flute
●溫斯理
上杉晃代
雙簧管 Oboe
●金勞思
福原真美
單簧管 Clarinet
●方曉佳
陳秋媛
巴松管 Bassoon
●秦慶生
田口美奈子
圓號 Horn
賈莉蒂
東出真澄
岑慶璋
關山明
小號 Trumpet
●馮嘉興
▼顏熾權
丹尼路
長號 Trombone
●新妻裕子（休假）
陳學賢
Harry WINSTANLEY
Akiyo UESUGI
Marrie Rose KIM
Mami FUKUHARA
FONG Hiu-kai Johnny
CHEN Chiu-yuan
CHIN Hing-sang
Minako TAGUCHI
Lucy GALLANTINE
Masumi HIGASHIDE
SHUM Hing-cheung
Benny KWAN
FUNG Ka-hing
Joseph NGAN
Danilo DELFIN
Yuko NIITSUMA (on leave)
CHAN Hok-yin
低音長號 Bass Trombone
江子文
大號 Tuba
●林榮燦
Notes
KONG Tze-man Jason
LAM Wing-tsan
1.Guest Principal Trombone – Jonathan WATKINS (韋健思).
2.Freelance Musicians:
定音鼓 Timpani
●村本曉洋
敲擊樂 Percussion
●周展彤
小山理惠子
豎琴 Harp
●黃士倫
鍵琴 keyboard
●朱偉恆
●首席 Principal
Akihiro MURAMOTO
CHAU Chin-tung
Rieko KOYAMA
Ann HUANG
Alan CHU
▼助理首席 Assistant Principal
▽署理助理首席 Acting Assistant Principal
如夢逝水年華 La Valse Remembered 音樂總監 Music Director : 葉詠詩 YIPWing-sie
Brian CHAN (陳子俊), CHAN Shiu-hang Olive (陳肇珩), CHEUNG On-ki Angel (張安琪), Jojo Ho (何銘恩), Otto KWAN (關統洋), LI Oi-kiu Kilby (李藹喬), LI Xiao-hui (李曉慧), Mandy LO (勞善雯), LOUIE Lai-lai (雷麗麗), Wilfred MA (馬偉懷), Letty POON (潘穎芝), Winty WAN (雲凱弦), WONG Cheuk-ho David (王卓豪), Wong Chung-hon (黃宗瀚), YAM King-lam (任景林), Gordon YAP (葉乃堅).
3.APA students (with kind permission of the Hong Kong Academy for Performing Arts): CHAN Chun Michael (陳駿), CHENG Mei-kwan Emily (鄭美君), Tse Sin-wai Cynthia (謝善慧), VONG Wai-man Raymond (王偉文).
請支持香港小交響樂團
Please support us in investing in a cultural tomorrow!
A World filled with Music is Wonderful!
At Hong Kong Sinfonietta we believe music is good for everyone and a society full of music lovers will be an inspired and harmonious society.
Please support our work by making a donation or becoming a sponsor. Help us build a Wonderful World by creating more special audience development projects and concerts and nurturing the next generation of audience.
Please support the Hong Kong Sinfonietta in developing new audiences for the arts. Your donation will be used mainly for special audience development projects and concerts which need extra funding.
As a small token of thanks, donations of over HK$1,000 will be acknowledged in every Hong Kong Sinfonietta concert house programme for one year (donations of HK$100 or more are tax deductible). To make a donation, please complete the Donation Form and post it to us with a crossed cheque or your credit card details. 有關其他贊助及捐款查詢，請電郵至
For further donation and sponsorship enquiries, please contact us at fundraising@hksinfonietta.org
Hong Kong Sinfonietta gives thousands of young people each year the chance to take their first steps into an experience that could change their lives forever.
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Donate to our Student Ticket Scheme and help someone young fall in love with classical music. Just like you did.
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I would like to support the Hong Kong Sinfonietta with a donation of
□ HK$______________________ .
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2011/2012 樂季贊助機構 Sponsors of the 2011/2012Season
感謝以下熱心人士及機構對香港小交響樂團 2011/2012 年樂季的支持！
Thank you to the following individuals and corporations whose support has enabled us to bring a variety of programmes to you this season.
主要贊助機構
Major Sponsors
商業機構贊助計劃
Corporate Members
白金會員 Platinum Members
Premium Friends
藝倡畫廊 Alisan Fine Arts
張 昌博士 Dr Thomas H C Cheung
馮元志 FungYuen Chi Louis
林煥樟博士 Dr Steven Woon-cheong Lam
李韶博士及李梅以菁博士 Dr Lee Shiu & Dr Jennie Mui Lee
羅榮生 Vincent W S Lo
冼為堅 David Sin Wai-kin
詹德隆 T L Tsim
萬美宜 Christine Van
黃奕鑑 Michael Y K Wong
任懿君 David Yam
多位無名氏 Anonymous
感謝以下各機構對香港小交響樂團一直的支持!
Thank you to the following parties for their continued support!
CASH 音樂基金 CASH Music Fund
法國駐港澳總領事館
Consulat Général de France à Hong Kong et Macao
The Fleming
民政事務局 Home Affairs Bureau
康樂及文化事務署 Leisure and Cultural Services Department
香港電台 Radio Television Hong Kong
太古港島東 Swire Island East
通利琴行 Tom Lee Music Co Ltd
贊助人及捐款者 Patrons & Donors
香港小交響樂團對以下熱心人士及機構在去年的捐款致以衷心謝意。
Thank you to the individuals, foundations and corporations who have supported us with a donation in the past year.
MegaSTAR Patron (>HK$500,000)
施永青基金有限公司 Shih Wing Ching Foundation Ltd
SuperSTAR Patron (HK$100,000 to HK$499,999)
林護紀念基金有限公司 Lam Woo Foundation Limited
STARplus Donors (HK$30,000 to HK$99,999)
Dr & Mrs Chan Ka Ho
鍾思源醫生 Dr Chung See Yuen The Dedicated Violinist Fund
