Dear Patrons,
To avoid undue disturbance to the performers and other members of the audience, please switch off the beeping devices on your alarm watches, pagers and mobile phones before the performance. We also forbid eating and drinking, as well as unauthorized photography, audio or video recordings during the performance.
Thank you for your co-operation.
各位觀眾：
為求令表演者及觀眾不致受到騷擾，請將鬧錶、傳 呼機和無線電話的響鬧 置關上。
同時請勿在場內飲食或擅自攝影、錄音或錄影。
多謝合作。
Programme 曲目
Wolfgang Amadeus MOZART: Symphony No. 35 in D major, K. 385 Haffner
莫扎特：D 大調第 35 交響曲，K385「哈夫納」
Max BRUCH: Violin Concerto No. 1 in G minor, Op. 26, 2nd and 3rd movements
布魯赫：G 小調第一號小提琴協奏曲，作品 26，第二、三樂章
Johannes BRAHMS: Serenade No.1 in D major, Op. 11, Selected Movements
布拉姆斯：D 大調第一號夜曲，作品 11，選段
Violin Solo and Concertmaster: Si-Hang WANG
小提琴獨奏兼團長：王思恆
Conductor: Wing-Kai Harty TAM
指揮：譚泳佳
Si-Hang WANG, Violin Solo and Concertmaster
Beijing-born Si-Hang Wang is an accomplished soloist, recitalist, chamber musician, concertmaster and violin teacher. He has performed extensively around the world including in major cities in China, the United States, Europe and Japan. Wong is also a Founder and Board Director of the Central Conservatory of Music of China Hong Kong Foundation.
An experienced concertmaster, Wang has led orchestras in the US, China and Hong Kong. He was Concertmaster of the Shanghai Philharmonic Orchestra, and was previously Associate Concertmaster of the Hong Kong Philharmonic Orchestra for 27 years (including briefly as acting concertmaster). In the United Sates, he was concertmaster of the World Youth Symphony Orchestra, the University of Southern California Orchestra and the American Youth Symphony. In recent years, he has been an active guest concertmaster for major orchestras in the region, including those in Beijing, Shanghai, Qingdao, Guangzhou, Macao, Shenzhen and Guiyang.
As a soloist, Wang has performed concertos with, among others, the Shanghai Broadcasting Orchestra, Bournemouth Symphony of the UK, the Hong Kong Philharmonic Orchestra, Hong Kong Chamber Orchestra, Guangzhou Symphony of China, Hong Kong Sinfonietta, Hong Kong Soloists, University of Southern California Orchestra, and Union Philharmonic Orchestra of the University of Hong Kong. He has given a recital of the complete Brahms sonatas, was a guest performer at the Mozart Bicentenary Piano Competition of Asia, and has been featured on several local radio and television music programmes.
Dedicated to chamber music, Wang was a member of the Sulium String Quartet which performed extensively in the US and at the Berlin Anniversary Festival in Germany. In 1993, he founded the Hong Kong String Quartet, which won critical acclaim not only its performances at the China National Centre for the Performing Arts and Central Conservatory of Music in Beijing, the Shanghai International Arts Festival and Macao International Music Festival, but especially for its innovative cross-over collaborations with renowned percussionist Li Biao, classical guitarist Xuefei Yang, British harpist Ieune Jonesandpopsinger ChisdeBurgh. TheQuartetactively promotes the appreciation of string quartet and chamber music through recordings, radio broadcasts, activities for schools and hospitals, and workshops for youth. It also commissions works by Hong Kong composers and has presented world premieres at music festivals, including at the Hong Kong Arts Festival and the Musicarama new music festival. The group was Resident Quartet of the Hong Kong University of Science and Technology, Radio Television Hong Kong, and the Tsuen Wan Town Hall.
A renowned violin teacher, Wang had taught at the Chinese University of Hong Kong, the Baptist University of Hong Kong, and the Hong Kong Academy for the Performing Arts. Hehasmentoredmanyprofessional and amateur violinists. He regularly gives masterclasses at various educational institutions, has led many string workshops and summer music camps, and was adjudicator for various local and international music competitions.
Wang's own teachers include Liu Yi-ying, Professor Wang Zhang-shen of the Central Conservatory of Music in Beijing, and Thomas Wang of the Hong Kong Conservatory of Music. On full scholarship, he studied under Professor Eduard Schmieder at Rice University in Houston, andattheUniversity of SouthernCaliforniafrom which he graduated with high distinction. Wang has gained many awards, including the Conducting Departmental Award from the University of Southern California, and the San Antonio String Club Award. Wang was overall champion at the Hong Kong Young Instrumentalist of the Year Competition and was accoladed “Best Instrumentalist of the Year”.
王思恆 (小提琴獨奏兼團長)
王思恆生於北京，是位傑出的小提琴獨奏家、室樂演奏 家、樂團團長及音樂教育工作者，演奏足跡遍達中國、
美國、歐洲和日本。他並是北京中央音樂學院香港基金 會的董事局成員和創辦人之一。
王氏是資深的樂團首席，曾任上海愛樂樂團首席，及香港 管弦樂團任副團長 27 年（期間曾任署理團長）。他曾是 世界青年交響樂團、南加州大學交響樂團及美國青年交響 樂團的團長，近年以客席首席身份活躍於地區內的樂團， 包括北京、上海、青島、廣州、澳門、深圳、貴州等地的 交響樂團。
王氏以獨奏家身份曾與多個樂團演出，包括上海廣播交響 樂團、英國伯恩茅斯交響樂團、香港管弦樂團、香港室樂 團、廣州交響樂團、香港小交響樂團、香港獨奏家表演團、
南加州大學交響樂團及香港大學學生會管弦樂團等。他曾
演出布拉姆斯整套奏鳴曲，任莫札特二百週年鋼琴大賽的 表演嘉賓，並時有在電台的音樂節目及電視的文化節目表 演和接受訪問。
王氏醉心推廣室樂，在美國是蘇利欽弦樂四重奏的成員， 該團在美國演出及曾任德國柏林週年節的表演嘉賓。他於
1993 年創立香港弦樂四重奏，獲邀於國家大劇院、北京 中央音樂學院、上海國際藝術節和澳門國際音樂節演出，
曾分別與敲擊樂（李飈）、古典結他（楊雪菲）、豎琴
（Ieune Jones）和流行歌手（Chis de Burgh）進行跨界
合作演出的新嘗試，大獲好評。香港弦樂四重奏透過音樂 會演出、電台廣播、外展計劃、青少年工作坊等，普及室
樂和接觸更多觀眾。該團曾灌錄、委約及世界首演多位作 曲家的作品，及並參與演出多個藝術節，包括香港藝術節、
音樂新文化等。該團曾任荃灣大會堂駐場藝團、香港電台 第四台駐台藝團和香港科技大學駐校四重奏。
王氏在音樂教育推廣方面亦不遺餘力，是知名小提琴教育 家，曾任教於香港演藝學院、中文大學、浸會大學等，及 為多個本地和國際小提琴大賽擔任評判。此外，通過籌辦 室樂訓練營，王氏為培育新一代的專業小提琴手作出不少 努力。
王思恆師承劉一瀛、北京中央音樂學院王振山教授及香港 音樂學院名師汪酉三。他在香港賽馬會音樂基金的全額獎 學金支持下以一等優異成績畢業於香港音樂學院，繼而分 別贏取美國德薩斯州休斯頓賴斯大學和南加州大學的全額 獎學金隨史密達教授深造。王氏從事音樂以來獲獎無數， 其中包括南加州大學指揮系大獎及聖安東尼奧弦樂會大獎。
他是香港傑出青年管弦樂手大賽的總冠軍，獲「香港最佳 樂手」大獎。
Wing-Kai Harty TAM, Conductor
Harty Tam is currently Music Director and Conductor of the Hong Kong Chamber Orchestra, founder and Music Director for New Hong Kong Philharmonia, she also conducts several prestige school orchestras in Hong Kong. She has worked with the Bern Symphony Orchestra in Switzerland, the Bohuslav Martinu Philharmonic Orchestra and the Sokola Symphony Orchestra of Brno in Czech Republic.
In additional, Tam has been invited to conduct concerts at the Festival Musicale Nel Commune Di Morigerati E Sicili in 2018, and the Scoula Italiana D’Archi International Music Masterclasses in Mantua in 2019.
An orchestral conducting graduate of Hochschule der Künste Bern, Switzerland. She studied conducting with Prof. Dominque Roggen, Prof. Gustav Meier, Tomas Netopil, Prof. Donald Schleicher and Kirk Trevor.
Apart from conducting orchestras, Tam is an active double bassist. She studied performance at the Hong Kong Academy for Performing Arts and the San Francisco Conservatory in the United States. Tam has been the Resident Artist at the British Isles MusicFestival in the U.K. In summer, she holds International masterclasses in Italy regularly.
Moreover, Tam is a passionate music educator. She serves as the Director of the Hong Kong Youth Music Festival since 2019. She collaborates with world-class musicians and professors, her goal is to encourage the development of young and talented musicians in Hong Kong
譚泳佳 (指揮)
譚泳佳現為新香港管弦樂團音樂總監和香港室樂團指揮。
譚氏曾與瑞士伯恩交響樂團、捷克布霍斯拉夫·馬爾蒂尼 愛樂樂團和布爾諾索科拉交響樂團合作。
除了在香港的指揮演出外，譚氏還受邀在意大利莫里杰拉 蒂和西西里島的音樂節以及 2019 年在曼圖亞的 Scoula Italiana d'archi 國際音樂大師班中擔任指揮。
譚氏是瑞士伯恩藝術學院的管弦樂指揮畢業生。她曾師從
Dominique Roggen 教授、Gustav Meier、Tomas Netopil、
Donald Schleicher 和 Kirk Trevor。
除了在樂團擔任指揮外，譚氏亦是一位活躍的低音提琴手。
她曾在香港演藝學院和舊金山音樂學院學習。陳女士還是 英國群島音樂節的駐場藝術家。
Programme Notes
Wolfgang Amadeus MOZART: Symphony No. 35 in D major, K. 385 Haffner
Mozart's Symphony No. 35 in D major, K. 385, known as the "Haffner Symphony," was composed in 1782. Originally commissioned by the Haffner family as a serenade, Mozart later revised it into a symphony for a concert in Vienna. This work marks a period of creative expansion for Mozart, showcasing his growing mastery in orchestration and thematic development.
The symphony is celebrated for its lively energy and elegant structure. The first movement opens with a bold and spirited Allegro, setting an exuberant tone. It is characterized by its rhythmic vitality and dynamic contrasts, which are trademarks of Mozart's style. The second movement, Andante, offers a serene and lyrical contrast, featuring graceful melodies and delicate interplay between the strings and woodwinds.
The Minuet and Trio, serving as the third movement, bring a dance-like charm to the symphony, with a stately theme that reflects the elegance of the Viennese court. The symphony concludes with a fast-paced and exhilarating Presto, embodying the joy and brilliance that make Mozart's symphonic works timeless. Mozart's ability to blend structural clarity with expressive depth is on full display in the "Haffner" Symphony, a testament to its universal appeal and the genius of its composer.
Max BRUCH: Violin Concerto No. 1 in G minor, Op. 26, 2nd and 3rd movements
Max Bruch's Violin Concerto No. 1 in G minor, Op. 26, is one of the most beloved concertos in the violin repertoire. Composed in 1866, it quickly became a favorite among violinists and audiences alike due to its lyrical melodies and emotional depth. The concerto is renowned for its seamless blend of virtuosic passages and expressive themes, making it a showcase of both technical skill and musical sensitivity.
The second movement, Adagio, is the emotional heart of the concerto. It unfolds with a poignant and lyrical melody, allowing the soloist to explore a wide range of expressive nuances. The orchestration supports the violin's poignant lines with lush harmonies, creating an atmosphere of introspective beauty. The third movement, Finale, contrasts sharply with its energetic and fiery character. It demands exceptional technical precision and agility from the soloist, culminating in a thrilling display of virtuosity.
Bruch's Violin Concerto stands out not only for itsmelodic richness but also for its sophisticated structure and emotional impact, offering a profoundmusical experience.
Johannes BRAHMS: Serenade No.1 in D major, Op. 11, Selected Movements
Johannes Brahms' Serenade No. 1 in D major, Op. 11, is a significant early orchestral work that reflects his admiration for the classical serenade tradition. Written in thelate 1850s,thispieceshowcasesBrahms'burgeoning talent for orchestration and thematic development. Although it was composed during his early career, it already hints at the depth and complexity that would later define his symphonic works.
The serenade is characterized by its warm and inviting sound, achieved through Brahms' innovative use of orchestral color and texture. It opens with a sense of grandeur and elegance, capturing the listener's attention with its rich harmonies and melodic lines. This work does not adhere strictly to the traditional serenade structure, allowing Brahms to explore a wide range of moods and themes. The selected movements highlight the composer's skill in crafting melodies that are both lyrical and robust. Brahms' Serenade No. 1 remains an important part of the orchestral repertoire, showcasing the unique blend of tradition and innovation that defines Brahms' music.
