House Prog: Reflections on Refractions (16-17.9.2022)

Inaugurated in 1962, the Hong Kong City Hall is the first multi-purpose cultural complex ever built for the community, and a cornerstone for cultural and arts development in Hong Kong.

The Diamond Jubilee of the City Hall marks the tremendous achievement of the government in cultural development. Beginning with a humble start, the City Hall delivered its cultural service on a limited scale. After six decades of strenuous efforts, this tiny seed planted has grown into a majestic tree. From there, 16 professional performing venues, 14 museums, 70 static libraries and 12 mobile libraries sprouted, providing diverse cultural services to enrich the life of the community under the Leisure and Cultural Services Department. Indeed, all cultural facilities across the territory began here at the Central waterfront where the prestigious City Hall stands. Hong Kong Sinfonietta and Hong Kong Repertory Theatre have been the venue partners of the City Hall since the Venue Partnership Scheme was launched in 2009. We have been working closely together to stimulate innovations for a wider audience base. This evening Hong Kong Sinfonietta will present Reflections on Refractions as the Joint Celebration Concert of Hong Kong City Hall 60th Anniversary and Hong Kong Arts Festival 50th Anniversary. This marvellous performance will be a testament to the fruitful collaboration between the venue and its partners.

Over the past 60 years, a myriad of brilliant programmes were presented at the City Hall. It is a place bursting with stunning performances and rapturousapplause, a place brimming with fond memories cherished by generations and generations of performers and audience. In May 2022, the Antiquities Authority declared the City Hall as a monument under the Antiquities and Monuments Ordinance, affirming its historical and social value and importance to the cultural development of Hong Kong. In celebration of the Diamond Jubilee of the Hong Kong City Hall, I would like to express my heartfelt gratitude to cultural and arts practitioners and the public for their continued support. Looking ahead, we will continue our efforts in “Refine/d Classic” and move with the times to enliven the cultural life of the community.

Last but not least, may I wish the concert a resounding success and the audience an enjoyable and unforgettable evening.

Vincent Liu Ming-kwong Director of Leisure and Cultural Services

The Hong Kong Arts Festival marks a significant milestone this year. Thank you for joining us in celebrating its 50th edition. Though the pandemic continues to present challenges and has prompted us to be extra-nimble in our response this year, the Festival’s determination to bring you some of the best in performing arts from across the world remains unabated.

The prevailing conditions made travel difficult and the HKAF once again adapted. Though the fifth wave of the pandemic forced venues to close, the Festival still managed to present an excellent world-class line-up online and will present some of the programmes it couldn’t show, on a deferred schedule later this year. The Hong Kong Arts Festival remains “Connected” – to the world and to its audiences –bringing a range of programmes, including theatre, dance, opera and music. We are convinced that great art, in whatever form, is a tonic and we hope to provide many memorable moments in this landmark year.

I would like to take this opportunity to thank all those who make the Festival possible. These include the HKSAR Government’s Leisure and Cultural Services Department, which provides an annual subvention; the Hong Kong Jockey Club Charities Trust, a long-time supporter of the HKAF; and corporate sponsors, charitable foundations and individual donors, for their generous support. Sincere thanks also to all the participating artists, who have brought such joy to Hong Kong audiences, during these times, the difficulties of the pandemic notwithstanding.

I hope you will enjoy today’s performance and many others at this year’s Festival as we enter our next 50 years.

Victor Cha Chairman, Hong Kong Arts Festival

Together with the entire Festival team, I would like to warmly welcome you to this performance at the 50th Hong Kong Arts Festival.

We have had to surmount significant challenges, not least the recent fifth wave of the pandemic to bring you this programme. But we are motivated by the idea of staying connected: to each other, to the artists who enrich our lives, and to the great works that open up the imagination to exhilarating possibilities while reminding us of our shared humanity.

I hope that you will enjoy this and many other programmes in this Festival. I am particularly excited about the possibilities that Arts x Tech offer, and hope that you will share this journey of exploration with us. Look out also for ancillary PLUS programmes and events, which are curated to connect us with major events in the city and to enrich the Festival experience.

Circumstances have forced us to adapt this year, and some in-venue performances have had to be rescheduled, giving us an extended period in the year which marks our 50th Anniversary, 30 years of Young Friends, and of course the 25th Anniversary of the establishment of the Hong Kong SAR. We are honoured that a number of signature Festival programmes have been selected for inclusion in the 25th Anniversary events.

In this and in many other ways, the Festival has been a part of the Hong Kong story over the past 50 years. We will continue in this role in the years to come, and we sincerely hope that you will continue to stay connected with us long into the future. We will endeavour to work hard to be deserving of your company.

Tisa Ho Executive Director, Hong Kong Arts Festival

When we were asked to create a programme to celebrate the three birthdays, we thought of it as a special commission. We love a good collaboration and we take a huge interest in broadening conventional perspectives. So we talked to Charles (Kwong) and Yuri (Ng), both brilliant artists whom we knew well, to see whether there was chemistry. Yuri brought with him the additional force of the City Contemporary Dance Company behind him. Dance in a concert hall. What a bonus.

In full reflective nature, we thought of how the City Hall Concert Hall, the only proper concert hall for music which has endured the wind and rain for 60 years –how this space is still functioning today, daily, with the structures from the 1960’s, in spite of all its "ailments" and inadequacies, as endearing as they may be. City Hall has recently been endowed the status of a listed “monument”. While it has been confirmed as precious and irremovable, we owe it a major check-up and overhaul – at least to upgrade the basics, so that it will still be standing tall with our favourite memories of the past 60 years.

The refractions of the sound waves in the concert hall have made it one of the best spaces in Hong Kong to perform and to listen to classical music – be it music from a smaller ensemble or a symphony orchestra. For decades, it has made performers from all over, as well as concert-goers content and satisfied. As the world grows smaller and the arts develop, more and more outside of the musical realm have been using the stage, adding to the burden of the aged structure.

If our reflections on the refractions are on the right track, we hope that the City Hall will live on as it should, providing the best space for the recreation of sound from old and new masters alike, taking on the challenges, artistic and beyond, for the next 60 years.

Hong Kong Sinfonietta

Venue Partner of Hong Kong City Hall (since 2009)

One of Hong Kong’s flagship orchestras, Hong Kong Sinfonietta has achieved significant local and international recognition for its passionate performances and innovative programming which have brought music closer to the community.

Since 1999, Hong Kong Sinfonietta has collaborated with an illustrious array of international musicians and groups, including in recent years Nicolas Altstaedt, Vilde Frang, Ilya Gringolts, Martin Helmchen, James MacMillan, Sergei Nakariakov, Krzysztof Penderecki, Jean-Guihen Queyras, Fazıl Say, Dmitry Sitkovetsky, The Royal Ballet, English National Ballet, American Ballet Theatre, New York City Ballet, Stuttgart Ballet and Tanztheater Wuppertal Pina Bausch. A regular participant at all the major festivals in Hong Kong including the Hong Kong Arts Festival and French May Arts Festival, the orchestra also partners regularly with Hong Kong Ballet in their staged productions.

As an avid believer of keeping music alive and contemporary, Hong Kong Sinfonietta – the Venue Partner of the Hong Kong City Hall since 2009 – performs year-round with over 100 performances a season, presenting not only standard orchestral repertoire but also more than 70 newly commissioned works over the past 20 years, as well as launching in 2006 the HKS Artist Associate scheme, which provides a platform for intensive collaboration with local artists from different arts disciplines to expand the horizon of classical music. The orchestra has enjoyed many triumphs with cross-genre productions such as A Soldier’s Story, The Passage Beyond in Concert and Pica Pica Choose, which melded dance and theatre with music to wide critical acclaim. It also became the first local orchestra to appear on the cinema screen in 2020 with its groundbreaking Back On Stage concert film series, and in 2021 further ventured into the cinematic world by co-curating the “Life is Art” film festival with MOViE MOViE.

Always breaking down barriers between music and the general audience, Hong Kong Sinfonietta holds specially-designed concert series for different audiences and age groups, including Good Music for Babies/Kids, Know Your Classical Music, Short-cut to Classical Music and HKS McDull Music Project, and recently filmed the Tiny Galaxy Concerts online series featuring chamber music performances

recorded at a fascinating hostel in Hong Kong. The orchestra’s discography includes CDs of works by Chinese composers on HUGO, and three double-CD albums This is Classical Music on DECCA which have been awarded Platinum and Gold Records. In 2018, The Passage Beyond in Concert by Leon Ko, was released on DECCA.

Thriving on its strong local roots combined with an ambitious international vision, Hong Kong Sinfonietta has been invited to perform on tour in North America in Canada and New York City; in Brazil, Argentina and Uruguay in South America; in Europe at prestigious festivals in France including Festival International de Piano La Roque d’Anthéron and Festival de Musique Menton, in Germany at Gezeitenkonzerte Ostfriesland, at Beethoven Easter Festival in Poland, in Switzerland at Tonhalle Zürich, Geneva Victoria Hall and Fribourg, at festivals in Italy including the Festival Pianistico Internazionale di Brescia e Bergamo, in Portugal at the Marvão International Music Festival, and in Lithuania; in China at China Shanghai International Arts Festival (Expo 2010), in Beijing at the National Centre for the Performing Arts; in Japan at La Folle Journée and Asia Orchestra Week; in Korea at the Tongyeong International Music Festival and in Singapore at the Esplanade, and at National Concert Hall Taipei and National Taichung Theater. In 2018, the orchestra organised the 1st Hong Kong International Conducting Competition, which attracted 310 applications from 49 countries/regions.

Hong Kong Sinfonietta has gone from strength to strength under the direction of Music Director Yip Wing-sie – one of Asia’s most respected conductors – since 2002. Having taken on the new role of Music Director Emeritus since May 2020, she and Principal Guest Conductor Christoph Poppen are responsible for the artistic development of the orchestra before the next Music Director is appointed.

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A highly respected and influential figure in Asia’s orchestral music scene, Yip Wing-sie shifted from being the Music Director of Hong Kong Sinfonietta – a position which she had held since 2002 – to Music Director Emeritus in May 2020. Other positions she had previously held include 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 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 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, Yip’s engagements have included concerts with the Orchestre National du Capitol de Toulouse and the Chambre Orchestre de Besançon in France, Warsaw Philharmonic in Poland, Spain’s Tenerife Symphony Orchestra and the Czech State Orchestra of Košice. She has also conducted at prestigious venues and festivals such as the Vienna Musikverein (Grossersaal), Beijing Music Festival, Fukuoka’s 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 Ts’ong, Shlomo Mintz, Anne-Sophie Mutter, Itzhak Perlman and Pinchas Zukerman. Operas she has conducted include Guo Wen-jin’s Poet Li Bai and the world premières of Pierangelo Valtinoni’s opera for children Alice in Wonderland, and La Peintre with Taiwan Philharmonic.

As Music Director of Hong Kong Sinfonietta, Yip has taken the orchestra on tour in recent years to France, Germany, Switzerland, Italy, Poland, Portugal, Lithuania, Canada, the USA, Japan, Korea,

Beijing, Shanghai, Taiwan, and in South America in Argentina, Brazil and Uruguay.

Born in Guangzhou and brought up in Hong Kong, Yip graduated from the Royal College of Music in London and the Indiana University at Bloomington, USA, where she obtained her Master’s Degree in violin performance and conducting. As the winner of the Koussevitsky Scholarship and the Seiji Ozawa Fellowship Award, Yip also attended 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.

Accolades Yip has received internationally include “Chevalier de l’Ordre National du Mérite” bestowed by the French Government (2015), “Chevalier dans l’Ordre des Arts et des Lettres” by the Ministry of Culture and Communication of France, Fellow of the Royal College of Music (FRCM), and she was also named the Ong Teng Cheong Distinguished Visiting Professor at the Yong Siew Toh Conservatory of Music, National University of Singapore. In Hong Kong, she was awarded “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, and was University Artist at The University of Hong Kong (2011- 2012).

Currently Concertmaster of the Hong Kong Sinfonietta, James Cuddeford has emerged as one of Australia’s leading musicians. After commencing his musical studies at age seven, he won a full scholarship at age 12 to study at the Yehudi Menuhin School in England. He continued his studies in performance at the Royal Northern College of Music and composition at the University of Manchester. His principal teachers were Yehudi Menuhin in violin, and Karlheinz Stockhausen and György Kurtág in composition. He has won prizes in a series of important competitions including the first prize in the 1996 Charles Hennen International Competition in Holland.

Cuddeford has performed extensively around the world as both soloist and chamber musician. He has frequently appeared at major international festivals in many of the world’s most prestigious halls. As a chamber musician, James has collaborated with artists such as John Lill, Charles Rosen, Stephen Kovacevich, Cristina Ortiz, Michael Collins, Heinz Holliger, Yehudi Menuhin, Bruno Giuranna, Pieter Wispelwey and Michel Dalberto. He has performed concertos with orchestras including the Camerata Lysy Switzerland, BBC Scottish National, Hong Kong Sinfonietta, Jena Philharmonic Germany, Queensland, Adelaide and Tasmanian Symphony Orchestras.

As a highly active and renowned interpreter of contemporary music, Cuddeford has worked with and premiered the music of many of the most important composers of our time, including violin works by Brett Dean, György Kurtág, Roger Smalley and Harrison Birtwistle. At age 15, he was the youngest finalist in the BBC Young Composer of the Year, and the following year the Queensland Philharmonic Orchestra commissioned and premiered his first major orchestral work. His compositions have also been performed, recorded and broadcast in Europe, North America and Asia by groups such as the Nash Ensemble, Australian String Quartet, Ensemble Offspring and Psappha Ensemble. His music is represented by the Australian Music Centre.

Cuddeford joined the internationally acclaimed Australian String Quartet in 1998, and has directed from the violin many orchestras in Australia, Japan and Europe. He lectured in violin at both the Elder Conservatorium and the Australian Institute of Music, and has given masterclasses at many major institutions around the world. He has recorded for ABC Classics, Tall Poppies, Melba Recordings and Toccata Classics and plays on a violin made by Nicolò Gagliano in 1769.

Hong Kong composer Charles Kwong has a diverse portfolio of creative output ranging from orchestral music, chamber works for instruments across different musical cultures, site-specific compositions, to transdisciplinary works which depart from the paradigm of concert music. His works often emphasise the sensuality of time and space as revealed by the act of listening, the eclecticism of performance practices in their juxtapositions, and the performativity of musical forms and genres.

Distinguished groups and musicians around the world that have performed Kwong’s music include London Philharmonic Orchestra, Ensemble Intercontemporain, Orchestre Philharmonique de Radio France, Orchestra UniMi, Neue Vocalsolisten Stuttgart, Divertimento Ensemble, Ensemble Offspring, Edward Gardner, Christoph Poppen, Mario Caroli, Jeanne-Marie Conquer, Tadashi Tajima and Tosiya Suzuki, among others. He recently received a commission from the Lucerne Festival, and his works have been featured in other prestigious festivals such as Ultraschall Festival, Takefu International Music Festival, Festival International de Piano La Roque d'Anthéron, Marvão International Music Festival, ManiFeste and Hong Kong Arts Festival.

In 2022, Kwong’s Lullabies was performed by London Philharmonic Orchestra under the baton of Edward Gardner, in celebration of the 60th anniversary of the Hong Kong City Hall. In 2020-2022, he was engaged by ensemble recherche for the collaborative project “the new recherche” which deals with the subject of gentrification, for which he wrote Migrating Tracks, subsequently performed in Berlin, Munich and Freiburg. In 2020, he took artist residencies at the Zurich University of the Arts and at the Tai Kwun Contemporary Artists' Studio.

Kwong has enjoyed a long and fruitful relationship with Hong Kong Sinfonietta since 2014 which resulted in nine commissions showcased both locally and globally in the orchestra’s overseas tours. He was appointed their Artist Associate from 2020-2022 in addition to his work on contemporary music research and

programming for the orchestra since 2015. He is Co-founder and Artistic Director of PROJECT21st, and his interest in site specificity and transdisciplinarity of music in recent years have led him to leadership roles in several grand scale productions in Hong Kong. He was the curator of Hong Kong New Music Ensemble’s Our Audible City (2018-2019), for which he wrote Atlas, a series of site-specific works tailored for non-concert-hall spaces in Hong Kong. His research in the site-specificity of music subsequently led to the conception of Requiem (2020-2021) commissioned by Tai Kwun Contemporary, and Lifelike (2021), commissioned for the Art Promotion Office’s Hi! Flora Fauna series.

Born in 1985, Kwong studied music at The Chinese University of Hong Kong and King’s College London, before earning his doctorate in Composition from The University of York in 2013 under the supervision of Thomas Simaku. Over the years, his artistic development has benefitted significantly through tutelages and masterclasses by Toshio Hosokawa, Francesco Filidei, Mauro Lanza and Oscar Bianchi, among others.

City Contemporary Dance Company (CCDC), the flagship of modern dance in Hong Kong, undertakes to blaze the path of contemporary dance scene with extraordinary performances representing contemporary Hong Kong culture. Founded by Willy Tsao in 1979 and directed by Yuri Ng, CCDC has presented more than 200 highly-acclaimed original works by leading choreographers, such as Tsao, Helen Lai, Mui Cheuk-yin, Pun Siu-fai and Ng, and innovative collaborations with artists from other media. Curated by CCDC, “Jumping Frames – Hong Kong International Movementimage Festival” (formerly known as “Jumping Frames International Dance Video Festival”) and “City Contemporary Dance Festival” pioneer the reimagining of the possibilities of modern dance in Asia.

CCDC is renowned for translating the vigour and creativity of Hong Kong’s multifaceted culture. Since 1980, the Company has accepted 273 overseas invitations to represent Hong Kong in performance at the world’s foremost dance stages and festivals in over 30 major cities: including New York, Los Angeles, Washington DC, Montreal, London, Paris, Lyon, Rome, Florence, Rovereto, Oslo, Berlin, Munich, Stuttgart, Copenhagen, Prague, Sydney, Brisbane, Darwin, Tokyo, Niigata, Seoul, Busan, Daegu, Singapore, Manila, Kuala Lumpur, Beijing, Shanghai, Urumqi, Xining, Taipei, Mumbai, Delhi, Karmiel, Tel Aviv, St Petersburg and Moscow.

With full commitment to education and development, CCDC offers 40 outreach performances each year and various highly popular dance courses to local community, benefiting more than 40,000 audience members. As a catalyst to contemporary dance development in Hong Kong and China, CCDC has supported emerging modern dance troupes through the China Dance Development Programme since 1998, and co-presented influential modern dance festivals in the Mainland to inspire dance artists. Opened in 2004, the CCDC Dance Centre continues to nurture young artists, students and local communities and sustains the artistic pursuit of contemporary dance in Hong Kong.

Born in Hong Kong and an experienced dance artist, Yuri Ng has been involved with ballet, contemporary dance, drama, classical music and a cappella, as well as stage setting and costume design. He began classical ballet training with Jean Wong at the age of six, going on to win scholarships to study in Canada and the United Kingdom. He was awarded the Adeline Genée Gold Medal from the Royal Academy of Dancing (RAD) in 1983 before joining The National Ballet of Canada as a dancer.

After his return to Hong Kong in 1993, Ng established a strong connection with CCDC with whom he worked on many performances, including A Game of (1993) as choreographer and set and costume designer; The Second Shirt Skirt Show (1995) and Love On Sale (2008) as choreographer; le beau (1996) and The Firecracker (1997) as choreographer and costume designer. He contributed to Seasonal Syndromes (2008), Very Dance (2009) and The Legend and The Hero (2011) as stage/set and costume designer, and to Requiem HK (2018) as choreographer, set and costume designer.

Ng received the Artist of the Year Award for Choreographer from Hong Kong Artists’ Guild in 1997 and in 1998, and was awarded the Prix d’ Auteur at the 6th Rencontres Chorégraphiques Internationales de Seine-St-Denis (Bagnolet) for his choreography of Boy Story . His two solo pieces choreographed for Genée International Ballet Competition in 2006 have been adopted into the RAD syllabus. His choreography of A Soldier’s Story , in collaboration with Hong Kong Sinfonietta, received the Hong Kong Dance Award in 2008. He won the Distinguished Achievement Award at the Hong Kong Dance Awards 2012 and award for Best Artist (Dance) from the Hong Kong Arts Development Council in 2013. He also won Outstanding Choreography and Outstanding Large Venue Production for Requiem HK at the Hong Kong Dance Awards 2019.

Currently Artistic Director of CCDC and Artistic Advisor of Yat Po Singers, Ng was Hong Kong Sinfonietta’s Artist Associate from 2011-2013 and has created several crossover productions including La Valse Remembered, Ravel The Time Traveller and Know Your Ballet Music

Dominic Wong joined CCDC in 1996 after graduating from The Hong Kong Academy for Performing Arts, and was promoted to Associate Artistic Director in 2016. Acclaimed for being innovative and diverse, his choreographic works include The Legend and The Hero (2011), Blind Chance (2012), Second Thoughts (2014), Travelogue (2016), The Little Prince (2017), Day After Day in Season(s) (2018), musical Matteo Ricci (2019) and The Odyssey of Little Dragon (2019).

Wong’s works have been presented at the Beijing Dance Festival and Guangdong Dance Festival. He received the Outstanding Performance by a Male Dancer award twice at the Hong Kong Dance Awards for his performance in Plaza X (2001) and The Comedy of K (2013). His Xtremely Four Seasons and What’s Next were named “Best Dances of the Year” by South China Morning Post, while Travelogue received the Outstanding Medium Venue Production award at Hong Kong Dance Awards in 2017.

A homegrown choreographer celebrated for combining elements of dance and drama, Noel Pong joined CCDC in 1997 after graduating from The Hong Kong Academy for Performing Arts with First Class Honours in Modern Dance, and was promoted to Artist in Residence in 2019.

Pong’s first choreographic work for CCDC, Rainy Days and Mondays…, was restaged at the 3rd Guangdong Modern Dance Festival and Dance Trinity in the Hong Kong Dance Festival 2006. Her other choreographic works include Crime Scene (2009), Fairy Tales – To Be Continued (2010), Off Screen (2011), The Buying Game (2013), The Buying Game 2.0 (2014), Happy Birthday? (2015), Leaving & Living in She Says, He Talks (2016), Nuts’hell in Come Across (2019), Joyeux Noël (2020) and De-islandsation (2021).

Pong is regarded as one of “Hong Kong’s most promising choreographers” by South China Morning Post, which selected her Crime Scene as one of the “Best Dances” in 2009. Her Off Screen received the Outstanding Choreography award at the Hong Kong Dance Awards in 2012, while Happy Birthday? was selected as “Best Dance Show” at The Hecklers by HKELD. She has also been invited to restage several works at the Guangdong Modern Dance Festival, and she was a mentor of Plastic Surgery (2014), one of the productions from CCDC Dance Centre’s REAL Showcase series. She is also the co-founder of Zero Zero Ensemble.

Bruce Wong graduated in Contemporary Dance from The Hong Kong Academy for Performing Arts, where he was a recipient of numerous scholarships and was selected for overseas tours several times. In 1998, he took part in the American Dance Festival under an Asian Cultural Council fellowship. After graduating in 2000, he joined CCDC as Dancer. In 2009, he left to study for a master’s degree at Hollins University in the USA on The Hong Kong Jockey Club Scholarship. A year later, he was among the several young dancers chosen for the prestigious Rolex Mentor and Protégé Arts Initiative. He returned to CCDC in 2012 and was promoted to Rehearsal Master in 2019.

Wong’s choreographic works include The Legend and The Hero in 2011, Dress Me Down in Strip Teaser in 2012, Re/dis-connect in It’s My Turn in 2013, How to Become… in Eureka in 2015, Why Not Kill Us All… in 2017, The Odyssey of Little Dragon in 2019 (Co-choreographer), Stay/Away in 2019 (with Frankie Ho), A Lover's Concerto in 2020 and Listen Carefully in Days are Numbered in 2021. Of all, Why Not Kill Us All… and Days are Numbered received the Outstanding Medium Venue Production award at the Hong Kong Dance Awards 2018 and 2022 respectively.

Wong is also passionate about the martial arts, having been crowned champion at the Hong Kong Open Wushu Championships in the Baguazhang and Neijia Quan categories.

Felix Ke graduated in Contemporary Dance from The Hong Kong Academy for Performing Arts and obtained a Master of Fine Arts from Taipei University of the Arts. He was a Resident Artist with Unlock Dancing Plaza and a dancer with WCDance, before joining CCDC in 2017 and becoming a Senior Dance Artist in 2022.

Ke has worked with renowned choreographers such as Zhang Xiaoxiong, Yang Ming-lung and Heather Myers. In addition to working with local production and overseas tours, he has created his own choreographic works including V in 2015, Last body in 2016, Finding Uncertain , White Noise in 2018 (a Hong Kong Arts Festival commissioned work), Ongoing in 2020 and The Prospective Potential Dangers Concerning Dancing Safety in 2021.

Lawmanray (Raymond Law) graduated from The Hong Kong Academy for Performing Arts in Lighting Design. He has worked as a freelance lighting designer for Hong Kong Repertory Theatre, On & On Theatre Workshop, Windmill Grass Theatre, Y-Space, The HKAPA etc. He joined CCDC as Resident Lighting Designer in 2017, and has worked on productions such as Why Not Kill Us All…, The Little Prince , Requiem HK , Winterreise The Rite of Spring and ReMark, among others. He received the Outstanding Lighting Design award at the Hong Kong Dance Awards for Winterreise.

In 2009, Lawmanray launched INSPIRE WORKSHOP, a theatre company focused on creating multimedia stage works. He was nominated for the Best Director award at the 8 th Hong Kong Theatre Libre for Love is Colder than Capital Deconstructed . He is currently studying for a master’s degree on Theatre Direction at The HKAPA.

Hong Kong City Hall, Reflected and Refracted

By Daisy Chu English translation: Hayley Lam

In a year marking the 60th anniversary of Hong Kong City Hall – one of the city’s leading cultural landmarks of which Hong Kong Sinfonietta is a Venue Partner since 2009 – as well as the 50th anniversary of the Hong Kong Arts Festival which has long-presented the orchestra in their festival programme each year, the special concert of Reflections on Refractions was born. Coinciding with the 25th anniversary of the establishment of the Hong Kong SAR, this concert is a true celebration of the cultural and historical milestones of the flourishing city.

Initially scheduled for March 2022 but hit hard by the round of performance venue closures due to the pandemic, the concert was finally given green light to take place after months of tireless deliberation from all parties.

Breaking the boundaries of conventional concerts

Hong Kong Sinfonietta commissioned local composer Charles Kwong, HKS Artist Associate for the 2020-2022 seasons, to compose a new work specifically for the occasion and venue. Complemented by the ingenious choreography, stage and costume design of Yuri Ng, Artistic Director of CCDC, and the performances of leading Dance Artists from the company, the concert is set to make its mark as a spectacle like no other.

During the less severe periods of the pandemic last year, performance venues in the city were allowed to reopen under strictly implemented anti-pandemic measures. Musicians playing wind instruments with their masks off must be “blocked off” from each other with tall plastic dividers erected from the ground up, which were quite simply – and in every sense of the word – obstacles which affected the overall listening and viewing experience of both the performers and the audience.

Never ones to artistically surrender to the restrictive circumstances, Music Director Emeritus and conductor of the concert Yip Wing-sie, the orchestra, Ng and Kwong devised the creative manoeuvre of integrating the plastic

dividers into the whole concept of the performance, where these bulky obstacles actually become the centre of interactions between the musicians and Dance Artists. Ng mentioned it was once humorously suggested that the concert should be titled Symphonie Fan-plastique –but all jokes aside, this is perhaps a powerful reflection of the artists’ determination to find creative meaning in an otherwise mundane and almost invasive object simply there to satisfy the rules. Ng’s close examination of the plastic dividers led to the observation that they do reflect and refract light and images – a quality that is actually shared by many everyday objects, and one which eventually became the creative germ for this concert.

However, the fifth wave of the pandemic forced close the doors of the concert hall. The venues reopened in April and the Government lifted the rule regarding the necessary installation of plastic dividers on stage later in May. The removal of the dividers did not affect the original vision of the project, Ng claimed, since it is still possible to employ the musicians’ and Dance Artists’ bodies. With the plastic dividers no longer required to be fixed on the ground, there was more space on stage for Ng to work with and for the Dance Artists to make use of.

“See the music” in concerts

The concept of reflections and refractions in this concert actually came from the opening sequence of the 1940 Disney classic Fantasia , where all you see is the moving silhouette of musicians. Ng said he had always wondered whether the greatest curiosity is spurred by things which cannot be seen, and what goes on in the audiences’ minds when they see musicians playing. He also tries to bring to life for the audience a more multi-layered experience through special effects generated by the manipulation of lighting and plastic dividers.

Having been Hong Kong Sinfonietta’s Artist Associate for the 2011-2013 seasons, Ng is no doubt a veteran in incorporating dance elements into classical music. Yip expressed that the ultimate goal of the orchestra’s

various crossover projects is to break the barriers between different art disciplines and their audiences. “See the music” – the orchestra’s season theme over these two years – is the manifestation of their mission to encourage audiences to appreciate music from different angles and enjoy the multi-sensory stimulations of music.

Indeed, attending a concert is no mere listening experience. Inside the concert hall, one sees the movements of the conductor and musicians, and the different musical works showcased in each programme are often carefully pieced together with a sense of entirety in mind. In Ng’s past collaborations with Hong Kong Sinfonietta, dance was often an element which linked everything together. In Reflections on Refractions, even the scene changes are adorned by the continued performance of the Dance Artists, in which their bodies connect the different components of the concert.

The plastic dividers and lighting will also take centre stage throughout the concert, from Kwong’s AtLasT moving seamlessly to Bach’s Brandenburg Concerto No 3 in G, to the fantastical world of Stravinsky’s The Firebird.

AtLasT, a work specifically written for Hong Kong City Hall

Dedicated to providing a platform for young local composers to hone their skills through frequent commissions, Hong Kong Sinfonietta has programmed commissioned works by Hong Kong composers in many recent performances in the Hong Kong Arts Festival –so it made sense for them to further their long-standing collaboration with Kwong for this joyous occasion celebrating the birthday of Hong Kong City Hall, which nurtured many generations of local musicians over the years.

Kwong’s AtLasT was written specifically for the space of Hong Kong City Hall Concert Hall, with intriguing extramusical requirements for the players. His other new work Lullabies was recently given its world première by

the London Philharmonic Orchestra under the baton of Edward Gardner, while another commission for the Lucerne Festival is set to be premiered this November in Switzerland. Kwong’s keen interest in site-specificity in recent years led to a series of site-specific compositions intended to be performed at non-concert venues called Atlas , of which AtLasT is considered a “spin-off” by the composer.

On why he wrote a piece specifically to be presented at Hong Kong City Hall, Kwong explained that the venue is a place of important sentimental value to him where he had his first ever orchestral composition performed, and where he has spent much of his life rehearsing. For Yip –who started her life as a performer on the stage of this very Hall and has been at the helm of its Venue Partner Hong Kong Sinfonietta for over a decade – the nostalgia is all the more potent. To her, Hong Kong City Hall is where countless artists were given the opportunity to make their first forays and eventually grow into their own. She hopes the efforts to conserve the venue’s rich history can work in parallel with its revitalisation, so that it may continue its beautiful legacy of nurturing artists for generations to come.

Reflections on Refractions is a bold statement in response to the past two years of unprecedented challenges faced by the art industry – that the unmovable resolution of art groups and artists can turn the biggest obstacles into creations of spectacular beauty. It is also a tribute to all lovers and supporters of live performances and local talent.

Programme Notes

T wo composers born 300 years apart come together to start this special celebratory concert, marking not only the 60 th anniversary of the opening of the Hong Kong City Hall but also the 50th anniversary of the Hong Kong Arts Festival and the 25 th anniversary of the establishment of the Hong Kong Special Administrative Region. Our third composer was only four years off being born 200 years after Bach and all three straddle centuries and, in effect, musical styles.

Johann Sebastian Bach – the pinnacle of a musical dynasty that stretched for generations before him and for at least a generation after him (a number of his sons became composers: Wilhelm Friedemann, Carl Philipp Emanuel, Johann Christoph Friedrich and Johann Christian – the latter befriended the young Mozart in London) – was on the cusp of a change in music from what we call the Baroque to the Classical period (particularly characterised by Haydn, Mozart and Beethoven). For many, the starting point for modern “classical” music (“classical” here used in a generic sense, not to describe Mozart et al) Bach – in the 19th century, ie, the “Romantic” era – became an inspiration to the likes of Schumann, Chopin and Mendelssohn, who gave the first performance of Bach’s St Matthew Passion in a hundred years.

At the end of the 19 th century, Stravinsky’s first scores broke away from the ever-more opulent

“late-Romantic” style and revelled in rhythmic and harmonic experiments epitomised by his first three ballets for Diaghilev – The Firebird, Petrushka and The Rite of Spring . However, rarely afterwards did Stravinsky resort to using such massive orchestral forces. His output covers an incredible range and features a wide variety of styles including neo-classicism and eventually serialism, reflecting the nature of music in the 20th century. His works include 11 ballets, three symphonies, three operas (although only one full-evening work, The Rake’s Progress ), many instrumental and chamber works for varied combinations of instruments.

He composed until the last decade of his life and recorded many of his works. He was, and remains, a colossus in musical history.

Last year marked the 50 th anniversary of Stravinsky’s death, although – like Beethoven’s 250 th birth anniversary in 2020 – the musical world’s commemorations were often blighted by last-minute cancellations and changes because of the pandemic. Tonight, The Firebird rises like a phoenix from those ashes to appear in performance closer to the original première, by being “danced”.

To open this evening, we start with an example of the life-blood of music making: a world première. Charles Kwong is no stranger to Hong Kong Sinfonietta and was its Artist Associate in 2020-2022. Recently he composed a series of works

© Nick Breckenfield, 2022 British programme-note writer Nick Breckenfield was the Classical Music and Opera Editor for whatsonwhen.com for 13 years and now works for the Borletti-Buitoni Trust which awards young classical music artists

performed in non-traditional venues, collectively entitled Atlas. Now, for the 60th anniversary of Hong Kong City Hall, he has composed a seventh piece for the set, for the first time in the series with an actual purpose-built concert hall for his inspiration. He has called it AtLasT and it also includes the dancers choreographed by HKS Artist Associate alumnus, Yuri Ng and dancers from City Contemporary Dance Company.

Charles Kwong (born 1985) AtLasT (2021-2022) (world première) for Spatialised and Mobilised Orchestra Commissioned by Hong Kong Sinfonietta

Charles Kwong writes:

“ AtLasT is a ‘spin-off’ from my series of sitespecific compositions, Atlas. It is a work that takes a concert hall not as a concert hall, written for a concert as if it is not a concert. After a long wait, it gets performed, at last, in a time where musicians and audience sharing the same space becomes something that should no longer be taken for granted.

“It is music that is created for ‘re-listening’ to the space of the Hong Kong City Hall Concert Hall, which has been unnecessarily left empty for too long.”

Instrumentation of this work

Strings: Brass: Percussion: violins (11), violas (5), cellos (5), double bass (1) horns (2), trumpets (2), trombones (2) glass bells, coil, crotales, woodblocks, temple blocks, tom-tom, bass drum

Brandenburg Concerto No 3 in G, BWV1048

[Allegro] –Adagio –Allegro

When Bach presented his Six Concerts avec Plusieurs Instruments to the Margrave Christian Ludwig of Brandenburg in March 1721, his use of French for the description was at odds with the Italian forms he actually used in the music. And there is another conundrum: given that the Margrave had few instrumental resources, we know that the concertos were not played at his court. Indeed, the manuscript remained unpublished until after Bach’s death.

The actual origins of these works probably date back to while Bach was in Weimar, between 1708 and 1717. As court organist and Konzertmeister to Prince Johann Ernst, Bach had become acquainted with the latest Italian styles as the young prince had studied in Utrecht and knew well the Amsterdam publishers who represented both Vivaldi and Marcello. However, it was perhaps not until Bach became Kapellmeister to Prince Leopold in Köthen, from 1717, that the concertos were properly formulated, as it was there that he had the exact instrumental requirements at his disposal. It is not too far-fetched to imagine that the Prince, who could play the violin, the gamba and the harpsichord (let alone sport a fine bass voice), played in the first performances of Bach’s final versions of these concertos.

The Third Brandenburg Concerto, like the Sixth, is for strings alone and – apart from two chords – has no slow middle movement. Its textures are ever-

shifting between the nine instrumental lines – three each of violins, violas and cellos. All these lines are in effect solo lines, with not one part achieving total prominence.

The first movement shows a clear example of what is called ritornello, often used in concerto form of this period, where a strong thematic statement is repeated in various keys throughout the movement before finally appearing again in the tonic (in this case G). Cheerful and lively, this movement is contrasted with the two curious E minor chords which are written between the two Allegro movements. Much debate has been exercised on the exact meaning of these two sparse chords, and how they should be treated in performance. Would a cadenza be expected here like later concertos: an improvised passage, perhaps best suited for the harpsichord? Or perhaps Bach, on the viola, would himself have added something? There are, of course, no rights or wrongs in the filling out of this musical shorthand, but just to play the two chords alone does not fit the style of the period. Back in G for the final Allegro, it is a sprightly threebeat Ländler, although actually written in 12/8. Two extended parts, each repeated, are based on the same tireless thematic germ and there is no pause in the musical drive which keeps going to the very end.

Instrumentation of this work Strings: violins (3), (3), (3), bass (1)

Igor Stravinsky (1882–1971)

The Firebird Suite (1919 version)

Introduction –The Firebird and Her Dance –Variation of the Firebird The Princess’ Round Dance Infernal Dance of King Kashchei –Berceuse –Finale

It was with The Firebird that Stravinsky broke into the international scene. He was only 28 when it was premiered in Paris on 25 June 1910. The great impresario Diaghilev – who had turned to Stravinsky for the score after his first two choices for composer, Anatol Liadov and Nikolai Tcherepnin had passed up on the commission – whispered to his prima ballerina, Tamara Karsavina, as he pointed to the composer: “Mark him well. He is a man on the eve of celebrity.”

In early 1909 Diaghilev had been in St Petersburg and heard Alexander Siloti conduct Stravinsky’s Scherzo Fantastique and Fireworks , which encapsulated all he had learned in colourful orchestration from his teacher Rimsky-Korsakov. Diaghilev requested two orchestrations of Chopin piano pieces (for Fokine’s ballet Les Sylphides ) and a piece by Grieg, which formed part of his first Paris season of the Ballets Russes. Then he commissioned the young composer for a full, original ballet score based on the Russian legend of the Firebird. The final confirmation came late in the year, but Stravinsky had already started working to a scenario provided by Fokine and had completed the sketch by March 1910.

Stravinsky, in his disarmingly matter-of-fact and witty autobiography first published in 1936 (reprinted by Norton, 1998), remembered:

“Through-out the winter I worked strenuously at my ballet, and that brought me into constant touch with Diaghilev and his collaborators. Fokine created the choreography of L’Oiseau de Feu section [ The Firebird ] by section, as the music was handed to him. I attended every rehearsal with the company, and after rehearsals Diaghilev, Nijinsky (who was, however, not dancing in the ballet), and myself generally ended the day with a fine dinner, washed down with good claret.”

He completed the orchestration on 18 May 1910, dedicating the score to Rimsky-Korsakov. He then followed the company and Diaghilev to Paris who had “preceded me, so that when I joined them rehearsals were in full swing. Fokine elaborated the scenario, having worked at his choreography with burning devotion, the more so because he had fallen in love with the Russian fairy story. The casting was not what I had intended. Pavlova, with her slim angular figure, had seemed to me infinitely better suited to the role of the fairy bird than Karsavina, with her gentle feminine charm, for whom I had intended the part of the captive princess. [Yet] I had no cause for complaint, since Karsavina’s rendering of the bird’s part was perfect, and that beautiful and gracious artist had a brilliant success in it. The performance was warmly applauded by the Paris public and... it gives me much pleasure to pay grateful tribute to the

mastery with which the eminent Gabriel Pierné conducted my work”.

For the full ballet he used a massive orchestra, with multiple winds (including two contrabassoons) and brass, three harps and an impressive array of percussion. He made an orchestral suite the following year, keeping to the same orchestration, but in 1919 – after the Great War – he produced a new Suite, with a much-reduced orchestration including only double winds parts, as we hear tonight. After the Second World War, Stravinsky again took a look at all his main ballet scores written for Diaghilev, creating new editions of both Petrushka and The Rite of Spring, as well as in 1945 producing a third Firebird Suite, which retains the smaller orchestra of the second, but includes double the number of sections, and which has sometimes been used as a slightly shorter version for the stage.

The story concerns Tsarevich Ivan (originally danced by Fokine) who, finding himself in the land of the evil Kashchei, discovers 13 princesses imprisoned in Kashchei’s magic garden. With the help of the Firebird, the Prince destroys the evil ogre and marries one of the princesses.

The 1919 Suite follows the chronology of the story and includes about half of the music of the

full ballet score. The unearthly grumblings at the very start indicate the dark world of Kashchei’s kingdom, then the fantastic Firebird – half bird, half woman – is introduced. Next, the more lyrical music for the princesses in their Round Dance is brusquely contrasted by the sudden crashing in of Kashchei’s Infernal Dance , with its unremitting rhythmic impulse. The Firebird then lulls Kashchei’s evil forces into slumber with a lilting bassoon melody over harp chords in the beautiful Berceuse (“lullaby”) before the unforgettable build up in the Finale where the sun rises over a new world as the wedding takes place.

Instrumentation of this work Strings: Woodwinds: Brass: Percussion: Harp, piano, celesta

1st & 2nd violins, violas, cellos, double basses flute (1), flute/piccolo (1), oboe (1), oboe/English horn (1), clarinets (2), bassoons (2) horns (4), trumpets (2), trombones (3), tuba (1) timpani, tambourine, cymbals, suspended cymbal, bass drum, triangle, xylophone

桂冠音樂總監 Music Director Emeritus 葉詠詩 Wing-sie

首席客席指揮

駐團藝術家

HKS ARTIST ASSOCIATES

何博欣 (2022-2023)

鄺展維 (2020-2022)

麥兜 (2019-2020)

高世章 (2018-2019)

Vivian HO Charles KWONG McDull Leon KO

陳慶恩 (2016-2018)

石家豪 (2015-2016)

CHAN Hing-yan Wilson SHIEH

朱 栢 謙 (2014-2015)

麥淑賢 (2014-2015)

羅詠媞 (2013-2014)

盧思泓 (2012-2013)

CHU Pak-him MAK Su-yin Wendy LAW LOO Sze-wang

伍宇烈 (2011-2013)

李嘉齡 (2010-2011)

黎志華 (2009-2011)

楊嘉輝 (2008-2009)

伍卓賢 (2006-2008)

Yuri NG Colleen LEE Jason LAI Samson YOUNG NG Cheuk-yin

小提琴 Violin

James CUDDEFORD Concertmaster

KIM In-sun Acting Assistant Concertmaster

LE Hoai-nam Principal Second Violin CAI Pak-yi CHAN Shaw-nan Sharon Kiann CHOW CHUA Vince Eliezer N. John KRUER

Sally LAW Ambrose LUI

LUO Wei-min PANG Hiu-wan POON Ka-mei Camille YANG Min-yu YANG Yu-si William LEE LEUNG Ka-chun YEUNG Kin-man Sunny

Elvis CHAN LAU Sum-yin Christina BEAN Ringo CHAN LUNG Kwan-wai Kenny NGAN Sing-on TANG Wing-shuen Rebecca

CHANG Pei-chieh (On Leave) Laurent PERRIN HO Kwok-chee Karey LEE Eun-sol PARK Si-won YIP Chun-hei Eric

Masami NAGAI Santiago COSTA MARTÍNEZ (On Leave) HUANG Tun-pin

上杉晃代 Akiyo UESUGI

雙簧管 Oboe

Samuel AU(區駿熙) , CHAN Ming-chak Alvin (陳銘澤) ,

Vanessa CHAN ( 陳朗瑚 ), WONG Chun-hong John(黃俊匡)

Cecilia HO (何永妍)

Bernard CHAN (陳駿軒) , Cecilia CHAN (陳希琳) , JIM Wai-man (詹蔚雯)

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HUI Wing-hang Bob(許榮鏗)

CHAN Kin-sing Kinson(陳健勝) (Fellow of The Orchestra Academy Hong Kong, co-directed by HK Phil and HKAPA)

John LO(盧國軒)

Ashley LO(勞善雯)

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定音鼓 Timpani

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