Hong Kong Sinfonietta is financially supported by the Government of the Hong Kong Special Administrative Region

Hong Kong Sinfonietta is the Venue Partner of the Hong Kong City Hall

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Piano

Florian Uhlig

25.4.2015( Sat) 8pm

Hong Kong City Hall Concert Hall

Conductor

Roberto Fors Veses

Partner Hotel

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Great Piano Concertos: Florian Uhlig Plays Schumann

Conductor Roberto Fors Veses Piano Florian Uhlig

Dear Patrons,In order to make this performance a pleasant experience for the artists and other members of the audience, pleaserefrain from recording, filming, taking photographs, and also from smoking, eating or drinking in the auditorium.Please ensure that your mobile phones and any other sound and light emitting devices are switched off before theperformance. Thank you for your kind co-operation.

House Rules

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Programme

Beethoven Leonore Overture No 3, Op 72b

Schumann Piano Concerto in A minor, Op 54 Allegro affetuoso Andante espressivo Allegro moltoIntermezzo: Andantino grazioso Allegro vivace

- 15-minute intermission -

Sibelius Symphony No 4 in A minor, Op 63Tempo molto moderato, quasi adagioAllegro molto vivaceIl tempo largoAllegro

FM97.6-98.9www.rthk.hk2015430

2Tonights concert is broadcast live

on RTHK Radio 4 (FM Stereo 97.6 98.9 MHz and www.rthk.hk)

with a repeat on30 April 2015 (Thu) at 2pm.

2199910020092006DECCA201411

2006 20152010FRCM35

Hong Kong Sinfonietta Music Director: YIP Wing-sie Principal Guest Conductor: Christoph POPPEN

3Hong Kong Sinfonietta is one of Hong Kongs

flagship orchestras. With Yip Wing-sie as Music

Director, the orchestra has brought music closer

to the community, and has achieved significant

recognition locally and internationally for its

pass ionate per formances and innovat ive

programming.

Since 1999, Hong Kong Sinfonietta has

collaborated with an illustrious array of international

musicians and groups, including Vladimir

Ashkenazy, Plcido Domingo, Augustin Dumay, Fou

Tsong, Christopher Hogwood, Luciano Pavarotti,

Pinchas Zukerman, The Royal Ballet, Mariinsky

Ballet, Bolshoi Ballet, English National Ballet,

American Ballet Theatre, New York City Ballet,

Stuttgart Ballet and Tanztheater Wuppertal Pina

Bausch. The orchestra has also been a regular

participant at all the major festivals in Hong Kong

including the Hong Kong Arts Festival, Le French

May, Hong Kong International Film Festival and

festivals presented by the Hong Kong Government.

It also partners regularly with Hong Kong Ballet and

Opera Hong Kong in their staged productions.

The orchestra performs year-round with over 100

performances a season and has been the Venue

Partner of the Hong Kong City Hall since 2009.

Apart from standard orchestral repertoire, Hong

Kong Sinfonietta, as an avid believer of keeping

music alive and contemporary, commissions and

performs new works every year and ventures into

crossover concerts both at the City Hall and at the

residency at ArtisTree. Launched in 2006, the HKS

Artist Associate scheme provides a platform for

intensive collaboration with local artists from

different arts disciplines to expand the horizon of

classical music. The orchestras discography includes

CDs of works by Chinese composers on HUGO and

three double-CD albums This is Classical Music on

DECCA. The third album has been awarded a Gold

Record since its release in November last year.

On the educational front, Hong Kong Sinfonietta

has pioneered specially-designed concerts for

different age groups. New concepts on the Hong

Kong concert stage, Good Music for Kids, Good

Music for Babies, Know Your Classical Music,

Short-cut to Classical Music and HKS McDull Music

Project have provided a new realm in audience

development. Since 2010, Hong Kong Sinfoniettas

chamber music concerts have continued to break

down barriers between music and audience as we

perform at unconventional spaces.

On tour, Hong Kong Sinfonietta has been invited to

perform in North America in Canada and New York

City; in Brazil, Argentina and Uruguay in South

America; in Europe at the prestigious Festival

International de Piano La Roque dAnthron, Saint-

Riquier Festival and Les Flneries Musicales dt de

Reims in France, Festival Pianistico Internazionale

Arturo Benedetti Michelangeli and Settimane

Musicali al Teatro Olimpico in Italy, Warsaw

Philharmonic Concert Hall in Poland and in Lithuania;

in China at the Shanghai Spring International Music

Festival and China Shanghai International Arts

Festival (Expo 2010 Shanghai), in Beijing at the

National Centre for the Performing Arts; in Japan in

Nagano and at La Folle Journe in Tokyo and Niigata.

In 2015, the orchestra has been invited to perform in

Korea at the Tongyeong International Music Festival

and will make its dbut in Switzerland in October.

Music Director Yip Wing-sie, one of Asias most

respected conductors, was the winner of the First

Prize and LYRE dOR in the 35th Concours

International de Jeunes Chefs dOrchestre de

Besanon, the Koussevitsky Scholarship, the Seiji

Ozawa Fellowship Award and a prizewinner in the

8th Tokyo International Conducting Competition.

She has studied with Seij i Ozawa, Leonard

Bernstein, Gustav Meier, Gennady Rozhdestvensky

and Norman Del Mar.

The Hong Kong Sinfonietta Limited is a registered charity.

9833/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong

Tel : (852) 2836 3336 Email: enquiries@hksinfonietta.org Fax : (852) 2783 9819 Website: www.HKSL.org

4

20062007

2008

Conductor

Roberto Fors Veses

5Roberto Fors Veses is the Chief Conductor and

Artistic Director of Orchestre dAuvergne, France.

Born in Valencia, Fors Veses studied orchestral

conducting at Accademia Musicale Pescarese and

at the Sibelius Academy in Helsinki, where he

earned his masters degree under the tutelage of

Leif Segerstam.

Fors Veses career progressed in an exponential

way since he won the First Prize and Special Prize in

the Luigi Mancinell i Opera Conductors

International Competition 2006 in Orvieto and

Third Prize at the Evgeny Svetlanov Conducting

Competition 2007. It brought him appearances at

the Bolshoi Theatre, Teatro Regio di Torino, Opra

de Nice, Opra Orchestre National de Montpellier,

Orchestra Sinfonica di Milano Giuseppe Verdi, the

Hague Philharmonic and New Russian State

Symphony Orchestra.

As an expression of his versatility, Fors Veses is

devoted to the symphonic as much to the operatic

repertoire. In 2008, he made his dbut at the

Teatro Regio di Torino conducting Salome and Elisir

dAmore, and at the Bolshoi Theatre with Macbeth.

In the following years, he conducted in several

French theatres: Il Viaggio a Reims, Die Zauberflte,

Cenerentola and Don Pasquale at Opra Grand

Avignon and Opra de Vichy, as well as Lakm at

Opra de Rouen. He has also led productions such

as Amahl and the Night Visitors, Cos fan Tutte, La

Finta Giardiniera at Svenska Teatern of Helsinki and

La Bohme at the Orvieto Opera Festival.

Fors Veses has conducted orchestras including

Orchestre National de Lyon, Orchestre

Philharmonique du Luxembourg, Prague

Philharmonia, St Petersburg Symphony Orchestra,

Spanish Radio Orchestra, Orchestra de Chambre de

Paris, Orquesta de Valencia, Orquesta Sinfnica de

Galicia, Orquesta Filarmnica de Mlaga, Orquesta

de Crdoba and Sinfonia Finlandia.

Recent engagements of Fors Veses include

recordings and tours in Spain and Japan with

Orchestre dAuvergne, performances with State

Academic Symphony Orchestra of Russia, Orchestre

d'Avignon and Orchestre de l'Opra de Rouen as

well as appearance in Murten Classics Festival.

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Piano

Florian Uhlig

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7Florian Uhlig was born in Dsseldorf and gave his

first piano recital at the age of 12. He first studied

with Peter Feuchtwanger and continued his studies

at the Royal College of Music and the Royal

Academy of Music in London, where he lives today.

Uhlig is an unusual combination of opposites: On

one hand, he is rooted in the German music

tradition, which is associated with sobriety, style

and structure. On the other hand, he has

developed during his time in London a more

individual approach to the musical work: trenchant

liberties, eccentric repertoire combinations and a

curiosity for musical rarities.

Uhlig made his orchestra dbut in 1997 at the

Barbican Centre in London. Since then, his many

concerts have taken him to major concert halls in

Berlin, London, Vienna, Munich, Paris, New York,

Istanbul, Caracas, Johannesburg, Seoul and Beijing.

He has played in concert with orchestras such as

BBC Symphony Orchestra, Stuttgart Philharmonic,

German Radio Philharmonic, Dresden Philharmonic,

Polish Radio Symphony Orchestra, Taiwan

Philharmonic, Vienna Chamber Orchestra and

Simn Bolvar Youth Orchestra of Venezuela with

Krzysztof Pendereckis Piano Concerto conducted

by the composer.

Invitations to festivals have taken him, for example,

to Beethoven Festival in Bonn, Mecklenburg-

Vorpommern Festival, Schleswig-Holstein Music

Festival, Menuhin Festival Gstaad, Ludwig van

Beethoven Easter Festival in Warsaw and Hong

Kong Arts Festival. Along with his work as a soloist,

Uhlig is also a sought-after chamber musician and

song accompanist. He was the last partner of the

legendary baritone Hermann Prey. His extensive

repertoire ranges from Baroque to the present, but

does not by any means feature only the ubiquitous

heavyweights of the literature.

Uhligs CD recordings have been released for years

by Hnssler Classic, including the complete works

for piano and orchestra by Schumann and

Shostakovich, as well as the work in progress,

recording all the solo piano works by Schumann. In

2013, a recording was released which includes

piano concertos by Ravel, Poulenc, Franaix and

Debussy, as well as another one with

Resurrection piano concerto by Penderecki. A

CD with Ravels complete works for solo piano

followed in 2014.

Since 2008, Uhlig has been Artistic Director of the

Johannesburg International Mozart Festival. He was

appointed Professor of Piano at Hochschule fr

Musik Carl Maria von Weber in Dresden in 2014.

91920150

1770-1827 72bFidelio

121802Emanuel Schikaneder181418051120180632018145231805

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(2) (2) (2) (2) (4) (2) (3)

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18101856A54

1841Fantasie813184611

Ferdinand Hiller28ACAAA2/4F(ABA)C

A

(2) (2) (2) (2) (2) (2)

1865-1957A63

Aino190851349191019113

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Eero JrnefeltKareliaKoli191143

StenhammarPaul Weingartner6019129[Delius]tritone

Glocktubular bells()glockenspiel

(2) (2) (2) (2) (4) (2) (3)

Nick BreckenfieldNick Breckenfield

whatsonwhen.com13-

12

Ludwig van Beethoven (1770-1827)

Leonore Overture No 3,Op 72bBeethoven made three attempts to compose hissingle opera, which he always wanted to callLeonore (the name of the heroine). However, sinceits final reincarnation it has been known as Fidelio,which refers to the male identity taken by itsheroine. Moreover Beethoven wrote four overturesfor it, three of which unfortunately rather laHollywood are called Leonore Nos 1, 2 and 3. It isthe odd one out, called Fidelio which is now firmlyensconced as the overture to the opera as weknow it.

Beethoven was notorious for agonising over hisworks, and he left sketchbooks full of possibleworkings. Commissioned in 1802 by the thenmanager of Vienna's Theater an der Wien,Emanuel Schikaneder (Mozart's original Papagenoand, indeed, l ibrettist of The Magic Flute),Beethoven worked on this escape opera for 12years. Its first, three-act incarnation, was premieredon 20 November 1805 but only lasted threeperformances. Immediately revised it only played

two nights from 20 March 1806, and it had to waita further eight years to reach a final version, in twoacts. In fact, that had to wait for its own secondperformance, on 26 May 1814, to be heralded bythe Fidelio Overture specially written for it.

When originally unveiled, the 1805 version hadbeen preceded by Leonore Overture No 2, whereasfor the first revision, just four months later, this hadalready been superseded by tonights LeonoreOverture No 3. The exact composition date ofLeonore Overture No 1 is not known, and there arevarious arguments to say it was his first attempt orit was written for a later private performance anddiscarded unplayed. Suffice to say Beethoven'schange of heart about the quite-similar second andthird Leonore overtures was to do with hisrealisation that, based so closely on the operasnarrative, using either of them as a curtain raiserwould spoil the opera. Thus he made his fourthattempt in Fidelio: lighter, shorter, and less overtlybased on the operas themes. And what were thethemes? Well the story concerns Leonore who, inan attempt to find and free her husband Florestan, imprisoned by the evil Pizarro dressesas a boy, Fidelio, to infiltrate the castle whereFlorestan is being held prior to his execution.

Two orchestral classics that perhaps typify the romantic 19th century preface an early 20th-century masterpiece in tonights concert. Beethovens overture (one of four he composed for hissingle opera) is as Wagner remarked a music drama in itself, while Schumanns famous PianoConcerto took a number of years to become a concerto, having started out as a single-movement work (the one we know as the opening movement).

After the interval, the austere, awesome power of Sibelius Fourth Symphony stands as a furthercommemoration of the Finnish composers 150th anniversary. Personal demons might have beenthe inspiration, but somehow the dark, brooding power of the music seems to offer a foretasteof what would happen only three years after the symphonys composition as Europedegenerated into war.

Programme Notes

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Leonore Overtures Nos 2 & 3 are in many ways verysimilar. Both begin with a slow descending scale,which leads to a woodwind chorale based onFlorestans Adagio aria from Act 2 In des LebensFrhlingstagen (In Lifes Springtime). Beethovenshortened this in Leonore No 3 and cuts to thefamous Allegro theme, quickly building. Onceagain the action is twice interrupted by the off-stage trumpet calls the fanfares changed in keyfrom the operas E-flat to B-flat to fit the overtureskey of C more easily. The music then builds againto the breathtaking and remarkable final coda,without doubt justifying Wagners comment thatthis is less an overture to a music drama than amusic drama itself.

Instrumentation of this piece

Strings: 1st & 2nd violins, violas, cellos, double basses

Woodwinds: flutes (2), oboes (2), clarinets (2), bassoons (2)

Brass: horns (4), trumpets (2), trombones (3)

Timpani

Robert Schumann (18101856)

Piano Concerto in A minor,Op 54

Allegro affetuoso Andante espressivo Allegro molto

Intermezzo: Andantino grazioso

Allegro vivace

Schumanns Piano Concerto was only finished aftera lengthy break after his original inspiration. It wasstarted in 1841, the year after his marriage to ClaraWieck, in the form of a single movement Fantasie,which corresponds to the opening movement.When Clara played it through on 13 August shewas just two weeks away from giving birth to theirfirst child, Marie. Whether because of Schumannsdifficulty in getting this single movement workpublished or not, four years later he decided to addthe Intermezzo and Allegro Vivace to form arecognisable concerto, although he himself was stillunsure of its hybrid nature, describing it assomething between a symphony, concerto and a

grand sonata. Clara gave the first performance ofthe full work on 1 January 1846 in Leipzig, withFerdinand Hiller as conductor. Needless to say, shewas heavily pregnant again: her fourth child wasborn on 8 February.

Scored for classical orchestra (double winds,trumpets and timpani, but no trombones), theconcerto opens with a thrilling call-to-arms forboth soloist and orchestra (the lengthy tuttiintroduction of old being firmly dispensed with).After the piano thunders down the keyboard, theoboe quietly intones the pulsing theme, which isthe germ for the whole work, first in A minor(followed by the soloist) and then in C major (ineffect the second subject), before A-flat brings aduet for solo clarinet and rippling soloist. Festiveand fully developed, with many distinctive changesof atmosphere, the music returns to the openingflourish, this time passed between the orchestraand soloist, before the recapitulation aims forA major. Schumann, wary perhaps of performerswhims, notated the cadenza, returning the musicto A minor, before the coda transforms the themeinto a brisk 2/4, ending with brilliance.

A delicate four-note phrase, passed between soloistand orchestra, opens the short Intermezzo(F major). In ternary form, this chirpy opening andclosing theme is contrasted with the lyrical warmthof the C major cello theme in the middle. However,the movement does not end as expected: insteadthe woodwinds remind us of the first movementstheme, and accelerate straight into the Finale, therondo theme of which is a direct development ofthe opening movements kernel. Spirited andsyncopated, with delicious episodes between eachof the themes reappearances, the music ends (withno solo cadenza) in a fitting blaze of A major.

Instrumentation of this piece

Strings: 1st & 2nd violins, violas, cellos, double basses

Woodwinds: flutes (2), oboes (2), clarinets (2), bassoons (2)

Brass: horns (2), trumpets (2)

Timpani

Solo piano

14

Jean Sibelius (18651957)

Symphony No 4 in A minor,Op 63

Tempo molto moderato, quasi adagio

Allegro molto vivace

Il tempo largo

Allegro

A drinker and a smoker (he favoured long, blackcigars), Sibelius developed a throat tumour, whichwas diagnosed at a biopsy in Helsinki. With nofunds to be able to pay for the operation, Sibeliusand his wife, Aino, went on a trip round Helsinkibusinesses to try to raise funds, and eventually thedirector of an insurance company gave up hisoffices full days takings. In late May 1908, Sibeliustravelled to Berlin to have the offending tissueremoved, although it took 13 attempts, and leftSibelius with hardly any voice for a time. It stoppedhim smoking for some eight years after, for fear ofrecurrence, but in fact he lived another 49 years.

However, the fear of what might have beencertainly took its toll, most pertinently in his FourthSymphony, started in the spring of 1910 andfinished a year later. He referred to it as both apsychological symphony and my most spiritualcomposition. March 1911 entries in his diary alsogive an indication of his worries, which includedfears for life being cut short, surrendering to fateand, more prosaically, bad reviews and continuingcash flow problems. There are also commentsabout turning to pleasanter thoughts, and how inthe symphony he has faced-up to God to fight forlife, as well as references to joyful art andlightness which have been seen as a Nietzscheanreference to an idea that by enduring sufferingleads to its own sense of fulfilment.

Yet the music seems so much more oppressive thanthat, despite the lightening of textures in theFinale. In addition to his health and wealth scares,it is often recounted that the icy landscape thatseems to be conjured up particularly in the firstmovement, was inspired by a trip Sibelius made toKoli, in northernmost Karelia in September 1909

with his brother-in-law (and neighbour), EeroJrnefelt. Credence to that interpretation can besought in Sibelius dedication of the Symphony toJrnefelt, but one must also remember Sibeliusconstant denials of any programmatic influence.

Sibelius himself conducted the premire at aconcert of his music in Helsinki on 3 April 1911,where it was met with some consternation. Aperformance in Gothenburg (conducted byStenhammar) was hissed at, but it fared betterthere than in Vienna: when Paul Weingartnerattempted to conduct it the musicians refused toplay it and some 60 years passed before Viennaactually heard it. In September 1912 Sibeliusconducted the Symphony in London, where it wasrespectfully received (Delius called it no ordinarymusic), but still remained a rarity.

The opening Adagio, which Sibelius asks to beplayed Hard, like destiny, builds an ominous,sonorous low-string theme, based on the tritone(an augmented fourth), which is about the furthestaway you can get from the normal harmonicrelationships (triads) in traditional symphonies. Along cello solo develops, then muted brass raspingsintroduce a second subject, but much of themovement is sparingly scored, bleak and (perhaps)despairing. The low-string tritone that opened themovement returns at the end before dying away.

The Scherzo cannot ever get far from threateningtritones either, and the main oboe theme isplaintive rather than overtly carefree and jocular.String oscillations lead into an unsettling section(doppio pi lento) which dispel any sense ofrelaxation, even more so as the music simply stops.

The slow movement has the feel of some ofShostakovichs haunted Adagios with long,meandering wind solos (starting with flute andclarinet), accompanied by mainly low strings. Asecond stage has an oboe duet (likened to aFinnish cow horn duet) and then an oscillatingfigure which builds to a climax, but the texturespare away again almost immediately. The suddenuse of triads offer surging strings a much moreconsolatory theme, but the movement ends with

15

the lonely flute and clarinet handing over the finalfew bars to desolate strings, underpinned by a fewpizzicato bass chords.

There is a more joyful swagger to the music of theAllegro Finale, but behind everything is the tritonethat gives an edge to the proceedings. There is alsoa new instrument added to the texture marked inthe score Glock. This has caused some dispute should it be bells (as in tubular bells) or, as moreusually heard today (and in tonights concert), aglockenspiel? Just take a moment to consider howit would sound with the alternative instrument: justanother riddle in this Symphony. Typical Sibelianstring ostinatos, and then a long pizzicato sectionpropel the music on, with snatches of the lighteropening music suddenly overtaken by surgingorchestral effects. Brass and strings, seeminglyopposed, build to a climax, re-introducing thebells/glockenspiel and the music plunges back intouncertainty. Flute and oboe interjections oversighing strings, then a sudden hint of the veryopening cello mood lead to a gloomy reiteratedchord, not a defiant end, but rather a tired,disconsolate farewell.

Instrumentation of this piece

Strings: 1st & 2nd violins, violas, cellos, double basses

Woodwinds: flutes (2), oboes (2), clarinets (2), bassoons (2)

Brass: horns (4), trumpets (2), trombones (3)

Percussion: timpani, glockenspiel

Nick Breckenfield, 2015British programme-note writer Nick Breckenfield was the

Classical Music and Opera Editor for whatsonwhen.com for 13 yearsand now works for the Borletti-Buitoni Trust

which awards young classical music artists

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Flute

Oboe

Clarinet

Bassoon

Horn

Trumpet

Trombone

Bass Trombone

Tuba Timpani Percussion

Harp Keyboard

Akiyo UESUGI (on leave)

Marrie Rose KIMMami FUKUHARA

FONG Hiu-kai Johnny CHEN Chiu-yuan

CHIN Hing-sangMinako TAGUCHI

PAW Man-hing HermannMasumi HIGASHIDESHUM Hing-cheungBenny KWAN

HUANG ShanDanilo DELFIN

Christopher RODGERSCHAN Hok-yin

KONG Tze-man Jason

LAM Wing-tsan

Akihiro MURAMOTO

CHAU Chin-tungRieko KOYAMA

Ann HUANG

Alan CHU

Violin

Viola

Cello

Double Bass

James CUDDEFORDConcertmaster

CHEUNG Man-yui KittyAssociate Concertmaster

LE Hoai-namSecond Violin Principal

TSAI LooSecond Violin Assistant Principal

CAI Pak-yiFENG Jia (on leave)Eiko HOSAKAJIA Shu-chenJohn KRUERAmbrose LUILUO Wei-minPANG Hiu-wanYANG Yu-siYIP Siu-hayCHAN Shaw-nan SharonKiann CHOWMark HUI

CHAN Tsz-shun ElvisLAU Sum-yinRingo CHANCHIN KongKIM Bo-hyun NGAN Sing-on

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Masami NAGAI Santiago COSTA MARTNEZCHENG Hiu-man Phoebe

16

Notes1. Guest Principal Flute Sami JUNNONEN ().2. Freelance Musicians: Brian CHAN (), CHENG Yan-ho (), CHEUNG Ho-sing (), CHOI Tsz-wing (),

DU Lan (), FENG Rong ()*, Cecilia HO (), JIM Wai-man (), Otto KWAN (), Jeffrey LEHMBERG ()*,LI Xiao-hui (), Yuko SAITO (), TONG Wing-ka Penny (), WONG Chun-hong John ().* with kind permission of the Hong Kong Philharmonic Orchestra

Hong Kong Sinfonietta Music Director: YIP Wing-sie Principal Guest Conductor: Christoph POPPEN

Principal Assistant Principal Orchestral Associate

17

Hong Kong Sinfonietta Limited

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Dr Tsao Yen-chowDr & Mrs

Arthur Van Langenberg Anonymous

2121

Student Ticket Scheme DonorsDiamond Donors (>HK$100,000)

Ms Cecilia Fok Dr & Mrs Patrick S.C. Poon Shih Wing Ching Foundation Ltd Zhilan FoundationJade Donors (HK$50,000 to HK$99,999)

CLP Holdings Limited

AnonymousRuby Donor (HK$30,000 to HK$49,999)

Dr Chan Kow Tak Dr Chung See Yuen

Premium Friends Alisan Fine Arts

Dr Thomas H C Cheung

Dr Steven Woon-cheong Lam

Dr Lee Shiu & Dr Jennie Mui Lee Vincent W S Lo Mr David Sin Wai-kinMr T L Tsim Christine Van Anonymous

Asia Insurance Co Ltd

Mr Patrick Chan Dr Irene Chau

Dr & Mrs Douglas Cheung Mr Geoffrey KoMr and Mrs Lam Ting Kwok PaulNathaniel Foundation Limited Ms Rotina Pang Wai Wah Foundation Ms Christine Yip Anonymous

BELIEVING MUSIC CANMr Iain BruceDr Eugene K ChanJonman, Monika & Joel Chan FamilyMr Chan Kwan HoMs Anatasia ChaoMr P L ChoyProf David ClarkeMr Paul Jackson Jacobelli Family Stephanie & Amelie JatTasha Lalvani Dr Ernest Lee Dr Liu Bing FaiMs Anna LukHayden Majajas & Andy Chen

Prof Mak Su-yin Miss Jennifer Mok Nathan Ng & Nathalie Ng Mr & Mrs Nigel & Winny Ng Mr Ng Wing Fui NicholasMr Mark Tong Mr & Mrs Paul Tsang Mr T L TsimDr Wong Hin Yeuk Mr Wong Nai HayMr Marcus WooMs Alice Yeung Anonymous

Pearl Donors (HK$10,000 to HK$29,999) Opal Donors (HK$1,000 to HK$9,999)

!Thank you to the following parties for their continued support!

CASH CASH Music Fund

Consulat Gnral de France Hong Kong et Macao

Home Affairs Bureau

Leisure and CulturalServices Department

Radio Television Hong Kong

Swire Properties Tom Lee Music Co Ltd

22

Donation Form

Autopay Direct Debit ( Monthly Donation Only)Name of Party to be Credited (The Beneficiary) Hong Kong Sinfonietta Limited Bank No. Branch No. Account No.004 168 165066 001

/ My/Our Name(s) as recorded on Statement/Passbook My/Our Bank Name and Branch(in block letters)

Bank No. Branch No. My/Our Account No.

My/Our Address as recorded on Statement/Passbook if different from above My/Our Bank Account Signature(s)

Date

Credit Card Visa Mastercard

For monthly credit card donation:I hereby authorize the bank to debit my credit card account to make a monthly donation ofthe above stated amount to the Hong Kong Sinfonietta Limited until further notice. I agreethe validity of this agreement will continue before or after the expiry date of my credit cardaccount. Cancellation or variation of this authorization shall be given to the Hong KongSinfonietta Limited ten working days prior to the date on which such cancellation orvariation is to take effect.

Card Number

Expiry Date

Issuing Bank

Cardholders Name on Card

Cardholders Signature

Date

American Express This card is for one-off donation only.

9832783 9819Please return this form to 3/F Winsan Tower, 98 Thomson Road, Wanchai, Hong Kong or fax to 2783 9819.

Mr/Miss/Mrs/Ms/Dr/Prof Surname First Name Tel E-mail

Address

Name to be acknowledged in house programme (1,000 if donation is more than HK$1,000) (Eng) Mr/Miss/Mrs/Ms/Dr/Prof Anonymous

Your personal data will be treated as strictly confidential and will be used for issuing official receipts and other communication purposes.

DONOR INFORMATION

For Official Use Only For Hong Kong Sinfonietta Use Only (Donors Ref. #)

For Bank Use Only (Signature(s) verified)

DONATION METHOD

/

/

/

I/We hereby authorize my/our above named Bank to effect transfers from my/ouraccount to that of the above named beneficiary in accordance with such instructions asmy/our Bank may receive from the beneficiary and/or its banker and/or its bankerscorrespondent from time to time provided always that the amount of any one suchtransfer shall not exceed the limit indicated above.

I /We agree that my/our Bank shall not be obliged to ascertain whether or not notice ofany such transfer or reversal notice has been given to me/us.

I/We jointly and severally accept full responsibility for any overdraft (or increase inexisting overdraft) on my/our account which may arise as a result of any suchtransfer(s).

I/We understand that I/we must maintain sufficient funds in the account one businessday (before the close of branch banking hours) before the transfer date (as specified inthe instructions received by my/our Bank from the beneficiary and/or its banker and/orits bankers correspondent from time to time) for the transfer authorized herein. I/Weagree that should there be insufficient funds in my/our account to meet any transferauthorized herein, my/our Bank will be entitlted, at its absolute discretion, not to effectsuch a transfer in which event the Bank may levy its usual charges and may cancel thisauthorization at any time without notification to me/us. For the avoidance of doubt, theBank may cancel this authorization at its sole discretion at any time without prior notice.

This direct debit authorization shall have effect until further notice or until the expirydate written above (whichever shall first occur). I/We agree that if no transaction isperformed on my/our account under such authorization for a continuous period of 30months, my/our Bank reserves the right to cancel the direct debit arrangement withoutprior notice to me/us, even though the authorization has not expired or there is noexpiry date for the authorization.

I/We agree that any notice of cancellation or variation of this authorization which I/wemay give to my/our Bank shall be given at least two working days prior to the date onwhich such cancellation/variation is to take effect.

ChequeI enclose a cheque of the above stated amount as my one-off donation to the Hong Kong Sinfonietta Limited.

I would like to support the Hong Kong Sinfonietta with HK$ __________________ monthly donation for its General Fund

Student Ticket Scheme one-off donation

22Donation form can be found on page 22

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Tickets at URBTIX 2111 5999 | www.URBTIX.hk Programme Enquiries: 2836 33366 For ages 6+ Hong Kong Sinfonietta reserves the right to change the programme and artists

Hong Kong Sinfonietta is financially supported by the Government of the Hong Kong Special Administrative Region

Hong Kong Sinfonietta is the Venue Partner of the Hong Kong City Hall

Paul Meyer is a figure of rare grace and relaxed elegance in classical music.

Herald Tribune

Clarinet Paul Meyer

E

DITH

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Co-presenter

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services sponsored by the Leisure and Cultural

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Hong Kong City Hall Concert Hall

$360 $220 $140

Programme 57 104Ravel Pavane pour une Infante DfunteNielsen Clarinet Concerto, Op 57Debussy Premire RhapsodieSibelius Symphony No 6, Op 104

Music Director/Conductor Yip Wing-sie