house programme flipbook 9apr2015

41Hong Kong Sinfonietta is financially supported by the Government of the Hong Kong Special Administrative Region

2015 The 2015 Tongyeong International Music Festival is supported by

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Conductor

Christoph Poppen

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Partner Hotel

ViolinGidon Kremer

Tongyeong Festival Orchestra

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Conductor Christoph Poppen

Violin Gidon Kremer

Soprano Carolina Ullrich

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Programme

Isang Yun Rak (1966)Sibelius Violin Concerto in D minor, Op 47

Allegro moderatoAdagio di moltoAllegro, ma non tanto

- 20-minute intermission -

Mahler Symphony No 4 in GBedchtig. Nicht eilenIn gemchlicher Bewegung. Ohne HastRuhevollSehr behaglich

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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2015/16On behalf of the Government of the Hong Kong Special Administrative Region, I would like to extend a warm

welcome to members of the Tongyeong Festival Orchestra who are paying their first visit to Hong Kong.

Tongyeong International Music Festival is one of the promising music events in Asia. Every year, the Festival invites

musicians from orchestras around the world to form the Tongyeong Festival Orchestra, with a view to promoting

music and cultural exchange. This year, the Orchestra will have 81 members who are musicians from 12 orchestras

(including the Hong Kong Sinfonietta) of 11 different countries or cities. Over the past week, the Tongyeong Festival

Orchestra has already presented three successful performances at the Tongyeong International Music Festival in

Korea and in Kanazawa, Japan, in collaboration with the world renowned violinist Gidon Kremer and the newly

appointed Principal Guest Conductor of the Hong Kong Sinfonietta, Christoph Poppen. The Hong Kong Sinfonietta

has also made its Korean dbut at the Festival under the baton of Music Director Yip Wing-sie.

The Hong Kong Sinfonietta is acting as a cultural ambassador of Hong Kong. It has been invited to perform at

various festivals and renowned concert halls in 26 cities of 12 countries in Asia, Europe, North America and South

America since 2001. As tonights concert also marks the opening of the 2015/2016 season of the Hong Kong

Sinfonietta, may I take this opportunity to wish the Orchestra every success in promoting Hong Kong musicians and

classical music overseas and bringing audience great musical pieces in the year ahead.

Lastly, I wish you all a memorable and enjoyable evening.

Tsang Tak-sing, Secretary for Home Affairs

Hong Kong Special Administrative Region

Message

3Congratulations on the Great Violin Concertos: Gidon Kremer Plays Sibelius, jointly

presented by Hong Kong Sinfonietta and 2015 Tongyeong Festival Orchestra, comprised of talented musicians from

Korea and all over the globe.

Tongyeong is a beautiful coastal city with numerous islands, waterways and mountains where they provide plenty of

inspiration for artists in Korea. As one of the most promising young festivals in Asia, Tongyeong International Music

Festival presents world-class artists as well as fosters young talents. I am delighted to see that musicians from Hong

Kong, Korea and all over the world have this golden opportunity to collaborate and perform together. This concert will

further strengthen the cultural exchange worldwide. I hope that artists would have more opportunities to explore

different dimensions of cultural exchange in the future.

Once again, I sincerely wish this concert every success and express my gratitude to all the participants who have

made great efforts for the triumphant organization of the event.

Yu Byung-chae, Consul (Culture and Public Relations)

Consulate General of the Republic of Korea in Hong Kong

Message

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Dear visitors,

Dear music lovers,

Thank you for coming to tonights concert and welcome to the final performance of this years Tongyeong Festival Orchestra!

A musical showcase city that is in its way unique in Asia, Tongyeong is located at the southern edge of the Korean peninsula.

It is often called the Naples of Asia for its beautiful marine surroundings, its many islands and waterways, its lively port

town atmosphere and its famous seafood.

Celebrating its 13th year in 2015, Tongyeong International Music Festival is being considered one of the most influential and

well respected contemporary music festivals in Asia. Called the Salzburg Festival of Asia by the German newspaper

Frankfurter Allgemeine, it pays tribute to the music of Isang Yun, who was born here in 1917 and later achieved worldwide

recognition as one of the most prominent composers of the 20th century.

Tongyeong Festival Orchestra is not just like any other orchestra. Through cooperations with orchestras in Hong Kong and

Japan (namely with Hong Kong Sinfonietta and Orchestra Ensemble Kanazawa), we are for the first time bringing together

Korean, Japanese and Chinese musicians. Making music together, we will try to overcome differences and set an example for

mutual friendship and understanding between our countries.

I would like to express our sincere gratitude to the Hong Kong Government and Hong Kong Sinfonietta for making this

concert possible. Thank you for your kind support, and I wish us all an exciting performance!

Sincerely yours

Florian Riem, Chief Executive Officer

Tongyeong International Music Foundation

Message

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Christoph Poppen NDRWDRSWR

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7Currently Principal Conductor of the Cologne

Chamber Orchestra and Artistic Director of the

Marvo International Music Festival in Portugal

which he founded in 2014, German conductor

Christoph Poppen begins his tenure as Hong Kong

Sinfoniettas Principal Guest Conductor this season.

From the start of his conducting career, Poppen has

established a reputation for his innovative

programming and commitment to contemporary

music. From 1995 to 2006, Christoph Poppen was

Artistic Director of the Munich Chamber Orchestra,

establishing the ensembles new profile in a short

period of time. His distinctive programmes, often

contrasting classical and contemporary styles with

numerous commissioned works, were highly

successful. In 2006, Poppen was appointed Music

Director of the Radio Symphony Orchestra

Saarbrcken and was in charge of overseeing and

artistically guiding the merger of his orchestra with

the Radio Orchestra Kaiserslautern. From 2007 until

2011, he was Music Director of the newly formed

Deutsche Radio Philharmonie.

Christoph Poppen is a frequent guest conductor

around the world and has appeared with orchestras

such as the Vienna Symphony, Staatskapelle

Dresden, Deutsches Symphonie-Orchester Berlin,

Detroit Symphony, Bamberg Symphony, Camerata

Salzburg, Netherlands Philharmonic Orchestra,

Orquestra Sinfnica do Estado de So Paulo,

Indianapolis Symphony, New Japan Philharmonic

and Singapore Symphony Orchestra. He also has a

strong presence in Italy, performing regularly with

the countrys leading orchestras and at festivals such

as the Venice Biennale, as well as giving

masterclasses.

During the current season, Poppen continues a

close collaboration with the Cologne Chamber

Orchestra and returns to Basel and Detmold

Chamber Orchestras, Orchestra Haydn, Orchestra

del Teatro Carlo Felice, Orchestre dAuvergne,

Athens State Orchestra and Denmark Odense

Symphony. He is also touring with Tongyeong

Festival Orchestra and Gidon Kremer in Korea,

Japan and Hong Kong.

Also in demand as an opera conductor, Poppen

recently conducted a new production of Glucks

Iphignie en Aulide at Staatsoper Stuttgart and led

the new production of The Abduction from the

Seraglio at Aalto-Musiktheater Essen. In 2009, he

conducted The Pearl Fishers at Oper Frankfurt which

led to an immediate re-invitation for The Magic

Flute. He has also worked closely with Tiroler

Landestheater in Innsbruck, in projects including The

Magic Flute, La Clemenza di Tito, Falstaff, Arabella

and Otello. He was the Musical Director for Sing for

Me, Death, a new production commissioned by the

RuhrTriennale 2009 with music by Claude Vivier.

As a prize-winning violinist, Christoph Poppen co-

founded the Cherubini Quartett in 1978. He was

appointed professor of violin and chamber music at

Hochschule fr Musik Detmold, and later at Hanns

Eisler Hochschule fr Musik in Berlin, where he was

President from 1996 through 2000. From 2001

through 2005, he was Artistic Director of the

renowned ARD International Music Competition.

Since 2003, he is professor of violin and chamber

music at Hochschule fr Musik und Theater in

Munich.

8161967

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Violin

Gidon Kremer 30

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9Of all the worlds leading violinists, Gidon Kremer

has perhaps had the most unconventional career.

Born in Riga, Latvia, he began studying at four with

his father and grandfather, who were both

distinguished string players. At 16, he was awarded

the First Prize of the Latvian Republic and two years

later he began his studies with David Oistrakh at the

Moscow Conservatory. He went on to win

prestigious awards including the 1967 Queen

Elisabeth Competition and the First Prize in both

Paganini and Tchaikovsky International Competitions.

This success launched Kremers distinguished career,

appearing on virtually every major concert stage

with the most celebrated orchestras and foremost

conductors.

Kremers repertoire is unusually extensive,

encompassing all of the standard violin works, as

well as music by 20th- and 21st-century masters

such as Henze, Berg and Stockhausen.

He also championed the works of many living

Russian and Eastern European composers, several of

them dedicated to him. He has become associated

with such diverse composers as Alfred Schnittke,

Arvo Prt, Sofia Gubaidulina, Luigi Nono, John

Adams, Philip Glass and Astor Piazzolla, bringing

their music to audiences in a way that respects

tradition yet remains contemporary. It would be fair

to say that no other soloist of his international

stature has done as much for contemporary

composers in the past 30 years.

An exceptionally prolific recording artist, Kremer has

made more than 120 albums, many of which

brought him prestigious international awards and

prizes. These include the Grand Prix du Disque,

Deutscher Schallplattenpreis, Ernst-von-Siemens

Musikpreis, Bundesverdienstkreuz, Premio

dellAccademia Musicale Chigiana, IMC-UNESCO

International Music Prize 2001, Saeculum-

Glashtte Original-Musikfestspiel-Preis 2007 in

Dresden, Rolf-Schock Prize in 2008, Life

Achievement Prize of the Istanbul Music Festival

2010, and in 2011 he was awarded Una Vita Nella

Musica Artur Rubinstein Prize in Venice, which is

widely considered to be the Nobel Prize of music,

among many others.

In 1981, Kremer founded Lockenhaus, an intimate

chamber music festival that continued to take place

every summer in Austria for 30 years until 2011. In

1997, he founded the Kremerata Baltica to foster

outstanding young musicians from the three Baltic

States. Their Nonesuch recording After Mozart was

awarded with a Grammy in the category Best

Small Ensemble Performance as well as an ECHO

prize in Germany in 2002.

Kremer plays a Nicola Amati, dated from 1641. He

is also the author of three books, published in

German and translated into many languages, which

reflect his artistic pursuits.

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2008/200920082006ARD

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2009/20102013

Soprano

Carolina Ullrich 2005

Winner of the 2008/2009 Young Concert Artists

International Auditions, Chilean-German soprano

Carolina Ullrich also won the Young Concert Artists

European Auditions in Leipzig in 2008, the Second

Prize and Audience Prize in the ARD International

Music Competition, Munich, in 2006, as well as

the First Prize in the German Federal Singing

Competition in Berlin.

Ullrich has been a Soloist (Ensemble) of Semperoper

Dresden since 2010, where she has sung such roles

as Pamina (The Magic Flute), Susanna (The Marriage

of Figaro) and Gretel (Hansel and Gretel). She has

performed under conductors such as Simon Rattle,

Christian Thielemann and Helmuth Rilling, and her

concert repertoire includes Bachs Christmas Oratorio,

St Matthew Passion and St John Passion, Handels

Messiah and Brahms Ein Deutsches Requiem.

During the 2009/2010 season, Ullrich made her

recital dbuts in the Young Concert Artists Series

at Merkin Hall in New York and the Kennedy

Center in Washington, DC, along with

performances in Germany at the Gewandhaus in

Leipzig and in the Herrenchiemsee Festival. She

gave her dbut Schubertiade recital in 2013 with

pianist Marcelo Amaral.

Born in Chile, Ullrich graduated summa cum laude

from the Pontifical Catholic University in Santiago

where she studied with Ahlke Scheffelt. She went on

to study with Edith Wiens at Hochschule fr Musik in

Munich in 2005, on scholarships from Fundacin

Andes and Freunde Junger Musiker in Berlin.

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Tickets at URBTIX 2111 5999 | www.URBTIX.hk Programme Enquiries: 2836 3336 | [email protected] 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

An impressive interplay of refined colours, musical depth and virtuosity.

Das Orchester

ECHO Klassik2014

Rvlation SolisteInstrumental

de lAnneVictoires de la Musique

2011

Grand PrixAcadmie

Charles-Cros2011

First PrizeARD Munich Music

Competition 2007

18.4.2015( Sat) 8pm

HK City Hall Concert Hall

$320 $220 $140

Programme 14

(2009)

A92Sibelius Rakastava, Op 14 (The Lover)Patrick Burgan La Chute de Lucifer (2009)

Symphonic Poem for Trombone & Orchestra

Beethoven Symphony No 7 in A, Op 92

Music Director/Conductor Yip Wing-sie

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Trombone

Fabrice Millischer

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2002

201120122014

2015NDRFollowing the example of Lucerne, Switzerland,Tongyeong Festival Orchestra (TFO) has been createdin order to enhance the musical spectrum of theTongyeong International Music Festival (TIMF), and toserve as an artistic ambassador for Tongyeong City at home and abroad. Since the festivals first editionin 2002, Tongyeong International Music Festival hasbeen striving to assemble highly qualified musiciansin order to build its own ensemble.

TIMF Academy, the first such endeavor, broughttogether talented students from all over the world for


a large-scale educational project. At TIMF Academy2011, former Artistic Director Alexander Liebreichraised the ensemble to a higher level and introducedprincipal musicians of Munich Chamber Orchestra andof Ensemble TIMF to the group. This collaboration ofprofessionals and highly qualified students led to thefirst performance of Tongyeong Festival Orchestra, atthe Tongyeong International Music Festival 2012.

At the opening of the new Tongyeong Concert Hallin 2014, TFO was once again led by AlexanderLiebreich and included musicians from EnsembleTIMF, Polish National Radio Orchestra of Katowice,and from major international symphony orchestras,such as NDR Hamburg, Munich Philharmonic,Kremerata Baltica, Osaka Philharmonic, MelbourneSymphony and Sydney Symphony Orchestra.

In 2015, TFO is once again ambassador of theTongyeong International Music Festival. Followingthe festival theme Voyages, TFO travels abroadfor the first time and perform in Japan and HongKong. Under the baton of renowned Germanconductor Christoph Poppen, the orchestraassembles musicians mainly from Korea, Japan andChina and create a musical bridge between thethree countries. Through its music making, thisproject strives to bring people together, to replaceignorance with education, knowledge andappreciation, to bridge political divides and fostermutual respect and understanding.

The 2015 Tongyeong Festival Orchestra consists ofmusicians from Hong Kong Sinfonietta; EnsembleTIMF (Korea); Orchestra Ensemble Kanazawa, OsakaPhilharmonic Orchestra (Japan); NDRSinfonieorchester, Sdwestdeutsche PhilharmonieKonstanz (Germany); National Symphony Orchestra(USA); Sinfonieorchester St Gallen, KammerorchesterBasel (Switzerland); Melbourne Symphony Orchestra(Australia); Kremerata Baltica (The Baltic States) andBudapest Symphony Orchestra (Hungary).

13

CelloHUR Chul Ludovit KANTACHANG Pei-chiehKeiko FUKUNOPARK Goeun Laurent PERRINPARK Si-wonWU Yin-yin

Double BassPeter SCHMIDTMasami NAGAICHO Youngwoo Santiago COSTA MARTNEZPeter GRAFSHIN Dongseong

FluteOry SCHNEORKWON Yeong-inYOON Ji-won Fumiko NAGATA

OboeCHUN Min-kyung Marrie Rose KIMJUN Minseon

ClarinetEugene MONDIECHO Hyodan FONG Hiu-kai Johnny

BassoonCHIN Hing-sangLEE Doeun Minako TAGUCHI

HornLEE Seok-jun PAW Man-hing HermannKonstantin TIMOKHINEHONG Hyejin

First ViolinJames CUDDEFORDRasa VOSYLIUTEKIM Jiyun CHEUNG Man-yui KittyJohn KRUERRYU Jiyeon LEE Seok-jung Eiko HOSAKAJIA ShuchenBranislava TATICCHO Min-jung Mark HUICHAN Shaw-nan SharonLEE Seo-hyu

Second ViolinLE Hoai-namLEE Na-yeon TSAI Loo KIM Ji-won Kanau TSUBOKURAPANG Hiu-wan YIP Siu-hay Mayu SAKAGUCHIYOO Yon-ju Ambrose LUIKiann CHOWKIM Kyung-ri

ViolaRAH Se-won CHAN Tsz-shun ElvisLAU Sum-yinVidas VEKEROTASIM Jin-ah KIM Bo-hyunRingo CHANNozomi OELEE Ki-heonCHIN Kong

TrumpetPeter MORIGGLHUANG ShanNA Ungjun

TromboneChristopher RODGERSRobert KAIPKO Jaehyun

TubaLEE Donghwa

TimpaniThomas OKELLY

PercussionMichael ASKILLKIM Eun-hyeJune Moon-kyung HAHNKIM Jiyeon

HarpKIM Ji-inAnn HUANG

Chief Executive Officer (TIMF)

Florian RIEM

Staff (TIMF) LEE Yongmin LEE Seongi KIM Sohyun KIM Daechul LEE Hyeryeon JANG Eunjung

Staff (Ensemble TIMF) YOON Gunho (Chairman)KIM Yaejeong CHUNG Seungyeon

Staff (Orchestra Ensemble Kanazawa)

Tsuyoshi TOKOBOKoichi TAKAO

14

Hong Kong Sinfonietta Music Director: Yip Wing-sie

19991002006

DECCA

201411

2006 2015Hong Kong Sinfonietta is one of Hong Kongs

flagship orchestras. With conductor Yip Wing-sie

as Music Director, the orchestra has brought music

closer to the community, and has achieved

significant recognition locally and internationally

for its passionate performances and innovative

programming.

Venue Partner of the Hong Kong City Hall, Hong

Kong Sinfonietta performs year-round with over

100 performances a season and has been a regular

participant at all the major festivals in Hong Kong

including the Hong Kong Arts Festival, Le French

May, and festivals presented by the Hong Kong

Government. 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,

ventures into crossover concerts and pioneers

innovative audience development concerts both at

the City Hall and at the residency at ArtisTree. Since

2010, Hong Kong Sinfoniettas chamber music

concerts have continued to break down barriers

between music and audience as we perform at

unconventional spaces. 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 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 France, Italy, Poland and Lithuania in

Europe; in China at the festivals held in Shanghai and

Beijing; and in Japan in Nagano and at La Folle

Journe in Tokyo and Niigata. The orchestra is making

its dbuts in Korea and Switzerland in 2015.

The Hong Kong Sinfonietta Limited is a registered charity.

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

Tel : (852) 2836 3336 Email: [email protected] Fax : (852) 2783 9819 Website: www.HKSL.org

15

Hong Kong Sinfonietta Limited

Honorary Governors

Mrs Alice KING

Mr SHIH Wing-ching

Ms Serena YANG

Board of Governors

Mr Y K CHAN (Chairman)

Dr Patrick S C POON (Treasurer)

Mr Patrick CHAN

Dr CHUNG See-yuen

Mr JAT Sew-tong

Dr Steven LAM

Ms LAU Man-man Lisa

Mr Stephen TAN

Mr Patrick YEUNG

Honorary Company Secretary

Tricor Tengis Limited

Honorary Legal Consultant

Hogan Lovells

Honorary Orthopaedic Surgeon

Dr Dan HOOLEY

HKS Artist Associates Wilson SHIEH (2015-2016) CHU Pak-him (2014-2015) MAK Su-yin (2014-2015) Wendy LAW (2013-2014) LOO Sze-wang (2012-2013) Yuri NG (2011-2013) Colleen LEE (2010-2011) Jason LAI (2009-2011) Samson YOUNG (2008-2009) NG Cheuk-yin (2006-2008)

Administration Chief Executive Officer: Margaret YANG General Manager: LEE Ho-yee Executive Assistant to CEO: Rose HO Accounting Manager: Judith LEE Office Assistant: YANG Jui-yuan

Marketing & DevelopmentPR & Marketing Manager: Amanda MOK

Development Manager: Cynthia CHANAssistant Marketing Manager: Pauline HO

Marketing Officers: Karen MAK Carmen LEUNG

Music Director

YIP Wing-sie

Principal Guest Conductor

Christoph POPPEN

Orchestra & Programme

Orchestra Manager: Marylu CHAN Special Projects Manager: Lily LEE Library Officer: Ivy CHAN Project Officer: Athena WONG Programme Officer: YAU Oi-suet Icy Orchestra Officer: Tobie CHAN Stage Manager: Bobby YEUNG

16

Tickets at URBTIX 2111 5999 | www.URBTIX.hk Programme Enquiries: 2836 3336 | [email protected] For ages 6+Hong Kong Sinfonietta reserves the right to change the programme and artists



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Piano

Florian Uhlig

25.4.2015( Sat) 8pm

Hong Kong City Hall Concert Hall

$320 $220 $140

Programme 72b A54 A63Beethoven Leonore Overture No 3, Op 72bSchumann Piano Concerto in A minor, Op 54Sibelius Symphony No 4 in A minor, Op 63

Conductor

Roberto Fors Veses

A remarkable ability to transmit every moment of music.

Classiqueinfo.com

BBC Music Magazine

A stroke of genius!Die Zeit

A perceptive Schumann interpreter.The Guardian

His playing was concentrated and clear,outstandingly expressive and virtuosic.

Stuttgarter Nachrichten

Chief Conductor and Artistic Director,Orchestre dAuvergne, France

Winner and Special Prize of Jury,Luigi Mancinelli Opera Conductors Competition, Italy

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1907Carl Nielsen18652015150

19171995(1966)

19381943195319551957-19591964

1967Klemperer200196919711977-198519661023Ernest BourDonaueschingen

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(1) (1) (1) (2)

(1) (2) (1) (2) (1)

(4) (3) (2) (1)

(2)

18651957D47

W i l l yBurmester190431904281014Viktor NovcekKarl Flodin

19051019Karl HalirBBAllegro molto

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DDBABAElgarDSir Donald Tovey 6/83/4

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

1860-1911G

1892

Des Knaben Wunderhorn18971900 8 6

Maiernigg19011125Bruno Walter

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(4) (2) (3) (1)

(3)E(1) (1) (3) (1)

(4) (3)

Nick BreckenfieldNick Breckenfield

whatsonwhen.com13-

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Isang Yun (19171995)

Rak for Orchestra (1966)Koreas best-known composer in the western tradition,Isang Yun was the son of poet Yun Ki-hyon. Born inTongyeong, Yun is commemorated every year via theTongyeong International Music Festival. He studied inJapan, first at Osaka Conservatory and then underTomojiro Ikenouchi in Tokyo from 1938, but afterJapan entered the Second World War Yun returned toKorea, where he was captured by the Japanese in1943. At the end of the Korean War in 1953, havingboth established an orphanage and taught music inTongyeong and Busan, he moved to Seoul NationalUniversity and received the Seoul City Culture Awardin 1955. He then moved to Europe to complete his

musical studies, for two years in Paris then West Berlin(with Boris Blacher), where he eventually moved withhis family in 1964.

Extraordinarily in 1967 Yun was abducted by theSouth Korean secret service from Berlin to Seoul,where he was charged with high treason. In the faceof an international petition signed by some 200 artists,from Stravinsky to Karajan and Klemperer, Yun waseventually released in 1969. He obtained Germancitizenship in 1971 and taught at the Hochschule derKnste Berlin, latterly as professor (19771985).During this time, his works strived for harmony andpeace, in line with his political goal of thereunification of his homeland.

The year before his kidnapping, Yun wrote theatmospheric soundscape entitled Rak, which was

In 1907 Mahler visited Helsinki to conduct and Finlands most famous composer Sibelius methim. Sibelius remembered, we grew close during a number of walks when we talked about allkinds of musical problems, of life and death. When our conversation touched on the nature ofthe symphony, I said that I admired its style and severity of form. This was my experience in thecourse of my creative work. Mahlers opinion was just the opposite. No! he said, the symphonymust be like the world. It must be all-embracing. Perhaps Sibelius was wise when Mahler saidin his abrupt way: What would you like me to conduct of yours? I answered simply Nothing.

Sibelius, along with his great Nordic compatriot, the Dane Carl Nielsen, was born in 1865, so2015 sees celebrations of their 150th anniversaries. Mahler was five years older and, of course,from a very different musical milieu. One can perhaps feel the difference in Sibelius ice coolViolin Concerto (complete with a Polonaise for polar bears as its Finale) and the folk-infusedcolour of Mahlers most approachable symphony, his Fourth, paired together in this concert.

To start we have another very distinctive musical milieu, from Korean composer Isang Yun,recreating the sounds of a courtly, religious ceremony from his homeland on a modern orchestra,particularly the sound of the instrument you will know by its Chinese name, the sheng. And thiswork is performed tonight by how appropriate the Tongyeong Festival Orchestra from Korea.The Hong Kong Sinfonietta has just returned from its first tour to Korea, where it joined theTongyeong Festival Orchestra for this very programme first in Tongyeong and then in Kanazawa,Japan, before returning home for this final concert.

Programme Notes

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premiered by the SWF Sinfonieorchester at theDonaueschingen Festival on 23 October 1966,conducted by Ernest Bour. It was one of the worksthat established Yuns international reputation andthose that followed include five symphonies andconcertos for cello and also for violin, as well asmuch chamber music.

Rak invokes the aura of solemn, ritual music ofYuns Korean homeland and in it he evokes notonly the sounds of Korean instruments but also thetechniques of composition. Thus he uses trills andother ornamentations (glissandi and vibrato) toemulate Korean vibration technique and the styleof one instrument taking over the musical line fromanother. Yun also conjures the sound of thetraditional mouth organ which is similar to theChinese sheng; and all its courtly associations.

Scored for a modern symphony orchestra, includingtwo harps and a large percussion section, Rak is asubtle piece, especially at the start, heralded bypercussion snaps and individual notes and chords,before an oboe leads the way forward. Its fluidityrepresents the Korean style of equalising the emphasiscommonly found in western music (especially the firstbeat of each bar), although the gentle openinggradually builds, through waves of musicencompassing some fascinating mixtures of timbres. Apassage for keening brass then leads to a slowcrescendo only for it to collapse. Chattering strings andpercussion, tinkling harp and then scurrying stringsbuild up the volume again, before a second collapseleaves the music fragmented and the oboe to soundthe final note.

Instrumentation of this piece

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

Woodwinds: flute (1), alto flute (1), piccolo (1), oboes (2),

English horn (1), clarinets (2), bass clarinet (1),

bassoons (2), contrabassoon (1)

Brass: horns (4), trumpets (3), trombones (2), tuba (1)

Percussion: timpani, triangles, Bak whips, whips,

tom-toms, woodblocks, suspended cymbals,

sleigh bells, Thai gongs, drums, tam-tam

Harps (2)

Jean Sibelius (18651957)

Violin Concerto in D minor,Op 47

Allegro moderato

Adagio di molto

Allegro, ma non tanto

Originally intended for the one-time leader of theHelsinki Philharmonic Orchestra, Willy Burmester,Sibelius Violin Concerto was hampered by aninauspicious start, which saw Sibelius take thepromised premire (tentatively pencilled for March1904) away from Burmester, in attempt to raisemoney with the new work. As it happened, thosefund-raising concerts were delayed until 8, 10 and14 February 1904, when Viktor Novcek, took thesolo part, and the critical reception was bad:[Novceks] playing offered a mass of joyless things.From time to time there were terrible sounds and itwas impossible to fathom the composers meaning,so great was the cacophony. The concerto is, to behonest, boring... wrote Karl Flodin.

Taking Flodins criticism to heart (as he had beforewith his Lemminkinen Suite) Sibelius withdrew thework, despite Burmester still being keen to play it.It eventually saw the light of day again withsubstantial cuts (about five minutes worth,restructuring the outer movements) on 19October 1905 with the Berl in PhilharmonicOrchestra, conducted by Richard Strauss.Unfortunately Burmester was again not the soloist.This time it was the Orchestras leader, Karl Halir.Not surprisingly, Burmesters patience wasexhausted and he never took up the Concerto.

A carpet of shimmering strings allow the icy, soaringtheme for the soloist to float into view, becomingmore agitated then, over timpani and sombrebassoons, turning darker. A climax and a briefscurrying cadenza makes way for the more forcefulsecond subject in B-flat, given first to bassoons andcellos, with pizzicato pointing. The textures pare andpace slows, to leave only lugubrious clarinets, beforethe soloist returns with the second theme,counterpointed on the violas. A third theme in B-flat

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minor, more swaggering (Allegro molto), is introducedby the violins, with interjecting bursts from the lowerstrings. But again the energy is dissipated allowing thedevelopment to be constructed from the openingtheme, which ends in a massive cadenza overlappinginto the recapitulation, where the three main themesreturn as expected, the first given to the bassoonbefore handing over to the soloist. A new, stately,orchestral link leads to the oboes who usher the soloistback in for the second subject, this time with longernote values, and in D major. The Allegro molto returns(D minor) and the soloist runs the gamut ofornamental technique, with arpeggios and double-stopping, leading to the awe-inspiring coda.

The ABA form of the B-flat slow movementRomanza is introduced by meandering wind, whicheventually, on a stepped brass chord, allows theviolin in with the noble, long-breathed theme. Lowstrings, then blaring brass, build the tension in thechromatic minor middle section, over which thesoloist seems at first to offer a calming influence,but then is assimilated into the Elgarian grandeurof the music as it returns to the first theme, endingwith sombre brass and timpani chords.

Sir Donald Toveys memorable comment about the Dmajor final movement, as a Polonaise for polarbears, is hard to beat. To start the syncopatedsoloist is constantly underpinned by the distinctivechugging accompaniment while the second theme obviously what Tovey was referring to alternates6/8 and 3/4 in its dance parody, over which thesoloist flies freely. Brilliantly taxing for the soloist asit is exhilarating for the audience, this Rondo, withall the expected returns of the main themes, hasthe soloist revelling in high harmonics, double- andtriple-stopping and cross rhythms. The finalclimactic bars contrast the upward scales of thesoloist with the forceful chords of the orchestra.



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

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

Timpani

Solo violin

Gustav Mahler (18601911)

Symphony No 4 in GBedchtig. Nicht eilen

In gemchlicher Bewegung. Ohne Hast

Ruhevoll

Sehr behaglich

Originally intended to end his Third Symphony(making it seven movements long), Mahler in theend decided that Das Himmlische Leben (Life inHeaven), his 1892 song from German folkcollection Des Knaben Wunderhorn (The YouthsMagic Horn), would better serve as the Finale to hisnext Symphony or rather the work he originallyplanned to call Humoreske. Formulated over threeyears, as he took up the arduous (but long sought-after) position as Music Director of the ViennaCourt Opera in 1897, he triumphantly wrote onthe score after a final three-week burst of activityin 1900: The third movement and with it theentire Symphony, completed on Sunday 6 Augustat Maiernigg.

Orchestration quickly followed and Mahler premieredthe work in Munich on 25 November 1901 (actuallybefore the Third Symphony had been heard). Typically,despite its classical stature and modest length, it wasgreeted with incomprehension, particularly thejuxtaposition of styles which went from the sublime tothe banal. Nowadays, Mahlers popularity rest on justthat facet of his music.

Mahler wanted this music to sound as if we saw arainbow suddenly disintegrate into a thousand milliondancing, ever-changing droplets, and its entire arcwaver and dissolve. And he told conductor BrunoWalter that in the first movement, one could imaginea man getting to know life. There is great cheerfulness,an unearthly joy that often attracts, but at times seemsstrange... The second movement might be calledFriend Hein [a folk name for Death] Strikes up theDance. Death fiddles rather strangely; his playingsending us up to heaven. St Ursula Stands byLaughing could be the title of the third movement...Solemn rest and serious, gentle cheerfulnesscharacterise this movement, but it also contains deep,painful contrasts, like reminiscences of earthly life.

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The very opening, with its sleigh-bell ringing one ofthe motifs Mahler worked into the symphonystexture from the already-composed Finale has aOnce upon a time... feel. Within bars it meltsinto a flowing violin melody, with characteristicupward quavers to start (often dwelt upon lovingly)and two important subsidiary motifs: a syncopatedrising phrase first heard on the lower strings and,immediately after, a birdcall, first heard on thehorn. The second subject is richer and moreflowing, ideally suited to cellos mahogany tonesand the movement follows sonata form of sortseven while playing fast and loose with the orderingof themes. Not everything is blissful and sunny,there are stormy passages with a nightmarishclimax followed by an upbeat triplet phrase that isrecognisably a foretaste of the opening, funerealbars of Mahlers next symphony, the Fifth.

Death makes its appearance in the C minorScherzo, in the form of the gypsy-like solo violin,which Mahler asks to be tuned a whole tonehigher to give it extra edge (which is why JamesCuddeford has two violins to hand). It weaves itseerie magic, still with the characteristic upwardphrase to start, and a reminder on double-reedwinds of the sleigh-bells chattering motif. TheScherzo section is repeated three times,interspersed twice with a much more lyrical Trio(clarinet solo first time, then horn, with anotherpremonition of the final movement), and endingwith a short coda, with the instrumental texturesparing away, leaving only a piping oboe flourish.

Mahler wrote that the Scherzo is mystic, confusedand uncanny. It will make your hair stand on end.But in the following Adagio, where everything isresolved, you will see straight away that it was notintended to be as bad after all. So follows one ofMahlers gloriously rapt slow movements, openingwith a long-breathed calm and contented string-based theme, with double bass pizzicatounderpinning, later taken by the harp. Here theoboe, with bassoon staccato, introduce the secondtheme, with characteristic sudden string swoopsand eerie horn calls. The movement develops twolong variations of the first theme (marked by a

noticeable increase in tempo), separated by areturn of the second, anguished theme, also varied.

The speed is picked up dramatically during thesecond variations of the first theme, leading to asudden, headlong Allegro, lasting only five bars,before we are plunged back into the main slowtempo, moving the music onto its greatest climax,as if the clouds have parted and we can catch aglimpse of heaven. Here the strings are divided into12 parts, the harp plays elaborate arabesques andwind, brass and percussion have thunderouschords, out of which rises trumpet and hornpresaging the Finales song theme. The movementends in the highest register and most raptcontemplation, for the simple, lilting childs view ofheaven to creep in, sung by the soprano. Thriceinterrupted by the sleigh-bell theme, it ends not inthe tonic G major, but in otherworldly E major, thebasses and oscillating harp dying completely away.



Woodwinds: flutes (4), piccolos (2), oboes (3),

English horn (1), clarinets (3), E-flat clarinet (1),

bass clarinet (1), bassoons (3), contrabassoon (1)

Brass: horns (4), trumpets (3)

Percussion: Timpani, glockenspiel, cymbals, triangle,

tam-tam, bass drum, sleigh bells

Harp

Solo Soprano

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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Life in Heaven

From The Youths Magic Horn

Revelling in the joy that is Heaven,

We can discard earthly existence.

No worldly disruption

Is heard in Heaven!

Life is all peace and calm!

We lead an angelic life,

But not without some fun!

We dance and spring,

We hop and sing!

Saint Peter in Heaven looks on!

John has let go of his lamb

and Herod, the butcher, is watching!

We lead a patient,

Innocent and patient

dear little lamb to its death!

Saint Luke slaughters the ox

Without care or concern;

Wine costs not a penny

From Heavens cellars;

The angels bake the bread.

Good vegetables of every variety

Are growing in Heavens garden!

Good asparagus and beans,

And whatever we desire:

Great dishes full are always ready!

Das Himmlische Leben

von Des Knaben Wunderhorn

Wir geniessen die himmlischen Freuden

Drum tun wir das Irdische meiden.

Kein weltlich Getmmel

Hrt man nicht im Himmel!

Lebt Alles in sanftester Ruh!

Wir fhren ein englisches Leben!

Sind dennoch ganz lustig daneben!

Wir tanzen und springen,

Wir hpfen und singen!

Sankt Peter im Himmel sieht zu!

Johannes das Lmmlein auslasset,

Der Metzger Herodes drauf passet!

Wir fhren ein geduldigs,

Unschuldings, geduldigs,

Ein liebliches Lmmlein zu Tod!

Sankt Lukas den Ochsen tt schlachten

Ohn einigs bedenken und Achten;

Der Wein kostt kein Heller

Im himmlischen Keller;

Die Englein, de backen das Brot.

Gut Kruter von allerhand Arten,

Die wachsen im himmlischen Garten!

Gut Spargel, Fisolen,

Und was wir nur wollen,

Ganze Schsseln voll sind uns bereit!

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Gut pfel, gut Birn und gut Trauben!

Die Grtner, die Alles erlauben!

Willst Rehbock, willst Hasen?

Auf offener Strassen

Sie laufen herbei!

Sollt ein Fasttag etwa kommen,

Alle Fische gleich mit Freuden angeschwommen!

Dort luft schon Sankt Peter

Mit Netz und mit Kder,

Zum himmlischen Weiher hinein.

Sankt Martha die Kchin muss sein!

Kein Musik ist ja nicht auf Erden,

Die unsrer verglichen kann werden.

Elftausend Jungfrauen zu tanzen sich trauen!

Sankt Ursula selbst dazu lacht!

Kein Musik ist ja nicht auf Erden,

Die unsrer verglichen kann werden.

Ccilia mit ihren Verwandten

Sind treffliche Hofmusikanten!

Die englischen Stimmen

Ermuntern die Sinnen!

Dass Alles fr Freuden erwacht.

Good apples, good pears & good grapes

The gardeners allow us all of them!

Whether you want deer or hare?

On the open streets

They are running about!

Should a Fast day is upon us,

All the fish come happily swimming!

There runs Saint Peter

With fishing net and bait,

To the Heavenly lake.

Saint Martha will have to be cook!

No music anywhere on Earth

Can compare to ours.

Eleven thousand young girls start to dance!

Saint Ursula laughs at the sight!

No music anywhere on Earth

Can compare to ours.

Cecilia and her colleagues

Are the splendid musicians for the court!

The angelic voices

Envelop the senses!

Everything is awaken for joy.

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Heifetz 1935 T h o m a sBeecham

Walter Hendl

SACDRCA 82876-66372-2

(Osmo Vnsk)+CDBIS+1990 (Leonidas Kavakos)CDCD

HiFi

1903/04 (BIS-CD-500)

(GidonKremer) 1970 (Yuri Temirkanov) (Melodiya MEL CD 10-02022)

D47

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GHenry-Louis de La Grange (clarity, economy and transparency)

(Pierre Boulez) ()Juliane Banse(DG 463257)

(LorinMaazel) tempo

Kathleen Battle (treble) (Sony SK 39072)

( Ra f ae lKubelik) (Moravian) HerkulessaalElsie MorisonDG469637

(Benjamin Zander)TelarcCDCD1990Camilla Tilling2000top

bonus disc ()Telarc 2CD-80555

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( Sat) 8pm

Hong Kong City Hall Concert Hall$320 $220 $140

Programme D120

Symphonic VariationsBartk Violin Concerto No 2Schumann Symphony No 4 in D minor, Op 120

Conductor

Ken Lam

Violin

Valeriy Sokolov Winner, George Enescu International Competition 2005

Technically immaculate.The Strad

Sokolov's violin playing requires every superlative in the dictionary.

Classic FM

Expert direction.The Wall Street Journal

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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



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

Herald Tribune

Clarinet Paul Meyer

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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

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