here - Hong Kong Philharmonic Orchestra

A Message from the Chief Executive
Hong Kong Special Administrative Region
The Hong Kong Arts Festival is always a much anticipated
event in our cultural calendar. Each year, the Festival
presents top international and local artists in a wide
range of programmes, adding to our reputation as
Asia’s world city.
The Festival has grown to become an established and
respected brand as well as an integral part of cultural life
in Hong Kong. It complements the Government’s efforts to
create a vibrant and flourishing arts scene, and promote
the development of cultural industries.
I wish the 38 th Hong Kong Arts Festival continued success
and audiences a memorable and enjoyable experience.
Donald Tsang
Chief Executive
Hong Kong Special Administrative Region

A Message from the Chairman
Hong Kong Arts Festival
I warmly welcome you to the 38 th Hong Kong Arts Festival.
As the preeminent event in Hong Kong’s cultural calendar
and a renowned arts festival regionally and internationally,
the Festival presents celebrated world-class performances,
prominent artists, as well as introduces rising stars and
contemporary works.
The presentation of these ambitious programmes and
activities entail enormous organisation, as well as funding
resources. This cannot be done without strong support
from many quarters, and I would like to record our thanks
to our main subventing organisations: the Hong Kong
SAR Government through the Leisure and Cultural
Services Department, and the Hong Kong Jockey Club
Charities Trust.
In addition, we deeply appreciate the generous support
of our corporate sponsors, foundations and donors, as
well as the contributions of many organisations and
individuals. Some of these contributions allow us to nurture
young audiences by offering half price tickets through our
Student Ticket Scheme, and make performances and events
available to young persons in our Young Friends Scheme.
Most of all, I want to thank you, our patrons and audience
for your support and participation. You are the key to the
Festival’s success and I hope that your experience of the
performances in the 2010 Festival will be both enriching
and enjoyable.
Charles Lee
Chairman
Hong Kong Arts Festival

A Message from the Executive Director
Hong Kong Arts Festival
It is a pleasure and privilege to welcome you to the
38 th Hong Kong Arts Festival.
With close to 150 performances and events in major venues
on both sides of the scintillating Hong Kong harbour – and
in some spaces somewhat off the beaten track as well –
this is a high energy, multi-faceted Festival, reflective
of the diversity and pace of life in Hong Kong. This is
also an upbeat Festival, in which many programmes are
informed by a sense of possibility based on strong
personal conviction.
The Festival team is delighted to welcome the truly
stellar international artists joining us in Hong Kong; and
to be able to present the work of great local luminaries,
some of whom are coming together in unprecedented
collaborations for this Festival.
Thank you for taking the time to join us. Your presence is
greatly appreciated, and I hope that we can explore some
new possibilities together in the course of the Festival.
Enjoy!
Tisa Ho
Executive Director
Hong Kong Arts Festival

Salute
to Our Partners
The Hong Kong Philharmonic Orchestra would like to express our heartfelt thanks
to the Partners below for their generous sponsorship and support!
MAJOR FUNDING BODY
PRINCIPAL PATRON
MAJOR SPONSORS
CIC Investor Services Limited
a subsidiary of Crédit Industriel et Commercial, France
In alphabetical order of company name

A Message from the Artistic Director and Chief Conductor
Hong Kong Philharmonic Orchestra
It is my great pleasure to welcome you to tonight’s
performance of Bruckner’s Symphony No. 8, a monumental
work that serves as the Hong Kong Philharmonic
Orchestra’s entry into the 38 th Hong Kong Arts Festival.
With my partnership with the Hong Kong Philharmonic
now in its sixth season, I have been able to witness, first
hand and with a great sense of pride, the remarkable
development this 90-strong ensemble has worked so hard
to achieve. From the Mahler 2 and 7 which were featured
in our Arts Festival performances back in 2006 and 2007
respectively to this year’s presentation of another great
Austrian master’s tour de force, I am certain those of you
who have followed the Orchestra over the years will share
both my excitement and admiration for this group of fine
and dedicated musicians.
One of the greatest symphonies in the 19 th century
Austro-German Classics and the largest among Bruckner’s
completed symphonies, the Eighth achieves its expressive
goals through the vastly expanded ensemble, giving
a unique voice to creativity. By choosing this work, I
would like to present to you a musical adventure of
spiritual vastness, fertility of ideas and grandeur. It’s an
unforgettable voyage of 80 beautiful minutes you will
come to enjoy.
I wish you an enjoyable evening and many happy
returns.
Edo de Waart
Artistic Director and Chief Conductor
Hong Kong Philharmonic Orchestra

Edo de Waart’s Bruckner 8 Apocalyptic
Edo de Waart
conductor
Programme
BRUCKNER
Symphony No. 8 in C minor
(1890 Nowak version)
Allegro moderato
Scherzo. Allegro moderato
Adagio. Feierlich langsam; doch nicht schleppend
Finale. Feierlich, nicht schnell
Dear patrons
For a wonderful concert experience, kindly switch off your mobile phone and other beeping devices before
the concert begins. Photography, recording, filming, eating or drinking are not allowed. We wish you a very
enjoyable evening.

The Hong Kong Philharmonic Orchestra (HKPO)
is one of Asia’s leading orchestras. Enriching Hong Kong’s
cultural life for over a century, the Orchestra has grown into
a formidable ensemble of Chinese and international talents
in the last three decades, attracting world-class artists to
perform on the same stage. HKPO annually touches the lives of
200,000 music lovers through more than 150 performances.
Under the leadership of its internationally renowned conductor
Edo de Waart, HKPO continues to scale new heights in musical
excellence. The continuing cycle of Mahler symphonies and
challenging programming outside the traditional repertoire,
have become highly anticipated events as well as musical
milestones for the Orchestra. Beethoven’s Fidelio opera-inconcert
and Mahler’s Das Lied von der Erde are inarguably the
major highlights of the 2009/10 season. Many great artists
perform with the HKPO, from pianists Jean-Yves Thibaudet,
Boris Berezovsky and Paul Lewis, violinist Sarah Chang
to cellist Steven Isserlis. Last October, the audiences were
thrilled with the performance of the HKPO under the baton
of the legendary Gennadi Rozhdestvensky.
From April 2006, The Swire Group Charitable Trust became
the Hong Kong Philharmonic’s Principal Patron, enabling
Maestro de Waart’s artistic vision for the Orchestra to be
realized. Swire’s sponsorship of the Hong Kong Philharmonic,
the largest in the Orchestra’s history, supports artistic growth
and development as the Orchestra takes its place on the
world stage, and brings performances of musical excellence
to the widest possible public.

HKPO stays in tune with our city by presenting the orchestra
in unexpected venues and bringing the excitement of
the concert experience to every home through radio and
television broadcasts. These included, the largest symphonic
event of the year, Swire Symphony Under the Stars at Happy
Valley. The Orchestra runs a comprehensive schools education
programme, HSBC Insurance Creative Notes, bringing the joy
of classical music to primary, secondary and special school
kids, and once in a while, the Orchestra drops the formality of
the classical concerts to crossover with Western and Chinese
pop stars.
The Orchestra also builds its reputation and raises its artistic
standards by touring. In 2007/08 season, the Orchestra
performed in the Shanghai Spring International Music
Festival and the Beijing Music Festival. In 2009, the Orchestra
undertook a major six-concert tour of China, including the
Xinghai Concert Hall in Guangzhou, Beijing’s National Centre
for the Performing Arts and Shanghai Grand Theatre under
the leadership of Maestro Edo de Waart.
In February 2008, the Hong Kong Arts Development Council
honoured the HKPO with the Arts Promotion Award, in
recognition of its success in expanding its audience base and
gaining public support in recent years.
The Hong Kong Philharmonic Orchestra is financially supported by the
Government of the Hong Kong Special Administrative Region
SWIRE is the Principal Patron of the Hong Kong Philharmonic Orchestra
The Hong Kong Philharmonic Orchestra is the Venue Partner of the Hong
Kong Cultural Centre

Edo de Waart is the Artistic Director and Chief Conductor
of the Hong Kong Philharmonic Orchestra. Renowned as
an “orchestral builder” who has the enviable ability to
transform his orchestras into world-class ensembles, Edo
de Waart has held such distinguished positions as Chief
Conductor and Artistic Director of the Sydney Symphony
and the Netherlands Radio Philharmonic, Chief Conductor
of the Netherlands Opera, as well as Music Director of
the Rotterdam Philharmonic, San Francisco Symphony and
Minnesota Orchestras. He has also taken up the Music
Directorship of the Milwaukee Symphony Orchestra from
the 2009/10 season.
As an opera conductor, Edo de Waart has enjoyed
success in many of the great opera houses of the world,
including Covent Garden, Bayreuth, Bastille and the
Metropolitan Opera. He has led highly regarded Wagner
Ring Cycles in San Francisco and Sydney. He has conducted
a series of critically acclaimed concert performances
of Richard Stauss’s Salome, Elektra, Der Rosenkavalier
and Act I of The Valkyrie, as well as Puccini’s Madama
Butterfly with the Hong Kong Philharmonic.
Maestro de Waart has received a number of awards for his
outstanding achievements in music. He is a Knight in the
Order of the Dutch Lion and he was awarded the Order
of Australia – a reflection of his invaluable contribution to
Australian cultural life during his decade with the Sydney
Symphony. He was appointed an Honorary Fellow of the
Hong Kong Academy for Performing Arts in recognition of
his contribution to music internationally, and in particular,
his commitment to developing future generations of
musicians in Hong Kong.

Anton Bruckner
1824-1896
Symphony No. 8 in C minor
Allegro moderato
Scherzo. Allegro moderato
Adagio. Feierlich langsam; doch nicht schleppend
Finale. Feierlich, nicht schnell
When Bruckner’s Seventh Symphony received a tremendous
ovation at its Leipzig première in 1884, it looked as if the tide
had turned at last. Bruckner, now sixty, was enjoying his first
taste of success after years of neglect, rejection – the Vienna
Philharmonic refused outright to play his first three symphonies
– and repeated failure. With this work, Bruckner found an
important new champion in conductor Hermann Levi, who
led the Munich première a few months later to great acclaim.
Even Vienna, Bruckner’s normally unsympathetic hometown,
was won over by the new symphony: the composer was called
to the stage four or five times after each movement. Success
followed success as the symphony was performed in major
music centers over the next several months.
In October 1887 – after more than three years of work –
Bruckner sent a brand new C minor symphony off to Hermann
Levi, certain that he would agree that this was even more
impressive than the Seventh Symphony and that he would
be honored to conduct the first performance. But Levi did not
know what to make of a work so vast and daring, and he sent
word through Bruckner’s student Josef Schalk that it needed to
be rewritten. Bruckner was devastated – Levi’s rejection threw
him completely off balance.
The joys and successes of the previous three years were quickly
forgotten, and the composer plunged into a serious depression.
Bruckner had known crippling insecurity throughout his life,
but he was now consumed by a new wave of doubt: unable
to continue work on the projected symphony that would
posthumously become his ninth, he began to rip apart the
C minor symphony instead, and he also revamped several
earlier works, including his first three symphonies. It can
be argued that much of Bruckner’s revision of his Eighth
Symphony made for a better piece of music, but there is no
telling how deeply he suffered in the process. Furthermore, if
he had left the Eighth alone, he might have finished the Ninth.

Serious renovation of the Eighth Symphony began in March
1889, starting with the Adagio, and continued for the rest
of the year. The comments Bruckner added to the last page
of the score tell the tale: “First movement finally revised
from November 1889 to January 1890. Last note written on
January 29 th .” And then, “Vienna, February 10 th , 1890, entirely
finished.” And still again, “March 10 th , entirely finished.” And
even though the work actually was “entirely finished” at that
point, Bruckner probably still didn’t really believe it.
The first performance was to take place in Mannheim, under
the baton of Felix Weingartner, who began rehearsals in March
1891. Bruckner was apprehensive. “How does it sound” he
wrote from Vienna. “I do recommend to you to shorten the
finale severely as is indicated. It would be much too long
and is valid only for later times and for a circle of friends and
connoisseurs . . . .” Weingartner got cold feet, and the première
was canceled. The Eighth Symphony was finally performed for
the first time in Vienna in December 1892, under Hans Richter.
The critic Eduard Hanslick, who seldom had a good thing to
say about Bruckner, wrote a predictable review, full of phrases
like “unrelieved gloom,” but he also reported “tumultuous
acclamations, waving handkerchiefs, innumerous calls, laurel
wreaths, and so forth. No doubt whatever, for Bruckner the
concert was a triumph.” Even Vienna had become a “circle of
friends and connoisseurs,” much to Bruckner’s surprise.

BRUCKNER: Symphony No. 8
The Viennese had never known what to make of Anton
Bruckner, with his country manners, severe Prussian haircut,
and perilously baggy suits. (Bruckner favoured wide pant
legs because they made it easier to reach the organ pedals.)
Beethoven, once mistakenly arrested as a vagrant, had
already proved how little appearance has to do with musical
greatness. But Bruckner was a more serious misfit in
Viennese society. He lacked the necessary skill for chitchat,
and when he spoke he often said the wrong thing. (When
his idol, Wagner, died in 1883, he could barely string together
two perfunctory sentences to send off to the composer’s
widow Cosima.) Music was his real language. When, at 67,
he was named a doctor of philosophy at the University of
Vienna, he told the rector magnificus : “I cannot find the words
to thank you as I would wish, but if there were an organ here,
I could tell you.”
Bruckner’s Eighth is the largest of his completed symphonies.
It begins quietly, in the same rhythm that opens Beethoven’s
Ninth Symphony, although Beethoven would never have
dreamed of starting so far from the symphony’s announced
key of C minor, nor would he have made the journey last
so long. Getting used to the pace of a Bruckner symphony
was hard even in leisurely 19 th century Vienna, where stopping
for afternoon coffee sometimes actually took all afternoon.
There are first movements by Beethoven as long as this one,
but they are so full of energy and so tightly packed with
events that they pass like lightning. Bruckner writes music
that takes its time and demands that we submit ours to it.
He would not understand the person who, finding himself
in a great Gothic cathedral, buys a postcard rather than take
the thirty-minute tour. (He never tired of standing in the
great transept at Saint Florian, the towering masterpiece of
baroque architecture just down the road from his birthplace.)

The first movement of Bruckner’s Eighth Symphony suggests
the architecture of sonata form – three big themes are
exhibited, developed in a masterful way, and returned later
somehow fresher for the experience. At the beginning,
Bruckner approaches C minor from the odd perspective of
B-flat minor and then settles into a series of holding patterns
from which C minor is visible but not yet accessible. There
is a powerful stillness at the center of Bruckner’s music,
something for which Beethoven and even Wagner have
not prepared us. The development section, for example,
begins from a point of almost total silence and inertia, and
Bruckner generates momentum slowly. A number of big,
brassy climaxes merely collapse, as if from a loss of nerve.
After the last flare of chords, the music stops, leaving a few
desolate reminders of previous themes and the repeated
beat of the timpani. Bruckner called this the Totenuhr, the
clock in a room where someone is dying – a deathwatch.
Bruckner did not explain why he placed the powerful, driven
scherzo next, contrary to custom, and one cannot guess his
plan until he lays out the extraordinary expanse of an adagio
just before the finale. The scherzo, in the meantime, is brilliant
dance music of the most serious kind, achieved by ingenious
repetition and a bold use of color. The trio, in contrast,
is lyrical, tender, reflective, and delicately scored (Bruckner uses
the harp here and in the following Adagio for the only time in
his career).
The Viennese who sat spellbound by this great, noble
Adagio surely never looked at Bruckner the same way again.
They must have been shocked that this undistinguished
man, utterly at a loss in the world they so stylishly inhabited,
understood things which can not be put into words. Perhaps
this is the music Dr Adolf Exner, the rector of the University
of Vienna, had in mind, when, bestowing the honorary
doctorate on Bruckner in 1891, he said:

BRUCKNER: Symphony No. 8
“Where science must come to a halt, where its progress is
barred by insurmountable barriers, there begins the realm of
art, which knows how to express that which will ever remain
a closed book to scientific knowledge.”
The Adagio, the longest slow movement in symphonic music
at the time, is one of Bruckner’s most remarkable creations,
and it strides confidently into a world where music rarely
ventures. Bruckner had little to say about this eloquent and
expressive music, having said it all in the notes on the page,
but he did admit to occasional echoes of the Siegfried
leitmotif from Wagner’s Ring of the Nibelung.
Bruckner shakes us firmly by the shoulders at the start of
the finale and then launches a fierce and powerful theme
for the brass. From there the finale moves steadily, but not
without difficulty, toward the moment when C major slowly
emerges. A number of episodes and themes intervene,
including a warmly lyrical melody in the strings and an
eloquent chorale tune. The music frequently comes to a total
stop, not from inertia, but to gather strength. As Bruckner
himself once told conductor Artur Nikisch: “I must take
breath when I am about to say something of importance.”
Finally the horns, remembering the opening notes of
the scherzo, announce the imminent arrival of C major. That
moment is crowned by the simultaneous reappearance of
the main themes of all four movements, which blend
together, united at last by the notes of the C major scale.
©
Phillip Huscher is the program annotator for the Chicago Symphony Orchestra
Comments©2009 by the Chicago Symphony Orchestra. All rights reserved.
Reprinted by permission.

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Hong Kong Philharmonic Orchestra
First
Violins
PHOTO Bobby Lee
John Harding
Concertmaster
Leung Kin-fung
First Associate
Concertmaster
Wong Sze-hang
Second Associate
Concertmaster
Zhu Bei
Third Associate
Concertmaster
Edo de Waart
Artistic Director & Chief Conductor
Maestro’s Chair – endowed by
The Octavian Society & Y.S. Liu Foundation
Mao Hua
Cheng Li
Ba Wenjing
Gui Li
Long Xi
Mao Yiguo
Rachael Mellado
Ni Lan
PHOTO Lawrence Chan
Wang Liang
Christine Wong
Kar-yee
#
# Xu Heng
Zhang Xi
Perry So
Zhou Tengfei
Assistant Conductor
(Education and
Community Programmes)
Second
Violins
Fan Ting
Leslie Ryang
Moon-sun
Katrina Rafferty-Ma
Miyaka Suzuki
Tomoko Tanaka Mao
Cheng Chi-man
Ricardo de Mello
Fang Jie
#
# Musician’s Chair – endowed by
Societe Generale Private Banking
PHOTOS
Cheung Chi Wai & Keith Hiro
Gallant Ho Ka-chun
Russell Kan Wang-to
Mo Kwok-fai
Martin Poon
Ting-leung

Second
Violins
Alisa Yan Yuqing
*
*Ke Xue
*
*Liu Fang-xi
*
* Wang Yue
Violas
Andrew Ling
Kaori Wilson
Li Ming
Alice Rosen
Cui Hong-wei
Fan Yan
Ethan Heath
Jonathan Kim
William Lane
Pak Ming
Sun Bin
Wang Jun
*
* Fan Xing
*
*Zhang Shu-ying
Cellos
Richard Bamping
Fang Xiaomu
Dora Lam
Chen Yi-chun
+
+ Anna Kwan Ton-an
Chan Ngat Chau
Cheung Ming-yuen
Timothy Frank
Li Ming-lu
Yalin Song
*
* Li Cheng
Double
Basses
Jeffrey Lehmberg
Jiang Xinlai
Feng Rong
Samuel Ferrer
Principal
Acting Principal
Co-Principal
Assistant Principal
+
+ Musician’s Chair – endowed by
C. C. Chiu Memorial Fund
George Lomdaridze
Philip Powell
Jonathan Van Dyke
*
* Fellows of The Robert H.N. Ho Family Foundation
Orchestral Fellowship Scheme

Hong Kong Philharmonic Orchestra
Flutes
Piccolo
Megan Sterling
Olivier Nowak
Linda Stuckey
Oboes
Cor Anglais
Michael Wilson
Ruth Bull
Christopher Chen
Clarinets
Bass
Clarinet
Andrew Simon
John Schertle
Michael Campbell
Bassoons
Contra
Bassoon
Kam Shui
Vance Lee
Adam Treverton Jones
Horns
Mark Vines
Lisa Rogers
Chow Chi-chung
Natalie Lewis
Homer Lee Siu-lam
Marc Gelfo
Trumpets
Trombones
Jonathan Clarke
Christopher Moyse
Douglas Waterston
Jarod Vermette
Maciek Walicki
Bass
Trombone
Tuba
Timpani
Michael Priddy
Paul Luxenberg
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Percussion
Harp
Keyboard
Shaun Tilburg
Raymond Leung
Wai-wa
Sophia Woo
Shuk-fai
Christopher Sidenius
Shirley Ip
Extra players
Double Bass
Horn
Guest Principal Trumpet
Trombone
Hennessy Ng
Tom Redmond Timothy Summers Hani Molles
Colin Oldberg
Benjamin Pelletier

Hong Kong Philharmonic
Orchestra
HONORARY PATRON
The Chief Executive
The Hon Donald Tsang Yam-kuen, GBM
EXECUTIVE COMMITTEE
Mr Y S Liu
Chair
BOARD OF GOVERNORS
Mr Y S Liu
Chairman
Mr Chung Shui-ming, GBS, JP
Vice-Chairman
Ms Joanne Chan
Mrs Michelle Ong Cheung
Mr Glenn Fok
Mr Lam Woon-kwong, GBS, JP
Dr Lilian Leong, BBS, JP
Prof Liu Ching-chih
Mr Daniel Ng Yat-chiu
Mr Nicholas Sallnow-Smith
Mr Benedict Sin Nga-yan
Mr Jack C K So, JP
Mr Stephan Spurr
Sir David Tang, KBE
Mr Kenny Wong Kam-shan
Mr David Zacharias
ENDOWMENT TRUST FUND
BOARD OF TRUSTEES
Mr Chung Shui-ming, GBS, JP
Chair
Mr Lam Woon-kwong, GBS, JP
Mr Y S Liu
Mr Daniel Ng Yat-chiu
HONORARY ADVISERS
Prof Chan Wing-wah, JP
Dr the Hon Marvin Cheung, OBE, SBS, JP
Mr Vincent Chow Wing-shing, MBE, JP
Ms Pansy Ho Chiu-king
Mr Hu Fa-kuang, GBS, CBE, JP
Lady Kadoorie
Dr Ronald Leung, OBE, JP
Mr Shum Choi-sang, SBS, OBE, MA, JP
Ms Ada Wong Ying-kay, JP
The Hon Sir T. L. Yang, GBM, JP
Mr Chung Shui-ming, GBS, JP
Mr Daniel Ng Yat-chiu
Mr Jack C K So, JP
Mr Stephan Spurr
FINANCE COMMITTEE
Mr Chung Shui-ming, GBS, JP
Chair
Mr Glenn Fok
Mr Y S Liu
Mr Nicholas Sallnow-Smith
Mr Benedict Sin Nga-yan
Mr Kenny Wong Kam-shan
Mr Robert T. Wong
FUNDRAISING COMMITTEE
Mr Daniel Ng Yat-chiu
Chair
Mrs Janice Choi
Ms Winnie Chiu
Ms Tasha Lalvani
Vice-Chair
Ms Chou Tung Lap Mao
Mr Peter Siembab
Mr Jack C K So, JP
DEVELOPMENT COMMITTEE
Mr Stephan Spurr
Chair
Ms Joanne Chan
Prof David Gwilt, MBE
Mr Warren Lee
Dr Lilian Leong, BBS, JP
Mr Y S Liu
Sir David Tang, KBE
Mr Mark Vines

MANAGEMENT
Mr So Hau Leung
Chief Executive
MARKETING
Mr Paul Tam
Director of Marketing
Ms Rida Chan
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Ms Elaine Kwee
Marketing Manager
(Concert Promotions)
ARTISTIC ADMINISTRATION
Ms Mio Margarit Chow
Artistic Administrator
Mr Nick Chan
Senior Marketing Communications Officer
Miss Michelle Wong
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Miss Natalie Wong
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Mr Jason Wan
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Ms Tiphanie Chan
Publications Editor
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Ms Angela Hui
Director of Development
Ms Edith Ng
Development Manager
Miss Kary Hon
Assistant Development Manager
Miss Ruby Pang
Assistant Development Manager
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Ms Angel Woo
Head of Finance and Administration
Miss Natalie Ting
Education and Outreach Coordinator
Miss Alice Luk
Corporate Communications Officer
Miss Alice Lam
Customer Service Officer
ORCHESTRA AND OPERATIONS
Mr Luke Shaw
Head of Orchestra and Operations
Mr Ambrose Yeung
Orchestra Personnel Manager
Mr Steven Chan
Stage Manager
Mr Homer Lee
Finance Manager
Miss Betty Ho
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Mr Alex Kwok
Assistant Manager,
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Miss Vanessa Chan
Assistant Manager
(Orchestra and Operations)
Miss Cherish Cheung
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Miss Christy Law
Music Administration Intern
Miss Vonee So
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Mr So Kan Pong
Transportation Officer (Musical Instruments)
Miss Pamela Chan
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Mr Sammy Leung
Office Assistant
Mr Andrew Li
Manager, IT & Projects
Contact us
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ClubMaestro
Club Maestro is established for the business community and individuals who are fond of symphonic music.
It aims at supporting the long-term development of the Hong Kong Philharmonic Orchestra and enriching
cultural life. We heartily thank the following Club Maestro members.
PLATINUM MEMBERS
David M. Webb
webb-site.com
DIAMOND MEMBERS
Mr Wilfred Ng MH, JP
EMERALD MEMBERS
PEARL MEMBERS
Mr Peter Siembab
Miss Aliena Wong
In alphabetical order of company name

Thank You for Your Support
The Hong Kong Philharmonic Orchestra would like to express our gratitude
to the following corporations and individuals for their generous support.
CHAIR ENDOWMENT FUND
The Maestro’s Chair endowed by
The Octavian Society Limited
Y.S. Liu Foundation
The Musician’s Chair endowed by
C.C. Chiu Memorial Fund
Societe Generale Private Banking
ANNUAL FUND
Gold Patron
>HK$100,000
Hsin Chong International Holdings Ltd
Kerry Holdings Ltd
Ruby Patron
HK$10,000 – HK$29,999
Ms Vivien C C Chan
Mrs Anna Chen
Mr Cheung Ngai Sing
Mr Edwin Choy
Dr & Mrs Carl Fung
Gloss Mind Sports International Ltd
Mr & Mrs Kenneth H C Fung
Dr & Mrs Wayne Hu
Mr & Mrs Ko Ying
Mr & Mrs Fung Shiu Lam
Dr Lee Kin Hung
Dr Lilian Leong, BBS, JP
Mr Lawrence Mak
Dr Mak Lai Wo
Mrs Anna Marie Peyer
Mr Peter Siembab
Mr Stephen Tan
Tin Ka Ping Foundation
Dr Tsao Yen Chow
Wang Family Foundation
Mr Wong Po Yan
Mr & Mrs Y S Wong
Mr David Yee Kwan Yam
Silver Patron
HK$50,000 – HK$99,999
Mr & Mrs E Chan
Mr & Mrs Lowell & Phyllis Chang
Mr & Mrs Leung Lit On
Jade Patron
HK$5,000 – HK$9,999
Anonymous
Mr Barry John Buttifant
Dr Edmond Chan
Mr Jan Leung & Ms Emily Chow
Mr & Mrs Michael & Angela Grimsdick
Dr William Ho
Mr Maurice Hoo
Ms Teresa Hung
Ms Li Shuen Pui Agnes
Dr John Malpas
Dr & Mrs Pang Wing Fuk
Mr Poon Chiu Kim Raymond
The Hon Mr Justice William Stone
Ms Carley Shum & Mr Jeff Szeto
Mr Tsunehiko Taketazu
Mr & Mrs Ivan Ting
Ms Cindy Tse
Bronze Patron
HK$30,000 – HK$49,999
Mr & Mrs David Fried
Mr Fred William Scholle
Ms Tse Chiu Ming
Pearl Patron
HK$3,000 – HK$4,999
Anonymous
Mr Chan Hung Yuen Robert
Mr Cheng Kwan Ming
Ms Eva Cheng
Mr Cheung Yiu Tong
Mr Cheung Tak Lung
Mr Chow Ping Wah
Dr Affandy Hariman
Ms Gloria Ho
Ms Hu Shu
Mr Toru Inaoka
Dr Kwan Yat Wah Mike
Ms Liu Ying
Mr Joseph Pang
Miss Lily Poon Man Nei
Dr Paul Tat Ming Shea
Mr So Shu Wing Vincent
Mr Eric M S Tsang
Ms Tsang Kwai Fong
Ms Tse Wai Shun Susan
Mr Wu Chi Kong

Thank You for Your Support
The Hong Kong Philharmonic Orchestra would like to express our gratitude
to the following corporations and individuals for their generous support.
STUDENT TICKET FUND
Gold Patron
>HK$100,000
Hang Seng Bank
Zhilan Foundation
Silver Patron
HK$50,000 – HK$99,999
Kerry Holdings Limited
Shun Hing Education and Charity Fund
Bronze Patron
HK$30,000 – HK$49,999
Mr & Mrs Alan Leong
Ruby Patron
HK$10,000 – HK$29,999
Dr & Mrs Chan Kow Tak
Mr David Chiu
Ms Doreen Lee
Dr Thomas W T Leung
Lo Kar Foon Foundation
Mr David Yee Kwan Yam
Mr & Mrs Ko Ying
Dr M T Geoffrey Yeh
Jade Patron
HK$5,000 – HK$9,999
Anonymous (2)
Mr Ian D Boyce
Mr Chan Ka Kui
Mrs Anna Chen
Mr Chu Ming Leong
Dr Chung See Yuen
Dr & Mrs Kwan Ka Hung
Lok Yu Kim Ching Memorial Fund
Long Hin Creative International Ltd
Mr Wong Kong Chiu
Pearl Patron
HK$3,000 – HK$4,999
Ms Deborah Biber
Capital Well Investment Limited
Mr Chan Hung Yuen Robert
Mrs K L Chan
Ms Catherine Mo Wah Chau
Mr Chen Chien Hua
Ms Katherine Cheung
Professor David Clarke
Mr Fok Wing Huen
Mr Alex Fung & Mrs Hanne Froseth-Fung
Mr Fung Wai Hing
Mr & Mrs Phyllis & Adolf Ho
Item Industries Ltd
Mr & Mrs Henry & Angelina Lee
Dr Lee Shu Wing Ernest
Mr Leung Cheuk Yan
Mr Alex Li
Mr Richard Li
& Joe Joe
Mr Lo Cheung On, Andrew
Mr Lui Wing Chiu
Mr Ray Luk
Mr Mak Fai Shing
Mr & Mrs John & Coralie Otoshi
Oxford Success (Overseas) Ltd
Mr Shum Choi Sang
Ms Ophelia Tam
Mr Tony Tsoi
Dr Dominic S W Wong, GBS,OBE,JP
Zennon & Pierre Company Limited
EDUCATION PROGRAMME SUPPORTER
Drs. Richard Charles and Esther Yewpick Lee Charitable Foundation
The Hongkong Bank Foundation
The Hong Kong and China Gas Company Limited

ENDOWMENT TRUST FUND
The Hong Kong Jockey Club Charities Trust The Hongkong Bank Foundation The Hongkong Land Group
Citibank. NA Jardine. Matheson & Company Ltd The Tung Foundation
The Endowment Trust Fund was set up in 1983 with these initial sponsors.
PAGANINI PROJECT
•
•
•
•
Donated by Mr Patrick Wang
• Emile Germaine (1907) Violin, played by Ms Tomoko Tanaka Mao
Donated by Mr Lowell Chang
• Lockey Hill (c.1800) Violin, played by Mr Wang Liang
Donated by Mr Po Chung
• Dawne Hadded (1991) Violoncello, played by Mr Cheung Ming-yuen
Donated by Mr Laurence Scofield
• Ansaldo Poggi (1910) Violin, played by Ms Zhang Xi
This project is initiated and organizated by Business for Art Foundation.
INSTRUMENTAL DONATION
Donated by The Ladies Committee of
the Hong Kong Philharmonic Society
– Rare instruments donated –
• • Enrico Rocca (1902) Violin, played by Mr Cheng Li
• • Jean Baptiste Vuillaume (1866) Violin, played by Ms Bei Zhu,
Third Associate Concertmaster
•
• Joseph Gagliano (1788) Violin, played by
Mr Wong Sze-hang, Second Associate Concertmaster
•
• Cario Antonio Testore (1736) Violin, played by Mr Ni Lan
–
•
•
•
Other instruments donated in support of the
“Instrument Upgrade and Echancement Project” –
• Two German Rotary Trumpets
• A set of Wagner Tubas
• A Flugelhorn

PATRON
The Honourable
Donald Tsang Yam-kuen
HONORARY LIFE PRESIDENT
Sir Run Run Shaw
EXECUTIVE COMMITTEE
Chairman
Mr Charles Y K Lee, GBM GBS JP
Vice Chairman
The Hon Rafael S Y Hui, GBM GBS JP
Honorary Treasurer
Mr Billy Li
Members
The Hon Ronald Arculli, CVO GBS OBE JP
Professor David Gwilt, MBE
Mr Daniel Ng
Mr Victor Cha
Mr Iain Bruce
Ms Nikki Ng
The Hon Mr Justice Ribeiro
Mr James Riley
Ms Gilly Wong
Mr Joseph Yam, GBM JP
PROGRAMME COMMITTEE
Chairman
The Hon Rafael S Y Hui, GBM GBS JP
Vice Chairman
Professor David Gwilt, MBE
Members
Professor Lo King-man, MBE JP
Mr Fredric Mao, BBS
Mr Tam Wing-pong, SBS JP
Ms Jue Yao
Mr Daniel Ng
Mr Peter C L Lo
Mr Giorgio Biancorosso
Honorary Programme Advisors
Mr Douglas Gautier
Dr Peter Hagman
International Programme Consultant
Mr Joseph Seelig
FINANCE AND MANAGEMENT COMMITTEE
Chairman
Mr Billy Li
Member
Mr Nelson Leong
DEVELOPMENT COMMITTEE
Chairman
Mr Victor Cha
Vice Chairman
Mrs Leong Yu-san
Members
Mrs Igna Dedeu
Ms Deborah Biber
Ms Peggy Liao
Mr Tsim Tak Lung, JP
Ms Whang Hwee Leng
ADVISORS
Mr Martin Barrow, GBS CBE JP
Mr Thomas Kwok, SBS JP
Dr The Hon David K P Li, GBM GBS JP
Mrs Mona Leong, SBS BBS MBE JP
HONORARY SOLICITOR
Stevenson, Wong & Co
AUDITOR
PricewaterhouseCoopers
HONG KONG ARTS FESTIVAL TRUST
Chairman
Mr Angus H Forsyth
Trustees
Mr Darwin Chen, SBS ISO
Mrs Mona Leong, SBS BBS MBE JP
Mr John C C Chan, GBS JP

STAFF
Executive Director
Tisa Ho
PROGRAMME
Programme Director
Grace Lang
Programme Managers
So Kwok-wan
Linda Yip
Programme Coordinator
Michelle Tong
Programme Officer
Leung Wai-ting
MARKETING
Marketing Director
Katy Cheng
Marketing Manager
Alexia Chow
Assistant Marketing Manager
Michelle Yeung
DEVELOPMENT
Development Director
Antony J Chan
Assistant Development Manager
Alex So
ACCOUNTS
Accountant
Katharine Chan
Accounts Clerk
Bonia Wong
ADMINISTRATION
Outreach Coordinator
Jess Lam
Outreach Officer
Shirley So
Stage Managers
Catherine Cheng
Ha Yan-pui
Kan Kwan
Lee Cham-kau
Leo Siu
Production Assistant
Yuen Kin-man
PUBLICATION
Editor
Daisy Chu
English Editor
Harold Yeo
Assistant Editor
Juliet Tai
MARKETING
Assistant Marketing Managers
Gigi Chang
Ruskin Leung
Assistant Marketing Manager (Ticketing)
Eppie Leung
Ticketing Officer
Catherine Kwan
Marketing Assistant
Zia Fan
Customer Services Officers
Eing Chan
Stephanie Cheng
Grace Put
Tiffin Shing
Executive Secretary
Carmen Chu
Receptionist/Junior Secretary
Virginia Li
Office Assistant
Tony Cheng
STAFF (CONTRACT)
DEVELOPMENT
Assistant Development Manager
Eunice Chan
ADMINISTRATION
Office Assistant
Lam Chi-wai
PROGRAMME
Logistics Manager
Elvis King
Production Managers
Liu Cheuk-leung
Roy Leung
Programme Coordinator
Ian Leung
Contact us
Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong
Tel: 2824 3555 Fax: 2824 3798, 2824 3722
www.hk.artsfestival.org

Acknowledgement
The Hong Kong Arts Festival would like to express our gratitude to the following sponsors and media partner
for their support.
FESTIVAL OPENING SPONSOR
FESTIVAL FINALE SPONSOR
CREDIT SUISSE EMERGING ARTISTS SERIES SPONSOR
PROGRAMME SPONSORS
The British Council
ExxonMobil Companies in Hong Kong
Financial Times
HKR International Limited
Dr Stanley Ho
Hopewell Holdings Limited
Morgan Stanley
TheMUSE Magazine
Shun Hing Group
Sino Group
Sir Edward Youde Memorial Fund
MEDIA PARTNER
South China Morning Post Publishers Limited
PATRON’S CLUB
Platinum Members
Chouraqui Foundation
Kerry Holdings Limited
Sarasin Rabo Investment Management Limited
Gold Members
Bank of America Merrill Lynch
Henry G Leong Estates Limited
Jardine Matheson Limited
SHINEWING (HK) CPA Limited
Silver Members
HSBC Global Asset Management (Hong Kong) Limited
Shanghai Commercial Bank Limited
The Swire Group Charitable Trust
Bronze Member
Fontana Enterprises Limited

STUDENT TICKET SCHEME
Platinum Donors
>HK$120,000
Anonymous
CYMA Charity Fund Limited
Hang Seng Bank
HSBC
Zhilan Foundation
Diamond Donors
HK$60,000 - HK$119,999
Lee Hysan Foundation
Mr & Mrs Alan Leong
Gold Donors
HK$10,000 - HK$59,999
Anonymous
Dr Chan Kow Tak
Mr & Mrs Paul & Ann Chen
Sir Kenneth Fung Ping Fan Foundation Trust I
Mr & Mrs Kenneth HC Fung
Mr Maurice Hoo
Mr & Mrs Lincoln Leong
Nathaniel Foundation Limited
Ms Caroline Y Pang
Mr Andrew & Mrs Lily Riddick
Ms Edith Shih & Mr Stephen Sun
Mr Stephen Tan
Tin Ka Ping Foundation
Mr William To
Dr Tsao Yen Chow
Mr Wong Yick Kam
Mr & Mrs Y S Wong
Mr David Yam
Mr & Mrs Gabriel C M Yu
Silver Donors
HK$5,000 - HK$9,999
Anonymous
Achilles Physiotherapy Centre
Mr Au Son Yiu
Ms Deborah Biber
Miss Vina Cheng
Dr Chung See Yuen
Mr William Henderson
Ho Iu Kwong Charity Foundation Limited
Mr & Mrs David S L Lin
Dr Mak Lai Wo
Mr & Mrs Vernon Moore
Ms Nam Kit Ho
Ms Pearl Chow & Mr Arthur Ng
Mr William So Wai Ki
Mr & Mrs John & Anthea Strickland
Mr Samuel & Mrs Amy Wang
Bronze Donors
HK$2,500 - HK$4,999
nonymous
Carol Bateman School of Dancing Ltd
Mr Samuel Chan Lok Sang
Mr Chow Ping Wah
Cultural Strategies Ltd
Mr Bill Fong KC
Mr and Mrs A R Hamilton
The Helena May
Mr Kelvin Koo
Ms Orasa Livasiri
Mr Luk Chung Ping
Mr Mak Chung Hang
John & Coralie Otoshi
Mr Neil Frederick Pryde
William Stork and Jasmine Wong
Ms Woo Sau Ha
Mr Wong Nai Hay
Mr Desmond Yu
NEW WORKS SCHEME
Innovation Donors
Anonymous
Mr Max Burger
Ms Tabitha Chiu
Hong Kong Commercial
Broadcasting Co Ltd
CompliancePlus
Consulting Limited
Ms Hung Ling Wah
Mr Kelvin Koo
Miss Lo Sin Ying
Dr Lui Ming Wah
Ms Mao Yibing
Mr Neil Mowbray
Mr Frederico Rato
Mrs Maria Margarida Rato
Ms Sabrina So
Mr Stephen Tan
Ms Wong Yee
Mr Wong Yick Kam
Mr & Mrs Y S Wong
Miss Yim Chui Chu
Imagination Donors
Asian Artworks Gallery
Ms Yannis Au
Mr Scott Blanchard
Mr Paul Bowron
Mr Chan Wai Bun
Miss Nicola Cheah
Mr Tommaso Cotroneo
Mr Vincent Fung
Miss Betty Hung Pik Yi
Kim Sum Cantonese Opera
Association
Mr Irving Koo
Miss Liu Siaw Lin
Mrs Jackaline McPhie
Mr Oliver Nighjoy
Mrs Dinusha Panditaratne
Ms Belinda Poon Ka Mun
Mr Michael Poon Chung Mo
Mr Ron Zwiers

FEATURED CONCERT
Unfinished Symphony
10 Mar 2010 Wed 8pm
HK City Hall Concert Hall
HK$240 $180 $140 $100
John Harding, conductor/director
Long Xi, second violin
Wang Jun, viola
Richard Bamping, cello
Fang Xiaomu, cello
An all-Schubert programme
Marche Militaire, D733 No. 1
Symphony No. 8 Unfinished
String Quartet in C, D956
FEATURED CONCERT
Swire New Generation:
When Jing meets Perry
20 Mar 2010 Sat 8pm
Tsuen Wan Town Hall Auditorium
21 Mar 2010 Sun 3pm
HK City Hall Concert Hall
HK$240 $180 $140 $100
Perry So, conductor
Zhao Jing, cello
Programme
KODÁLY Galanta dances
SAINT-SAËNS Cello Concerto No. 1
BRAHMS Symphony No. 2
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