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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


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.


Tisa Ho

Executive Director

Hong Kong Arts Festival


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!




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


Edo de Waart

Artistic Director and Chief Conductor

Hong Kong Philharmonic Orchestra

Edo de Waart’s Bruckner 8 Apocalyptic

Edo de Waart




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


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.

Music Grows Stronger with Your Giving to

Annual Fund/Student Ticket Fund




The Hong Kong Philharmonic Orchestra is a non-profit

making organisation and you can help us by making a donation.

Annual Fund # enable us to continue to reach artistic excellence and

conduct education outreach programmes. Student Ticket Fund #

help to subsidise half-price student tickets and benefit all full-time

local students in Hong Kong. Support your orchestra and at the

same time you can enjoy tax deduction.



As a token of our appreciation,

for donors giving over HK$3,000

Acknowledgement in our

House Programmes

Invitation to attend our

Annual Donors’ Concert

15% discount on HKPO concert tickets

Attend Classic Insights Concerts and

pre-concert talks

Regular updates on HKPO news and

concert information

# Tax deductible for donation over HK$100


HKPO – Annual Fund & Student Ticket Fund Reply Form

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Gold Patron HK$100,000 and or over

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Hong Kong Philharmonic Orchestra



PHOTO Bobby Lee

John Harding


Leung Kin-fung

First Associate


Wong Sze-hang

Second Associate


Zhu Bei

Third Associate


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



# Xu Heng

Zhang Xi

Perry So

Zhou Tengfei

Assistant Conductor

(Education and

Community Programmes)



Fan Ting

Leslie Ryang


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


Cheung Chi Wai & Keith Hiro

Gallant Ho Ka-chun

Russell Kan Wang-to

Mo Kwok-fai

Martin Poon




Alisa Yan Yuqing


*Ke Xue


*Liu Fang-xi


* Wang Yue


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


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



Jeffrey Lehmberg

Jiang Xinlai

Feng Rong

Samuel Ferrer


Acting 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



Megan Sterling

Olivier Nowak

Linda Stuckey


Cor Anglais

Michael Wilson

Ruth Bull

Christopher Chen




Andrew Simon

John Schertle

Michael Campbell




Kam Shui

Vance Lee

Adam Treverton Jones


Mark Vines

Lisa Rogers

Chow Chi-chung

Natalie Lewis

Homer Lee Siu-lam

Marc Gelfo



Jonathan Clarke

Christopher Moyse

Douglas Waterston

Jarod Vermette

Maciek Walicki





Michael Priddy

Paul Luxenberg

James Boznos




Shaun Tilburg

Raymond Leung


Sophia Woo


Christopher Sidenius

Shirley Ip

Extra players

Double Bass


Guest Principal Trumpet


Hennessy Ng

Tom Redmond Timothy Summers Hani Molles

Colin Oldberg

Benjamin Pelletier

Hong Kong Philharmonic



The Chief Executive

The Hon Donald Tsang Yam-kuen, GBM


Mr Y S Liu



Mr Y S Liu


Mr Chung Shui-ming, GBS, JP


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



Mr Chung Shui-ming, GBS, JP


Mr Lam Woon-kwong, GBS, JP

Mr Y S Liu

Mr Daniel Ng Yat-chiu


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

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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


Mr Chung Shui-ming, GBS, JP


Mr Glenn Fok

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Mr Nicholas Sallnow-Smith

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Mr Robert T. Wong


Mr Daniel Ng Yat-chiu


Mrs Janice Choi

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Ms Tasha Lalvani


Ms Chou Tung Lap Mao

Mr Peter Siembab

Mr Jack C K So, JP


Mr Stephan Spurr


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


Mr So Hau Leung

Chief Executive


Mr Paul Tam

Director of Marketing

Ms Rida Chan

Executive Secretary

Ms Elaine Kwee

Marketing Manager

(Concert Promotions)


Ms Mio Margarit Chow

Artistic Administrator

Mr Nick Chan

Senior Marketing Communications Officer

Miss Michelle Wong

Assistant Manager

(Artist Liaison)

Miss Natalie Wong

Marketing Communications Officer

Mr Jason Wan

Artistic Administration Assistant

Ms Tiphanie Chan

Publications Editor


Ms Angela Hui

Director of Development

Ms Edith Ng

Development Manager

Miss Kary Hon

Assistant Development Manager

Miss Ruby Pang

Assistant Development Manager


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


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


Mr Alex Kwok

Assistant Manager,

Finance and Administration

Miss Vanessa Chan

Assistant Manager

(Orchestra and Operations)

Miss Cherish Cheung

Human Resources Manager

Miss Christy Law

Music Administration Intern

Miss Vonee So

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Mr So Kan Pong

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Manager, IT & Projects

Contact us

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Tel: 2721 2030 Fax: 2311 6229



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.


David M. Webb



Mr Wilfred Ng MH, JP



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.


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


Gold Patron


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


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


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.


Gold Patron


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


Drs. Richard Charles and Esther Yewpick Lee Charitable Foundation

The Hongkong Bank Foundation

The Hong Kong and China Gas Company Limited


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.


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.


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


The Honourable

Donald Tsang Yam-kuen


Sir Run Run Shaw



Mr Charles Y K Lee, GBM GBS JP

Vice Chairman

The Hon Rafael S Y Hui, GBM GBS JP

Honorary Treasurer

Mr Billy Li


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



The Hon Rafael S Y Hui, GBM GBS JP

Vice Chairman

Professor David Gwilt, MBE


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



Mr Billy Li


Mr Nelson Leong



Mr Victor Cha

Vice Chairman

Mrs Leong Yu-san


Mrs Igna Dedeu

Ms Deborah Biber

Ms Peggy Liao

Mr Tsim Tak Lung, JP

Ms Whang Hwee Leng


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


Stevenson, Wong & Co





Mr Angus H Forsyth


Mr Darwin Chen, SBS ISO

Mrs Mona Leong, SBS BBS MBE JP

Mr John C C Chan, GBS JP


Executive Director

Tisa Ho


Programme Director

Grace Lang

Programme Managers

So Kwok-wan

Linda Yip

Programme Coordinator

Michelle Tong

Programme Officer

Leung Wai-ting


Marketing Director

Katy Cheng

Marketing Manager

Alexia Chow

Assistant Marketing Manager

Michelle Yeung


Development Director

Antony J Chan

Assistant Development Manager

Alex So



Katharine Chan

Accounts Clerk

Bonia Wong


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



Daisy Chu

English Editor

Harold Yeo

Assistant Editor

Juliet Tai


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



Assistant Development Manager

Eunice Chan


Office Assistant

Lam Chi-wai


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



The Hong Kong Arts Festival would like to express our gratitude to the following sponsors and media partner

for their support.





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


South China Morning Post Publishers Limited


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


Silver Members

HSBC Global Asset Management (Hong Kong) Limited

Shanghai Commercial Bank Limited

The Swire Group Charitable Trust

Bronze Member

Fontana Enterprises Limited


Platinum Donors



CYMA Charity Fund Limited

Hang Seng Bank


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


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


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


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


Innovation Donors


Mr Max Burger

Ms Tabitha Chiu

Hong Kong Commercial

Broadcasting Co Ltd


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


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


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


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


KODÁLY Galanta dances

SAINT-SAËNS Cello Concerto No. 1

BRAHMS Symphony No. 2

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