The Hong Kong Joy of Music Festival 2023 - House Programme by Anabella Levin-Freris

Mon 9th – Sun 15th October 2023 2023年10月9–15日 at the Hong Kong City Hall 香港大會堂

Major Sponsors 主要贊助 PATRONS OF THE CHOPIN SOCIETY OF HONG KONG SIR MICHAEL KADOORIE AND FAMILY 香港蕭邦社贊助人米高嘉道理爵士及其家人 The Chopin Society of Hong Kong wishes to express its thanks and gratitude to Parsons Music for their most generous help and support during this Festival

www.chopinsocietyhk.org

The Joy of Music Festival 2023 by The Chopin Society of Hong Kong Message from The Honourable Sir Michael Kadoorie

Music connects people, bringing joy, love and inspiration to us all. My love for music was inherited from my late mother Lady Muriel Kadoorie, and we shared a strong belief that music has no boundaries and should be shared among a wide audience. For CLP, the promotion of classical music is an integral part of our support to local arts and cultural development, and therefore I am very pleased to see the Chopin Society’s “Joy of Music Festival 2023” bringing once again its wonderful performances and masterclasses to music lovers in Hong Kong. I should like to acknowledge and thank all participating artists for their exceptional performances, and I extend my sincere thanks to Anabella Levin-Freris and Andrew Freris for organizing and presenting the Festival. Over the years it has provided an excellent platform for local young musicians to learn from the Great Masters, and it has inspired our community to appreciate music even more. This year’s Festival will certainly be another resounding success for the Chopin Society, and I wish you all a very pleasant musical journey.

The Honourable Sir Michael Kadoorie Chairman, CLP Holdings Limited

2023 年 10 月9 日 ( 星期一 ) 香港大會堂音樂廳

17:30

第一部份

朴栽弘 2021 年布索尼國際鋼琴比賽冠軍

節目內容

法朗克 (1822 – 1890) • 《前奏曲、聖詠與賦格》FWV 21 I - 前奏曲，中板 II - 聖詠，稍微緩慢，稍微輕快 III - 賦格，回到最開始的速度，如同裝飾奏

拉赫曼尼諾夫 (1873 – 1943) • D 小調第一《鋼琴奏鳴曲》，作品 28 I - 中庸的快板 II - 緩慢的 lll - 非常快

中場休息第二部份

阿爾謝尼•文 2023 年布索尼國際鋼琴比賽冠軍

節目內容

布梭尼 (1866 – 1924) • 《巴赫幻想曲》，bv 253 蕭邦 (1810 – 1849) • G 小調第一《敘事曲》，作品 23 • 三首《馬祖卡舞曲》: 作品 6，第一首，升 F 小調作品 17，第二首，E 小調作品 17，第四首，A 小調

拉威爾 (1875 – 1937) • 《夜之加斯巴》 I - 水妖 II - 絞刑台 III - 史卡波

17:30

Monday, 9th October

Hong Kong City Hall Concert Hall

First Part

PROGRAMME

CÉSAR FRANCK (1822 – 1890)

•

Prélude, Choral et Fugue, FWV 21 I – Prélude. Moderato II – Choral. Poco più lento. Poco Allegro II – Fugue. Tempo 1°. Come una cadenza

SERGEI RACHMANINOFF (1873 – 1943)

•

Piano Sonata No. 1, in D minor, Op. 28 I – Allegro moderato II – Lento III – Allegro molto

INTERMISSION Second Part

PROGRAMME

FERRUCCIO BUSONI (1866 – 1924)

•

Fantasia nach Johann Sebastian Bach, bv 253

FRÉDÉRIC CHOPIN (1810 – 1849)

• •

Ballade No.1, in G minor, Op.23 Three Mazurkas: Op.6, No.1, in F sharp minor Op.17, No.2, in E minor Op.17, No.4, in A minor

MAURICE RAVEL (1875 – 1937)

•

Gaspard de la nuit I – Ondine II – Le Gibet III – Scarbo

Programme notes THE JOY OF MUSIC FESTIVAL 2023 9 October 2023 JAE HONG PARK, Piano 1st Prizewinner, Busoni International Piano Competition 2021

ARSENII MUN, Piano 1st Prizewinner, Busoni International Piano Competition 2023 FRANCK Prélude, Choral et Fugue RACHMANINOV Sonata No.1 in D minor, Op.28 BUSONI Fantasia nach J.S.Bach CHOPIN Ballade No.1 in G minor, Op.23 CHOPIN Mazurkas, Op.6 No.1, Op.17 Nos.2 & 4 RAVEL Gaspard de la nuit French-Belgian composer Cesar Franck was primarily known as an organ virtuoso thus the accusation that he wrote organ music for the piano often goes unchallenged. The solemnity and religiosity of J.S.Bach pervade Franck’s best known piano work, Prélude, Choral et Fugue. After an improvisatory flourish, the sobbing motif of the Prélude is introduced, a step-wise descent of notes full of pathos. The Chorale is equally sombre, leading into the “Cross motif ” formed by criss-crossing descending fourths, played on wide broken chords, easily the work’s most memorable theme. The fugue is based on another motif of descending notes, building up to an impressive organ-like climax. The “Cross motif ” makes a return, pitted in counterpoint with the fugue motif. It is the former that presides, closing the work on a brilliant high. Sergei Rachmaninov’s First Sonata was composed in 1908, contemporaneous with his Second Symphony (Op.27), tone poem Isle of the Dead (Op.29) and Third Piano Concerto (Op.30), all distinguished by ambitious scope and monumentality. It is also his longest solo work, playing for almost 40 minutes. An early inspiration of the sonata’s three movements was the legend of Faust. The idea of a programme sonata was later dropped, but the characters of Faust, Gretchen and Mephistopheles (as portrayed in Liszt’s Faust Symphony) are clearly discernible. The imposing opening movement introduces two relatively spare themes based on the D minor triad, where the spirit of Russian Orthodox chant is never far away. The development section is a pitched battle between the themes, literally a Faustian struggle. A short motif heard quietly near its end, when the darkness of D minor transforms into the light of D major, is the link to the following movement.

sumed a life of its own, often been mistaken as a distinct and separate composer. Busoni was introduced to Bach’s music as a child by his father, and upon his death in 1909, Busoni was moved to compose the Fantasia after J.S.Bach. Although this does not carry the Bach-Busoni label, it is a freely-adapted standalone work bringing together his transcriptions of three separate Bach organ pieces based on chorales. The quasiimprovisatory introduction and bell-like conclusion are of Busoni’s own creation, and while the chorale sequence builds up to a mighty climax, the music retains an air of awe and reverence. The piano music of Frédéric Chopin encompasses extremes from tenderness to violence and every nuance in between. His fragile health and premature death have also lent an added urgency and poignancy to his music, which is sympathetic and human. His use of the word “ballade” is literary rather than musical, of poetic inspiration with images of Romantic narratives of an epic kind. The poetry of Adam Mickiewicz, long considered Poland’s national poet, has been cited as influences but Chopin’s music transcends mere words. The First Ballade opens with an introductory “once upon a time” episode leading to the bittersweet main theme. The narrative soon turns agitated, before a yearning second theme is introduced. A climatic high soon dissolves into a fast waltz with a welcome return to the main themes. The coda is as tumultuous as the sweep of scales and octaves that conclude the piece. American writer-critic James Huneker famously described this ballade as the “Odyssey of Chopin’s soul”. Chopin composed no less than fifty-nine Mazurkas, simple peasant folk dances in three-quarter time. Schumann hailed these as “cannons in roses”, reflecting the exiled composer’s patriotic stand against Russian subjugation of his countrymen. His Mazurkas were published in groups of three or four dances, varied in key and mood. This selection of three minor key Mazurkas are united by an over-arching yearning nostalgia, symptomatic of Chopin’s homesickness. Although French composer Maurice Ravel was not a proficient pianist himself, his 1909 triptych Gaspard de la nuit is considered one of the most technically virtuosic works of the piano repertoire ever conceived. Inspired by three prose poems by Aloysius Bertrand, these pieces of Gothic horror are prime examples of Ravel’s musical impressionism. Ondine is an evocative depiction of the fluid realm, with intricate right hand tremolos, shimmering textures and sweeping glissandi. The final roar of arpeggios at its close captures the essence of the alluring but elusive water sprite.

This motif is revealed to be the “Gretchen” theme, now in F major. While its tenderness and lyricism is in stark contrast to everything else in the sonata, it does build up to a passionate high before closing amid a series of trills. The Mephistophelean finale is a wild and harrowing ride in tarantella rhythm, its diabolical inspiration evident with the Dies Irae chant’s inclusion. Themes from earlier movements are recalled but any pact with the Devil is an unrelenting one, the sonata ending conclusively in the minor key. With Gretchen’s self sacrifice, Faust’s damnation is sealed.

Le gibet (The Gallows) conjured the bleak vision of a hanging corpse swaying in a gentle breeze at dusk, accompanied by repeated B flat octaves, the syncopated tolling of a distant church bell. Slow and persistently hypnotic, this was the only movement Ravel could actually perform, miraculously captured on a 1925 piano roll. Scarbo, by contrast, was his piece de resistance, a scampering bow-legged forest goblin with a terrifying shriek. This is the perfect nightmare piece (especially for pianists, less so for listeners), notorious for its relentless driving intensity, orgiastic climaxes and a mysteriously ambiguous end, when the malevolent spirit simply evaporates into the ether.

The name of Italian composer Ferruccio Busoni has been inextricably linked with J.S.Bach, such that Bach-Busoni has as-

Programme notes by Chang Tou Liang

20:00

Tuesday, 10th October

Hong Kong City Hall Concert Hall

1st Prize, The 6th Hong Kong International Piano Competition 2022

with Members of the Logos Chamber Group : • Michael Brooks Reid (violin) • Pierre Doumenge (cello) This is what Jonas wrote to us when asked what he would like to play in our Joy of Music Festival: “When I think of the ‘Joy of Music’, I can’t think of anyone better than Beethoven to represent the joy of life, energy and vitality in all its dimensions. What I therefore have in mind is a grand programme consisting of the Piano Trio Op. 70, No. 1, in D major and the 33 Variations on a Theme by Diabelli Op. 120, in C major. It would be thrilling for me to play this mighty but also divinely-comical set of variations in your festival in Hong Kong and combine it with an energetic trio with the Logos Group who I enjoyed playing with so much in Eisenstadt last October”

PROGRAMME

First Part

LUDWIG VAN BEETHOVEN (1770 – 1827)

•

Piano Trio, Op. 70, No. 1, in D major “The Ghost” I – Allegro vivace et con brio II – Largo assai ed espressivo III – Presto

Jonas Stark (piano) Michael Brooks Reid (violin) Pierre Doumenge (cello) INTERMISSION

Second Part

LUDWIG VAN BEETHOVEN (1770 – 1827)

•

33 Variations on a Theme by Diabelli, Op. 120, in C major Tema: Vivace Variation 1 : Alla marcia maestoso Variation 2 : Poco allegro Variation 3 : L’istesso tempo Variation 4 : Un poco più vivace Variation 5 : Allegro vivace Variation 6 : Allegro ma non troppo e serioso Variation 7 : Un poco più allegro Variation 8 : Poco vivace

Variation 9 : Allegro pesante e risoluto Variation 10 : Presto Variation 11 : Allegretto Variation 12 : Un poco più moto Variation 13 : Vivace Variation 14 : Grave e maestoso Variation 15 : Presto scherzando Variation 16 : Allegro Variation 17 Variation 18 : Poco moderato Variation 19 : Presto Variation 20 : Andante Variation 21 : Allegro con brio Variation 22 : Allegro molto alla “Notte e giorno faticar” di Mozart Variation 23 : Allegro assai Variation 24 : Fughetta. Andante Variation 25 : Allegro Variation 26 Variation 27 : Vivace Variation 28 : Allegro Variation 29 : Adagio ma non troppo Variation 30 : Andante, sempre cantabile Variation 31 : Largo, molto espressivo Variation 32 : Fuga. Allegro Variation 33 : T e m p o d i M i n u e t t o moderato (aber nicht schleppend)

The “Young Talents” Series

Eugene HO Ngai Ting (piano) 1. JOHANN SEBASTIAN BACH (1685 – 1750)

•

Little Fugue in C major, BWV952

2. JOSEPH HAYDN (1732 – 1809)

• Sonata in C major, Hob XVI, No. 50 (1st movement)

3. ALBERTO GINASTERA (1916 – 1983)

• Suite de Danzas Criollas

2023 年 10 月10 日 ( 星期二 ) 香港大會堂音樂廳

20:00

喬納斯•斯塔克第六屆香港國際鋼琴大賽冠軍

LOG OS 室樂團成員：

及

• 米高．布魯克斯里（小提琴） •

佩爾•多明戈（大提琴）

當我們詢問喬納斯，想於「美樂聚」音樂節演奏甚麼，他這樣回覆：「每當我想起『美樂聚』時，要體現出生命的歡樂、能量和活力等，貝多芬最適合不過了。因此，我想到了由這些作品組作的節目：D 大調《鋼琴三重奏》作品 70，第 1 首、C 大調《以迪亞貝利為主題的三十三首變奏》作品 120。如果能夠於香港的『美樂聚』音樂節上，與 LOGOS 室樂團合奏，一同把這套強而有力、古怪美妙的變奏曲和充滿活力的三重奏結合起來，實在振奮人心；去年 10 月，我亦曾於艾森斯塔特 LOGOS 室樂團合奏，我非常享受其中。」

節目內容第一部份

貝多芬 (1770 – 1827)

•

變奏 9 : 沉重而堅決的快板

D 大調《鋼琴三重奏》作品 70，第 1 首〈幽靈〉

變奏 10 : 急板

I - 活潑有精神的快板

變奏 11 : 小快板

II - 非常慢的緩板

變奏 12 : 稍微更生動些

III - 急板

變奏 13 : 活潑地變奏 14 : 莊嚴的壯板

喬納斯•斯塔克（鋼琴）

變奏 15 : 諧謔的急板

米高．布魯克斯里（小提琴）

變奏 16 : 快板

佩爾•多明戈（大提琴）

變奏 17 變奏 18 : 略中速變奏 19 : 急板

中場休息

變奏 20 : 行板

第二部份

變奏 21 : 有生氣的快板變奏 22 : 甚快板，莫扎特《晝夜不停》

貝多芬 (1770 – 1827)

•

C 大調《以迪亞貝利為主題的三十三首變奏》作品 120

變奏 23 : 非常快的快板變奏 24 : 小賦格 . 行板

主題 : 活潑地

變奏 25 : 快板

變奏 1 : 行進般莊嚴地

變奏 26

變奏 2

變奏 27 : 活潑

略快板

變奏 28 : 快板

變奏 3 : 速度同上

變奏 29 : 不太快的柔板

變奏 4 : 稍微更活潑些

變奏 3 0 : 如歌的行板

變奏 5 : 活潑的快板

變奏 31 : 甚抒情的廣板

變奏 6 : 嚴肅而不太快的快板

變奏 32 : 賦格 . 快板

變奏 7 : 稍微更快些

變奏 33 : 適中小步舞曲的速度

變奏 8 : 略活潑

青少年音樂英才系列

何羿霆 ( 鋼琴 ) 1. JOHANN SEBASTIAN BACH (1685 – 1750)

•

Little Fugue in C major, BWV952

2. JOSEPH HAYDN (1732 – 1809)

• Sonata in C major, Hob XVI, No. 50 (1st movement)

3. ALBERTO GINASTERA (1916 – 1983)

• Suite de Danzas Criollas

Programme notes THE JOY OF MUSIC FESTIVAL 2023 10 October 2023 JONAS STARK, Piano 1st Prizewinner, 6th Hong Kong International Piano Competition 2022 The LOGOS Chamber Group BEETHOVEN Piano Trio in D major, Op.70 No.1 1. Allegro vivace e con brio 2. Largo assai ed espressivo 3. Presto BEETHOVEN Diabelli Variations, Op.120 Beethoven’s first published Opus was a trio of piano trios (Op.1) from 1895. This combo of piano, violin and cello had been established by Haydn and later adopted by Mozart. By the time of Beethoven’s two piano trios (Op.70) of 1808, he was already well-established as Vienna’s leading light, basking in his very productive “Middle Period”. Both trios were dedicated to the Hungarian-born Countess Anna Maria Erdödy, who had been supportive as a benefactor and generous landlord. An annual stipend established by her enabled Beethoven to remain in the Habsburg capital instead of seeking paid employment elsewhere. The Trio in D major (Op.70 No.1) has the unusual nickname – “Ghost” - in most part due to the eerie and haunting atmosphere conjured in its very slow central movement. Various sources have cited the witches’ scene in Macbeth (a scenario from a proposed opera) and the ghosts of Banquo or Hamlet’s father as possible inspirations, but the originality of Beethoven’s writing has never been in doubt. Cast in sombre D minor, a throbbing pulse is established, later sustained by long stretches of tremolos and bass trills on the piano, over which strings pursue a sobbing melody. The air is heavily laden with tension, never letting up until the final page. In stark contrast, the outer movements are sunny and cheerful in disposition. The opening five bars see all three instruments in unison before dwelling on a carefree second theme marked dolce (sweetly). The development sees both themes locked in close embrace, with honours mostly shared equally and the unison theme having the last word. After the slow movement’s intense brooding, the finale’s Presto comes as a welcome release. Its folk-like melodies (including one marked dolce, again) and another unison theme make for pleasurable listening, a case of arch seriousness compensated by levity. Beethoven was indeed a personality of extremes.

son Franz Xaver, the pre-teen Liszt and many others, like Assmayer, von Bocklet and Czapek, long forgotten. The irascible Beethoven dismissed the idea out of hand but later changed his mind by writing 33 variations including a terrific fugue near the end. His masterpiece, completed in 1823, is to the early Romantic era what J.S.Bach’s Goldberg Variations was to the Baroque. Beethoven’s variations, which run from 45 minutes to just over an hour, may be enjoyed for its sheer inventiveness, ironic humour and ultimately visionary prowess. The frivolity of Diabelli’s giddy little waltz is immediately deflated by a syncopated march (Var.1) of pomp and inflated selfimportance, providing a clue to Beethoven’s state of mind. What follows is a succession of variations (each comprising two repeated sections) taking one further away from the source, with the waltz soon becoming a faint memory. The pace also hastens, from Poco allegro (Var.2), Un poco piu allegro (Var.7), Poco vivace (Var.8) to Presto (Var.10, without repeats). A reset takes place (Var.11) where the variations begin to display very marked contrasts. The alternating loud and soft chords of Vivace (Var.13), lumbering and slow funereal procession (Var.14), staccato lightness of Presto scherzando (Var.15) and 19th century premonition of boogie woogie (Vars.16 and 17, echoing a similar variation in Beethoven’s final Op.111 sonata) all make this an endlessly fascinating work. A deliberate quote of the aria Notte e giorno faticar from Mozart’s opera Don Giovanni (Var.22) offers wry humour, about man-servant Leporello slaving under an ungrateful employer. Was this Freudian or something more explicit? A fughetta or little fugue (Var.24) serves as a harbinger of things to come. As if to relive the famously slow minor key variation in Bach’s Goldberg Variations known as the “black pearl”, Beethoven pens a moving tribute of his own in C minor (Vars.29, 30 and 31), the last being the longest variation and most emotionally rapt music of the entire set. This leads directly into the fugue (Var.32), a masterpiece of counterpoint which gathers in pace, and becomes the work’s true climax. Instead of closing with a big bang, Beethoven opts instead for a gentle Tempo di Minuetto with the direction “not to drag” (ma non tirarsi dietro / aber nicht schleppend) and a quietly sublime close. To be sure, a single loud chord announces definitively “the end”.

Programme notes by Chang Tou Liang

The story of Beethoven’s Diabelli Variations is worth repeating. The publisher Anton Diabelli had written a waltzlike ditty in 1819 and invited the Who’s Who of Vienna’s musical society to contribute a variation each. People who responded included Czerny, Hummel, Schubert, Mozart’s 9

2023 年 10 月11 日 ( 星期三 ) 香港大會堂音樂廳

20:00

蘭殊．高夫斯基

（鋼琴）

20 05 年第一屆香港國際鋼琴大賽冠軍

朱塞佩．安達羅洛

（鋼琴）

2011 年第三屆香港國際鋼琴大賽冠軍

及 LOG OS 室樂團：米高．布魯克斯里（小提琴）西倫．麥卡比（小提琴）喬爾•亨特（中提琴）佩爾•多明戈（大提琴）

節目內容第一部份

布拉姆斯 (1833 – 1897)

•

雙鋼琴《海頓主題變奏曲》，作品 56b，〈聖安東尼聖詠〉

中場休息第二部份

法朗克 (1822 – 1890)

蘭殊．高夫斯基（鋼琴）

•

朱塞佩．安達羅洛（鋼琴）

蘭殊．高夫斯基（鋼琴）米高．布魯克斯里（小提琴）西倫．麥卡比（小提琴）喬爾•亨特（中提琴）佩爾•多明戈 ( 大提琴 )

1. 主題聖安東尼聖詠：慢板 2 . 變奏 I

: 稍稍再活躍一點

3 . 變奏 II

: 更活潑

4 . 變奏 III

: 活躍的

5 . 變奏 IV : 帶有動感的行板 6 . 變奏 V

F 小調《鋼琴五重奏》

I - 近乎緩板的中板

: 活潑的（漸急）

7. 變奏 VI : 活潑的

II - 頗傷感的緩板

8 . 變奏 VII : 優美的

III - 熱情而不太快的快板

9 . 變奏 VIII : 不太快的急板 10 . 終曲

: 行板

柴可夫斯基 (1840 – 1893)

•

雙鋼琴《胡桃夾子》組曲

蘭殊．高夫斯基（鋼琴）朱塞佩．安達羅洛（鋼琴） 1. 小序曲 2 . 進行曲 3 . 糖梅仙子之舞 4 . 俄羅斯之舞 5 . 阿拉伯之舞 6 . 中國之舞 7. 蘆笛之舞 8 . 花之圓舞曲

青少年音樂英才系列

林文茵 ( 鋼琴 ) 1. JOHANN SEBASTIAN BACH (1685 – 1750)

• Fantasia and Fugue in C Minor, BWV 906

2. FRÉDÉRIC CHOPIN (1810 – 1849)

• Nocturne No.21, in C Minor, Op. Posth

3. CARL CZERNY (1791 – 1857)

• The Art Of Finger Dexterity, Op.740, No.16

20:00

Wednesday, 11th October

Hong Kong City Hall Concert Hall

Ilya RASHKOVSKIY (piano) 1st Prize, The 1st Hong Kong International Piano Competition - 2005

Giuseppe ANDALORO (piano) 1st Prize, The 3rd Hong Kong International Piano Competition - 2011

& The LOGOS Chamber Group: Michael Brooks Reid (violin), Ciaran McCabe (violin), Joel Hunter (viola), Pierre Doumenge (cello)

Ilya Rashkovskiy

PROGRAMME

Giuseppe Andaloro

First Part

INTERMISSION

JOHANNES BRAHMS (1833 – 1897)

•

Variations on a Theme by Haydn for 2 Pianos, Op.56 b, “St. Antoni Chorale”

Ilya Rashkovskiy (piano) Giuseppe Andaloro (piano) 1. Theme St. Antoni Chorale . Andante 2. Variation I : Poco più animato 3. Variation II : Più vivace 4. Variation III : Con moto 5. Variation IV : Andante con moto 6. Variation V : Vivace (Poco presto) 7. Variation VI : Vivace 8. Variation VII : Grazioso 9. Variation VIII: Presto non troppo 10. Finale. Andante

PYOTR ILYCH TCHAIKOVSKY (1840 – 1893)

•

The Nutcracker Suite for two pianos

Ilya Rashkovskiy (piano) Giuseppe Andaloro (piano) 1. 2. 3. 4. 5. 6. 7. 8.

Ouverture miniature Marche Danse de la Fée-Dragée Danse Russe Danse Arabe Danse Chinoise Danse des Mirlitons Valse des Fleurs

Second Part

CÉSAR FRANCK (1822 – 1890)

•

Piano Quintet, in F minor

Ilya Rashkovsky (piano) Michael Brooks Reid (violin) Ciaran McCabe (violin) Joel Hunter (viola) Pierre Doumenge (cello) I – Molto moderato quasi lento II – Lento con molto sentimento III – Allegro non troppo ma con fuoco

The “Young Talents” Series

Vivienne LAM Man Yan (piano) 1. JOHANN SEBASTIAN BACH (1685 – 1750)

• Fantasia and Fugue in C Minor, BWV 906

2. FRÉDÉRIC CHOPIN (1810 – 1849)

• Nocturne No.21, in C Minor, Op. Posth

3. CARL CZERNY (1791 – 1857)

• The Art Of Finger Dexterity, Op.740, No.16

Programme notes THE JOY OF MUSIC FESTIVAL 2023 11 October 2023 ILYA RASHKOVSKIY, Piano 1st Prizew inner, 1st Hong Kong Internationa l Piano Competition 2005 GIUSEPPE ANDALORO, Piano 1st Prizewinner, 3rd Hong Kong International Piano Competition 2011 The LOGOS Chamber Group BRAHMS Variations on a Theme by Haydn, Op.56b TCHAIKOVSKY-ECONOMOU Nutcracker Suite FRANCK Piano Quintet in F minor 1. Molto moderato quasi lento - Allegro 2. Lento con molto sentimento 3. Allegro non troppo, ma con fuoco Johannes Brahms’ Variations on a Theme by Haydn is widely considered his first major work for the orchestra, receiving its premiere in Vienna in 1873. A few months prior to that, he and close friend Clara Schumann had performed its edition for two pianos at a private concert in Bonn. Both versions have become staples of the orchestral and piano duo repertoire. The theme in question, also known as the St Anthony Chorale, was not actually composed by Joseph Haydn, but found in a book of wind partitas harmonised by him. In Christian churches, it is known as the hymn We, Thy People, Praise Thee. The work comprises the chorale, by eight variations and a finale, displaying Brahms’ originality and maturity as a composer. The alternating fast and slow tempi, major and minor keys, ensure that the variations hold the interest throughout. The finale is a passacaglia, itself a set of short variations on a ground bass, foreshadowing the glorious finale of his Fourth Symphony. The Nutcracker, Piotr Tchaikovsky’s final ballet, was premiered in 1892. The Christmas setting in E.T.A.Hoffmann’s original story has made it a seasonal favourite with ballet companies worldwide. A suite comprising eight movements was performed several months before its premiere, condensing the 90-minute ballet into a concert hall staple. It gained further popularity with Walt Disney’s 1940 animated classic Fantasia. Concert pianists are in the debt of Cypriot pianist and all-round polymath Nicolas Economou (1953-1993) for his totally idiomatic transcription Nutcracker Suite for two pianos, which he recorded with Martha Argerich on Deutsche Grammophon. The suite opens with a Miniature Overture, followed by six characteristic dances including the Dance of the Sugar Plum Fairy, and closes with the Waltz of the Flowers. 12

Although many consider Cesar Franck a French composer, he was born in Liege in Belgium. His only piano quintet (1879) was dedicated to Camille Saint-Saëns, who performed at its Paris premiere in 1880. Despite having given an excellent rendition by all accounts, Saint-Saëns stalked off the piano disgusted, leaving the score behind him. What had caused this uncharacteristic tantrum and pique of emotion? Playing for about 35 minutes, it is a vast, ambitious and sprawling work fraught with deep and intense emotions. Mostly dark and forbidding, looking ahead to the late music of Fauré, Franck does however allow for slivers of sunshine to emerge. The opening presents two main themes, the first a declamatory statement of descending notes from the strings and the second a more relaxed plaint from the piano. The interplay between the two and a yearning and typically Franckian third theme forms the long first movement’s development. Franck has often been compared with Wagner because of his use of recurrent short themes or leitmotifs. Their reappearance in various movements, referred to as cyclical form, lends a work a certain unity and tautness. Listen carefully to the peaceable slow movement for this effect of déjà vu. The final returns to an earlier febrile state, with raw nerves exposed and frayed, ratcheted to a climax of anguished frenzy. Themes from the first movement are recalled, but there is little respite as the work ends angrily with bare piano octaves in unison with the strings. Saint-Saëns, renowned for his civility and mostly cheerful music, must have been mightily outraged!

Programme notes by Chang Tou Liang

20:00

Thursday, 12th October

Hong Kong City Hall Concert Hall

Honggi Kim (piano)

1st Prize, The 5th Hong Kong International Piano Competition - 2019

& The LOGOS Chamber Group: Michael Brooks Reid (violin), Ciaran McCabe (violin), Joel Hunter (viola), Pierre Doumenge (cello) PROGRAMME INTERMISSION

First Part Second Part

CLARA SCHUMANN (1819 – 1896)

•

Nocturne in F major, Op.6, No.2

JOHANNES BRAHMS (1833 – 1897)

•

ROBERT SCHUMANN (1810 – 1856)

•

Fantasie, in C major, Op.17

I. Durchaus fantastisch vorzutragen; Im Legenden-Ton (Quite fantastic and passionately delivered, in the tone of a legend) II. Mäßig Durchaus energisch (Moderate. Quite energetic) (In E flat major) III. Langsam getragen. Durchweg leise zu halten (Taken slowly. Keep quite throughout)

•

Arabesque, in C major, Op.18

Honggi Kim (piano)

Piano Quintet, in F minor, Op. 34

Honggi Kim (piano) Michael Brooks Reid (violin) Ciaran McCabe (violin) Joel Hunter (viola) Pierre Doumenge (cello) I – Allegro non troppo – Dev. – Recap. – Poco sostenuto – Tempo I II – Andante, un poco adagio III – Scherzo: Allegro – Trio – Scherzo da capo al fine IV – Finale: Poco sostenuto – Allegro non troppo – Presto, non troppo

The “Young Talents” Series

Parson TAM (cello) 1. JOSEPH HAYDN (1732 – 1809)

• Cello Concerto No.1 in C major, (1st movement)

2. FELIX MENDELSSOHN (1809 – 1847)

• Cello Sonata No.2, in D major, Op.58, (1st movement)

2023 年 10 月12 日 ( 星期四 )

20:00

香港大會堂音樂廳

金弘基

（鋼琴）

2019 年第五屆香港國際鋼琴大賽冠軍

及 LOG OS 室樂團：米高．布魯克斯里（小提琴）西倫．麥卡比（小提琴）喬爾•亨特（中提琴）佩爾•多明戈（大提琴）節目內容中場休息

第一部份第二部份

舒曼 (1819 – 1896) • F 大調《夜曲》作品 6，第二首

布拉姆斯 (1833 – 1897) • F 小調《鋼琴五重奏》作品 34

舒曼 (1810 – 1856) • C 大調《幻想曲》作品 17 I. Durchaus fantastisch vorzutragen; Im Legenden-Ton ( 充滿幻想和熱情的演奏，以傳奇的音調 )

II. Mäßig Durchaus energisch ( 中板，保持活力地 ) ( 降 E 大調 )

金弘基（鋼琴）米高．布魯克斯里（小提琴）西倫．麥卡比（小提琴）喬爾•亨特（中提琴）佩爾•多明戈 ( 大提琴 )

III. Langsam getragen. Durchweg leise zu halten ( 緩慢，而沉靜地 )

•

I. 不太過分地急速 – 發展 – 再現 – 持續的 – 起始速度 II. 行板，慢一點 III. 詼諧曲：快板 – 三重奏 – 詼諧曲反始

C 大調《阿拉貝斯克》作品 18

IV. 終曲：稍持續 – 不太過分地急速 – 不過分的急版

金弘基（鋼琴）

青少年音樂英才系列

譚栢淳 ( 大提琴 ) 1. JOSEPH HAYDN (1732 – 1809)

• Cello Concerto No.1 in C major, (1st movement)

2. FELIX MENDELSSOHN (1809 – 1847)

• Cello Sonata No.2, in D major, Op.58,

(1st movement)

Programme notes THE JOY OF MUSIC FESTIVAL 2023 12 October 2023 HONGGI KIM, Piano 1st Prizewinner, 5th Hong Kong International Piano Competition 2019 The LOGOS Chamber Group CLARA SCHUMANN Nocturne in F major, Op.6 No.2 ROBERT SCHUMANN Fantasie in C major, Op.17 1. Durchaus phantastisch und leidenschaftlich vorzutragen 2. Mässig. Durchaus energisch 3. Langsam getragen. Durchaus leise zu halten ROBERT SCHUMANN Arabeske, Op.18 BRAHMS Piano Quintet in F minor 1. Allegro non troppo 2. Andante, un poco adagio 3. Scherzo: Adagio 4. Finale: Poco sostenuto – Allegro non troppo Honggi Kim’s programme is centred on one of classical music’s most famous love triangles, that of the Schumanns – Robert and his wife Clara – and the young Johannes Brahms. Lest one gets sordid ideas, this relationship was one based on mutual respect, healthy adoration and abiding friendship that lasted from 1853 to the deaths of Clara and Brahms in 18961897. Clara Wieck was a child prodigy pianist under the strict and regimented tutelage of her father Friedrich Wieck. All this changed in 1828 when the student Robert Schumann, nine years her senior, entered into the household as her father’s student and boarder. Then began a famous love affair, strongly objected to by Wieck, which finally resulted in their marriage in 1840. Besides being Europe’s most revered pianist, Clara Schumann was an accomplished composer herself, writing solo piano and chamber music, and even a piano concerto. The Nocturne that opens this recital is the second movement from her Soirees Musicales (Op.6). If this charming 1834 piece resembles the early nocturnes of Chopin, that would be due to the influence of John Field, the inventor of the “night piece” himself. Robert Schumann’s Fantasie was first conceived in 1836 after Franz Liszt had started a fund towards erecting a monument in homage of Beethoven in his birthplace of Bonn. Schumann had originally named its three movements Ruins, Trophies and Palms as part of a Grand Sonata for Beethoven’s Monument but eventually settled for the far less cumbersome title of Fantasie, which was published in 1839.

The passionate nature of the music is an outpouring of love from its outset rather than a mere mark of respect. This is a love poem for his beloved Clara and a quote from the final song of Beethoven’s An die ferne Geliebte appears at the end of first movement, its nostalgic and retiring character in marked contrast with the angst and travails that come before. Widely spread chords hail the second movement, a grand march which imperiously sweeps everything on its path. This is one of Schumann’s most notoriously virtuosic movements, with fearsome octave leaps for both hands at its conclusion. For the finale, Schumann opts for a slow movement. Emerging from a dreamy reverie, a kernel of a theme undergoes a gradual crescendo and builds up to a passionate chordal climax. Incidentally, this noble theme would later reappear in a more whimsical guise in Schumann’s next opus, the brief but lovely Arabeske (Op.18), which Kim performs after the Fantasie. Without further development, this glorious episode is reprised, before culminating with a rapturous coda and quiet ending. Johannes Brahms was notoriously finicky about his chamber music, and was known to have discarded much of his early chamber works. What survived the cull has however withstood the test of posterity, with his sole piano quintet as a shining example of what happens when good music gets “recycled”. The work began life as a string quintet (with two cellos), then refashioned as a sonata for two pianos (catalogued as Op.34b, a favourite of piano duos), and finally in 1864 as a piano quintet, one of the greatest of its kind. Brahms had yet to pen his first symphony, but one finds early aspirations to that cause in the quintet’s form, structure and sound. The works opens quietly with a plain statement of the pensive but unusually absorbing main theme played by piano, violin and cello in unison. This is merely the prelude to the storms and stresses to come, a stark contrast with the serenity of the slow movement which reaches rare heights of nobility. The scherzo begins quietly but rapidly works itself into a state of agitation and frenzy, incorporating a motif from the first movement as its main rhythmic thrust. A majestic sounding Trio provides some respite before a return to the earlier upheaval. The finale begins on a sombre note (shades of the yet unwritten First Symphony) before lightening up and gaining in tempo. This culminates in music of raw power and energy for a passionate close, fully vindicating the young Brahms’ reputation as Beethoven’s musical heir.

Programme notes by Chang Tou Liang

2023 年 10 月13 日 ( 星期五 ) 香港大會堂音樂廳

盧卡．奧克羅斯

20:00

（鋼琴）

2016 年第四屆香港國際鋼琴大賽冠軍

金弘基

（鋼琴）

2019 年第五屆香港國際鋼琴大賽冠軍

節目內容第一部份

•

蕭邦 (1810-1849)

• •

I) 前奏 II) 圓舞曲

B 小調《第一號詼諧曲》作品 20

III) 浪漫曲

降 B 小調《第二號詼諧曲》作品 31

IV) 塔朗特舞曲

盧卡．奧克羅斯（鋼琴）

• •

C 小調《第二號組曲》作品 17

升 C 小調《第三號詼諧曲》作品 39

盧卡．奧克羅斯（鋼琴）金弘基（鋼琴）

E 大調《第四號詼諧曲》作品 54

金弘基（鋼琴）中場休息第二部份

拉赫曼尼諾夫 (1873 – 1943) • G 小調《第一號組曲》作品 5 以音樂演繹四首詩歌

羅心攸 ( 鋼琴 )

1. 船歌，稍快板，G 小調 - 萊蒙托夫

1. GABRIEL FAURÉ (1845 – 1924)

2 . 愛之夜，持續的慢板，D 小調 - 拜倫勳爵 3 . 眼淚，. 非常慢的，G 小調 - 秋切夫 4 . 復活節，莊嚴的快板，G 小調 - 霍米亞科夫

金弘基（鋼琴）盧卡．奧克羅斯（鋼琴）

青少年音樂英才系列

• Barcarolle No.4, Op.44

2. FRÉDÉRIC CHOPIN (1810 – 1849)

• Variations Brillantes, Op.12

20:00

Friday, 13th October

Hong Kong City Hall Concert Hall

Luka OKROS (piano)

1st Prize, The 4th Hong Kong International Piano Competition - 2016

Honggi Kim (piano) 1st Prize, The 5th Hong Kong International Piano Competition - 2019

PROGRAMME First Part

FRÉDÉRIC CHOPIN (1810-1849)

• •

Scherzo No.1, in B minor, Op.20 Scherzo No.2, in B flat minor, Op.31

Luka Okros (piano)

• •

Scherzo No.3, in C-sharp minor, Op.39 Scherzo No.4, in E major, Op.54

•

Suite No.2, in C minor, Op.17 I – Introduction II – Valse III – Romance IV – Tarantella

Luka Okros (piano) Honggi Kim (piano)

Honggi Kim (piano) INTERMISSION Second Part

SERGEI RACHMANINOFF (1873 – 1943)

•

Suite No.1, in G minor, Op.5 A musical depiction of four poems 1. Barcarolle. Allegretto, in G minor - After Mikhail Lermontov 2. La nuit ... L’ amour ... Adagio sostenuto, in D minor - After Lord Byron 3. Les larmes. Largo di molto, in G minor - After Fyodor Tyutchev 4. Pâques. Allegro maestoso, in G minor - After Aleksey Khomyakov

Honggi Kim (piano) Luka Okros (piano)

The “Young Talents” Series

LO Sum Yau (piano) 1. GABRIEL FAURÉ (1845 – 1924)

• Barcarolle No.4, Op.44

2. FRÉDÉRIC CHOPIN (1810 – 1849)

• Variations Brillantes, Op.12

Programme notes THE JOY OF MUSIC FESTIVAL 2023 13 October 2023 LUKA OKROS, Piano 1st Prizewinner, 4th Hong Kong International Piano Competition 2016 HONGGI KIM, Piano 1st Prizewinner, 5th Hong Kong International Piano Competition 2019 CHOPIN Scherzo No.1 in B minor, Op.20 CHOPIN Scherzo No.2 in B flat minor, Op.31 CHOPIN Scherzo No.3 in C sharp minor, Op.39 CHOPIN Scherzo No.4 in E major, Op.54 RACHMANINOV Suite No.1, Op.5 1. Barcarolle 2. La nuit… L’amour 3. Les larmes 4. Paques RACHMANINOV Suite No.2, Op.17 1. Introduction: Alla marcia 2. Valse: Presto 3. Romance: Andantino 4. Tarantella: Presto This recital shared by Luka Okros and Honggi Kim opens with Frederic Chopin’s four Scherzos, significant standalone works not composed as a single set but spaced apart over a period of ten years. These were conceived alongside his four Ballades, marking stark contrasts in mood and inspiration. While the Ballades are poetic, the Scherzos are quixotic, both forms (often coupled on disc) revealing Chopin at his most intuitive and devastatingly creative. Although Scherzo is the Italian term for “joke”, there is little that is slapstick, the inherent humour instead hinging on the ironic, often manifested as abrupt and dramatic shifts in the narrative. Two dissonant crashing chords announce the First Scherzo (1831-32), marked by restlessness and turbulence for most part. This level of violence is Chopin at his most extreme, sharply contrasted by the gently rocking lullaby of the middle section quoting the Polish folksong Sleep, Little Jesus, Sleep. The return of the two chords signals a resumption of the earlier agitation, closing the work with a trail of blazing fireworks. The Second Scherzo (1837), the most performed of the tetralogy, is premised on a sequence of mysterious triplets played on both hands, answered emphatically by chords. The initial irritability is mitigated by a chorale in A major within a contrasted trio section, then leading into a thrilling development. The ominous triplets return but gloom turns into glory, with a brilliant conclusion in triumphant D flat major. The Third Scherzo (1839) is the briefest of the four, but echoes its predecessor by opening with apparent restlessness. Its quicksilver runs of octaves herald a radiant chorale subject, answered by scintillating cascades. The title of Scherzo is most apt here, as one never quite expects what will happen next. 18

The short-winded work, without warning, soon launches into a tumultuous coda and closes violently. The Fourth Scherzo (1842), cast in a major key, is the elusive yet most elegant. Playful and mercurial, it brings to mind the elfin lightness of Chopin’s contemporary Felix Mendelssohn. A central Piu lento section attempts a calming influence, but the respite is short-lived. Returning to earlier hyperactivity, a sweeping ascending scale on both hands closes this fleet-fingered masterpiece on a spectacular note. The two suites for two pianos by Sergei Rachmaninov are among the most performed works in this medium. The reasons are totally understandable, with the lush idiom of late Romanticism united by a fulfilling sense of pianistic achievement. Both are early works, with the First Suite (1893) dating from his student days. It carried the title FantaisieTableaux, an indication that the four movements dedicated to his mentor Tchaikovsky were musical pictures that told a story. The pieces were also published with excerpts from poems by Lermontov, Byron, Tyutchev and Khomyakov, also suggesting literary inspirations. The opening Barcarolle is a gondolier’s song, the lilt of its gentle rocking rhythm is simple yet evocative. A Night For Love revels in the trilling song of a nightingale, a romance that gets more frenzied as it progresses. In Tears, a repetitive descending four-note motif soon gets consumed in a carillon of mourning bells. This is a funeral procession in Rachmaninov’s own version of proto-minimalism. Bells of a different kind greet the pomp and pageantry of Russian Easter. A Russian orthodox hymn is incorporated into the glorious pealing as the suite is brought to a heady ceremonial close. The more often performed (and recorded) Second Suite (1901) was composed after recovering from a period of depression and writer’s block, triggered by the calamitous premiere of Rachmaninov’s First Symphony in 1897. Rehabilitated by auto-suggestion therapy, this new-found creativity also saw the birth of his Second Piano Concerto (Op.18) and Cello Sonata (Op.19). All three works are united by a glorious gift of melody. The Introduction is a quick march, its crunching chords generating loudness often in expense of lightness and swiftness. Technically more difficult than it sounds, the same may be said for the ensuing Waltz, which risks wheeling out of control with its impossibly fast speeds and tricky syncopations. Virtuoso piano duos make it sound positively easy. It takes a different kind of virtuosity to craft a seamless cantabile line in the achingly beautiful Romance, the only slow movement in four. The closing Tarantella is a tour de force of rapidly swirling rhythm, making for a giddying finale of sheer exuberance. Little wonder that vertiginous tarantella rhythms would later figure to close two major works, Rachmaninov’s Second Symphony (Op.27) and First Piano Sonata (Op.28).

Programme notes by Chang Tou Liang

20:00

Saturday, 14th October

Hong Kong City Hall Concert Hall

Alvaro Pierri & Giuseppe Andaloro (guitar)

(piano)

THIS PERFORMANCE WILL BE PLAYED WITHOUT AN INTERMISSION

SERGEI RACHMANINOFF (1873-1943)

ALBERTO GINASTERA (1916-1983)

•

• •

Variations on a Theme of Corelli, Op.42 Theme. Andante Variation 1 : Poco piu mosso Variation 2 : L’istesso tempo Variation 3 : Tempo di minuetto Variation 4 : Andante Variation 5 : Allegro (ma non tanto) Variation 6 : L’istesso tempo Variation 7 : Vivace Variation 8 : Adagio misterioso Variation 9 : Un poco piu mosso Variation 10 : Allegro scherzando Variation 11 : Allegro vivace Variation 12 : L’istesso tempo Variation 13 : Agitato Intermezzo Variation 14 : Andante (come prima) Variation 15 : L’istesso tempo Variation 16 : Allegro vivace Variation 17 : Meno mosso Variation 18 : Allegro con brio Variation 19 : Piu mosso. Agitato Variation 20: Piu mosso Coda. Andante

Giuseppe Andaloro (piano)

Cancion Puneña & Milonga Sonata for guitar, Op. 47 I – Esordio II – Scherzo III – Canto IV – Finale

Alvaro Pierri (guitar)

“JOYFUL IMPROVISATIONS”

•

… on beloved music from Beatles, Gardel, Piazzolla, Brouwer, Guinga, Garôto a.o.

Alvaro Pierri (guitar) Giuseppe Andaloro (piano) The “Young Talents” Series

Cynthia SUN Xinyan (guitar) 1. NICCOLO PAGANINI (1782 - 1840)

• Caprice no.24

2. LEO BROUWER (1939)

• Sonata (1990)

2nd movement, Sarabande de Scriabin 3rd movement, La Toccata de Pasquini

2023 年 10 月14 日 ( 星期六 ) 香港大會堂音樂廳

20:00

「美樂聚獨奏與二重奏」

呈獻

阿爾瓦羅•皮耶里

朱塞佩．安達羅洛

( 結他 )

( 鋼琴 )

演出將無間斷進行，不設中場休息。

拉赫曼尼諾夫（1873-1943） • 科賴里主題變奏曲 , 作品 42 主題

行板

變奏 1 ：

稍快一點

變奏 2 ：

同樣速度

變奏 3 ：

小步舞曲速度

變奏 4 ：

行板

變奏 5 ：

快板 ( 不過份快的 )

變奏 6 ：

相同速度

變奏 7 ：

活潑的

變奏 8 ：

神秘的慢板

變奏 9 ：

稍微更快一點

變奏 10 ：

詼諧的快板

變奏 11 ：

活潑的快板

變奏 12 ：

相同速度

變奏 13 ：

激動的

間奏曲變奏 14 ：

行板 ( 如初 )

變奏 15 ：

相同速度

變奏 16 ：

活潑的快板

變奏 17 ：

速度轉慢

變奏 18 ：

有活力的快板

變奏 19 ：

速度轉快激動的

變奏 20 ：

速度轉快

尾聲

行板

朱塞佩．安達羅洛（鋼琴）

珍納斯特拿（1916-1983） • 普內尼亞之歌與米隆加 • 結他奏鳴曲 , 作品 47 I) 引子 II) 詼諧曲 III) 詩章 IV) 終曲

阿爾瓦羅•皮耶里（結他）

“美樂聚即興演奏” ……結合披頭四樂隊、葛戴爾、皮亞佐拉、布勞威爾、古因加、加羅托等受人喜愛的音樂作品。

阿爾瓦羅•皮耶里（結他）朱塞佩．安達羅洛（鋼琴）

青少年音樂英才系列

孫欣妍 (結他) 1. NICCOLO PAGANINI (1782 - 1840)

• Caprice no.24

2. LEO BROUWER (1939)

• Sonata (1990)

2nd movement, Sarabande de Scriabin 3rd movement, La Toccata de Pasquini

Programme notes THE JOY OF MUSIC FESTIVAL 2023 14 October 2023 ALVARO PIERRI, Guitar GIUSEPPE ANDALORO, Piano 1st Prizewinner, 3rd Hong Kong International Piano Competition 2011 RACHMANINOV Variations on a Theme of Corelli, Op.42 GINASTERA Sonata for Guitar, Op.47 1. Esordio 2. Scherzo 3. Canto 4. Final JOYFUL IMPROVISATIONS Sergei Rachmaninov wrote three important sets of variations for piano. Composed in 1931, the Corelli Variations (Op.41) date from his years of exile from Russia. He had left with his family for the West in 1917, escaping the political turmoil which saw his family’s country estate in ruins. He never returned. As his creative spark had also deserted him, he was to devote his life performing piano recitals, recording and conducting. The small handful of works composed away from his homeland included his Fourth Piano Concerto (Op.40), Third Symphony (Op.44), Symphonic Dances (Op.45) and the Paganini Rhapsody (Op.43), with which these variations are closely allied.

justice to the instrument. Under pressure from Brazilian guitarist Carlos Barbosa-Lima, the sonata was composed in a short time and premiered in Washington D.C. in the same year with great success. The first movement Esordio is a voluptuous call to the gods in the cadential first section, becoming almost ceremonial and plaintive in the second section with the insertion of some rhythmic motifs and airs hailing from the Antiplano region of the Andes. In the Scherzo, laconic phrasing, dissonances and rhythmic rapid textures evoke folk tunes and dances from the Pampas, the enormous and flat Argentinian plains. Humourous references include an insert evoking material from Wagner’s Sixtus Beckmesser (the music critic in Meistersinger) personage. Canto is a musical manifestation from Ginastera’s period of neo-expressionism, a time of his life coloured by a troubled but lucid and poetic lyricism. Final, is a dance of dances in which the strumming guitar technique of folk guitarists of Argentina and Uruguay is the main inspiration, principal protagonist and driver of the piece. This concert without intermission concludes with Alvaro Pierri and Giuseppe Andaloro joyfully improvising on melodies by the Beatles, Piazzolla, Gardel, Brouwer, Jobim and others...

Programme Notes by Chang Tou Liang (Rachmaninov) and Alvaro Pierri (Ginastera)

The theme in question, La Folia or Folies d’Espagne (The Follies of Spain), was not by Arcangelo Corelli, but a 15th century Iberian theme used as a dance. Corelli has merely appropriated it in a set of variations for violin, which was performed in his own arrangement by Fritz Kreisler, Rachmaninov’s regular duo partner. La Folia is also heard as the opening theme in Franz Liszt’s popular Spanish Rhapsody. Dedicated to Kreisler, the work comprises the simple theme, 20 variations and a coda. While set in D minor, the cadenza in Variation 14 transitions from B flat minor into D flat major for Variation 15, a device that was gloriously repeated in Variations 17 and 18 of the Paganini Rhapsody. Rachmaninov performed this in recital, often omitting variations depending on how attentive he thought his audience was. On one occasion when there were too many coughs heard, he performed just 10 variations, which much have been the shortest performance of this work ever! The Argentine composer Alberto Ginastera’s Guitar Sonata was composed in 1976, when he was living in Geneva, and was immediately acclaimed as one of the major work for the instrument. He had waited 40 years to compose for the guitar, having felt he was not prepared enough to do 21

2023 年 10 月15 日 ( 星期日 ) 香港大會堂音樂廳

20:00

節目內容第一部份

中場休息

皮亞佐拉 (1921 – 1992)

- CUATRO ESTACIONES PORTEÑAS ( 布宜諾斯艾利斯的四季 )

第二部份

韋華第 (1678 – 1741) -

四季

《四季》是意大利作曲家韋華第創作的四首小提琴協奏曲， T he Cuat ro Est aciones Por teñas，即《四季》或《布

每首協奏曲都分別用音樂演繹了一個季節。

宜諾斯艾利斯的四季》，是皮亞佐拉的一系列探戈作品，雖

《四季》中，韋華第亦附以四首十四行詩描述，不少人都認

然皮亞佐拉偶爾會同時演奏，但他們最初並未被視為組曲，

為由作曲家原創，並以協奏曲的形式表達這四首十四行詩。

而是被視作不同作品。

從每首協奏曲由三個樂章組成（快 - 慢 - 快）可見，每首協

Otoño (秋天 ) Invierno (冬天 ) Primavera (春天 ) Verano (夏天 ) 結他：阿爾瓦羅•皮耶里小提琴：米高．布魯克斯里小提琴：西倫．麥卡比中提琴：喬爾•亨特大提琴：佩爾•多明戈鋼琴：朱塞佩．安達羅洛

奏曲都分為三個意念或樂句。《四季》可以被納入「標題音樂」類別，藉由音樂來表現音樂以外的事物。

《春》E 大調第一協奏曲，作品 8，RV 269 I) 快板 II) 廣板 III) 快板

《夏》– G 小調第二協奏曲，作品 8，RV 315 I) 不太快的快板 II) 柔板 III) 急板

《秋》– F 大調第三協奏曲，作品 8，RV 293 I) 快板 II) 極柔板 III) 快板

《冬》– F 小調第四協奏曲，作品 8，RV 297 I) 不太快的快板 II) 廣板 III) 快板

青少年音樂英才系列

第一小提琴 : 西倫．麥卡比

朱婧曦 (小提琴 )

第一小提琴 : Camille Poon

1/. MAX BRUCH (1838 – 1920)

第二小提琴 : Vince Chua

• Concerto in G minor, Op.26 I. Vorspiel , Allegro Moderato II. Adagio

小提琴獨奏 : 米高．布魯克斯里

第二小提琴 : Ciaran McCabe 中提琴 : 喬爾•亨特大提琴 : 佩爾•多明戈低音提琴 : Yvonne Chan 古鍵琴 : 朱塞佩．安達羅洛

20:00

Sunday, 15th October

Hong Kong City Hall Concert Hall

PROGRAMME

INTERMISSION

First Part

ASTOR PIAZZOLLA (1921 – 1992)

- CUATRO ESTACIONES PORTEÑAS (THE FOUR SEASONS OF BUENOS AIRES) The Cuat ro Est ac iones Por teñas, also known as the Estaciones Porteñas or The Four Seasons of Buenos Aires, are a set of four tango compositions written by Ástor Piazzolla, which were originally conceived and treated as different compositions rather than one suite, although Piazzolla performed them together from time to time. Otoño (Autumn) Invierno (Winter) Primavera (Spring) Verano (Summer) Guitar: Alvaro Pierri Violin: Michael Brooks Reid Violin: Ciaran McCabe Viola: Joel Hunter Cello: Pierre Doumenge Piano: Giuseppe Andaloro

The “Young Talents” Series

Gisele ZHU Jingxi (violin) 1/. MAX BRUCH (1838 – 1920)

• Concerto in G minor, Op.26 I. Vorspiel , Allegro Moderato II. Adagio

Second Part

ANTONIO VIVALDI (1678 – 1741)

- THE FOUR SEASONS The Four Seasons is a group of four violin concertos by Italian composer Antonio Vivaldi, each of which gives musical expression to a season of the year. As a descriptive basis of his Four Seasons, Vivaldi took four Sonnets, apparently written by himself. Each of the four sonnets is expressed in a concerto, which in turn is divided into three ideas or phrases, reflected in the three movements (fast – slow - fast) of each concerto. The Four Seasons can be classified as” program music”, instrumental music intended to evoke something extra-musical. SPRING – Concerto No. 1, in E major, Op.8, RV 269 I – Allegro II – Largo III – Allegro SUMMER – Concerto No.2, in G minor, Op.8, RV 315 I – Allegro con molto II – Adagio III – Presto AUTUMN – Concerto No.3, in F major, Op.8, RV 293 I – Allegro II – Adagio molto III – Allegro WINTER – Concerto No.4, in F minor, Op.8, RV 297 I – Allegro con molto II – Largo III – Allegro Solo violin: Michael Brooks Reid 1st violin: Amelia Chan 1st violin: Camille Poon 2nd violin: Ciaran McCabe 2nd violin: Vince Chua Viola: Joel Hunter Cello: Pierre Doumenge Double Bass: Yvonne Chan Harpsichord: Giuseppe Andaloro

Programme notes THE JOY OF MUSIC FESTIVAL 2023 15 October 2023 The LOGOS Chamber Group Giuseppe Andaloro, Piano & Harpsichord 1st Prizewinner, 3rd Hong Kong International Piano Competition 2011 Astor Piazzolla Quatro Estaciones Portenas (The Four Seasons of Buenos Aires) Antonio Vivaldi The Four Seasons The Joy of Music Festival closes with a special concert bringing together two beloved repertoire works, Antonio Vivaldi’s The Four Seasons and its 20th century counterpart, Astor Piazzolla’s Four Seasons of Buenos Aires. Performed tonight are special arrangements adapted by the festival’s resident ensemble, the Logos Chamber Group with Alvaro Pierri’s guitar and Giuseppe Andaloro on keyboard. In the bestselling Nonesuch recording Eight Seasons by Gidon Kremer and Kremerata Baltica, Vivaldi’s seasons were alternated with those of Piazzolla (in Leonid Desyatnikov’s arrangements). Beginning with Vivaldi’s Spring and Piazzolla’s Summer, this was followed by a progression of seasons for a full year before closing with Piazzolla’s Spring. This evening’s performance however keeps the composers apart, opening with Piazzolla and ending with the original Vivaldi. The Argentine Astor Piazzolla was credited for elevating the tango from its humble origins as a dance of the harbourside bordello to that of a concert hall showpiece. His brand of “nuevo tango” or new tango was championed by his quintet, typically comprising violin, piano, electric guitar, double bass and bandoneon (the Argentine accordion, of which he was a virtuoso). His Cuatro Estaciones Porteñas (Four Seasons of Buenos Aires) were originally conceived in the 1960s as four individual pieces, each depicting the seasons as experienced by a native (or porteño) of the Argentinian capital. The four Porteñas are often performed as a suite, this evening’s version being scored for guitar, piano and string quartet. The ensemble opens with cheerful Autumn (Otono Porteña) which is upbeat in spirit, then moving to sobering Winter (Invierno Porteña) with its melancholic edge. The pace of Spring (Primavera Porteña) is fast as life is breathed into the world, and Summer (Verano Porteña) continues on a frenetic edge to close. While the traditional bandoneon (Piazzolla’s own instrument) is absent in this reading, the vital pulse of the tango dance beat lives within each piece, and the individual performer may be relied upon to supply his own personal touches.

Antonio Vivaldi composed over 500 concertos for various instrumental combinations, but Fate and posterity have it that four violin concertos are performed and recorded more than the others combined. This quartet, part of his twelve concertos (Op.8) in Il Cimento dell’armonia e dell’inventione (The Contest between Harmony and Invention) published in 1725, is popularly known as The Four Seasons (La quattro stagione). Each of the seasons is in three movements, in the fast-slowfast Italian concerto form. Appended are sonnets, possibly written by Vivaldi himself, which are depictions of nature, animals and countryside goings-on at that period of a calendar year. This was an early form of programme music, works that narrate a story, which later came to glorious fruition in Beethoven’s Pastoral Symphony. La Primavera (Spring) sees the awakening of nature, with the solo violin mimicking birdsong with the murmurs of a stream, breeze and thunderstorm in the background. Its slow movement sees a goat-herd sleeping while the finale is a merry dance with the rustic simulation of bagpipes. In L’estate (Summer), a slow introduction heralds the calls of the cuckoo, turtledove and finch in the first movement. Gnats and flies buzz around in the second movement, before the third movement’s no-holds-barred thunderstorm, with pelting rain and hail destroying the crops. L’autunno (Autumn) is the time of harvest and merrymaking, one fueled by plentiful liquor. The drunken lurch of the peasants turns to sweetest slumber in the slow movement, before waking to the sound of horns, barking dogs and galloping hoofs in the finale’s hunting spree. The icy chill of L’inverno (Winter) sees trembling, stamping of feet and chattering of teeth. The central movement expresses contentment in the warmth of an open fireplace as precipitation takes place outside. The finale returns to the frigid cold as the virtuoso violin cuts a dogged path through the ice. This surprisingly subdued close to the Four Seasons enhances rather than detracts to the mystique of this perennial classic.

Programme Notes by Chang Tou Liang

Wednesday, 11th October

2023 年 10 月11 日 ( 星期三 )

17:00

Hong Kong City Hall, Recitals Hall (High Block 8/F)

香港大會堂高座 8 樓演奏廳

Wednesday, 11th October 2023, 17:00 Hong Kong City Hall Recital Hall

Showcasing 12 Young Guitarists 1. LIU Cheuk Tung, Nicole -

(Baptist University, BA Music, Year 2) First Prize winner in Guitar Solo Junior Section of 69th Hong Kong Inter-School Music Festival Competition in 2017

3. CHEN Yan, Betty -

Repertoire: Sylvius Leopold Weiss (1687-1750) - Tombeau sur la Mort de M. Comte d’Logy

2. CAO Le, Harry -

(9th grade, Qingyuan Tianjiabing Experimental School) Fi r s t P r i z e w i n ne r i n Ju n ior S e c t ion of G . H . M . International Guitar Art Festival in 2019 -First Prize winner in Youth Solo Section of the Shenzhen SGC Classical Guitar Competition in 2022 -Second Prize winner in Youth Solo Section of China (Zhuhai) Corbin Cup Guitar Competition in 2022 -First Prize winner in Duet Section of the Shenzhen SGC Classical Guitar Competition in 2022 -First Prize winner in Duet Section of the Zhuhai Corbin Cup Guitar Competition in 2022 -First Prize winner in Duet Section of the Shenzhen Bay Classical Guitar Invitational Competition in 2022 -First Prize winner in Guitar Duet Section D of the China Youth Music Competition Hummingbird Music Awards in 2022 Repertoire: Fernando Sor (1778-1839) - Grand Solo, Op.14

(12th grade, Qingxin District No.1 Middle School) First Prize winner in Youth Solo Section of Zhuhai Corbin Cup Guitar Competition in 2022 -First Prize winner in Duet Section of the Shenzhen SGC Classical Guitar Competition in 2022 -First Prize winner in Duet Section of the Zhuhai Corbin Cup Guitar Competition in 2022 -First Prize winner in Duet Section of the Shenzhen Bay Classical Guitar Invitational Competition in 2022 -First Prize winner in Guitar Duet Section D of the China Youth Music Competition Hummingbird Music Awards in 2022 Repertoire: Fernando Sor (1778-1839) - Introduction and Variations on a Theme by Mozart, Op.9

4. CHI Chengxu -

(11th Grade, The Music School attached to Xinghai Conservatory of Music) Second Prize winner of the 4th Guangzhou Alice Cup National Guitar Competition in 2022 Repertoire: Agustin Barrios Mangore (1885-1944) - La catedral

2023 年 10 月11 日 ( 星期三 )

17:00

5. CHONG Quan

Wednesday, 11th October

Hong Kong City Hall, Recitals Hall (High Block 8/F)

香港大會堂高座 8 樓演奏廳

9. WANG Jinxiang

(10th grade, The Music School attached to Xinghai Conservatory of Music)

(11th Grade, The Music School attached to Xinghai Conservatory of Music)

Repertoire: Isaac Albeniz (1870-1909) - Granada

Repertoire: Francisco Tárrega (1852-1909) - Gran Jota

6. CHEUNG Ka Tung, Tony

10. HE Jinghan

(Baptist University, BA Music, Year 2) Repertoire: Astor Piazzolla (1921-1992) - Verano Porteño

(11th grade, The Music School attached to Xinghai Conservatory of Music) Second Prize in the Open Category of Martinez National Guitar Competition in 2023 Repertoire: Mauro Giuliani (1781-1829) - Grand Overture, Op.61

7. LING Kai Chun -

(Form 5, Shatin Pui Ying College) First Prize winners in both Guitar Solo Senior and Guitar Duet Senior sections of 74th Hong Kong Inter-School Music Festival Competition in 2022 -First Prize winner in the Category S3 Guitar of the First Lugano (Switzerland) International Music Competition in 2022 Repertoire: Yuquijiro Yocoh (1925-2009) - Theme and Variations on a Japanese Folk Song “Sakura”

11. LI Haoqi

(Currently studying classical guitar with Maestro Alvaro Pierri at the University of Music and Performing Arts in Vienna) First Prize Winner in Children Category of Hong Kong International Guitar Festival 2013 -Second Prize winner in Open Category of Hong Kong Twin Cities Guitar Festival 2015 Repertoire: Joaquin Rodrigo (1901-1999) - Giocosa Sonata

8. FU Hoi Man, Kevin -

(Chinese University of Hong Kong, Music, Year 3) First Prize winner in Guitar Solo Senior section of 73rd Hong Kong Inter-School Music Festival Competition in 2021 -First prize winner in Guitar Solo Open section of the 21st China (Zhuhai) Guitar Art Festival and “Corbin Cup”Guitar Competition in 2022 Repertoire: A. C. Jobim (1927-1994) arranged by Roland Dyens (1955-2016) - Felicidade

12. LI Zehao -

(11th grade, Shenzhen Arts School, China) F i r s t P r i z e w i n n e r s i n t h e Ju n i o r s e c t i o n s o f 6 Inter nat iona l Gu ita r C ompet it ions i n Cha ngsha , Qingdao, Shenzhen, Shenyang, Shanghai and Hong Kong from 2015 to 2018. -First Prize winner in the Junior Division of the prestigious GFA Guitar Competition in 2019 Repertoire: Giulio Regondi (1822-1872) - Nocturne

Thu, 12th - Sat, 14th October 14:00-19:00 Hong Kong City Hall, Recitals Hall (High Block 8/F)

2023 年 10 月12-14 日香港大會堂高座 8 樓演奏廳

G U I T A R M A S T E R C L A S S E S

香港美樂聚音樂節

阿爾瓦羅．皮耶里與結他香港大會堂高座 8 樓演奏廳

節目 10 月12, 13 及 14 日在過去的約 20 年中，香港蕭邦社很榮幸能邀請到世界知

這群年輕的結他手連同其他幾位結他手，現在有機會與

名結他音樂家阿爾瓦羅．皮耶里，為我們演奏獨奏、室樂

阿爾瓦羅合作。阿爾瓦羅將於 10 月親自來香港，參加

及協奏曲等。

2023 年的美樂聚音樂節。一直與阿爾瓦羅．皮耶里合作的香港結他手黃文錦，今

多年來，不論是獨奏還是與其他樂器合奏，一系列精彩結

年亦有為這群年輕結他手及阿爾瓦羅．皮耶里進行協調

他音樂，都展現了結他不可思議的潛力。除了讓香港觀眾

和合作。

能更深入了解結他及結他曲目，阿爾瓦羅．皮耶里還教授

大師班課程的節目內容和參與學生名單，請參照以下詳

香港和中國內地的新晉結他音樂家，以傳承結他演奏藝

情。

術並引領他們了解音樂的精髓。他從結他的角度出發，讓他們了解音樂如何隨著時間、地點、文化和傳統等演變。

課程和講座將以英語進行，但將提供中文即時傳譯。

阿爾瓦羅．皮耶里以其無可挑剔的技術和詮釋，已成為全

如果您有興趣以觀眾身份參與大師班，可以通過電

球最優秀的結他音樂家之一，世界各地的樂迷都沉醉於

郵聯繫 A n a b e l l a 註冊：a f r e r i s @ n e t v i g a t o r . c o m，

他的音樂之中。

或通過 W h a t s A p p 聯繫 A n a b e l l a 手提號碼： +852 9027 1429。由於場地限制，請在電郵 / 訊息中

阿爾瓦羅每年都在美樂聚音樂節上亮相，吸引了香港和

留下您的姓名、手機號碼和 WhatsApp 號碼（如適用），

結

中國內地的音樂愛好者。他的大師班和講座 / 示範也吸

以及電子郵件地址，並提供希望參加的人數、日期和場

引了那些學習結他的人。

次。我們在回覆您時將逐一確認以上請求。

他

今年亦不例外，阿爾瓦羅將於 2023 年 10 月 9 日至 15

大

日的美樂聚音樂節期間亮相。大師班舉辦地點：為了體現他的教學成果，蕭邦社決定提供中間平台，讓阿

師

爾瓦羅．皮耶里與來自香港及中國內地的結他手合作。這

班

接受阿爾瓦羅的結他課程。

些受邀的結他手在 2023 年 5 月齊聚香港，通過 Z O O M

香港大會堂高座 8 樓演奏廳

2023 年 10 月12-14 日

14:00-19:00

香港大會堂高座 8 樓演奏廳

Thu, 12th - Sat, 14th October

Hong Kong City Hall, Recitals Hall (High Block 8/F)

G U I T A R

ALVARO PIERRI AND THE GUITAR AT THE HONG KONG JOY OF MUSIC FESTIVALS Hong Kong City Hall, Recitals Hall (High Block 8/F)

THE PROGRAMME DAY BY DAY (12th, 13th & 14th OCTOBER, 2023) The Chopin Society of Hong Kong is proud to have been presenting the world-known guitarist Alvaro Pierri in solo, chamber music and concerto performances for the past almost 20 years.

selected group of guitarists from Hong Kong and China, who gathered in Hong Kong and received classes from Alvaro who taught them via ZOOM during the month of May 2023.

A fantastic repertoire of music for guitar has been performed along the years, displaying the incredible potential of this instrument either when played by itself or playing together with other instruments. Apart from having been offering the public in Hong Kong such a treat in getting to know the guitar and its repertoire, Alvaro Pierri has been teaching budding guitarists of Hong Kong and China, the art of playing the guitar as well as introducing them to the essence of music and the way it has evolved through times and places, cultures and traditions, looking at it from the point of view of the guitar.

This group of young guitarists plus a few additional ones, are now having the chance of working with Alvaro when he will be physically in Hong Kong in October, taking part of the Joy of Music Festival 2023. Hong Kong based g uitarist: Chris Wong, has been working with Alvaro Pierri putting together this group of young guitarists working with Alvaro this year. The programme to be presented during the masterclasses is detailed below as is the list of names of the participating students.

Making use of an impeccable technique always at the service of an interpretative potential at the guitar which positions Alvaro among the best guitarists in the world nowadays, he has never failed to enchant his followers who are spread all over the world. Each year, Alvaro’s presence at the Joy of Music Festival has become an attraction for the music lovers of Hong Kong and China and his teaching through masterclasses and lecture/demonstrations, a magnet for those learning how to play this instrument. This year is not going to be an exception, and Alvaro will be featured in our Joy of Music Festival to be presented between the 9th and the 15th October 2023. To extract the most of the privilege of benefiting from his teaching, our Society has decided to create an intermediate stage this year by having Alvaro Pierri working with a

The classes and lectures will be in English but there will be a simultaneous translation into Chinese. Those interested in attending the masterclasses as members of the audience, should be able to register by contacting Anabella at the following e-mail: afreris@ netvigator.com or by WhatsApp at: +852 9027 1429 (also Anabella’s mobile). Since there is a limited capacity in the venue, when sending the request please, write your name, mobile and WhatsApp number (if applicable) and your e-mail address, as well as the number of people requesting to attend and which days and sessions. We will reply to each one of the requests to confirm your registration.

M A S T E R C L A S S E S 結他大師班

The Venue for the Masterclasses:

Hong Kong City Hall, Recital Hall (High Block 8/F) 29

Thu, 12th - Sat, 14th October 14:00-19:00

2023 年 10 月12-14 日

Hong Kong City Hall, Recitals Hall (High Block 8/F)

G U I T A R M A S T E R C L A S S E S 結他大師班 30

香港大會堂高座 8 樓演奏廳

香港美樂聚音樂節阿爾瓦羅．皮耶里與結他香港大會堂高座 8 樓演奏廳

2023 年 10 月 12 日 ( 星期四 ) 1.

winner in Duet Section of the Shenzhen Bay Classical Guitar Invitational Competition i n 202 2 - F i r s t P r i z e w i n n e r i n G u i t a r Duet Section D of the China Youth Music Competition Hummingbird Music Awards in 2022 老師 : 方放 , 黃文錦

14:00 to 14:40

池承栩 -

星海音樂學院附属中等音樂學校十一年班 16 歲 Second Prize winner of the 4th Guangzhou Alice Cup National Guitar Competition in 2022 老師 : 王子軒

曲目 : Grand Solo, Op.14 by Fernando Sor (1778-1839)

曲目 : Prelude and Fugue from BWV 997 by Johann Sebastian Bach (1685-1750)

16:30 to 17:20

阿爾瓦羅．皮耶里介紹 / 講座 2.

14:50 to 15:30

廖卓彤 -

香港浸會大學音樂系二年級 18 歲 First Prize winner in Guitar Solo Junior Section of 69th Hong Kong Inter-School Music Festival Competition in 2017 老師 : 黃文錦

崇權星海音樂學院附属中等音樂學校十年班 15 歲老師 : 王子軒曲目 : Grand Overture, Op.61 by Mauro Giuliani (1781 - 1829)

曲目 : Tombeau sur la Mort de M. Comte d’Logy by Sylvius Leopold Weiss (1687 - 1750) 5. 3.

17:30 to 18:10

18:20 to 19:00

15:40 to 16:20

賀敬涵

曹樂

星海音樂學院附属中等音樂學校十一年班 16 歲 Second Prize winner in the Open Category of Martinez National Guitar Competition in 2023 老師 : 王子軒

清遠市田家炳實驗學校九年班 14 歲 Fi r s t P r i z e w i n ne r i n Ju n ior S e c t ion o f G.H.M. International Guitar Art Festival in 2019 -First Prize winner in Youth Solo Sec t ion of t he Shen z hen SGC Cla ssica l Guitar Competition in 2022 -Second Prize w i n ne r i n Yout h S olo S e c t ion of C h i n a (Zhuhai) Corbin Cup Guitar Competition in 2022 -First Prize winner in Duet Section o f t he S he n z he n S G C C l a s s ic a l Gu it a r Compet it ion in 2022 -First Pr i ze w inner in Duet Section of the Zhuhai Corbin Cup Gu it a r Compet it ion i n 2022 -Fi rst P r i ze

曲目 : Junto al Generalife by Joaquin Rodrigo (1901 - 1999)

2023 年 10 月12-14 日

14:00-19:00

Thu, 12th - Sat, 14th October

Hong Kong City Hall, Recitals Hall (High Block 8/F)

香港大會堂高座 8 樓演奏廳

GUITAR MASTERCLASSES & LECTURE DEMONSTRATIONS Hong Kong City Hall, Recital Hall (High Block 8/F)

Thursday 12th Oct., 2023 1. 14:00 to 14:40

Invitational Competition in 2022 -First Prize winner in Guitar Duet Section D of the China Youth Music Competition Hummingbird Music Awards in 2022 Teachers: Fang fang, Chris Wong

CHI Chengxu

11th Grade, The Music School attached to Xinghai Conservatory of Music Age: 16 Second Prize winner of the 4th Guangzhou Alice Cup National Guitar Competition in 2022 Teacher: Wang Zi Xuan

Repertoire: Grand Solo, Op.14 by Fernando Sor (1778-1839)

Repertoire: Prelude and Fugue from BWV 997 by Johann Sebastian Bach (1685-1750)

2. 14:50 to 15:30

16:30 to 17:20 Alvaro Pierri’s Lecture/Presentation 4. 17:30 to 18:10

CHONG Quan

LIU Cheuk Tung, Nicole -

10th grade, The Music School attached to Xinghai Conservatory of Music Age: 15 Teacher: Wang Zi Xuan

Hong Kong Baptist University, BA Music, Year 2 Age: 18 First Prize winner in Guitar Solo Junior Section of 69th Hong Kong Inter-School Music Festival Competition in 2017 Teacher: Chris Wong

Repertoire: Grand Overture, Op.61 by Mauro Giuliani (1781 - 1829)

Repertoire: Tombeau sur la Mort de M. Comte d’Logy by Sylvius Leopold Weiss (1687 - 1750)

5. 18:20 to 19:00

HE Jinghan 3. 15:40 to 16:20

CAO Le, Harry -

9th grade, Qingyuan Tianjiabing Experimental School Age: 14 First Prize w inner in Junior Sect ion of G.H.M. International Guitar Art Festival in 2019 -First Prize winner in Youth Solo Section of the Shenzhen SGC Classical Guitar Competition in 2022 -Second Prize winner in Youth Solo Section of China (Zhuhai) Corbi n Cup Gu ita r Compet it ion i n 2022 -First Prize winner in Duet Section of the Shenzhen SGC Classical Guitar Competition in 2022 -First Prize winner in Duet Section of the Zhuhai Corbin Cup Guitar Competition in 2022 -First Prize winner in Duet Section of the Shenzhen Bay Classical Guitar

11th grade, The Music School attached to Xinghai Conservatory of Music Age: 16 S econd Pr i z e w i n ner i n t he O pen C ategor y of Martinez National Guitar Competition in 2023 Teacher: Wang Zi Xuan Repertoire: Junto al Generalife by Joaquin Rodrigo (1901 - 1999)

G U I T A R M A S T E R C L A S S E S 結他大師班 31

Thu, 12th - Sat, 14th October 14:00-19:00 Hong Kong City Hall, Recitals Hall (High Block 8/F)

G U I T A R M A S T E R

香港大會堂高座 8 樓演奏廳

2023 年 10 月 13 日 ( 星期五 ) 1

14:00 to 14:40

結大師班 32

15:40 to 16:20

付凱文

陳彥

香港中文大學音樂系三年級 19 歲 First prize winner in Guitar Solo Senior section of 73rd Hong Kong Inter-School Music Festival Competition in 2021 -First prize winner in Guitar Solo Open section of the 21st China (Zhuhai) Guitar Art Festival and “Corbin Cup”Guitar Competition in 2022 老師 : 黃文錦

清遠市清新區第一中學十二年班 17 歲 First Prize winner in Youth Solo Section of Zhuhai Corbin Cup Guitar Competition in 2022 -First Prize winner in Duet Section of the Shenzhen SGC Classical Guitar Competition in 2022 -First Prize winner in Duet Section of the Zhuhai Corbin Cup Guitar Competition in 2022 -First Prize winner in Duet Section of the Shenzhen Bay Classical Guitar Invitational Competition in 2022 -First Prize winner in Guitar Duet Section D of the China Youth Music Competition Hummingbird Music Awards in 2022 老師 : 方放 , 曹鴻章 , 黃文錦

曲目 : Capricho Árabe by Francisco Tárrega (1852 – 1909)

他

香港大會堂高座 8 樓演奏廳

香港美樂聚音樂節阿爾瓦羅．皮耶里與結他

曲目 : Six Balkan miniatures by Dusan Bogdanovic (1955 - )

14:50 to 15:30

孫欣妍

C L A S S E S

2023 年 10 月12-14 日

3r d G r a d e , N i n g b o H a i s h u F o r e i g n Language School 寧波市海曙外國語學校三年班 8歲 Born in Ningbo, Zhejiang in 2014. She started learning classical guitar from her father when she was 3 years old. In March 2021, she started studying with Dr. Hu Bin. First Prize winner in the kindergarten group of the 5th Chengdu Golden Furong Classical Guitar Competition in 2021. First Prize winner in the Children Group B of the Changsha International Guitar Art Competition in 2021. Second Prize winner in the Children Group C2 of the Altamira International Guitar Competition in 2022. First Prize winner in the Children Solo Group B of the Shenzhen Bay Guitar Art Week in 2022. First Prize winner in the Children Group C of the Qingdao International Guitar Art Festival in 2023. 曲目 : Son at a , 1st move ment , Fa nd a ng os y Boleros by Leo Brouwer (1939 - )

6:30 to 17:20

阿爾瓦羅．皮耶里介紹 / 講座 4.

17:30 to 18:10

汪錦湘星海音樂學院附属中等音樂學校十一年班老師 : 關振明教授曲目 : Aquarelle, 1st movement Divertimento by Sergio Assad (1952 - )

18:20 to 19:00

李澤皓 -

深圳藝術學校十一年班 16 歲 First Pr i ze w inners in the Junior sect ion of 6 International Guitar Competitions in Changsha, Qingdao, Shenzhen, Shenyang, Shanghai and Hong Kong from 2015 to 2018. Frist Prize winner in the Junior Division of the prestigious GFA Guitar Competition in 2019 老師 : 方放曲目 : Psi from “Three Greek Letters” by Sergio Assad (1952 - )

2023 年 10 月12-14 日

14:00-19:00

Thu, 12th - Sat, 14th October

Hong Kong City Hall, Recitals Hall (High Block 8/F)

香港大會堂高座 8 樓演奏廳

GUITAR MASTERCLASSES & LECTURE DEMONSTRATIONS Hong Kong City Hall, Recital Hall (High Block 8/F)

Friday 13th Oct., 2023 1. 14:00 to 14:40

3. 15:40 to 16:20

CHEN Yan, Betty

FU Hoi Man, Kevin -

Age: 19 Chinese University of Hong Kong. Music Year 3 First prize winner in Guitar Solo Senior section of 73rd Hong Kong Inter-School Music Festival Competition in 2021 -First prize winner in Guitar Solo Open section of the 21st China (Zhuhai) Guitar Art Festival and “Corbin Cup”Guitar Competition in 2022

Repertoire: Capricho Árabe by Francisco Tárrega (1852 – 1909)

Repertoire: Six Balkan miniatures by Dusan Bogdanovic (1955 - )

2. 14:50 to 15:30

SUN Xinyan, Cynthia

3rd Grade, Ningbo Haishu Foreign Language School Age: 8 Born in Ningbo, Zhejiang in 2014. She started learning classical guitar from her father when she was 3 years old. In March 2021, she started studying with Dr. Hu Bin. First Prize winner in the kindergarten group of the 5th Chengdu Golden Furong Classical Guitar Competition in 2021. First Prize winner in the Children Group B of the Changsha International Guitar Art Competition in 2021. Second Prize winner in the Children Group C2 of the Altamira International Guitar Competition in 2022. First Prize winner in the Children Solo Group B of the Shenzhen Bay Guitar Art Week in 2022. First Prize winner in the Children Group C of the Qingdao International Guitar Art Festival in 2023. Repertoire: Sonata, 1st movement, Fandangos y Boleros by Leo Brouwer (1939 - )

12th grade, Qingxin District No.1 Middle School Age: 17 First Prize winner in Youth Solo Section of Zhuhai Corbin Cup Guita r Compet it ion in 2022 -First Prize winner in Duet Section of the Shenzhen SGC Classical Guitar Competition in 2022 -First Prize winner in Duet Section of the Zhuhai Corbin Cup Guitar Competition in 2022 -First Prize winner in Duet Section of the Shenzhen Bay Classical Guitar Invitational Competition in 2022 -First Prize winner in Guitar Duet Section D of the China Youth Music Competition Hummingbird Music Awards in 2022 Teachers: Fang fang, Charles Cao, Chris Wong

16:30 to 17:20 Alvaro Pierri’s Lecture/Presentation 4. 17:30 to 18:10

WANG Jinxiang 11th Grade, The Music School attached to Xinghai Conservatory of Music Teacher: Dr. Kenneth Kwan Repertoire: Aquarelle, 1st movement Divertimento by Sergio Assad (1952 - )

5. 18:20 to 19:00

LI Zehao -

11th grade, Shenzhen Arts School, China Age: 16 Fi r st P r i z e w i n ner s i n t he Ju n ior s e c t ion of 6 International Guitar Competitions in Changsha, Qingdao, Shenzhen, Shenyang, Shanghai and Hong Kong from 2015 to 2018. Frist Prize winner in the Junior Division of the prestigious GFA Guitar Competition in 2019 Teacher: Fang fang

G U I T A R M A S T E R C L A S S E S 結他大師班

Repertoire: Psi from “Three Greek Letters” by Sergio Assad (1952 - ) 33

Thu, 12th - Sat, 14th October 14:00-19:00 Hong Kong City Hall, Recitals Hall (High Block 8/F)

G U I T A R M A S T E R

香港大會堂高座 8 樓演奏廳

2023 年 10 月 14 日 ( 星期六 )

他大師班 34

10:00 to 10:40

凌啟超 -

沙田官立中學中三 13 歲 First Prize winner in Guitar Solo Junior section of 73rd Hong Kong Inter-School Music Festival Competition in 2021 -First Prize winners in both Guitar Solo Intermediate and Guitar Duet Senior sections of 74th Hong Kong Inter-School Music Festival Competition in 2022 老師 : 黃文錦曲目 : Tarantella from Bardenklänge, Op.13, no.6 by Johann Kaspar Mertz (1806-1856)

10:45 to 11:25

凌啟臻 -

沙田培英中學中五 16 歲 First Prize winners in both Guitar Solo Senior and Guitar Duet Senior sections of 74th Hong Kong Inter-School Music Festival Competition in 2022 -First Prize winner in the Category S3 Guitar of the First Lugano (Switzerland) International Music Competition in 2022 老師 : 黃文錦曲目 : Theme and Variations on a Japanese Folk Song “Sakura” by Yuquijiro Yocoh (1925-2009)

結

香港大會堂高座 8 樓演奏廳

香港美樂聚音樂節阿爾瓦羅．皮耶里與結他

C L A S S E S

2023 年 10 月12-14 日

11:30 to 12:10

張嘉東 21 歲香港浸會大學音樂系二年級老師 : 黃文錦曲目 : Gran Jota by Francisco Tárrega (1852 – 1909)

2023 年 10 月12-14 日

14:00-19:00

Thu, 12th - Sat, 14th October

Hong Kong City Hall, Recitals Hall (High Block 8/F)

香港大會堂高座 8 樓演奏廳

GUITAR MASTERCLASSES & LECTURE DEMONSTRATIONS Hong Kong City Hall, Recital Hall (High Block 8/F)

Saturday 14th Oct., 2023

1 10:00 to 10:40

LING Kai Chiu -

Form 3, Shatin Government Secondary School Age: 13 First Prize winner in Guitar Solo Junior section of 73rd Hong Kong Inter-School Music Festival Competition in 2021 -First Prize winners in both Guitar Solo Intermediate and Guitar Duet Senior sections of 74th Hong Kong Inter-School Music Festival Competition in 2022 Teacher: Chris Wong Repertoire: Tarantella from Bardenklänge, Op.13, no.6 by Johann Kaspar Mertz (1806-1856)

G U I T A R M A S T E R

2. 10:45 to 11:25

LING Kai Chun -

Form 5, Shatin Pui Ying College Age: 16 First Prize winners in both Guitar Solo Senior and Guitar Duet Senior sections of 74th Hong Kong Inter-School Music Festival Competition in 2022 -First Prize winner in the Category S3 Guitar of the First Lugano (Switzerland) International Music Competition in 2022 Teacher: Chris Wong Repertoire: Theme and Variations on a Japanese Folk Song “Sakura” by Yuquijiro Yocoh (1925-2009)

C L A S S E S

3. 11:30 to 12:10

CHEUNG Ka Tung, Tony Age: 21 Hong Kong Baptist University, BA Music, Year 2 Teacher: Chris Wong Repertoire: Gran Jota by Francisco Tárrega (1852 – 1909)

結他大師班 35

Tue,10th - Thu, 12th October

2023 年 10 月10-12 日 ( 星期二至四 )

Hong Kong City Hall Concert Hall

香港大會堂音樂廳

P I A N O M A S T E R C L A S S E S

PIANO MASTERCLASSES Hong Kong City Hall, Concert Hall

THE PROGRAMME DAY BY DAY (10th, 11th & 12th OCTOBER, 2023)

Tuesday, 10th October Piano master classes by Ilya Rashkovskiy 1. 10:00 to 10:50

Alex WUN Man Ho Franz Liszt (1811 – 1886) - Dante Sonata 2. 11:00 to 11:50

Edmond CHENG Sergei Prokofiev (1891 – 1953) - Piano Sonata No.6, Op.82

鋼琴大師班

3. 12:00 to 12:50

Alexander LAU Shing Ho Alexander Scriabin (1872 – 1915) - Sonata No.9, Op.68 “Black Mass”

2023 年 10 月10-12 日 ( 星期二至四 )

Tue,10th - Thu, 12th October

香港大會堂音樂廳

Hong Kong City Hall Concert Hall

Wednesday, 11th October

P I A N O

Piano Masterclasses by Luka Okros 1. 10:00 to 10:50

Alex KWOK Franz Liszt (1811 – 1886) - Ballade No.2 in B minor, S171 2. 11:00 to 11:50

Brian LIAN Johannes Brahms (1833 – 1897) - Four Pieces for Piano, Op. 119

M A S T E R

3. 12:00 to 12:50

Edward LEUNG Claude Debussy (1862 – 1918) - Estampes

Thursday, 12th October Piano Masterclasses by Giuseppe Andaloro 1. 10:00 to 10:50

Peter LEUNG Ludwig van Beethoven (1770 – 1827) - Piano Sonata No.23, Op.57 “Appassionata” 2. 11:00 to 11:50

Jerry CHANG Frédéric Chopin (1810 – 1849) - Fantasy Op.49 3. 12:00 to 12:50

CHUM Man Shan Johann Sebastian Bach (1685 – 1750) / Ferruccio Busoni (1866 – 1924) - Chaconne in D minor

C L A S S E S 鋼

* For details on Master Classes, please visit our website at www.chopinsocietyhk.org

* 大師班詳情 , 請瀏覽我們的網站：

www.chopinsocietyhk.org

REGISTERING ATTENDANCE TO THE PIANO/STRINGS/GUITAR MASTER CLASSES Attendance to all master classes will be open to the public and free of charge, but we require that bookings are made in advance by getting in touch with the office of the Festival preferably by e-mail at: afreris@netvigator.com or by phone at: 2868 3325 / 9027 1429 and telling us the number of seats requested and providing us with your contact information: name, mobile number and e-mail address. We will be sending you a confirmation of your booking. The name of the participating artists and the programme to be performed by each one of them will be published in our website www.chopinsocietyhk.org in due time.

琴大師班

鋼琴 / 弦樂 / 結他大師班所有大師班均免費向公眾開放。有興趣參加者，請事先以電郵 (afreris@netvigator.com) 或電話 (2868 3325 / 9027 1429) 向蕭邦社登記 ( 留下姓名 , 電話 , 電郵及參加人數 )，我們隨後會確認閣下之登記。參與大師班的名單和節目稍後將於本社的網站 w w w . chopinsocietyhk.org 上預先公佈。

Saturday, 14th October

2023 年 10 月14 日 ( 星期六 )

14:00-17:00

Hong Kong City Hall, Recitals Hall (High Block 8/F)

香港大會堂高座 8 樓演奏廳

Strings Master Classes by* S T R I N G S

弦樂大師班 *

Michael Brooks Reid (violin), Ciaran McCabe (violin), Joel Hunter (viola) & Pierre Doumenge (cello)

米高．布魯克斯里（小提琴）, 西倫．麥卡比（小提琴）, 喬爾•亨特 ( 中提琴 ) 及佩爾•多明戈 ( 大提琴 )

參與學生

Participating Students 1. 14:00 – 14:40 Yeung Ngo Shing, Ocean (violin)

楊翺誠 ( 小提琴 ) 24 歲

24 years old

曲目：

Repertoire:

M A S T E R C L A S S E S

Violin Concerto

2. 14:45 – 15:25 Benjamin Diao (viola)

15 歲曲目：

Repertoire:

布拉姆斯 (1833 - 1897) • F 小調中提琴第一奏鳴曲，

JOHANNES BRAHMS (1833 - 1897)

•

Viola Sonata No.1, in F minor, Op. 120, 1st and 2nd movement

3. 15:30 – 16:10 Ng Yau (cello)

作品 120，第一及第二樂章 3.

10 歲曲目：

Repertoire:

波佩爾 (1843-1913) • 音樂會波蘭舞曲，作品 14

DAVID POPPER (1843-1913) Polonaise de Concert, Op.14

4. 16:15 – 16:55 Eugene Yuen (cello) 28 years old Repertoire:

•

Cello concerto, 1st movement

15:30 – 16:10

吳幽 ( 大提琴 )

10 years old

•

14:45 – 15:25

刁煒煜 ( 中提琴 )

15 years old

ANTONIN DVORAK (1841-1904)

弦

柴可夫斯基 (1840-1893) • 小提琴協奏曲

PYOTR ILYICH TCHAIKOVSKY (1840-1893)

•

14:00 – 14:40

16:15 – 16:55

袁乙熙 ( 大提琴 ) 28 歲曲目：

德弗札克 (1841-1904) • 大提琴協奏曲，第一樂章

樂

* For details on Master Classes, please visit our website at

大

REGISTERING ATTENDANCE TO THE PIANO/STRINGS/GUITAR MASTER CLASSES

師班

www.chopinsocietyhk.org

* 大師班詳情 , 請瀏覽我們的網站：

www.chopinsocietyhk.org

Attendance to all master classes will be open to the public and free of charge, but we require that bookings are made in advance by getting in touch with the office of the Festival preferably by e-mail at: afreris@netvigator.com or by phone at: 2868 3325 / 9027 1429 and telling us the number of seats requested and providing us with your contact information: name, mobile number and e-mail address. We will be sending you a confirmation of your booking. The name of the participating artists and the programme to be performed by each one of them will be published in our website www.chopinsocietyhk.org in due time.

2023 年 10 月14 日 ( 星期六 ) 香港大會堂高座 8 樓演奏廳

1. Yeung Ngo Shing (violin) (Baptist University, BA Music, Graduated) Age: 24 Teacher: Sun Yu, Patrick Yim, Simon Li - Started learning violin at the age of 8 - Concertmaster of BUSO and CMHK in 2019-2020 - Participated in different music festival such as Eastern music festival, Interharmony music festival - Joined masterclasses of renowned artists, including Stephan Picard, Michael Foyle, Joel Smirnoff, Nikolaj Znaider, Sergey Malov, Stefan Jackiw, Catherine Martin, Shanghai Quartet

2. Benjamin Diao (viola) Hong Kong International School, Grade 10 Age: 15 Teacher: Wang Jun - Started playing piano at 4 and Viola at the age of 10 - Silver Prize in 2021 Hong Kong School Music Inter f low St r i ng Qua r tet Seconda r y school category - Served as Principal Violist of Hong Kong Youth Symphony Orchestra - St ud ied w it h Pr i nc ipa l Viol i st of Ton ha l le Orchestra Zurich Sun Yu - Participated in chamber music coaching and played alongside HK Philharmonic Concertmaster Jing Wang, Principal Cellist Richard Bamping and Steinway recording Artist Warren Lee

3. Ng Yau (cello) (Diocesan Boys’ School Primary Division, Grade 5) Age: 10 Teacher: Ms Anna Kwan -

Started cello lesson at the age of 7 in 2020 ABRSM Cello & Piano Grade 8 Distinction in 2022 Trinity Cello ATCL in 2023 (result pending) Recipient of Music Schola rsh ips (C el lo) for O ut s t a nd i ng S en ior O rc he s t r a Memb er s & Outstanding Instrumenta l Class Students of Diocesan Boys’ School Primary Division(DBSPD)

Orchestra Experience: - Principal Cello of DBSPD Senior School Orchestra, String Orchestra, Chinese Orchestra, Gold award winning orchestras in the 2022 Hong Kong Youth Music interflows. - Associate Principal Cello of Hong Kong Music Office Junior Symphony Orchestra in 2022 - Youngest cellist admitted to the Hong Kong Music Office Youth Symphony Orchestra in 2023

14:00-17:00

Saturday, 14th October

Hong Kong City Hall, Recitals Hall (High Block 8/F)

Awards include: - 3rd Place for N226 Cello Sonata Class (Age under 19) at the 75th Hong Kong Schools Music Festival in 2023 - Gold Awa rd for Prima r y School St ring (Cel lo) Diploma Solo Group at Joi nt School Music Competition 2023 - Champion for Children Category A (Age 9-10) (Cello) & Special Prize for Open Category (Cello) at The V International Liszt Ferenc Competition Final Round (Hungary - Budapest) - 1st Place for Cello Age Group Children Class B (Age 8-9) & Cello Diploma Class at HKYPAF The 10th Hong Kong International Youth Performance Arts Festival in 2023 - Cha mpion for Pri ma r y School Yea r 1- 6 Group (Cello) at 2023 International Youth Talent Musician Competition

4. Eugene Yuen (cello) Age: 28 Eugene Yuen g raduated f rom Montcla i r State Universit y Ca li School of Music w it h a degree i n c e l l o p e r for m a n c e , u nd e r t h e t ut e l a ge of Nicholas Tzavaras from the Shanghai Quartet. He was awarded the Oscar Ravina Talent Grant for outstanding string performance in his stay. Eugene also completed a Masters of Music Studies i n t he Syd ney C onser vator iu m of Music w it h Board of Governors’ Full Scholarship, studying with Julian Smiles of the Goldner Quartet. Being an avid chamber and orchestral musician, Eugene has participated in multiple orchestral festivals and chamber competitions. He attended the Great Mountains Music Festival at the age of 14, playing in the masterclass of the late Aldo Parisot. He has held principal positions in both Round Top Music Festival 2016 and Texas Music Festival 2019, and played in masterclass of Shmuel Ashkenasi while participating in Red Rock Music Festival - Winter Chamber Music Institute. Eugene has also won 1st prizes in the Princess Galyani Vadhana International Ensemble Competition in 2014, 2015 and 2022. Eugene has worked professionally as cellist in the UNSW Sydney, and is on the freelance list of Opera Australia Orchestra. My teacher in Hong Kong was mainly Miss Anna Kwan, then i learnt from Timonthy Frank a bit. I am currently the director of Hong Kong Doujin Philharmonia and Etched on Stage production. I mainly organise concerts in Hong Kong and do freelance work as a cellist

S T R I N G S M A S T E R C L A S S E S 弦樂大師班

藝術家

( 以英文姓氏次序排列 )

朱塞佩．安達羅洛（鋼琴） 1982 年出生於巴勒莫，朱塞佩年紀很小時便對音樂充滿熱情及認真，並開始參加音樂會演出，演奏的曲目範圍廣泛，由文藝復興、跨越到現代及當代音樂。他是多個著名音樂節的表演嘉賓（薩爾茨堡音樂節、魯爾鋼琴節、斯波萊托兩個世界音樂節、布加勒斯特艾內斯科音樂節、香港美樂聚、拉維多音樂節、杜斯尼基 — 茲德羅伊「蕭邦」音樂節、布雷西亞及貝爾加莫米凱蘭傑利音樂節、貝魯特「阿爾布斯坦」音樂節、孟買「梅利．梅塔」音樂節），以及在世界上最著名的音樂會場地演出，包括米蘭斯卡拉歌劇院、巴黎夏沃音樂廳、柏林音樂廳、慕尼黑加斯泰格音樂廳、皇家節日音樂廳和倫敦的伊麗莎白女王音樂廳、羅馬「音樂公園禮堂」的聖則濟利亞廳、布拉格的魯道夫音樂廳音樂廳、墨西哥城的西蒙．玻利瓦爾劇院、智利聖地牙哥東方劇院、東京墨田三聲音樂廳、新加坡濱海藝術中心、香港大會堂音樂廳等等。他經常與知名的樂團合作演出（倫敦愛樂樂團、東京 N H K 交響樂團、新加坡交響樂團、香港管弦樂團、柏林愛樂樂團、倫敦莫札特音樂家合奏團、捷克愛樂樂團），與多位出色的指揮家合作，例如弗拉基米爾•阿殊堅納西、約翰 – 傑克• 康投侯福、賈南德雷亞•諾賽德、安德魯．帕羅特等等，亦曾與享負盛名的音樂家一同演出，包括張莎拉、喬萬尼•索利馬、謝爾蓋•克雷諾夫、安娜．蒂夫、斯飛特麟•盧塞夫、約翰•馬爾科維奇等等。他曾於各大國際鋼琴賽事斬獲冠軍，包括波扎諾「布索尼國際鋼琴比賽」、倫敦鋼琴比賽，及波爾圖、仙台和香港等地的比賽，20 05 年獲意大利文化遺產及文化活動部，頒發藝術優等獎。他擁有許多唱片（索尼、華納、N a x o s、香港 T h e A l p h a O m e g a S o u n d 及 L a b e l s），並曾為各大電台及電視台擔任嘉賓，例如 N H K- B S2 東京、倫敦 B B C、法國音樂電台、 A m a d e u s103 .7 布宜諾斯艾利斯、約翰內斯堡快板古典音樂台、盧加諾 R T S I 電台、葡萄牙 R D P 電台、意大利 R A I 電台第 3 台、德國廣播電台 S W R 2、梵蒂岡廣播電台、 W R R 達拉斯古典廣播電台、香港電台第 4 台、新加坡交響樂團 92 .4FM、弗雷斯諾谷公共廣播電台等。安達洛羅於意大利及世界各地教授大師班（包括東京昭和大學、加州州立大學弗雷斯諾分校、泰國國際鍵盤學院、吉隆坡蕭邦社、香港蕭邦社），並為不同國際鋼琴比賽出任評審。

The Artists

(In surname alphabetical order)

Giuseppe Andaloro (piano) Born in Palermo in 1982, he started a passionate and intense concert activity at a very young age, carrying out a wide repertoire which ranges from Renaissance to modern and contemporary music. He has been guest of renowned festivals (Salzburger Festspiele, Ruhr Klavier, Spoleto Due Mondi, Bucarest Enescu, Ravello, “Chopin” Duszniki-Zdròj, A.B. Michelangeli di Brescia e Bergamo, “Al Bustan” Beirut, “Mehli-Mehta” Mumbai) and in some of the most important concert venues in the world, including La Scala in Milan, Salle Gaveau in Paris, Konzerthaus in Berlin, Gasteig in Munich, Royal Festival Hall and Queen Elizabeth Hall in London, Santa Cecilia at “Parco della Musica” in Rome, Rudolfinum Dvořák Hall in Prague, Anfiteatro Simón Bolívar in Mexico City, Teatro Oriente in Santiago de Chile, Sumida Triphony Hall in Tokyo, Esplanade Auditorium in Singapore, City Hall Concert Hall in Hong Kong, etcetera. He reg u la rly play s w it h major orche st r a s (L ondon Ph i l h a r m on ic , To k y o N H K Sy mphony, S i n g a p or e Symphony, Hong Kong Philharmonic, Philharmonische C a m e r a t a B e r l i n , L o n d o n Mo z a r t Pl ay e r s , C z e c h Philharmonic Orchestra) and great conductors such as Vladimir Ashkenazy, Jean-Jacques Kantorow, Gianandrea Noseda, Andrew Parrott and internationally acclaimed artists, including Sarah Chang, Giovanni Sollima, Sergej Krylov, Anna Tifu, Svetlin Roussev, John Malkovich. Fi rst Pr i ze Wi nner i n some of t he most prest ig ious international piano competitions - such as “Ferruccio Busoni” in Bolzano, London Piano Competition, Porto, Sendai, Hong Kong - in 2005 he was praised for artistic merit by the Italian Ministry for Heritage and Cultural Activities. He has many records on his credit (Sony, Warner, Naxos, Fontec labels) and has been guest in various Radio-TV broadcasts, such as NHK-BS2 Tokyo, BBC London, Radio France Musique, Amadeus 103.7 Buenos Aires, Classic FM Radio Allegro Johannesburg, RTSI Lugano, R DP Radiodifusão Portuguesa, Rai Radio3 Italia, German Radio SWR2, Vatican Radio, WRR Dallas Classical Radio, Hong Kong Radio 4, Singapore Symphony 92.4FM, Fresno Valley Public Radio, etc. Andaloro gives master classes in Italy and abroad (Tokyo Showa University, Fresno California State University, International Keyboard Academy of Thailand, Kuala Lumpur Chopin Society, Hong Kong Chopin Society) and has served the jury in international piano competitions.

藝術家

( 以英文姓氏次序排列 )

米高．布魯克斯里（小提琴）澳籍小提琴家米高．布魯克斯里經常獲邀，為歐洲和澳洲各大主要交響樂團擔任小提琴首席。米高現為歐洲頂尖室樂團之一的伯爾尼室樂團成員，經常與與史蒂文•伊瑟利斯、帕特里夏• 科帕欽斯卡婭、塞爾吉奧•阿佐里尼、安婕•維塔斯、埃里克•霍巴斯（弦樂四重奏）等音樂家合作。他本人亦常獲邀為室樂表演指揮。現時定居於柏林，米高以客席身份為不同樂團作演出，包括馬勒室樂團、德國廣播愛樂團、巴伐利亞國立管弦樂團、慕尼黑愛樂樂團、阿斯圖里亞斯交響樂團、蘇格蘭室樂團、極光管弦樂團、倫敦交響樂團、波茨坦室樂學院樂團等。他亦是世界樂團的核心成員。米高曾與多位備受尊崇的指揮家合作，包括已故的偉大指揮家皮耶．布萊茲和克勞迪奧．阿巴多等等。自 2017 年起，米高成為香港美樂聚音樂節 LO G O S 室樂團的成員，與香港國際鋼琴大賽評審團的知名成員，以及歷屆優勝者一起演奏室樂。獨奏方面，米高曾與多個樂團合作進行巡迴演出，包括伯爾尼室樂團和墨爾本室樂團，最近於墨爾本維多利亞州及伯尼州演出了韋瓦第的《四季》，好評如潮。 20 0 4 至 20 0 8 年，米高為澳洲古典演奏家協會擔任領導人和藝術總監，由第一小提琴開始編排，並指揮了整個音樂會樂季。此後，米高加入了哈默四重奏，期間樂團曾於首屆亞太國際室樂比賽中斬獲冠軍。20 0 8 年，參加國際室樂比賽，並被《世紀報》評選為年度澳洲 10 0 名最具影響力人物之一。米高現使用尼科洛．加利亞諾於 1715 年在那不勒斯所製的小提琴。在本樂季，他即將帶領伯尼室樂團，為兩場聯票系列音樂會指揮，並與男高音伊恩•博斯特里奇合作。

(In surname alphabetical order)

The Artists

Michael Brooks Reid (Violin) Australian violinist Michael Brooks Reid is regularly sought after as concertmaster and principal by leading orchestras across Europe and Australia. A member of one of Europe’s finest chamber orchestras, Camerata Bern, Michael works closely with musicians such as Steven Isserlis, Patricia Kopatchinskaja, Sergio Azzolini, Antje Weithaas and Eric Höbarth (Quartuor Mosaïques), often in a chamber music context, as well as being regularly called on to lead and direct the ensemble himself. C u r r e n t l y b a s e d i n Mu n i c h , M i c h a e l m a k e s g u e s t appearances with the Mahler Chamber Orchestra, German Radio Philharmonic, Bavarian State Orchestra, Munich Phi l ha rmonic, Orquesta Sinfónica del Principado de Asturias, Scottish Chamber Orchestra, Aurora Orchestra, Sinfonia of London and Kammerakademie Potsdam and is a core member of the Australian World Orchestra. Michael has played under many esteemed conductors, including the late greats Pierre Boulez and Claudio Abbado. Since 2017, Michael has been a member of the Logos Chamber Group at the Joy of Music Festival in Hong Kong, where he has played chamber music with renowned members of the Hong Kong International Piano Competition jury as well as its past winners. As soloist, Michael has toured with the Camerata Bern and Melbourne Chamber Orchestra, recently performing Vivaldi’s Four Seasons in Melbourne, regional Victoria and throughout the Canton of Bern to critical acclaim. From 2004-2008, Michael was Leader and Artistic director of the Australian Classical Players, where he programmed and directed the concert season from the first violins. Following this, Michael joined the Hamer Quartet, with whom he won the inaugural Asia-Pacific International Chamber Music Competition in 2008 and was subsequently named in The Age newspaper’s annual ‘100 most inf luential people in Australia’ list. Michael’s violin was made by Nicolo Gagliano in Naples in 1751. Upcoming performances this season include leading and directing two subscription series concerts with the Camerata Bern alongside tenor Ian Bostridge.

藝術家

( 以英文姓氏次序排列 )

佩爾•多明戈 ( 大提琴 ) 佩爾•多明戈為挪威卑爾根管弦樂團首席大提琴，以及卑爾根弦樂四重奏的成員，並時常為其他樂團擔任客席首席大提琴，包括奧斯陸愛樂樂團、荷蘭愛樂樂團、蘇格蘭室樂團、倫敦小交響樂團、馬勒室樂團、阿姆斯特丹交響樂團、啟蒙時代管弦樂團等。佩爾亦為但丁弦樂四重奏擔任大提琴手，音樂足跡遍佈各大國際音樂節（奧爾德伯勒、庫赫莫、布加勒斯特、維也納、奧索爾、紐倫堡、伯格斯塔登、 Hindsgavl 音樂節、IMS 音樂節、斯泰倫博斯、新加坡、香港、紐約、華盛頓、溫哥華和波士頓、德巴里洛切等地）。獲達頓、 M e r i d i a n、亥伯龍、山度士等唱片公司錄製發行專輯，好評如潮。他亦定期與不同藝術家和樂團合作表演，包括：帕斯卡爾•羅傑、丹尼爾•霍普、佩卡•庫西斯托、勞倫斯•波沃爾、貝爾琪亞四重奏、阿萊格里、薩科尼四重奏、皮亞堤、倫敦海頓弦樂四重奏、阿羅諾維茨樂團、納許合奏團等等。 20 0 8 年，他被選為梅紐因國際小提琴比賽的指定大提琴手，與九名半決賽選手，演奏拉威爾二重奏奏鳴曲。佩爾在 20 03 年至 20 09 年，於梅紐因音樂學校任教， 20 05 年至 2017 年期間，為倫敦市政廳音樂及戲劇學院擔任大提琴教授。他每年亦會主持大師班，包括英國國際大提琴課程、牛津大提琴學校、倫敦大提琴學會、巴黎音樂師範學院、西赫爾辛基音樂學院、蒙斯皇家音樂學院和日本富山的西蒙•戈德堡研討會。他亦曾於多個地方公開講課，包括紐約茱莉亞學院，以及布盧明頓、尤金、薩克拉門托、溫哥華、斯泰倫博斯、新加坡、香港和維也納等地多間音樂大學。

The Artists

(In surname alphabetical order)

Pierre Doumenge (cello) Pierre Doumenge is the principal cellist of t he Bergen Phi l harmonic Orchestra a nd a member of the Bergen String Quartet. He is also guest principal cello with many orchestras including Oslo Philharmonic, Netherlands Philharmonic, Scottish Chamber Orchestra, London Sinfonietta, Mahler Chamber Orchestra, Amsterdam Sinfonietta, Orchestra of the Age of Enlightenment. Pierre was the cellist of the Dante Quartet and has appeared at many international festivals (Aldeburgh, Kuhmo, Bucharest, Vienna, Osor, Nuremberg, Hindsgalv, IMS Prussia Cove, Stellenbosch, Singapore, Hong Kong, New York, Washington DC, Vancouver, Boston, Bariloche). He has recorded for the Dutton, Meridian, Hyperion and Chandos labels to great critical acclaim. His regular chamber music partners include Pascal Rogé, Daniel Hope, Pekka Kuusisto, Lawrence Power, the Belcea, Allegri, Sacconi, Piatti, London Haydn quartets, Aronowitz Ensemble and the Nash Ensemble. In 2008 he was chosen to be the official cellist of the Menuhin International Violin Competition, performing the Ravel Duo Sonata with the nine semifinalists. Pierre taught at the Yehudi Menuhin School from 20032009 and was professor of cello at the Guildhall School of Music from 2005-2017. He gives annual masterclasses at the International Cello Courses UK, Oxford Cello School, Violoncello Society of London, Ecole Normale de Musique de Paris, West Helsinki Music Institute, Conservatoire Royal de Mons and the Szymon Goldberg Seminars in Toyama, Japan. He has given public classes at the Juilliard School in NewYork and the music universities of Bloomington, Eugene, Sacramento, Vancouver, Stellenbosh, Singapore, Hong Kong and Vienna.

藝術家

( 以英文姓氏次序排列 )

喬爾•亨特 ( 中提琴 ) 出生於英國的喬爾，為其約克郡人的身份感到自豪，七歲開始接觸中提琴，在獲頒獎學金後，決定就讀於曼徹斯特切塔姆音樂學校，後再到倫敦皇家音樂學院深造。從那時開始，他一直在世界各地與許多主要管弦樂隊和樂團合作演出。於倫敦完成學業後，喬爾獲格拉斯哥 B B C 蘇格蘭交響樂團聘為聯合首席中提琴，數年後於斯德哥爾摩瑞典廣播交響樂團擔任首席中提琴，直至 2014 年。他目前為馬勒室樂團的首席中提琴，同時身兼自由身音樂家四處出演。他獲英國各大樂團聘為客席首席中提琴，包括 B B C 交響樂團、英國愛樂樂團 ﹑英國皇家愛樂樂團 ﹑倫敦愛樂樂團 ﹑伯明翰城市交響樂團、皇家蘇格蘭國家交響樂團 ﹑蘇格蘭室內樂團、倫敦室內樂團、極光樂團、音樂會管弦樂團 ﹑皇家北部交響樂團等；其他地方的樂團包括：巴伐利亞廣播交響樂團、班堡交響樂團、奧斯陸愛樂樂團 ﹑慕尼黑愛樂樂團 ﹑ 萊比錫布業大廳管弦樂團、琉森節慶管弦樂團及阿姆斯特丹小交樂團。作為一名室內樂音樂家，喬爾曾在世界各地的音樂會上，與許多著名藝術家合作，包括克里斯蒂安•特茨拉夫、艾莉莎• 魏勒絲坦、帕斯卡•羅傑、內田光子和安斯涅。他最近錄製的唱片包括：山度士唱片出版的《康果爾德弦樂六重奏》，以及與安斯涅合作並由索尼經典唱片出版的《莫扎特鋼琴四重奏》。他亦是 L O G O S 室樂團的創團成員之一，該樂團每年都會為香港蕭邦社年度「香港美樂聚音樂節」和「香港國際鋼琴大賽」演出。 20 01 年，為表彰其於專業領域之貢獻，獲倫敦皇家音樂學院頒發「院士」稱號。喬爾現與家人於柏林定居。

(In surname alphabetical order)

The Artists

Joel Hunter (Viola) Born in the UK and a proud Yorkshireman, Joel was drawn to the viola as a 7 year old and decided many years later after being offered a scholarship, to continue his studies at Chethams School of Music in Manchester and subsequently at the Royal Academy of Music in London. Since then Joel has been performing all over the world with many leading orchestras and ensembles. Immediately af ter f inishing his studies in London he was appointed co-principal viola with the BBC Scottish Symphony Orchestra in Glasgow, moving on to the Swedish Radio Symphony Orchestra in Stockholm a few years later where as principal viola he worked until 2014. He is currently the principal violist of the Mahler Chamber Orchestra which he combines with a busy freelance career. He has appea red as a g uest principa l v iolist in most UK orchestras, including all of the BBC orchestras, the Philharmonia, Royal Philharmonic, London Philharmonic, City of Birmingham Symphony, Royal Scottish National Orchest ra, Scot t ish Cha mber Orchest ra, London Chamber Orchestra, Aurora, Royal Northern Sinfonia a nd i nter nat iona l ly w it h t he Sy mphon ie Orche ster des Bayerischen Rundfunk, Bamberg Symphony, Oslo Philharmonic, Munich Philharmonic, Leipzig Gewandhaus Orchestra, Lucerne Festival Orchestra and the Amsterdam Sinfonietta. As a chamber musician Joel has collaborated with many em i nent a r t ists, i nclud i ng Ch r ist ia n Tet z la f f, A l isa Weilerstein, Pascal Roge, Mitzuko Uchida and Leif Ove Andsnes in concerts throughout the world. Recent recordings include the Korngold String Sextet for Chandos and the Mozart Piano Quartets with Leif Ove Andsnes for Sony Classical. He is a founding member of the Logos Chamber Group playing annually at the Joy Of Music Festival and International Piano Competition in Hong Kong. In 2001 he was made an ‘Associate member’ of the Royal Academy of Music in London (ARAM) for his services to the profession. Joel is now based in Berlin where he lives with his family.

藝術家

( 以英文姓氏次序排列 )

金弘基 ( 鋼琴 ) 韓國鋼琴家金弘基榮獲多項大獎，包括 2013 年尹伊桑國際音樂比賽冠軍、2018 年第 6 0 屆西班牙哈恩國際鋼琴比賽新秀特別獎、冠軍和兩項特別獎（最佳室樂演奏、最佳西班牙音樂演奏）、2019 年第五屆香港國際鋼琴大賽冠軍。他的音樂造詣備受肯定，贏得獎項包括：2013 年中國國際鋼琴比賽季軍、2014 年第 69 屆日內瓦國際音樂比賽季軍、2016 年德國舒伯特國際音樂大賽特別獎、2018 年瑞士格扎安達音樂比賽最佳舒曼作品演奏特別獎。他亦以獨奏家身分，在不同獨奏音樂會、室樂音樂會等演出，他亦與多個歐洲管弦樂團合作，其中包括德國、法國、意大利、奧地利、西班牙和瑞士，亞洲演出包括中國、日本、新加坡和香港；南美洲演出包括巴西。以勝出者身份，為中國國際鋼琴比賽完成了中國巡演、日內瓦國際音樂比賽的亞洲巡演、哈恩比賽於西班牙安達盧西亞地區巡演等。在韓國，他曾與 K B S 交響樂團和國家交響樂團合作，在首爾藝術中心演出；與迪託管弦樂團合作，於仁川藝術中心的貝多芬誕辰 250 週年音樂會演出；以及與原州、昌原、木浦和群山等地的交響樂團合作。他曾於歐洲的舞台進行獨奏演出，包括意大利的第 54 屆切爾沃音樂節、意大利萊萬托的第 26 屆露天劇場音樂節、奧地利艾森斯塔特美樂聚音樂節、伯布林根鋼琴節、腓特烈港地震音樂節、德累斯頓的邁森鋼琴節等等。他還曾在韓國錦湖藝術廳《美麗星期四系列》、首爾藝術中心夏季音樂節和平昌音樂節等舞台上作獨奏演出。 2021 年，他獲韓國鋼琴家白建宇選中，在法國歷史悠久的巴黎香榭麗舍劇院合作演出。2023 年，為紀念拉赫瑪尼諾夫誕辰 150 週年，他演奏了拉赫瑪尼諾夫為鋼琴而作的《24 首前奏曲》（作品 3 第 2 首、作品 23、作品 32）。在藝園學校就讀期間，洪基在韓國藝術綜合大學（現為韓國國立藝術天才學院）預科學習作曲三年，後畢業於首爾藝術高中和韓國藝術綜合大學。隨後，他移居德國，在慕尼黑音樂戲劇學院和明斯特音樂學院深造。

The Artists

(In surname alphabetical order)

Honggi Kim (piano) South Korean Pianist Honggi Kim won the first prize at the Isangyun International Music Competition in 2013 and the Special Prize for Young Talents, the first prize and two special prizes (Best Performance in Chamber Music and Best Performance in Spanish Music) at the 60th International Piano Competition of Jaén, Spain in 2018, and also another first prize at the 5th Hong Kong International Piano Competition in 2019. He has also been recognized for his outstanding musicianship by the 3rd prize at the China International Piano Competition in 2013, the 3rd prize at the 69th Geneva International Music Competition in 2014, a special prize at the Schubert International Music Competition in Germany in 2016, and a special prize for the best performance of Robert Schumann’s piece at the Geza anda Competition in Switzerland in 2018. He has performed numerous concerts as a soloist in recitals, chamber music, and with orchestras in Europe, including Germany, France, Italy, Austria, Spain, and Switzerland; Asia, including China, Japan, Singapore, and Hong Kong; and South America, including Brazil. He has also completed a tour of China as a winner of the China International Piano Competition, a tour of Asia as a winner of the Geneva International Music Competition, and a tour of Spain’s Andalusia region as a winner of the Jaen Competition. In Korea, he performed with the KBS Symphony Orchestra and the National Symphony Orchestra at the Seoul Arts Center, the Dito Orchestra at the 250th anniversary concert of Beethoven’s birth at the Arts Center Incheon and the Wonju, Changwon, Mokpo, and Gunsan symphony orchestras. He has performed on the solo stage in Europe at the 54th Cervo music festival and 26th Amfiteatrof music festival in Levanto in italy, Joy of music festival in Eisenstadt in Austria, pianistenfestiva l Böblingen, earthqua keKonzertreihe in Friedrichshafen, pianoforte-fest Maissen in Germany and many others. He has also performed on the solo stage in South Korea at the Kumho Art Hall Beautiful Thursday Series, the Seoul Arts Center Summer Music Festival, and the Pyeongchang Music Festival. Recently, in 2021, he was selected by Korean pianist Kunwoo Paik and played together at the historic Champs-Elysees Theater in Paris, France, and in 2023, in commemoration of the 150th Rachmaninoff ’s birth, he performed all of Rachmaninoff ’s ‘24 Preludes for Piano (op.3 no.2, op.23, op.32) on one stage. While attending Yewon School, Honggi studied composition for three years at the Preparatory School Program of the Korea National University of Arts (now the Korea National Institute for Gifted in Arts) and later graduated from Seoul Arts High School and Korea National University of Arts. He then moved to Germany to study at the Hochschule für Musik und Theater München and the Musikhochschule Münster.

藝術家

( 以英文姓氏次序排列 )

西倫．麥卡比（小提琴）從獨奏、室樂到管弦樂，西倫享受多姿多彩的音樂家生活，最近獨奏演出作品包括布魯赫、德弗札克、孟德爾頌和康果爾德的協奏曲。他是馬奇尼弦樂四重奏團的成員之一，最近慶祝成立 30 週年。他也是卡瓦列里四重奏的創始成員之一，他與該四重奏團於全球多個音樂場地演出，包括維也納金色音樂廳、馬德里國家音樂廳、倫敦威格莫爾音樂廳、以及整個新西蘭和澳洲。他們曾獲得 2012 年漢堡國際室樂比賽冠軍、2014 年大阪國際室樂比賽亞軍、以及 2011 年皇家海外聯盟比賽冠軍。西倫擔任客席指揮的工作繁多，包括阿爾斯特管弦樂團、 R T E 音樂會管弦樂團、曼徹斯特室內樂團、印度交響樂團等，首席工作包括：倫敦交響樂團、馬勒室樂團、蘇格蘭室樂團、英國室樂團、歐洲室樂團、倫敦室樂團、倫敦莫扎特合奏團和伯明翰市立交響樂團。他還曾與聖馬丁室樂團、極光樂團、瑞典北歐室樂團和拉祖莫夫斯基樂團等樂團合作演出。他憑著梅紐因獎學金，於皇家音樂學院師隨尤西•齊沃尼，後於馬德里國際室樂學院，研讀君特•皮克勒的室樂音樂課程。他使用的小提琴為安德里亞•瓜奈利於 16 89 年製作的克雷莫納小提琴，由私人信託機構安排借用。

(In surname alphabetical order)

The Artists

Ciaran McCabe (Violin) Ciaran enjoys a varied musical life as soloist, chamber and orchestral musician. Recent solo engagements include the concerti of Bruch, Dvorak, Mendelssohn and Korngold. He is a member of the Maggini Quartet, who recent ly celebrated t heir 30t h a nniversa r y season, and was a founding member of t he Cavaleri Quartet, with whom he performed i n major venues such a s t he Mu si k verei n, Vienna, Auditorio Nacional, Madrid, Wigmore Hall, London and throughout New Zealand and Australia. They were First Prize winners at the 2012 Hamburg International Chamber Music Competition, Second Prize winners at the 2014 Osaka International Chamber Music Competition and in 2011 won the Royal Over-Seas League Competition. Ciaran has appeared as guest leader with orchestras such as the Ulster Orchestra, RTE Concert Orchestra, Manchester Camerata, the Symphony Orchestra of India and in principal positions with the Sinfonia of London, Mahler Chamber Orchestra, Scottish Chamber Orchestra, English Chamber Orchestra, European Union Chamber Orchestra, London Chamber Orchestra, London Mozart Players and City of Birmingham Symphony Orchestra. He has also performed with ensembles such as the Academy of St. Martin-inthe-Fields, Aurora, Camerata Nordica, Sweden and the Rasumovsky Ensemble. He studied with Yossi Zivoni at the Royal College of Music in London as a Yehudi Menuhin Scholar and later in the chamber music class of Günter Pichler at the International Institute of Chamber Music, Madrid. He plays on a 1689 Cremonese violin by Andrea Guarneri, on generous loan from a private trust.

藝術家

( 以英文姓氏次序排列 )

阿爾謝尼•文（鋼琴）「阿爾謝尼•文用音樂，傳遞真誠和獨特詩意」 - © 達拉斯雜誌。阿爾謝尼是第 6 4 屆布索尼國際鋼琴比賽的金獎得主，評審團成員更一致決定，向他頒發米開朗基利特別獎，為大賽 15 年以來首次。 2019 年，阿爾謝尼獲選為「山葉藝術家」。阿爾謝尼出生於 1999 年，6 歲起習琴，曾於聖彼得堡音樂學院，師從亞歷山大•桑德勒教授，後來又在紐約茱莉亞學院，師從著名藝術家謝爾蓋•巴巴揚教授。其他重要獎項包括：烏克蘭「霍羅威茨大賽」俄羅斯「山葉音樂大賽」美國「E 國際鋼琴比賽」美國「范•克萊本少年賽」美國「懷德曼鋼琴比賽」波蘭「紀念魯賓斯坦國際青年鋼琴家比賽」法國「聖普列斯特大賽」 20 09 年，他在聖彼得堡愛樂樂團音樂大廳，與俄羅斯國立模範交響樂團首次合作協奏曲。2012 年，在維也納莫扎特之家首次舉辦獨奏音樂會。阿爾謝尼亦贏得尤里•泰密卡諾夫獎，並參於了羅斯卓波維契基金會（被授予李希特特別獎）奧林匹斯音樂節、馬林斯基國際鋼琴節等。阿爾謝尼亦參與了《輕奏鋼琴》系列。 2016 年和 2017 年夏天，參加了瑞士韋爾比耶音樂節學院，並獲得了學院最佳鋼琴家大博爾特別獎。 2018 年，他在巴黎 A n i m a to 音樂節，獲得觀眾獎，並於法國廣播電台進行現場表演。阿爾謝尼經常在歐洲、美國各大城市演出，包括：紐約、洛杉磯、斯特拉斯堡、盧森堡、布魯塞爾、巴黎、馬德里等。他亦參與了多場由世界知名藝術家舉辦的大師班，包括：德米特里•巴什基洛夫、謝爾蓋• 巴巴揚、克勞斯•赫爾維格、理查德•古德、安德拉斯•希夫等。他亦曾與多個樂團合作演出，包括：明尼蘇達管弦樂團、柴可夫斯基樂團、沃夫茲堡交響樂團、馬林斯基樂團、北方交響樂團、聖彼得堡模範交響樂團等。合作過的指揮家包括：瓦列裡•捷傑耶夫、陳美安、法比奧•馬斯特蘭傑洛、扎爾貝克•古格卡耶夫、斯坦尼斯拉夫•科恰諾夫斯基、亞歷山大• 蒂托夫、亞歷山大•斯庫斯基、德米特里•利斯、馬克•拉塞爾•史密斯、伊恩•霍布森等。表演以外，阿爾謝尼於 2021 年，創建了個人線上工作室，提供有關鋼琴練習和職業生涯的專業指導，並開辦大師班。

The Artists

(In surname alphabetical order)

Arsenii Mun (piano) Arsenii Mun communicated a sincere and unique sense of the poetry in the music” - © Dallas magazine. Arsenii is the Gold medalist at 64th Ferruccio Busoni International piano competition where he also received special Michelangeli prize as per unanimous decision of the jury members for the first time in 15 years. In 2019 Arsenii became “The Yamaha Artist” Born in 1999 Arsenii started learning piano at the age of 6. He studied in St.Petersburg state conservatory with professor Alexander Sandler and later in The Juilliard school of Music in NewYork with professor and famous artist Sergei Babayan. Other important awards includes: ”Horowitz competition” Ukraine ”Yamaha music competition” Russia Piano e-competition” USA ”Cliburn junior competition” USA “Wideman piano competition” USA ”Artur Rubinstein in memorium” POLAND ”St.Priest competition” FRANCE He made his concerto debut in 2009 in the Grand hall of St. Petersburg phi l ha rmonic w it h state Academic symphony orchestra and solo recital debut in 2012 in “The Mozart House” in Vienna. Arsenii is laureate of Maestro Temirk a nov ’s pri ze Pa r t icipa nt of t he Rost ropov ich foundation (where he has been given a special “Sviatoslav Richter award ”) Musical Olympus festival, Mariinsky international piano festival. Arsenii is participant of The Pianissimo Piano series. In summer of 2016 and 2017 he took part in “Verbier Festival academy” (Switzerland) and won the special “Tabor” prize for the best pianist in Academy. In 2018 he got Audience Award on “Animato Festival” in Paris and played LIVE on Radio France. Arsenii frequently performs across Europe, USA In cities like: New York, Los Angeles, Strasbourg, Luxembourg, Brussels, Paris, Madrid. He took masterclasses with such world-renowned mentors such as Dmitry Bashkirov, Sergei Babayan, Klaus Hellwig, Richard Goode, Andras Shiff and many others. Performed w it h ma ny orchest ras such as Mi nnesota Sy mphony orchestra, Tchaikovsky orchestra, Fort Worth symphony orchest ra , Ma r i i nsk y orchest ra ,” Nor t h sy mphony ” orchestra, St.Petersburg state academic philharmonic orchestra and others. And collaborated with conductors such as Valery Gergiev, Mei-Ann Chen, Fabio Mastrangelo, Zaurbek Gugkaev, Stanislav Kochanovsky, Alexander Titov, Alexander Skulsky, Dmitry Liss, Mark Russell Smith, Ian Hobson and others. Apart from performing career in 2021 Arsenii created his own online-studio for advanced mentoring in piano practice and career and started to give Masterclasses.

藝術家

( 以英文姓氏次序排列 )

盧卡．奧克羅斯（鋼琴）格魯吉亞裔英國鋼琴家盧卡．奧克羅斯，於其職業生涯中，在各大比賽屢獲殊榮，包括韋爾比耶音樂節鋼琴獎、香港國際鋼琴大賽冠軍、瓦倫西亞國際鋼琴比賽冠軍、漢諾威蕭邦國際鋼琴大賽冠軍、摩洛哥交響樂團國際鋼琴比賽冠軍以及德國國際鋼琴大賽的 FA Z 觀眾票選獎。盧卡曾於世界各地極負盛名的音樂廳演出，如法蘭克福舊歌劇院、布魯塞爾美術宮、卡內基大廳、塞拉根宮、阿姆斯特丹音樂廳、柏林音樂廳、李斯特音樂學院、奧斯陸音樂廳、瓦倫西亞音樂宮、孟買皇家歌劇院、魯道夫音樂廳、南岸中心、索利斯劇院、特拉維夫藝術博物館、多倫多藝術中心、維也納音樂廳和威格莫爾音樂廳等。於 2023/2024 音樂季度，盧卡將於不同城市舉行音樂會，包括阿姆斯特丹 ( 阿姆斯特丹音樂廳 )、赫爾辛基 ( 赫爾辛基音樂廳 )、慕尼黑 ( 蓋斯泰格音樂廳 )、巴黎 ( 科爾托音樂廳 )、雷克雅未克 ( 哈帕音樂廳 )、第比利斯 ( 國立音樂學院 ) 和香港 ( 香港大會堂 )。他亦會為英國國家廣播公司 BBC 第 3 台和法國廣播電台進行現場表演。 2021 年，盧卡被任命為倫敦威格摩爾音樂廳的助理藝術總監，這個新音樂廳位於威格莫爾街 22 號，即將於 2024 年開幕。盧卡在社交媒體上，亦擁有大量粉絲，Instagram 上的粉絲

(In surname alphabetical order)

The Artists

Luka Okros (piano) Luka Okros is a Georgian-British pianist who has won numerous awards throughout his career, including the Verbier Festival Piano Award, first prizes at the Hong Kong International Piano Competition, Valencia International Competition, Hannover Chopin Competition, Morocco Philharmonic Competition, and FAZ Audience Award at the International German Piano Award. Lu k a ha s p er for me d i n s ome of t he most prestigious concert halls around the world, such as Alte Oper Frankfurt, Bozar, Carnegie Hall, Ciragan Palace, Het Concertgebouw, Konzerthaus Berlin, Liszt Academy, Oslo Konserthus, Palau de la Musica Valencia, Royal Opera House Mumbai, Rudolfinum, Southbank Centre, Teatro Solís, Tel Aviv Museum of Arts, Toronto Centre for the Arts, Vienna Konzerthaus and Wigmore Hall. In the 2023/2024 season, Luka has planned recitals in various cities such as Amsterdam (Het Concertgebouw), Helsinki (Musiikkitalo), Munich (Gasteig), Paris (Salle Cortot), Reykjavík (Harpa), Tbilisi (Conservatory), and Hong Kong (Hong Kong City Hall). He will also be performing live for BBC Radio 3 and Radio France. In 2021, Luka was appointed as an Assistant Artistic Director at Bechstein Hall, London’s new concert venue set to open in 2024 on 22 Wigmore Street. Luka has a considerable following on social media, with over 108,000 followers on Instagram.

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藝術家

( 以英文姓氏次序排列 )

朴栽弘 ( 鋼琴 ) 鋼琴家朴栽弘，以其讓人極具魅力的精湛技藝和讓人驚嘆的舞台表演聞名。這位藝術家獲形容為「無所畏懼」和「一絲不苟」，朴栽弘自 2021 年於布索尼國際鋼琴比賽獲得冠軍及四項特別獎後，已晉身當代備受追捧的鋼琴家。此外，他亦於吉娜•巴喬爾和克利夫蘭國際青年藝術家鋼琴比賽獲勝，並在亞瑟•魯賓斯坦國際鋼琴大賽、埃特林根國際大賽等多項比賽中獲得首獎。朴栽弘曾與多個樂團合作演出，包括：以色列愛樂樂團、猶他交響樂團、I Po m e r i g g i M u s i c a l i 樂團、阿圖羅•托斯卡尼尼愛樂樂團、首爾市立交響樂團、歐盟青年交響樂團等，並與多名頂尖指揮家合作，包括：鄭明勛、賈南德里亞•諾塞達、馬庫斯•斯坦茨、約爾•萊維、克里斯蒂安•賈維、莊東杰、奧馬爾•梅爾•韋爾伯、詹姆斯•費德克、阿夫納•拜倫、阿爾沃•沃爾默等等。朴栽弘於世界各地多個音樂節亮相，包括格拉費內格音樂節、波扎諾音樂節、西恩納音樂節、都靈靈格托音樂節、博洛尼亞 Musica Insieme 音樂節等等，並於萊比錫布商大廈、東京三得利音樂廳、巴勒莫波黎得亞瑪劇院、費拉拉市立劇院等多個知名音樂場地演出。

The Artists

(In surname alphabetical order)

Jae Hong Park (piano) Pia nist Jae Hong, Pa rk is pra ised for his mesmerizing virtuosity and astounding stage presence. Described as “fearless” and “meticulous” artist, Jae Hong has emerged as one of the most sought-after pianists of his generation with his triumph from 2021 Feruccio Busoni International Piano Competition, where he not only received the first prize but also four special prizes. A l so w i n ner of t he Gi na Bachauer a nd t he Cleveland Internationa l Piano Competition for Young Artists, he has won top prizes at the Arthur Rubinstein International Piano Masters Competition, Ettlingen International Competition and many others. Jae Hong has performed with the Israel Philharmonic Orchestra, Utah Symphony Orchestra, Orchestra I Pomeriggi Musicali, Filarmonica Arturo Toscanini, Seoul Philharmonic Orchestra, European Union Youth Orchestra to name a few, and worked with leading conductors such as MyungWhun Chung, Gianandrea Noseda, Markus Stenz, Yoel Levi, Kristjan Jarvi, Tung-Chieh Chuang, Omer Meir Wellber, James Feddeck, Avner Biron, Arvo Volmer and many others. Mr. Park has performed at the Grafenegg Festival, Bolzano Festival Bozen, Incontri in Terra di Siena, Lingotto Musica (Torino), Musica Insieme (Bologna) and many other leading festivals and performed in leading concert halls, such as Gewandhaus (Leipzig), Suntory Hall (Tokyo), Teatro Politeama (Pallermo), Teatro Comunale (Ferrara) and many other venues.

藝術家

( 以英文姓氏次序排列 )

(In surname alphabetical order)

The Artists

Alvaro Pierri (guitar) Alvaro Pierri is internationally acclaimed as a leading personality in the world of the guitar. Press reviews around the world praise “his masterly thought-out interpretations“... “the breathtaking phrasing“ ... “his phenomenal and brilliant technique” ... “the unmatched musical colour spectrum that he creates on the guitar“. Popular with both the public and the critics, Alvaro Pierri is regular guest in major concert houses in Europe, North and South America, in India, Japan, Corea and China. His debut in the USA took place in New York and received outstanding reviews: “… Mr. Pierri revealed an artistic maturity not commonly encountered ” … “compared to artists as Segovia, Bream, Williams” … “brilliant, sensitive, versatile, breathtaking” (New York Times). In 1983 he made his debut in Germany with the string soloists of the Berlin Philharmonic; subsequently Alvaro Pierri appeared worldwide on numerous radio and television programmes (as a soloist but also together with artists like Frank Peter Zimmermann, Astor Piazzolla, Charles Dutoit and big Orchestras) produced by stations like Deutsche Rundfunk, PBS New York, CBC Canada, Radio France, NHK Japan, KBS Korea, Austrian, Spanish, French, Danish, Chinese Radios. Alvaro Pierri is regularly performing with outstanding musicians, ensembles and orchestras. He has shared the stage with artists including Charles Dutoit and the Montreal Symphony Orchestra, Astor Piazzolla and the WDR Radio Orchestra Köln with Pinchas Steinberg, Yannick Nezet-Séguin, Polnish Chamber Philharmoniic Orchestra with Wojciech Rajski, CBC Radio Orchestra with Mario Bernardi, London Chamber Orchestra, Frank Peter Zimmermann, Ernö Sebestien, Regis Pasquier, Hatto Beyerle, Philippe Müller, Leo Brouwer, Amjad Ali Khan, Alcides Lanza, Tracy Silverman, Maureen Forrester, Eduardo Fernandez, Isaye Quartett, Cherubini Quartet, Turtle Island String Quartet, Ensemble Wien with Rainer Honeck, Vasko Vassilev, Pascal Rogé. Contemporary composers such as Leo Brouwer, Guido Santorsola, Jacques Hétu, Astor Piazzolla, Abel Carlevaro, Carlo Domeniconi, Dusan Bogdanovic a. o. have written major works for Alvaro Pierri, in each case he has premiered them brilliantly. Alvaro Pierri’s CDs have been released by Metropole-Polydor (France), Blue Angel-2001 (Germany), Milan Records (Canada), Analekta (Canada), Amplitude (Canada), Madacy (Canada), HOMA (Japan), Pioneer Classics (Japan) and Alpha Omega (Hong Kong). His discography includes solo recordings, chamber music, guitar concerts and electro-acoustic music. Several of his CDs have been honoured with prices and nominations, he received already twice the coveted Canadian FELIX award for the best classical CD of the year. Recently „Pioneer Classics Japan“ brought out a DVD featuring Spanish and South American guitar music, and “Deutsche Grammophon“ re-issued a DVD, Alvaro Pierri performing in duo with Astor Piazzolla. Alvaro Pierri is also an internationally acclaimed teacher. Many of his students have won major international guitar competitions, and have themselves outstanding performing and recording careers. He was professor in Brazil at the University of Santa Maria, later then in Canada at McGill University (Faculty of Music) and at the UQAM (Department of Music) in Montreal. In 2002 he was appointed professor at the famous Academy of music in Vienna (today University of Music and Performing Arts), Austria. Pierri gives master classes at major music festivals such as New York Manhattan Masters, GFA Guitar Foundation of America, Québec FIG, Orford Festival, Domain Forget (Canada), SIG Séminaire International de Guitare in Paris and Bordeaux, Barcelona, Sevilla and Elche in Spain, Rome, Mozarteum Summer Academy in Salzburg, Wiener Meisterkurse, LiGiTa Liechtenstein Guitar Week, Amsterdam, Kopenhagen, Helsinki, Uppsala, Villa Musica Mainz, Berlin, Koblenz, Iserlohn, Sao Paulo, Rio de Janeiro, Montevideo, Mumbai, New Delhi, Tokyo, Sapporo, Osaka, Seoul, Hong Kong, Beijing, Shanghai, a.o. Alvaro Pierri was born in Montevideo in Uruguay, in a family of musicians. He received his early musical education from his mother, the pianist Ada Estades, and his aunt, the uruguayan guitarist Olga Pierri. Later he studied with the legendary Maestro Abel Carlevaro, the composer Guido Santorsola and also at the Uruguayan National Institute of Musicology. From the age of 11 he was already performing in concerts and winning prizes in international guitar competitions, including 1st Prize in the International Guitar Competition in Buenos Aires, Argentina, 1st Prize in the International Guitar Competition in Porto Alegre, Brazil, and the Gold Medal at the 18th International Competition in Paris. In recognition of his outstanding artistic talent and career and his permanent enriching contribution to music and culture, 2008 Alvaro Pierri was appointed as honorary citizen of his home town Montevideo.

藝術家

( 以英文姓氏次序排列 )

The Artists

(In surname alphabetical order)

阿爾瓦羅•皮耶里（結他）阿爾瓦羅•皮耶里為全球公認的大師級結他音樂家，世界各地的各大媒體讚譽不絕，「精湛慎密的演繹」、「令人讚嘆的切句」、「非凡卓越的技巧」、「以結他創造出獨一無二的音樂光譜」。阿爾瓦羅•皮耶里深受大眾和評論家歡迎，為世界各地主要音樂廳的常客，足跡遍布歐洲、北美、南美、印度、日本、韓國和中國等。他於美國紐約的首次亮相，好評如潮：「皮耶里先生展現出的藝術成熟度，為稀世之珍」、「堪比塞戈維亞、布里姆、威廉姆斯等藝術家」、「才華橫溢、靈敏、多才多藝、令人驚嘆」（紐約時報）。 1983 年，他與柏林愛樂管弦樂團合作表演，於德國首次亮相，其後，他成為全球各地電台和電視節目的常客，除了獨奏表演，他亦曾與不同知名音樂家合作，例如：弗蘭克•彼得•齊默爾曼、阿斯特•皮亞佐拉、查爾斯•杜托伊特及多個大型管弦樂團。他亦曾與各大電台合作進行音樂表演製作，包括：德國廣播、紐約 P B S、加拿大哥倫比亞廣播公司、法國廣播電台、日本 N H K、韓國 K B S，以及位於澳洲、西班牙、法國、丹麥、中國等地的電台。阿爾瓦羅•皮耶里經常與不同出色的音樂家、樂團和管弦樂隊合作演出，包括：查爾斯•迪圖瓦和蒙特利爾交響樂團；阿斯特• 皮亞佐拉、平夏斯•斯坦伯格以及 WDR 科隆廣播交響樂團；雅尼克•內澤 - 塞甘、與沃伊切赫•拉斯基及波蘭室樂愛樂樂團；馬里奧•貝爾納迪及 CBC 廣播交響樂團；倫敦室樂團、弗蘭克•彼得•齊默爾曼、埃爾諾•塞貝斯汀、雷吉斯•帕斯奎爾、哈托• 拜爾勒、菲利普•穆勒、利奧•布勞威爾、阿姆賈德•阿里•汗、阿爾西德斯•蘭扎、特雷西•西爾弗曼、莫林•福雷斯特、愛德華多• 費爾南德斯、伊薩耶四重奏、凱魯比尼四重奏、海龜島弦樂四重奏、維也納合奏團與萊納•霍涅克、瓦斯科•瓦西列夫、帕斯卡• 羅傑等等。他的不少主要作品皆出自當代作曲家手筆，例如萊奧•布勞威爾、基多•山杜梭拉、雅克•赫圖、阿斯托爾•皮亞佐拉、亞貝爾• 卡雷巴洛、卡羅•多明尼可尼和杜尚•博格達諾維奇等，這些樂曲亦由阿爾瓦羅傾情首演。皮耶里的專輯獲世界各大品牌發行，如法國寶麗多、德國藍天使 -20 01、加拿大米蘭唱片、加拿大 A n a l e k t a、加拿大 Amplitude、加拿大 Madacy、日本 HOMA、日本 Pioneer Classics 和香港 Alpha Omega 等。他的唱片包括獨奏唱片、室樂、結他音樂會和電子原音音樂。他憑著這些音樂作品屢獲殊榮，至今他已兩次獲得加拿大 FELIX 年度最佳古典音樂大碟獎，最近，日本 Pioneer Musics 亦為他發行輯錄了西班牙及南美結他音樂作品，德意志留聲機公司則再次發行皮耶里與阿斯托爾• 皮亞佐拉的二人組演出 DVD。作為一位蜚聲國際的導師，皮耶里許多門下弟子都曾獲重大國際結他比賽獎項，發展優異音樂事業，包括表演及錄製專輯。皮耶里曾於巴西聖瑪麗亞大學任職教授，其後於加拿大麥吉爾大學（音樂學院）和滿地可魁北克大學蒙特利爾分校（音樂部門）開設結他班。20 02 年，他獲著名的奧地利維也納音樂學院（現已改名為維也納音樂和表演藝術大學）聘為教授。皮耶里亦在全球各地的音樂節教授大師班，包括紐約曼哈頓大師班、美國 G FA 結他基金會、魁北克 F i g、奧福德音樂節、加拿大 D o m a i n Fo r g e t 音樂節、巴黎 S I G 國際結他研討會，足跡遍布西班牙波爾多、巴塞羅那、塞維利亞和埃爾切、羅馬、薩爾茨堡莫札特音樂大學、維也納大師班、列支敦士登結他周、阿姆斯特丹、哥本哈根、赫爾辛基、烏普薩拉、美因茨音樂別墅、柏林、科布倫茨、伊瑟隆、聖保羅、里約熱內盧、蒙得維的亞、孟買、新德里、東京、札幌、大阪、首爾、香港、北京、上海等。阿爾瓦羅•皮耶里出生於烏拉圭蒙特維多的音樂世家，皮耶里自小便由鋼琴家母親阿達•埃斯塔德斯及烏拉圭結他手阿姨奧爾加•皮耶里教授音樂，後師從著名傳奇大師亞伯•卡列瓦羅及作曲家吉多•桑托索拉，並入讀烏拉圭國立音樂學院。從 11 歲起，他便展開其音樂演出生涯，並於國際結他比賽中屢獲殊榮，包括阿根廷布宜諾斯艾利斯國際結他比賽冠軍、巴西阿雷格里港國際結他比賽冠軍、以及第 18 屆巴黎國際比賽金獎。 20 0 8 年，其家鄉蒙特維多向他頒發「榮譽市民」稱號，以肯定皮耶里出色的藝術才華及事業，並表彰其對音樂和文化所作出的豐富貢獻。

藝術家

( 以英文姓氏次序排列 )

蘭殊．高夫斯基（鋼琴） 198 4 年生於俄羅斯伊爾庫茨克。八歲首度於台上亮相，和伊爾庫茨克室樂交響樂團同台演出。於各大比賽屢獲殊榮，包括：20 01 年巴黎隆提博國際鋼琴大賽亞軍 ﹑20 05 年香港國際鋼琴大賽冠軍 ﹑2011 年斯坦鋼琴大賽季軍和濱松國際鋼琴比賽冠軍。就讀於新西伯利亞、漢諾威及巴黎等地，曾師隨弗拉基米爾•克拉伊涅夫習琴。獨奏方面，他曾與各大樂團合作，包括：法國廣播愛樂樂團、馬林斯基交響樂團、里爾國家交響樂團、古爾本基安交響樂團、比利時國家交響樂團、捷克國家交響樂團、俄羅斯國家交響樂團、羅馬尼亞國家交響樂團等。蘭殊亦曾於全球多個著名音樂會場演出，如夏特雷劇院、皮勒耶音樂廳、科隆愛樂廳、阿姆斯特丹皇家音樂廳、莫斯科音樂學院大音樂廳、東京三得利音樂廳和台北國家音樂廳等。室樂方面，他曾與不同音樂家合作，包括諏訪內晶子、庄司紗矢香、加里•霍夫曼、丹尼爾•洛扎科維奇、博索里、鮑羅丁和上海四重奏等。他錄製了多張唱片，包括蕭邦練習曲全集和斯克里亞賓鋼琴奏鳴曲全集。 2017 年起，他亦於首爾誠信女子大學擔任客座教授。

(In surname alphabetical order)

The Artists

Ilya Rashkovskiy (piano) B or n i n I rk ut sk, Ru s sia i n 198 4 , I ly a Rashkovskiy debuted at age 8 with the Irkutsk Chamber Music Orchestra. He won the 2nd place at the Long – J. Thibaud Competition (2001), 1st place at the Hong Kong International Competition (2005), 4th at the Queen Elisabeth Competition in Brussels, 3rd place at the Artur Rubinstein Piano Masters in Tel Aviv (2011) and the 1st place at the Hamamatsu International Piano Competition. He studied in Novosibirsk, Hannover and Paris; his main piano teacher was Vladimir Krainev. He col laborated as a soloist w it h t he Orchest re Philharmonique de Radio France, Mariinsky Orchestra, the Orchestre national de Lille, the Gulbenkian Orchestra, the National Orchestra of Belgium, the Czech National Sy mphony Orchest ra , Russia n State Sy mphony, t he Romanian National Orchestra amongst many others. Ilya performed in several prestigious concert venues throughout the world, such as the Théatre du Châtelet, the Salle Playel, the Cologne Philharmonic Hall, the Royal Concertgebouw in Amsterdam, the Grand Hall of the Moscow Conservatory, the Suntory Hall in Tokyo and Taipei National Concert Hall. He is also active as a chamber musician, having collaborated with musicians such as Akiko Suwanai, Sayaka Shoji, Gary Hoffman, Daniel Lozakovich, Bomsori, Borodin and Shanghai String Quartets. He recorded several CDs including Chopin Complete Etudes as well as Scriabin Complete Piano Sonatas. Since 2017 he is also a guest professor at Sungshin Woman’s University in Seoul.

藝術家

( 以英文姓氏次序排列 )

喬納斯•斯塔克（鋼琴）喬納斯•斯塔克於 2022 年榮獲香港國際鋼琴大賽冠軍，曾在全球不同地方演出，包括德國各大城市、法國、荷蘭、英國、愛爾蘭、波蘭、斯洛伐克、奧地利、瑞士、意大利、俄羅斯和澳洲等。為多個樂團協奏曲演出擔任鋼琴獨奏，包括海德堡愛樂樂團、德國廣播愛樂樂團、杜伊斯堡愛樂樂團、北德意志愛樂樂團、慕尼黑室內樂團和海頓愛樂樂團，合作的指揮家包括馬林• 阿爾索普、馬庫斯•博斯、馬丁•弗拉茨、迪特格• 霍爾姆和黃佳俊等。他於多個國際音樂比賽中屢獲殊榮，包括 20 09 年巴黎法國國際音樂比賽冠軍、2010 年法蘭克福國際拉赫曼尼諾夫鋼琴比賽亞軍、埃特林根國際鋼琴比賽進步獎、2014 年特里爾青年鋼琴比賽冠軍、2014 年青少年音樂大賽聯獎、 2017 年巴黎 FL AME 國際鋼琴比賽冠軍、2017 年季雪金比賽冠軍、2021 年多特蒙德國際舒伯特比賽季軍、以及 2022 年慕尼黑 ARD 國際音樂比賽特別獎。此外，喬納斯憑著其出色的獨奏表演，兩度獲得州特別獎，並於 2021 年，獲選為成為青年施坦威藝術家。喬納斯還出席了由不同藝術家主持的大師班，包括康拉德•埃爾瑟、彼得•弗蘭克爾、迪米特里•巴什基洛夫、約翰• 佩里、克里斯托弗•埃爾頓、迪米特里•阿列克謝耶夫、馬丁• 赫爾姆臣、阿里•瓦爾迪、賈尼娜•菲爾科斯卡、安娜•馬利科娃、貝恩德•戈茨克和格里戈里•格魯茲曼等。現年 25 歲的喬納斯•斯塔克，五歲時開始師從耶萊娜•塞梅年科習琴。 2018 年，在德國薩爾高等音樂學院師從托馬斯•杜伊斯，取得音樂學士學位後，在英國倫敦皇家音樂學院師從伊恩•方坦，攻讀碩士和專業文憑。直至 2021 年，他繼續於漢諾瓦音樂、戲劇與媒體學院，師從羅蘭•魯格，攻讀獨奏研究生課程。喬納斯亦榮獲多個基金獎學金，包括於爾根•彭托基金會、德國國家學術基金會、德國學術交流總署、德國音樂生活基金會、漢斯和露絲•吉森基金會以及英國蒙斯特女伯爵音樂基金獎。

The Artists

(In surname alphabetical order)

Jonas Stark (piano) Jonas Sta rk, w i nner of t he Hong Kong International Piano Competition 2022, has per formed ex tensively t hroug h a l l major German cities, France, the Netherlands, the UK, Ireland, Poland, Slovakia, Austria, Switzerland, Italy, Russia and Australia. As a soloist in piano concertos he appeared with the Heidelberger Philharmoniker, Deutsche Radio Philharmonie, Duisburger Philharmoniker, Norddeutsche Philharmonie, Münchener Kammerorchester and Haydn Philharmonie under the baton of Marin Alsop, Marcus Bosch, Martin Fratz, Dietger Holm and Kahchun Wong. Further achievements include the 1st prize at ‘Concours Musica l de France’ in Paris in 2009, t he 2nd prize at t he Inter nat iona l R ach ma n i nov Pia no C ompet it ion i n F r a n k f u r t 2 010 , a n a d v a n c e m e n t a w a r d a t t h e International Piano Competition Ettlingen, the 1st prize at ‘Nachwuchswettbewerb für junge Pianisten’ in Trier in 2014, the 1st federal prize at ‘Jugend musiziert’ in 2014, a 1st prize at the International Piano Competition FLAME 2017 in Paris, the 1st prize at the Walter Gieseking competition 2017, the 3rd prize at the International Schubert Competition D or t mu nd i n 2 0 21 a nd a s p e c i a l pr i z e at t he A R D International Music Competition Munich in 2022. Moreover, Jonas twice received the special award of his state for outstanding solo performance and became Young Steinway Artist in 2021. Alongside his studies, Jonas has attended masterclasses by Konrad Elser, Peter Frankl, Dimitri Bashkirov, John Perry, Christopher Elton, Dimitri Alexeev, Martin Helmchen, Arie Vardi, Janina Fialkowska, Anna Malikova, Bernd Goetzke and Grigory Gruzman. Jonas Stark, now 25 years old, started piano lessons with Jelena Semenenko when he was five years old. After his Bachelor of Music at the HfM Saar, Germany with Professor Thomas Duis in 2018 he studied Master and Professional Diploma with Professor Ian Fountain at the Royal Academy of Music in London until 2021 and continues his studies at the HMTM Hanover in the Soloklasse of Professor Roland Krüger. Jonas is scholar of the Jürgen Ponto foundation, the German National Academic Foundation, the German Academic Exchange Service, the Deutsche Stiftung Musikleben, the Hans-and-Ruth-Giessen-Foundation and the Countess of Munster Musical Trust.

特別鳴謝

Special Contributors

Chang Tou Liang 張道亮 The Writer of the Programme Notes

Singapore native Chang Tou Liang is a family physician in private practice. He also aspires to classical music-related endeavours, including being a music reviewer for The Straits Times (over 2500 publications to date), former Artistic Director of the Singapore International Piano Festival (20042008), amateur pianist, amateur singer (10 years as a tenor in the Singapore Symphony Chorus), co-founder of the Singapore Symphony Orchestra Piano Marathon, co-host in the Symphony 92.4 FM syndicated musical talk-show Bluff Your Way Through Classical Music, annotator of the Hong Kong International Piano Competition and The Joy of Music Festival (Hong Kong), and seat-warmer in innumerable committees of numerous Singapore arts organisations. In 2011, he was conferred a Special Recognition Award by the Singapore government’s Ministry of Communication, Information and the Arts for contributions to music and the arts. In 2016, he was the unanimous winner of the 4th Husum Piano Quiz, an honour previously held by MarcAndré Hamelin. He also made a cameo appearance in the Jan Ö. Meier directed docu-movie PianoCrazy, released on DVD (Danacord label) in 2017. His work as a music reviewer has been documented in the Cambridge History of Music Criticism (2019 Edition). In 2020, he was invited to judge at the Thailand Steinway Youth Piano Competition, and later served as its special consultant. His blog Pianomania (pianofortephilia.blogspot.sg) has an international following with over 1.8 million reads. He is married to Janet, and they have a 21-year-old son Shan Ming, and maintain a household of 7 rescued cats.

The “YOUNG TALENTS” Series The Chopin Society of Hong Kong, during its twenty three years history, has supported local artists through scholarships, the funding of their studies in Hong Kong and overseas and by presenting them in public recitals in Hong Kong and in other countries as well as recording them for the Society’s recording label: The Alpha Omega Sound. Starting in 2015, the Society has been implementing in Its Joy of Music Festival, the “Young Talent” Series, an innovative programme for our young artists. Audiences in general are always eager to attend presentations of artists who have already carved a place in their performing careers, and the Society’s presentations are no exception in acknowledging and trying to fulfill these expectations. The Society is, of course, very proud to present to the public in Hong Kong great artists who have gone through that long and arduous path until they are acknowledged and their presentations are eagerly awaited by the audiences. Undoubtedly, a very special talent and a very strong self-discipline are essential ingredients in managing to go through this path. But there are many factors that contribute positively or negatively to the building of the career of a performing artist. Some artists will manage to overcome all obstacles and continue all through their lives in this voyage of discovery. Others will be forced to choose alternative paths in their lives. Who knows? Only time can tell! The Chopin Society would like to offer our audiences the opportunity to listen to some of those promising, budding young artists by presenting them in brief recitals at the start of each night’s main performance. Their appearance is not there to offer opportunity for comparison or criticism, nor in any way, is their presence to detract from what follows after their brief appearance, that is the performances of seasoned and mature artists. But their presence on stage is a salute to these young talents and it is the Society’s way of giving them the chance to share, briefly, the limelight with the older and more experienced colleagues. It also gives the Hong Kong audience a sample of the artists whom they will be enjoying in the near future. (Incidentally - people are usually familiar with opening, warm-up or supporting acts that perform at a concert before the main or featured act is presented. The use of warm-up acts is a general practice in “pop concerts” but it is not something that has been practiced in the more conventional format of classical music presentations.) With this in mind, we have asked one of Hong Kong’s leading artists and doyenne of piano teachers, who has been so generously offering the Society her contribution as artistic advisor for so many years, Prof. Eleanor Wong, to identify some of these promising young artists and offer them the opportunity to play for five to ten minutes only, in the City Hall Concert Hall, in front of a large audience, before the main performance each evening. While preparing the presentation of the ‘Young Talents’ Series, Andrew Freris, Chairman of the Chopin Society of HK, put the following questions to Prof. Eleanor Wong. Her answers were the following: Question 1 As a teacher with decades of experience, especially with very young pianists, which would you consider to be the most common musical characteristic of these children, other than sheer technical ability?

Eleanor: They all have the love and enthusiasm for music, keen ears to distinguish difference of sound, good sense of rhythm, emotional involvement with music, ability to communicate with sound, ability to persevere and concentrate. Question 2 These very young kids (aged 7, 8, 9...) have no experience of life or of music for that matter, so what can they bring “to the table” and offer to the listener other than their technical ability? Eleanor: They can bring to the audience their own imagination, their own stories, their colors, their own emotions, through their ability to make musical lines, difference in dynamics and use of timing..., but of course those are all part of technique. Andrew also put the following questions to Ilya Rashkovskiy, Jinsang Lee, Giuseppe Andaloro and Luka Okros, first prize winners of each of the four Hong Kong International Piano Competitions so far: 2005, 2008, 2011 and 2016 respectively. These were their answers: Question 1 At what age did you start feeling conscious about your musical ability and how did this express itself? Playing music, thinking about music, feeling music? Ilya My mother was a piano teacher, so my musical ability was discovered at an early age. At 5-6 years old I played piano almost every day, and I liked it. Jinsang I was a very shy boy when I was a small kid. If people asked me to play something, I felt really shy. But when I was 15, when I went to music high school, I didn’t feel shy any more, and started to enjoy playing for people who wanted to listen to me. Since then, I believe that my music can make people happy. Giuseppe I began approaching music at a very young age, but started to study piano at the age of 8. After few months of practicing, the very same year (August 1990), I had the chance to perform for the first time in front of an audience of approximately 2500 people. This was in the main square of the small village where I spent my childhood, in Delia (Caltanissetta province, in the middle part of Sicily, my native island). I do remember I played easy works by Schubert and Beethoven, and will never forget the magic and “scary” feelings at that time. Anyway, that night, I had also a feeling that music and piano were going to be part of my life. Luka It was at the age of four, when I fell in love with music. For me it was a part of daily life, I couldn’t sleep because of the excitement of anticipating that the following morning, I was going to play the piano again. Honestly, music is a part of my life since I was a kid, so I never really had to think why I do play music or for what. It was like a magical world for me, which grew enormously fast. Question 2 Were you fully aware that you were different from other children or from your companions at school? In which way did YOU think you were different? Ilya Every person is different, but I never thought that I was especially different. From the age of 10, I was already surrounded by people of my age or older, who were also studying music.

The “YOUNG TALENTS” Series Jinsang Actually, I didn’t like my friends to think of me as: “ah…, the boy who plays piano.” My mother was a table tennis player and had a ping pong club. She made a small room in one corner of the club and put a grand piano for me to practice. My friends played ping pong and I played the piano. It was a weird ping pong club with classical music. But, through this, I could keep playing while being with my friends (of course, we also played ping pong together) and my mother could also watch me while she ran her business at the club. Giuseppe I remember noticing differences between me and the other kids at the local piano school - the only one in that village and where there was only one piano teacher - in my “fastness” in learning the notes and, most of all, in my ability to recognize the correct notes by hearing them, without looking at the keyboard. I started to realize having the so-called “perfect pitch” at 5, when my sister and I were playing with the old piano at home, using it “as a toy”, but there has been a long way ahead to improve it. Yes, I was definitely different from my school mates as well. I really felt as if I had not many things to share with them since my focus was on music all the time, I was not feeling comfortable or happy with them since their areas of interest were in other various subjects which did not really interest me. Even early on, at elementary school, the majority of my school mates were making fun of me, considering me too “serious and complicated”, something which is totally understandable for me now. Luka Yes, maybe because of the turmoil in my country at the time. You see, when I was born, my homeland was in the middle of a political, economic and social crisis, as a result of the collapse of the Soviet Union. The civil war is not the best time to become a musician, isn’t it? As a child I was very introverted but, at the same time, very artistic, especially when I was in the company of adults. I forced my parents to create a homemade stage with curtains, and without announcement, I’d appear on it. So, I felt that the stage was my life, where I could express myself through music. In my childhood I found it easier to communicate with adults than with the children of my age. I really preferred to play music, read books or paint, rather than to spend time in the yard playing with other children. Question 3 Giving “career advice’ to very young talented children might be irrelevant or inappropriate when they are 9 and 10 years old! But talking as a friend to them, what would be the single thing that you would wish to share with them from your own experience as a talented child? Ilya When you want to learn a musical instrument, spend just some time at actually practicing, and more time at studying symphonic music, opera, all kinds of scores and art in general, to find inspiration and brighten your imagination. I would also recommend playing chamber music from an early age. Jinsang It is not just about making music for the sake of it. Try to find JOY in music!, joy in practicing, joy in learning the musical language, joy in performing. I don’t tell the young talents to just try to play well, but to enjoy playing. Even when their playing might not be “rich” or “wise” enough, it doesn’t matter. “Joy”is a much more significant value for young pianists. Giuseppe

I believe that each one of us is the “product” (perhaps it is not nice to call it so … the “result” maybe...) of all the facts and circumstances which surround each individual, a lot of which cannot “be chosen”: the place where you are born, your parents, your education …, even the food and the climate have dramatic influences on each person affecting its development and growth. The great music of the past was conceived in a totally different condition of mankind: Music has to be perceived, thought of and understood by “framing it” within the period in history to which it belongs, taking into account all aspects: social, political, cultural, etc., concerned. Even considering the incredible changes the world has undergone in the last decades, I would always recommend the youngest generations to seek experiences under as many forms of expressions as possible and as much as they can, in doing so, expanding their horizon of interests as much as possible. Do not limit yourself to the piano, do not just listen to piano music and do not just listen to the fashionable media stars” of today. Thanks to modern technology, we can have access to an infinite number of files and to an enormous source of knowledge (books, scores, recordings) something which was unthinkable to get so easily only 20 years ago. I recommend using the technology available to us now to find out what has been done by the great masters in the past. But then …, forget it and begin your own search … explore! Luka I always like wonder children, not for their technical abilities, but for their capability of understanding music through intuition and their inquisitive and deep personality. However, I would warn their parents against thinking that their child is the most talented and that it is only they who know what their child needs. I’d wish for them to study first, read books, try to be creative and develop their imagination. Beware of being a super-star at a young age, if your goal is to became a Master, you have to love music more than your own life, and be ready to sacrifice a lot for it.

青少年音樂英才系列過去二十三年，香港蕭邦社銳意透過各種活動和計劃，如獎

準備「青少年音樂英才系列」項目期間，蕭邦社主席 ﹣費安

學金､本港和海外學習基金､海內外公開演出機會及蕭邦

道博士和黃懿倫教授曾展開有趣對談如下：

社旗下 The Alpha Omega Sound 唱片公司錄製發行唱片

問題 1

等，支持和提拔本地青少年藝術家。

做為一名具備幾十年豐富經驗，尤其是培養非常年輕的鋼琴家方面的專業教授，撇除純粹的技巧能力，您

由 2015 年開始，蕭邦社舉辦創新項目，為具備天賦的青少

會認為甚麼是這些孩子們身上最共同的音樂特徵？

年提供表演機會。

黃教授 : 他們全部都熱愛音樂，充滿熱忱！耳朵異常敏銳，懂得分辨各

長期為本社貢獻良多的藝術顧問，黃懿倫音樂教授，香港

種不同的聲音。節奏感很棒，可以將音樂賦予感情，和聲音交

著名藝術家和音樂教育家，將甄選七位樂壇新秀，於音樂節

流。擁有持之以恒和相當專注的學習態度。

正式演出前，表演長約五至十分鐘的曲目。普遍而言，觀眾總是渴望欣賞成就非凡的藝術家的演出。蕭邦社深明此意，長期以來，非常自豪為香港觀眾呈獻，在求藝之旅經過千錘百鍊，深受觀眾愛戴的偉大藝術家們的精彩演出。

問題 2 這些真是小孩子 (7, 8 ,9 ……)，缺乏人生經歷，音樂專業演奏生涯幾乎為零。那麼，除了他們的技巧能力，您認為，他們還「可以」為我們的聽眾帶來甚麼呢？黃教授 : 他們可是有自己的想像力，自己的故事，自己的色彩，自己的情感世界喎！這些當晚通通將變幻成不同的樂句，高低起伏的

與此同時，蕭邦社亦理解，通往藝術之旅艱辛難言，毋容置

聲效，不同的節奏等等……當然，這些也是技巧的一部分。

疑，天賦異禀和高度自律是其中必不可少的基本要素之一，但除此之外，影響藝術家表演的職業生涯正面和負面因素眾多，有些藝術家可克服困難沙石，扺達成功彼岸。有一些，郤被迫選擇其他道路。我們無從預見未來，只有時間可見證

費安道博士亦分別和「香港國際鋼琴大賽」歷屆冠軍（2005， 2008，2011 和 2016）蘭殊高夫斯基，李振尚，安達羅洛和盧卡展開對談如下：

這一切。

問題 1 鑒於此，蕭邦社特別為觀眾獻上青少年藝術家的演出。這些

你們是幾歲開始有意識的感覺到自己的音樂能力呢？

年幼又天資聰慧的青少年，因為年輕，鮮有機會在大音樂廳

又是如何展現出來呢？播放音樂，思考音樂還是感受

裡面對眾多陌生觀眾表演，今年，蕭邦社非常高興為這些青少年提供一個機會､一個舞台､一種鼓舞性的「致意」，作為音樂節的「暖場節目」。( 順帶一提，公眾較熟悉正式演出外的節目包括有開幕､暖場和加料節目。暖場節目通常用於「流行音樂會」，在相對傳統的古典音樂會中並不常見。)

音樂呢？蘭殊高夫斯基我媽媽是位音樂教師，所以我的音樂能力很小便被發現了。我 5, 6 歲時幾乎天天彈琴，自己也喜歡這樣子天天彈。

李振尚小時候我很害羞！如果有人叫我彈一曲，自己覺得很難為情呢。15 歲我入讀音樂高中，不再那麼害羞了，開始享受為想

歡迎與我們共同欣賞樂藝承傳､青少年之樂！

聽我音樂的人演奏。那時起，我開始相信，我的音樂能讓人開懷！

安達羅洛我很小便接觸音樂，郤直到 8 歲才開始學習鋼琴。練習了幾個月後，同一年（1990 年 8 月），我第一次有機會，在大約 2500 名觀眾面前，一個小村莊的主要廣場表演。那是在迪利亞（西西里中部卡塔尼塞塔省，我的故鄉），我童年時光之地。我還清楚記得當日我彈的是舒伯特和貝多芬的簡易作品，這輩子也忘不了那種神奇和「可怕」的感覺。無論如何，那晚，我有個感覺，音樂和鋼琴將會成為我生活的一部分。

青少年音樂英才系列盧卡

問題 3

四歲時我已經愛上了音樂。對我而言，音樂是日常生活的一

如果說給這些音樂天才小朋友一些「職業諮詢」可能

部分，我會興奮到無法入睡因為期待著第二天的一早我能夠

無關痛痒或者根本不適合。不過，如果作為他們的朋

再次彈鋼琴。老實說，自小起音樂就是我生命的一部分，所

友，根據你們自身的經驗，同為天賦才華的孩童，有哪

以我從來沒有真正想過為什麼我會彈鋼琴。對我來說就像一

件事你想分享呢？

個奇秘的世界，它的進展速度非常快。

蘭殊高夫斯基當你想學習一門樂器，除了拔時間實際練習，還要花費更多

問題 2

的時間學習交響樂，歌劇，各種和弦和藝術，這樣才能激發

自己有完全意識到自己是和其他孩子或學校的同伴不

更多靈感，增強自己的想像力。我還建議從小便玩室內樂。

一樣嗎？你覺得自己在哪方面不一樣？高殊高夫斯基

李振尚別光為了從事音樂的緣故，試著尋找音樂帶給你的樂趣！富

每個人都不一樣，我從不覺得自己特別不一樣。10 歲起，我

練習於樂趣，富學習音樂的語言於樂趣，享受表演的樂趣。

身邊便充滿同是學習音樂的同齡人或年長者。

我不會告訴小天才們只要彈好，而是享受彈奏。哪怕他們的

李振尚事實上，我不喜歡在我朋友眼中，我是「嗯 …… 那個彈鋼琴的男孩」。我媽媽是乒乓球運動員，她有個乒乓俱樂部，

演奏不豐富不機智，不打緊。對年輕的鋼琴家而言，保持「樂趣」重要得多！

安達羅洛

那她便在俱樂部一角佈置了個小房間，擺放了一架大鋼琴供

我相信我們每個人都是自己周圍環境各種因素綜合的「產

我練習。我的朋友打乒乓我就彈鋼琴，這是一間有古典音樂

物」（可能這名字不太好聽 …… 或者叫「結果」……），

的奇怪乒乓俱樂部！感謝這俱樂部，讓我有地方練琴（當然，

有很多因素我們不可以選擇，如：出生地，父母，教育 ……

有時我也和朋友們打乒乓），我媽媽經營俱樂部的同時又可

甚至連食物和氣侯對每個人的成長和發展都有顯著影響。

照看我。

過往那些偉大的音樂來自於一個完全不同條件下人類的構

安達羅洛我記得察覺到自己和其他孩子不同是在當地的鋼琴學校，我們村裡唯一一間鋼琴學校，只有一位鋼琴老師在任教，那就是，我是學習音符最快的孩子。我可以通過聆聽便可識別正確的音符，根本不用看鍵盤。我 5 歲時，我姐姐和我在家裡將一部老鋼琴當玩具玩，我開始意識到自己是那種擁有「絕

思。它創作於所屬的歴史時期，具有當時的感知，思想和理解，包含了當時各種考慮因素：社會的，政治的和文化方面的等等。即便這世界在上世紀至今已發生翻天覆地的驚人變化，我總是不厭其煩向年輕一代建議，盡可能去體驗各種表達形式的音樂，盡量開拓自己的興趣。不要將自己局限於鋼琴，別光聽鋼琴曲，別只欣賞當下流行的「媒體明星」。

對音感」的小孩子，當然，這距離專業音樂仍有漫漫長路待

托現代科技之福，今日我們輕而易舉便可接觸到無以計量的

進步。

音樂和知識來源（書籍，樂譜，錄音），這在 20 年前根本

對，我和學校的夥伴就是不一樣。我真的感覺和他們沒太多

無法想像。我會建議利用可供資源，學習過往那些大師們的

共同話題，因為我的世界都是音樂。而他們感興趣的地方我

成就。然後呢……忘記它！開始自己的尋找……探索！

完全沒興趣，這讓我覺得不自在或者不高興。很早期，在小

盧卡

學階段，大部分同學都以弄我為樂，認為我太「認真和複

我總是喜歡質疑小朋友，不是因為他們的技術能力，而是他

雜」。當然，現在我完全理解他們當年為何如此這般。

們理解音樂的能力。我會提醒他們的父母不要只關注孩子是

盧卡

天才，因為只有他們才知道自已的孩子需要什麼。

有，也許是因為我國當時正處於動盪之中。你要知道，當我

我希望他們能先專注學業，多閱讀，努力發揮創造力去發展

出生時，由於蘇聯解體，我的祖國正處於政治，經濟和社會

他們的想像力。提防年紀輕輕就成為一個超級巨星，如果你

危機之中。內戰期間實在不是成為一個音樂家的好時機，對

的目標是成為一個大師，你必須喜歡音樂比自己的生活更

嗎？小時候我非常內向但同時非常有藝術性，特別是當我和

多，並準備為了音樂要作出很多的犧牲。

成年人在一起時。我強迫我的父母用窗簾自製一個舞台給我，沒有任何公告，我就會出現在台上。舞台上演奏就是我的生活，我能夠通過音樂來表達自己。童年時我留意到自己與成年人交流比與同齡的孩子更容易。我真的更喜歡彈琴，看書或畫畫，而不是在公園和其他孩子一起玩耍。

The “YOUNG TALENTS” Series

Eugene HO Ngai Ting (piano)

Parson TAM (cello)

Born on the 30th Dec 2011, he is a Grade 7 student at the Hong Kong Baptist University Affiliated School Wong Kam Fai Secondary and Primary School

Parson Tam, born on the 11th Nov. 2012, is a Primary 6 student at the Yaumati Catholic Primary School. He started learning cello at the age of 6 under the tutelage of Judy Lui. At age 9, he attained Distinction in ABRSM grade 8 cello exam. Parson is fond of drums as well. He accomplished Trinity Rock & Pop drums grade 8 when he was 8 years old.

Eugene started learning the piano when he was 3 years old. He is currently studying in the Junior Music Program at the Hong Kong Academy for Performing Arts. Under the careful guidance of the renowned young pianist Miss Rachel Cheung and the famous piano educator Prof. Eleanor Wong, Eugene has been rapidly improving in both technical skills and mastery of musical styles. With his passion for music and hard work, he obtained the Grade 5 music theory and Grade 5 piano certificates of ABRSM at the age of 5 and performed on the stage at Carnegie Hall in New York in the same year. At the age of 6, he achieved an excellent result in the Grade 8 piano examination of ABRSM. At the age of 9, he successfully passed the Exam of ATCL (Associate of Trinity College London) Piano Level 4, Diploma in Music Performance. During his pia no stud ies, Eugene has pa r t icipated in numerous local and international competitions, achieving remarkable results. These include the Gold-Champion in the Open Group and Fok Siu Lun Memorial Prize of the Hong Kong Children & Youth Piano Contest 2023, the Champion and Grand Prize in t he Junior B Group of The V International Liszt Ferenc Competition (Hungar y – Budapest) Grand Final, the First Prize in the Children B Group and the Junior Pianist Contract Award of the 7th GOCAA International Pia no C ompe t it ion, t he Globa l Final Champion in the Children class C and the Hong Kong Outstanding Young Musician Award of the Hong Kong International Music and Arts Festival 2022, as well as the Champion in the Virtuoso Pianist Class of the Fringe Interschool Music Competition 2023, among others.

Vivienne LAM Man Yan (piano) Born on the 9th of March 2014, she is a P4 student at St. Pau l ’s Co-educational College Primary School. Vivienne started learning piano at the age of 4. At the age of 6, she was admitted to the Junior Music Program of the Hong Kong Ac ademy for Per for m i ng A r ts, majoring in piano under the tutelage of Dr. Amy Sze Man Lun. At the age of 8, she attained ABRSM piano Grade 8 with distinction. Vivienne has won numerous prizes in various piano competitions, including championships in the School Music Festival and the Hong Kong Children and Youth Piano Contest. In addition to playing the piano, she also plays the flute and is an active member of the school choir.

Parson has won multiple awards in international and local competitions, i n c lu d i n g G o l d Aw a r d i n 2 0 2 3 International Ponte Music Festival: Concerto Competition Grand Finale, 1st Prize in 2023 Swiss International Music Competition Lugano Switzerland, Platinum Prize and Special Prize: Excellent Musicianship Aw a r d i n 2 0 2 3 M a n c h e s t e r International Music Competition, 1st Prize in 2023 Guangdong-HongkongMacau Greater Bay Area Youth Art Exhibition Final Round, 1st Prize of Concerto Class in 2022 Vivaldi International Music Competition, 1st Prize with honorable mention in 2022 France OPUS ARTIS PARIS Music Competition Online, Gold Award in 2022 Singapore Raffles International Music Festival, 2nd Prize and Special Prize: Prize of Director of the Mahler Institute Prague in 2022 Gustav Mahler Prize Cello Competition, Czech Republic. Parson has also been awarded the scholarship by his school for outstanding art and music performance. Parson has gathered numerous performance experiences in his young age. In 2022, he made his orchestral debut with Hong Kong Young Soloist Symphony Orchestra, playing Saint-Saëns Allegro appassionato, Op. 43 when he was 9 years old. In the same year, he was selected to participate in the ensemble training by Musicus Society and performed together on stage with world renowned cellist Trey Lee. In 2023, he has performed as soloist in collaboration with International Youth Chamber Orchestra and Ponte Orchestra, playing Haydn Concerto No.1 in C major 1st movement. He also has performed in masterclasses led by highly esteemed cellists including Fang Xiaomu and Dora Lam. Currently, Parson is the cellist of Internationa l Youth Chamber Elite Junior String Quartet, cellist of his school orchestra, and key player in the cello ensemble Pochen Strings.

The “YOUNG TALENTS” Series

LO Sum Yau (piano)

Gisele ZHU Jingxi (violin)

Born on the 4th May 2010, Sum Yau, is a student at Form 2, St. Paul’s Co-Educational College. She embarked on her piano journey at the tender age of 4. She is currently under the guidance of Steinway Young Artist, Miss Rachel Cheung and a part-time student at the Junior Music Program at the Hong Kong Academy of Performing Arts, majoring in keyboard studies.

Gisele was born in Shanghai on the 15th Feb. 2015, and began studying the violin when she was 5 years old, under the tutelage of Ms. Gong Xiaqi and Mr. Song Yang.

T hroug hout t he yea rs, Su m Yau has achieved remarkable success i n nu merous loc a l a nd reg iona l music competitions. In Hong Kong, she won the championship in the Piano Solo - Junior Ex hibitioner Award and Piano Concerto Group c ate gor ie s at t he 74t h a nd 75t h Hong Kong Schools’ Music Festival, respectively. On a regional level, she secured the championship and was honored with the Hamamatsu City Mayor’s Award at the 23rd Piara Piano Competition in Japan. In 2021, she attained the Champion in Amateur Group B at the 85th Steinway & Sons International Youth Piano Competition in China. In 2022, Sum Yau was nominated as the “Hong Kong Youth Music Ambassador” by the Hong Kong International Musicians & Arts Association. Most recently, she accomplished the remarkable feat of earning the Gold Award, Outstanding Young Musician Award, and the Audience Prize at the Concerto Competition held during the International Ponte Music Festival in July 2023. Despite her young age, Sum Yau possesses an unwavering passion for classical music. She derives immense joy from learning and performing piano pieces, with a sincere desire to share this joy with other aspiring young musicians worldwide. Sum Yau is determined to become a dedicated musician who can move others with her heartfelt performances.

She gained Distinction at Violin ABRSM Grade 8 at the age of 7. After moving to Hong Kong, she was admitted to Hong Kong Ac ademy of Per for m i ng A r t s Junior Music Program, studying with Mr. John Ma and playing 1st violin section at HKAPA Junior String Ensemble. In addition to playing violin, she also plays flute and piano. She is currently at Grade 3 at the French International School Gisele has won several awards at local and international competitions. Some of her recent prizes include: - First Place of 2022 International Fringe Music Festival and Competition (Elementary Strings Solo) - Gold Award of Primary Senior Violin Group at 2022 Hong Kong Joint School Music Competition - Silver award for Violin Solo at 2022 Singapore Raff les Music Festival - First Place and Judge’s best performance award of Young Musician Categor y at 2023 Vienna Vir tuoso Music Competition - Third Place of Violin Sonata Group, 2023 Hong Kong School Music Festival - A side f rom mu sic , Gisele enjoy s read i ng , h i k i ng , swimming, and competing in maths competitions.

Cynthia SUN Xinyan (guitar) Born in Ningbo, Zhejiang, on the 15th October 2014, she is attending Grade 3, Ningbo Haishu Foreign Language School. Cynthia started learning classical guitar from her father when she was 3 years old. In March 2021, she started studying with Dr. Hu Bin. Cynthia has won several prizes in the last 3 years. 2021: First prize in the kindergarten group of the 5th Chengdu Golden Furong Classical Guitar Competition. First prize in the children's group B of the Changsha International Guitar Art Competition. 2022: Second prize in the children's group C2 of the Altamira International Guitar Competition. First prize in the children's solo group B of the Shenzhen Bay Guitar Art Week. 2023: First prize of the children's group C of the Qingdao International Guitar Art Festival.

青少年音樂英才系列

何羿霆 Eugene Ho Ngai Ting ( 鋼琴 )

譚栢淳 Parson Tam ( 大提琴 )

出生於 2011 年 12 月 30 日，於香

出生於 2012 年 11 月 11日，就讀於油蔴地天主教小學六年級，

港浸會大學附屬學校王錦輝中小學

自 6 歲起跟從著名大提琴家呂雋怡學習，9 歲考獲英國皇家

就讀七年級。

音樂學院大提琴八級優異成績。熱愛音樂的栢淳，亦愛好打

何羿霆在差不多 3 歲的時候開始接

鼓，8 歲考獲倫敦聖三一學院 Rock & Pop 流行鼓八級。

觸鋼琴。現在於香港藝術學院修讀

栢淳曾贏得多個本地及海外比賽獎項，包括 2023 國際共

青少年音樂課程。在香港著名年青

嗚音樂節：協奏曲比賽決賽金獎，2023 瑞士盧加諾國際音

鋼琴家張緯晴小姐與著名鋼琴教育

樂比賽第一名，2023 英國曼徹斯特國際音樂比賽白金獎及

家黃懿倫老師的悉心指導下，羿霆

E x c e l l e n t M u s i c i a n s h i p A w a r d 特別獎，2023 粵港澳大

無論在演奏技巧或者對樂曲風格的掌握，都在快速地提升。

灣區青少年音樂展演港澳地區決賽第一名，2022 維瓦爾第

憑藉着對音樂的熱忱與努力，他 5 歲便考取了英國皇家音樂

國際音樂比賽協奏曲組第一名，2022 法國 O P U S A R T I S

學院 5 級的樂理以及鋼琴 5 級證書，同年登上了紐約卡內基

PA R I S M u s i c C o m p e t i t i o n O n l i n e 榮譽一等獎，2022 新

演奏廳的舞台表演。6 歲以優異成績考取了英國皇家音樂學

加坡萊佛士國際青少年藝術節大提琴獨奏比賽金獎，2022

院鋼琴 8 級的證書。9 歲順利獲取了倫敦聖三一學院的鋼琴

捷克 Gustav Mahler Prize Cello Competition 第二名以及

演奏級初級文憑。

Prize of Director of the Gustav Mahler Institute Prague

在學習鋼琴期間，羿霆參與了不少本地與國際的比賽，成績

特別大獎，他亦屢次獲得學校頒發「卓越體藝大獎」獎學金。

斐然。當中包括了香港青少年鋼琴大賽 2023 公開組金獎冠

年紀輕輕的栢淳有豐富的表演經

軍及霍兆麟紀念獎，五第屆李斯特（匈牙利布達佩斯）國際

驗。2022 年，他獲選擔任獨奏者

公開賽全球總決賽少年 B 組的冠軍及 G r a n d P r i z e，第七屆

與 H o n g K o n g Yo u n g S o l o i s t

全球傑出少年演奏家選拔賽（決賽）兒童 B 組一等獎及簽約

Symphony Orchestra 合作演奏

少年演奏家獎，香港國際音樂藝術節 2022 全球總決賽鋼

聖桑熱情的快版作品 43。同年，

琴自選曲兒童 C 組冠軍及香港傑出青少年音樂家獎，藝穗校

他亦獲選參與誼樂社樂團培訓，與

際音樂大賽 2023 公開組冠軍等等。

世界知名大提琴家李垂誼同台演出。2023 年，他曾擔任獨奏者分別與 I n te r n at i o n a l Yo u t h C h a m b e r O rc h e s t r a 及 Po n te

林文茵 Vivienne Lam Man Yan ( 鋼琴 ) 出生於 2014 年 3 月 9 日，就讀於聖保羅男女中學附屬小學四年級。四歲開始接觸鋼琴，六歲考入香港演藝學院青少年音樂課程主修鋼琴跟隨施敏倫博士學習至今。她於八歲時考獲英國皇家音樂學院鋼琴八級 ( 優等 ) 並且曾獲多項音樂比賽獎項 , 包括香港校際音樂節及香港青少年鋼琴大賽。除了學習鋼琴，文茵還有學習長笛以及是校內合唱團的活躍成員。

O r c h e s t r a 合作演奏海頓 C 大調大提琴協奏曲第一樂章。他亦曾參與不同大師班，受教於著名大提琴家方曉牧和林穎。譚栢淳現為 International Youth Chamber 精英少年弦樂四重奏的大提琴手，油天管弦樂團的大提琴手，亦是本地大提琴合奏小組 Pochen Strings 的重點樂手。

青少年音樂英才系列

羅心攸 Lo Sum Yau ( 鋼琴 )

朱婧曦 Gisele (Jingxi) Zhu (小提琴 )

出生於 2010 年 5 月 4 日，於

朱婧曦 2015 年 2 月 15 日出生於上

聖保羅男女中學就讀中二。她

海，自 5 歲起學習小提琴，先後師從

四歲開始學習鋼琴，八歲考入

龔曉奇，宋陽老師，7 歲考獲英皇小

香港演藝學院青少年音樂課

提琴 8 級優秀。她目前就讀香港演

程，跟隨施坦威青年藝術家張

藝學院青少年音樂課程小提琴專業，

緯晴小姐學習鋼琴。

師從馬步萌老師，演藝青少年弦樂

心攸一直積極參與各項音樂活動並屢獲佳績。她曾於第 74 屆和第 75 屆香港學校音樂

團第一小提琴聲部，同時學習長笛和鋼琴。

節中，分別獲得少年傑出鋼琴獎及鋼琴協奏曲冠軍。她

她目前於法國國際學校就讀三年級。婧曦曾多次在香港及國

在第 23 屆 P i a r a 鋼琴比賽（日本決賽）取得冠軍和濱松

際比賽獲得獎項。

市市長獎，並於第 85 屆施坦威國際青年鋼琴比賽（中國

2022 年獲新加坡萊佛士音樂節小提琴獨奏銀獎

決賽）中勇奪業餘 B 組冠軍。去年，心攸獲選為香港國際音樂及藝術家協會的「香港青少年音樂大使」。今年 7

2022 香港國際藝穗音樂比賽小提琴獨奏兒童團體一等獎

月，她在 2023 國際共鳴音樂節協奏曲總決賽中奪得金

2022 香港聯校音樂比賽弦樂獨奏小學高級組金獎

獎 , 優秀青年音樂家大獎和觀眾大獎。

2023 年 Vienna Vir tuoso Music Competition 兒童組一等獎及評審最佳表演獎

羅心攸熱愛古典音樂，希望能與世界各地的音樂愛好者交流，分享對音樂的喜愛。她期望自己能夠成為一位透過真摯的表演打動人心的音樂家。

2023 香港校際音樂節小提琴奏鳴曲組季軍除了音樂之外，婧曦還喜歡閱讀，徒步，游泳和數學競賽。

孫欣妍 Cynthia SUN Xinyan (結他 ) 2014 年 10 月 15 日出生於浙江寧波，就讀於寧波市海曙外國語學校三年級。3 週歲起跟隨父親學習古典吉他。2021 年 3 月，6 歲半起師從胡濱（旅美古典吉他演奏家）。欣妍在過去 3 年中贏得了多個獎項。 2021 年 : 第五屆成都金芙蓉古典吉他比賽，幼兒園組第一名中國長沙國際吉他藝術比賽兒童 B 組第一名 2022 年 : 阿爾達米拉國際吉他大賽兒童 C 2 組二等獎 2022 深圳灣吉他藝術週兒童獨奏 B 組第一名 2023 年 : 青島國際吉他藝術節兒童 C 組一等獎

Ticketing Information

票務資訊

TICKETS will go on sale at all URBTIX outlets, selfservice ticketing kiosks, on internet, by mobile app and telephone on 20th September.

門票由 9 月 20 日起在各城市售票網售票處、自助售票機、網上、流動購票應用程式及電話購票熱線發售。

Numbered tickets for the recitals at the Hong Kong City Hall Concert Hall, priced at HKD 100 each. Halfprice tickets available for senior citizens aged 60 or above, people with disabilities and the minder, full-time students, Comprehensive Social Security Assistance (CSSA) recipients and Hong Kong Piano/Electone Teachers’ Circle membership card holders. Free seating tickets for the recital at the Hong Kong City Hall Recital Hall (High block 8/F) on the 11th of October priced at HKD 50 each, with no discounts available. T icket s c a n a ls o b e b oug ht f r om N OW, dir e c tl y from the Societ y by sending us an e-mail to: afreris@netvigator.com, or by calling Anabella at the following Mobile/WhatsApp number: (+852) 9027 1429.

於香港大會堂音樂廳的演奏會，劃位門票每張港幣 100 元。年滿 60 歲的長者、殘疾人士及看護人、全日制學生、綜合社會保障援助受惠人士及香港鋼琴 / 電子琴導師協會會員可享半價優惠。 10 月 11 日於香港大會堂高座 8 樓演奏廳的演奏會不設劃位，門票每張港幣 50 元正，不另設特別優惠。亦可現在直接向蕭邦社購買門票，發送電子郵件至： afreris@netvigator.com，致電或 WhatsApp 聯絡 Anabella：(+852) 9027 1429。

Venue addresses:

表演場地：

Hong Kong City Hall Concert Hall & Recital Hall (High Block 8/F)

香港大會堂音樂廳及高座 8 樓演奏廳

5 Edinburgh Place, Central, Hong Kong Tel : 2921 2840

香港中環愛丁堡廣場五號

Counter booking will commence on the

美樂聚2023 門票於2023年9月20日開始在各城市售票網售票處、自助售票機、網上、流動購票應用程式及電話購票熱線發售。

20th September, 2023 at all URBTIX outlets, self-service ticketing kiosks, on internet, by mobile app and telephone.

電話 : 2921 2840

- 票務查詢及客戶服務:

- Ticketing Enquiries and Customer Service:

3166 1100 (10am - 8pm daily) - Telephone Booking: 3166 1288 (10am - 8pm daily) - Internet Booking: www.urbtix.hk

3166 1100 (每日10am-8pm) - 電話購票 : 3166 1288 (每日10am-8pm) - 網上購票: www.urbtix.hk - 流動購票應用程式: URBTIX

- Mobile App: URBTIX (Android & iPhone/iPad) - Programme Enquiries: (852) 2868 3325

(Android及iPhone/iPad版) - 節目查詢：(852) 2868 3325

The Chopin Society of Hong Kong Ltd. Room 1909, 19/F., St. George’s Building, No.2 Ice House Street, Central, Hong Kong Tel: (852) 2868 3325, (852) 2868 3387 Mobile: (852) 9027 1429 (Anabella) Fax: (852) 2868 1994 Website: www.chopinsocietyhk.org Email: info@chopinsocietyhk.org (General) / afreris@netvigator.com (Anabella) Also find us at:

www.instagram.com/afreris/

@HKIntPianoCompJofMFest