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In 2017, Hong Kong Voices presented two concerts Faith and Roots, a journey of musical reflections on our people in midst of social upheaval. Thus we conclude with Hope in 2018: Brahms A German Requiem replaced the liturgical Latin texts with passages carefully chosen from the German Bible, a “human” requiem that comforts the bereaved with hope in life ahead. In the darkest hour, the light of hope, however small that speck may be, carries the determination and belief in the goodness of humanity.
HENSON My Flight for Heaven (2007) ARNESEN Even When He Is Silent (2011) In 2006, American composer Blake R. Henson (b. 1983) was commissioned to write a piece to celebrate Joe Miller’s appointment as Director of Choral Activities at Westminster Choir College, Princeton. Henson, an alumnus of the College himself, chose to set Robert Herrick’s 17th century poem To Music, Becalm His Fever, and created an exquisite a cappella piece My Flight for Heaven with the first and last stanzas of the poem. Scored for SATB divisi voices, the work is imbued with beautiful harmonic clusters, following closely the ebb and flow of the original Herrick text. In the words of the composer, the piece “takes Herrick’s text about seeking comfort in the welcome embrace of death and shifts the point of view to invoke music while striving toward a new life without pain, suffering, war, and famine.” Charm me asleep, and melt me so With thy delicious numbers, That, being ravish’d, hence I go Away in easy slumbers. Ease my sick head, And make my bed, Thou Pow’r canst sever From me this ill, And quickly still, Though thou not kill My fever. 2
Fall on me like the silent dew, Or like those maiden showers Which, by the peep of day, do strew A baptism o’er the flowers. Melt, melt my pains With thy soft strains; That, having ease me giv’n, With full delight I leave this light, And take my flight For Heaven. The counterpart for Herrick’s poem comes from an anonymous text found inscribed onto a wall by victims of the Holocaust. In 2011, Norwegian composer Kim André Arnesen (b. 1980) was commissioned by the St. Olaf Festival in Trondheim, Norway, to compose an a cappella piece in two versions— SATB and SSAA, which became Even When He is Silent. With sonorous harmonies that slowly unfolds with the text, the speck of hope gives strength to those holding fast onto their faith even in the darkest hour. I believe in the sun even when it’s not shining. I believe in love even when I feel it not. I believe in God even when He is silent.
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BRAHMS Ein deutsches Requiem (A German Requiem), Op. 45 The longest work in the oeuvre of Johannes Brahms (1833– 1897), A German Requiem (or rather, in his own words, a “human” requiem) is one of the composer’s best works despite completed at a relatively young age of 35. It breaks away from the restraints of traditional requiem mass—not only did he use the vernacular German language instead of Latin, he also replaced the original mass text with handpicked passages from the Lutheran Bible, both Old and New Testaments, and from the Apocrypha. Raised as a Protestant, Brahms has shown his thorough knowledge of Biblical text, and was deliberate in his omission of the Last Judgement, or redemption through Christ’s death, instead focused on the resurrection and comfort of the Christian tenet. Brahms has been close friends with Robert and Clara Schumann, and Robert’s death in 1856 had profound impact on the young composer. But the final push to compose the work came as his mother’s death in 1865. He started adapting materials he wrote for an abandoned symphony in 1854 into the second movement, and completed the first and fourth movements in a few months’ time. By 1867, Brahms completed the third, sixth and seventh movements, culminating in the first six-movement version premiered in Bremen Cathedral on Good Friday, 1868. Brahms later added in the fifth movement Ihr habt nun Traurigkeit, featuring the soprano solo, the final version that was then premiered in Leipzig Gewandhaus in February 1869. With the outer movements gravitating towards the centre to achieve an overall arch form of the seven movements, the opening and final movements share similar material to unify the whole work. The second movement is a funeral-march, contrasted by the victorious declaration over death in the sixth. The Baritone solo in the third movement is countered by the Soprano solo of the fifth movement, and the entire Requiem culminated in the heavens of the lyrical fourth movement Wie lieblich sind deine Wohnungen. The first movement Selig sind, die da Lied tragen (“Blessed are they that mourn”), begins with a slow procession, with the sopranos singing the Selig theme (do-mi-fa / F–A–B♭) that serves as the main motif for the entire requiem, appearing in various guises in the subsequent movements. After concluding the movement with a reiteration of the opening 4
text in F major, the second movement, Denn alles Fleisch, es ist wie Gras (“For all flesh is as grass”), begins in B♭ minor, a heavy triple-meter funeral march that proclaims transience of life. After a brief comforting section in G♭ major So seid nun geduldig, lieben Brüder (“Be patient therefore, brethren”), the funeral march resumes, before a loud declamation on Aber des Herrn Wort bleibet in Ewigkeit (“But the word of the Lord endureth for ever“) and driving towards a magnificent fugue on Die Erlöseten des Herrn werden wieder kommen (“And the ransomed of the Lord shall return” ). In the third movement, the Baritone soloist beseeches wisdom to understand life (Herr, lehre doch mich, “Lord, make me to know”), and asks “but what do I look for?” (Wes soll ich mich trösten?) The reply was “My hope is in thee” (Ich hoffe auf dich), as the music builds towards another steadfast, glorious fugue on Der Gerechten Seelen sind in Gottes Hand (“But the souls of the righteous are in the hand of God”), on top of an ever-present tonic pedal D. The fourth movement is a serene pastorale on Wie lieblich sind deine Wohnungen (“How amiable are thy tabernacles”), offering a glimpse into eternal rest and joy. The fifth movement carefully set the text Ihr habt nun Traurigkeit (“And ye now therefore have sorrow”), where the soprano solo sings a transcendent song of sorrow and comfort, responded by the chorus that sings only in the lower register in refrain (Ich will euch trösten, wie einen seine Mutter tröstet, “As one whom his mother comforteth, so will I comfort you”), as if humanity’s response to the comforting voice of the mother. The most powerful writing comes in the sixth movement. The continual search for life’s meaning (Denn wir habe hie keine bleibende Stadt, “For here have we no continuing city”) is interrupted by the Baritone solo, who declares who declares all shall be changed in an instant (Wir werden aber alle verwandelt werden … in einem Augenblick) and death will be defeated at the last trumpet. The music bursts into a fiery passage Der Tod ist verschlungen in den Sieg (“Death is swallowed up in victory”) that culminates in an exclamation on Tod, wo ist dein Stachel? (“Death, where is thy victory?”) followed by another majestic fugue on Herr, du bist würdig zu nehmen Preis und Ehre und Kraft (“Thou art worthy, O Lord, to receive glory and honour and power”). The final movement begins with a radiant Selig sind die Toten (“Blessed are the dead”) from the sopranos, later repeated by tenors. The work concludes by recapitulating material from the first movement, and ends on the same Selig as the beginning. 5
I. Selig sind, die da Leid tragen, denn sie sollen getröstet werden. (Mt 5,4)
I. Blessed are they that mourn; for they shall be comforted.
Die mit Tränen säen, werden mit Freuden ernten. Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben.
They that sow in tears shall reap in joy. He that go forth and weep, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him. (Ps 26:5–6)
(Ps 126,5–6)
II. Denn alles Fleisch es ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen. Das Gras ist verdorret und die Blume abgefallen. (1. Pet 1,24)
So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn. Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und is geduldig darüber, bis er empfahe den Morgenregen und Abendregen. (Jak 5,7)
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(Mt 5:4)
II. For all flesh is as grass, and all the glory of man as the flower of grass. The grass withereth, and the flower thereof falleth away. (1 Pt 1:24)
Be patient therefore, brethren, unto the coming of the Lord. Behold, the husbandmen waiteth for the precious fruit of the earth, and hath long patience for it, until he receive the early and latter rain. (Jas 5:7)
Aber des Herrn Wort bleibet in Ewigkeit. (1. Petr 1,25)
But the word of the Lord endureth for ever. (1 Pt 1:25)
Die Erlöseten des Herrn werden wieder kommen, und gen Zion kommen mit Jauchzen; ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen und Schmerz und Seufzen wird weg müssen. (Jes 35,10)
And the ransomed of the Lord shall return, and come to Zion with songs and everlasting joy upon their heads: they shall obtain joy and gladness, and sorrow and sighing shall flee away. (Is 35:10)
III.
III.
Bariton
Baritone
Herr, lehre doch mich, daß ein Ende mit mir haben muß, und mein Leben ein Ziel hat, und ich davon muß.
Lord, make me to know mine end, and the measure of my days, what it is: that I may know how frail I am.
Chor
Chorus
Siehe, meine Tage sind einer Hand breit vor dir, und mein Leben ist wie nichts vor dir. Ach, wie gar nichts sind alle Menschen, die doch so sicher leben.
Behold, thou hast made my days as an handbreadth; and mine age is as nothing before thee. Verily every man in his best state is altogether vanity.
Bariton
Baritone
Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht wer es kriegen wird.
Surely every man walketh in a vain show: surely they are disquieted in vain: he heapeth up riches, and knoweth not who shall gather them.
Chor
Chorus
Nun Herr, wess soll ich mich trösten? Ich hoffe auf dich.
And now, Lord, what wait I for? My hope is in thee.
(Ps 39,4–7)
Der Gerechten Seelen sind in Gottes Hand und keine Qual rühret sie an. (Weish 3,1)
IV. Wie lieblich sind deine Wohnungen, Herr Zebaoth! Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott. Wohl denen, die in deinem Hause wohnen, die loben dich immerdar.
(Ps 39:4–7)
But the souls of the righteous are in the hand of God and there shall no torment touch them. (Wis 3:1) IV. How amiable are thy tabernacles, O Lord of hosts! My soul longeth, yea, even fainteth for the courts of the Lord: my heart and my flesh crieth out for the living God. Blessed are they that dwell in thy house: they will be still praising thee. (Ps 84:1–2, 4)
(Ps 84,1–2 & 4) 7
V.
V.
Sopran
Soprano
Ihr habt nun Traurigkeit; aber ich will euch wieder sehen und euer Herz soll sich freuen und eure Freude soll neimand von euch nehmen. (Joh 16,22)
And ye now therefore have sorrow; but I will see you again, and your heart shall rejoice, and your joy no man taketh from you. (Jn 16:22)
Chor
Chorus
Ich will euch trösten, wie einen seine Mutter tröstet.
As one whom his mother comforteth, so will I comfort you. (Is 66:13)
(Jes 66,13)
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Sopran
Soprano
Sehet mich an: ich habe eine kleine Zeit Mühe und Arbeit gehabt und habe großen Trost funden. (Sir 51,27)
Ye see how for a little while I labor and toil, yet have I found much rest.
VI.
VI.
Chor
Chorus
Denn wir haben hie keine bleibende Statt, sondern die zukünftige suchen wir. (Hebr 13,14)
For here have we no continuing city, but we seek one to come.
(Sir 51:27)
(Heb 13:14)
Bariton & Chor
Baritone & Chorus
Siehe, ich sage euch ein Geheimnis: Wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzten Posaune.
Behold, I show you a mystery; We shall not all sleep, but we shall all be changed. In a moment, in the twinkling of an eye, at the last trumpet:
Chor
Chorus
Denn es wird die Posaune schallen, und die Toten werden auferstehen unverweslich und wir werden verwandelt werden. (1 Kor 15,51–52)
For the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.
Bariton
Bariton
Dann wird erfüllet werden das Wort, das geschrieben steht:
Then shall be brought to pass the saying that is written,
(1 Cor 15:51–52)
Chor
Chorus
„Der Tod is verschlungen in den Sieg.” Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg?
“Death is swallowed up in victory. “ O death, where is thy sting? O grave, where is thy victory?
(1 Kor 15,54–55)
(1 Cor 15:54–55)
Herr, du bist Würdig zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge geschaffen, und durch deinen Willen haben, sie das Wesen und sind geschaffen. (Offb 4,11)
Thou art worthy, O Lord, to receive glory and honour and power: for thou hast created all things, and for thy pleasure they are and were created.
VII. Selig sind die Toten, die in dem Herrn sterben, von nun an. Ja, der Geist spricht, daß sie ruhen von ihrer Arbeit; denn ihre Werke folgen ihnen nach.
VII. Blessed are the dead which die in the Lord from henceforth: Yea, saith the Spirit, that they may rest from their labours; and their works do follow them.
(Offb 14,13)
(Rev 4:11)
(Rev 14:13) Lutherbibel 1545
King James Version 1604
Brahms’s original orchestration was designed for full orchestra pitted against a chorus of over 200 singers, and the version performed this evening is a chamber arrangement by Linckelmann, scoring for five-part strings, wind quintet and timpani, and more suitable for choirs between 25 to 50 singers. The harp part is delicately interweaved into the texture, shared between the winds and upper strings, and this chamber setting creates an intimacy that brings comfort with a more personal touch. As we make our New Year’s resolutions, there is a shred of hope, and one that takes on various forms, from Robert Herrick’s belief in afterlife, to the hope of deliverance in the wall inscription texts, and resilience in face of death and despair. We labour to bring comfort, encouragement and not least, hope to those around us. It needs to be heard, it needs to be said, and may hope be a blessing to us all in the times ahead. Programme notes: Grace CHIANG
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Grace CHIANG, Conductor Grace graduated from the Music Department, the Chinese University of Hong Kong, studying voice with Chan Siukwan. Upon graduation, she was awarded the Hong Kong Jockey Club Music Scholarship to read for a Master’s degree in Music, majoring in Historical Musicology at Royal Holloway, University of London, where she continued her vocal studies under the guidance of Christian Immler. An active performer, Grace has appeared as soloist in works as Copland’s In the Beginning, Handel’s Messiah, J. S. Bach’s St. John Passion and cantatas, Mozart’s Litaniae de Venerabili Altaris Sacramento, and Mendelssohn’s St. Paul. Her interests extend to contemporary music, often performing works by Hong Kong composers; Grace collaborated with the Chinese Music Virtuosi in premiering Chan Hing-yan’s Schmetterlingsträumen Lieder at the Musicarama 2010, and appeared with the Hong Kong New Music Ensemble, performing works by Lam Bun-ching at the 2012 Macau International Music Festival. Grace took part in conducting masterclasses and workshops of maestros Stephen Layton, Rolf Beck, and James Jordan. She returned to serve at her alma mater, and led the girls’ choir to win Gold Medals at the 2012 Cincinnati, USA and the 2014 Riga, Latvia World Choir Games. Grace was appointed Principal Conductor of Hong Kong Voices in 2015. Candice CHUNG, Soprano A recent 3rd place winner of the 34th Annual Jessie Kneisel Lieder Competition, Candice Chung began her vocal training in 2005 with Ms. Margaret Yim. Candice earned her Bachelor of Music degree at Manhattan School of Music where she studied with Metropolitan Opera’s Mark Oswald and renowned American soprano Ashley Putnam. At Eastman School of Music where she attained her Master of Music degree, she studied with American mezzo-soprano Katherine Ciesinski. In 2015, she won the Encouragement Award at the Metropolitan Opera National Council District Auditions. And in the summer of 2017, she made her Italian stage debut as the Countess from Le Nozze di Figaro. Her most recent stage appearances in the United States include the role of Dew Fairy in Hansel and Gretel, and Rosalinda in Die Fledermaus in Connecticut, United States. With Eastman Opera Theatre she sang the role of Laetitia in The Old Maid and the Thief, and covered the role of Emily in Ned Rorem’s Our Town. Other stage appearances include the 10
role of Leoena from La Belle Helene, the title role of Manon, Marschallin from Der Rosenkavalier, Susanna from Le Nozze di Figaro and Norina from Don Pasquale. As a concert soloist, Candice sang Dvorak’s Te Deum and Beethoven’s Mass in C with the Eastman School of Music, Bach’s Magnificat in D with the Hong Kong Young People’s Chorus, Carl Orff’s Carmina Burana with the Hong Kong Ponte Singers and Orchestra. Candice was also a frequent soloist for the Eastman Cantata Series during her studies at Eastman. She was also recently invited by her alma mater to perform as the soloist for Mendelssohn’s Lobgesang. In 2014, Candice was a national semi-finalist at the Classical Singer Vocal Competition and was awarded first place in the National Association of Teachers of Singing Regional Competition. YIU Yun-Kwan, Baritone Yiu is a lyric baritone who is versatile with opera, oratorio, art songs as well as new music. He obtained a Bachelor of Music degree at the Hong Kong Academy for Performing Arts (HKAPA) and a Master of Music at the Manhattan School of Music. At the HKAPA, Yiu was also Cold Genius in Henry Purcell’s King Arthur, Don Alfonso in Così fan tutte, Baron Zeta in The Merry Widow, as well as Demetrius in Britten’s A Midsummer Night’s Dream. In the USA, he was cast as Figaro in Il Barbiere di Sivigla, Il Conte di Almaviva in Le Nozze di Figaro, Masetto in Don Giovanni, Papageno in The Magic Flute, Hermann and Schlémil in Les Contes d’Hoffmann, Enrico in Lucia di Lammermoor, as well as Rodrigo in Verdi’s Don Carlo. He was vocal coach of the Bach Society at Columbia University from January 2016 to December 2017. YIP Siu-Hay, Concertmaster Yip Siu-hay graduated from the Australian National University School of Music in 2004. He joined Hong Kong Sinfonietta in 2005 as a violinist and furthered his studies with William Chandler at the Royal Scottish Academy of Music and Drama in 2009-2010. Yip has played with Sydney Symphony Sinfonia, Scottish Opera Orchestra and the BBC Scottish Symphony Orchestra through their mentoring scheme. As a freelance player, he has performed with the Canberra Symphony Orchestra, Macao Orchestra and Royal Scottish National Orchestra.
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Hong Kong Voices, Choir ARTISTIC DIRECTOR Ken LAM PRINCIPAL CONDUCTOR Grace CHIANG CHAIRPERSON Linda CHAN VICE-CHAIRPERSON Tony LING GENERAL SECRETARY Winnie CHOI FINANCIAL SECRETARY Benjamin NG MARKETING SECRETARY Connie LAW
Hong Kong Voices is a chamber choir established in 2000. Aspired to bring choral music closer to the Hong Kong people, we cultivate the ability of music appreciation among our singers, and offer our audience an artistic experience that both delights and inspires. Our repertoire spans from the Renaissance to the modern era, including many acclaimed Baroque and Classical choral works, most recently Bach’s St John’s Passion and Mozart’s Vesperae Solennes de Confessore. We often introduce some lesser-known choral masterpieces to the audience, most notably we gave the Hong Kong premiere of Schoenberg’s Friede auf Erden in 2005. We also infuse our programme with works by Asian and Hong Kong contemporaries as a tribute to our unique cultural heritage, including commissioned works Ten Years (2007) and Carmina Burana (2015) by George Lam, a Hong Kong born composer now residing in New York. We have collaborated with many leading local artists such as pianist Stephen Wong, soprano Yuki Ip and countertenor Ray Chan, as well as many young and rising musicians and vocalists. We perform regularly with our professional instrumental partners, and had joined the Hong Kong Sinfonietta in performances of Haydn’s Little Organ Mass and Fauré’s Requiem. We believe that music lives beyond the concert hall, hence we collaborate with Claying’s Studio (http://www.claying.net/studio/hkv.html) which has captured all our live concerts since 2010. We also appeared in multimedia productions such as Samson Young’s music theatre Electric Requiem – God Save the Queen (2009, recorded live in DVD) and his first Europe solo exhibition at Kunsthalle Düsseldorf on Muted Situations #5 – Muted Chorus (2016). Ken Lam, currently Music Director of the Charleston Symphony Orchestra, has been our Artistic Director since 2001. Grace Chiang, renowned Hong Kong choral conductor and soprano, was appointed as Principal Conductor of the choir in 2015. Website: www.hkvoices.org Facebook: www.facebook.com/hkvoices/ Email: choir@hkvoices.org Whatsapp: +852 5509 9455 Instagram: @hkvoices #hkvoices
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SOPRANO Alice CHAN Dorothy CHAN Linda CHAN Esther CHIANG Lorrain LAU Vivien LAU Deirdre LEE Yoko SAWADA Gisele TSANG Sheep YING Carina WONG Jennie WONG
ALTO Katie CHAN Margaret CHAN Olivia CHAU Kitty CHEW Winnie CHOI Antonia GOUGH Jess HO Mimi HO Martina KERBL Dora LAU Ruth LAU LEE Ho-Yee Karen LEUNG Mandy LO Allison LYSO Karen MOYUNG Annie YUEN
VIOLIN I YIP Siu-Hay Terence CHUNG YEUNG Kin-Man
VIOLA Christina BEAN Raymond HAN
VIOLIN II NG Wah-Hei Alice CHAN Heywood MOK
CELLO CHONG Ling Tim TONG DOUBLE BASS Sophia YUEN
TENOR CHOI Chak-hon Francis LEUNG Ronald LEUNG Cyril MA Keith WONG Marcus WONG William WONG BASS Donald CHAN Tony LING Thomas TANG Anthony WONG Pasu YIP Davis YIU Timothy YU
FLUTE Karen WONG OBOE Henry CHENG CLARINET Linus FUNG BASSOON LAM Hei-Yu HORN Alvin LEE TIMPANI Ivan YEUNG
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