[Sold out] HONG KONG PHILHARMONIC ORCHESTRA, JAAP VAN ZWEDEN & ALEXANDRE KANTOROW

Welcome to the 19th edition of Klarafestival! The theme Crossroads - Come Together keenly evokes the convergence of the audience, the artists and their inspiring concerts. A meeting place where the leading lights of international classical music enter into dialogue with challenging creations and young talent. 

The inspiration for this edition comes from festival artist Claron McFadden. As she told us in an interview, “I stand at a crossroads where styles and generations cross, meet, and collide”. This notion forms the core of the programme. We hope you will enjoy Klarafestival as a sanctuary of hope, polyphony and beauty in all its forms. As a place where the familiar takes on new meaning and where new experiences take you by surprise. 

Jan Raes, chairman

Joost Fonteyne, intendant

Chantal Pattyn, manager Klara

What’s in a title?

The title of a painting directs the viewer’s gaze; the title of a novel creates a pattern of expectations in the reader. But what does it do in music? The titles of classical instrumental music tend to be rather general in comparison: they usually identify a work based on a genre. A musical genre groups a large number of works based on shared characteristics. So besides being a type of instrumentation, a string quartet is a musical genre, as is a piano sonata, symphony or concerto. Throughout music history, other genre conventions besides instrumentation have emerged, such as the number of different movements, their tempo, form and expressive content. So even if a title such as Symphony No. 1 does not reveal anything of the content, the listener will automatically have certain expectations. We anticipate an orchestral work in four parts, with a fast, complex opening movement, a slow and contemplative section, a vivacious scherzo and a fast movement to conclude it. Since the Romantic period, the symphony has been the most important genre in which composers address a large audience. The composer gives of their best, and that is another expectation we have of a symphony. Tonight’s concert comprises three different genres: a symphonic poem, a set of variations and a symphony. Even before the first note has sounded, listeners sense what they can expect based on the genres of the works.

A dance among the stars

Around 1850, a new musical genre emerged that was a great exception to the aforementioned rule: works in this genre do have descriptive titles. The ‘symphonic poem’ is an orchestral work in one movement, based on a non-musical source. It is a portrayal in sound or a reference to the poem, natural phenomenon, painting or story from which its title is taken. The commission that the Hong Kong Philharmonic Orchestra gave a fellow resident of the city, Daniel Lo, belongs to this genre. Asterismal Dance (2022) is a work in one movement inspired by the variations in the light of a starry sky, as if the stars were dancing. It is based on a single core motif that can be heard in various guises. This ‘thematic transformation’, as it is called, is another typical feature of the symphonic poem.

This one is for my agent

The composer Sergei Rachmaninoff also had a glittering career as a piano virtuoso. The full title of his Opus 43 is Rhapsody on a Theme of Paganini (1934). In other words, it is a set of variations, a genre in which virtuosi who were also composers could show off their instrumental abilities. The addition of ‘Rhapsody’ reinforces the mythification of the virtuoso's talent, suggesting that all their technical flair was improvised on the spot. Since the fall of the Ancien Régime, classical music has worked along capitalist lines. Composers earn an income by fulfilling commissions and publishing their music. Musicians attempt to attract the largest audiences possible to their concerts. Sets of variations on a familiar and popular theme are a tried and trusted method of achieving that. Rachmaninoff did not model himself so much on the many virtuosos who composed mediocre works for their own use as on the iconic example of Franz Liszt, for whom transcendent virtuosity was a means, not an end. Nevertheless, he knew exactly what market value meant. Referring to the eighteenth and most sentimental variation in this set, he wrote: ‘this one is for my agent’. It is true that this variation is often performed on its own, and that it is an audience favourite.

Where Liszt was a paragon of virtuoso piano music in the nineteenth century, Niccolò Paganini fulfilled a comparable role for violin repertoire. So it is no coincidence that Rachmaninoff chose the theme of the last of Paganini’s famous 24 Caprices for Solo Violin for this set of variations. Everyone knows and recognises this theme, which makes it particularly suitable for a series of variations. From the seventh variation onwards, Rachmaninoff combines the theme with the Gregorian Dies Irae melody. In the last five variations, the composer does his utmost to elicit deafening applause. The tempo increases steadily, a march drives the rhythm to its climax, passages in unison for the piano see their effect magnified by a setting in four octaves and the two themes (Paganini and Dies Irae) become more recognisable again. And yet there is also a structural element that Rachmaninoff borrowed from Paganini. It is no coincidence that the theme of the latter’s Caprice No. 24 is in 24 bars. So it is not coincidental either that Rachmaninoff wrote a set of 24 variations based on this theme.

Unfillable shoes

Between 1850 and 1870, the production of symphonies faltered somewhat. That had to do with the emergence and popularity of the symphonic poem in that period, but even more with fear of failure. It is no easy feat to compose symphonies after Schubert, Mendelssohn and Schumann, but Beethoven’s nine symphonies made composers doubt their abilities more than ever, fearing they would not even equal them, let alone surpass them. The arduous composition process of Johannes Brahms’ first symphony is symptomatic. A first attempt failed completely: the planned ‘symphony’ ended up becoming his first piano concerto (1858). The second attempt succeeded, although Brahms was to work on his first symphony for a staggering 21 years (1855-1876). Critics in his own time saw Brahms as the composer who would step into Beethoven’s shoes, which considerably increased the pressure on his first symphony. From the first note of the opening movement, however, every listener senses that Brahms has succeeded in his intention. He precedes the fast movement with a slow introduction, a practice that had been customary since the earliest examples of the genre, Joseph Haydn’s symphonies. Nevertheless, the depth and intensity of Brahms’ slow introduction to the opening movement are unrivalled. The minor tonality, searing chords, loud volume and repeated beats of the timpani scream it from the rooftops: something special is about to happen here. Brahms goes on to fulfil these expectations abundantly in this and the following movements. The final movement also begins with a slow introduction, which is somewhat exceptional. That indicates that the musical weight of the piece is mainly borne by the first and fourth movements. They last longer and are more dramatic in expression than the middle sections, which are more relaxed. That is particularly true of the slow, second movement, a celebration of lyricism, but it applies to the third movement as well. Traditionally, this is a scherzo, but Brahms only retains the bones of the form, not the triple metre or the character of this movement. Brahms was certainly no joker: he felt ill at ease with Haydn’s musical jests or the wry humour that occasionally seeps into Beethoven’s scherzos. The expressiveness he aimed for is encapsulated in the tempo indication ‘Un poco allegretto e grazioso’: lively, not too fast and, above all, graceful.

Mark Delaere, translated by Helen White

Hong Kong Philharmonic Orchestra

Under the leadership of Jaap van Zweden, the Hong Kong Philharmonic Orchestra grew into one of the largest orchestras in Asia. In 2019, it was even the first Asian orchestra ever to win the prestigious Gramophone Orchestra of the Year Award. With Van Zweden, the orchestra performed Wagner's complete Ring Cycle, among other works, earning acclaim for both the performances and recordings. The orchestra also supports composers from Hong Kong and China by regularly commissioning compositions and by distributing their work internationally. The orchestra is also committed to various educational and social projects, giving thousands of children and families access to music every year. Read more about the orchestra. 

Jaap van Zweden

Dutch conductor Jaap van Zweden started his career as a violinist with the Concertgebouw Orchestra, where at the age of 19 he became the youngest concertmaster ever. It was only 20 years later (in 1996) that he took his first steps as a conductor and since then, he has become one of the most sought-after conductors in the world. Van Zweden is currently artistic director of the Hong Kong Philharmonic Orchestra (since 2012) and the New York Philharmonic (since 2018). He previously held this position at the Antwerp Symphony Orchestra and the Dallas Symphony Orchestra, among others. After this season, Van Zweden will resign from his positions in Hong Kong and New York to join the Seoul Philharmonic.

Alexandre Kantorow

In 2019, French pianist Alexandre Kantorow got his big break when he won the Grand Prix at the International Tchaikovsky Competition at the age of 22, a prize reserved for exceptional achievements that has only been awarded five times in the history of this competition. Kantorow started his career as a solo pianist at the age of 16 and has since given solo recitals at the largest European venues. He is praised for his craftsmanship, virtuosity and poetic sensitivity. He has consistently received critical acclaim and various awards for his recordings, including recently a Diapason d'Or de l'Année for his recording of solo work by Brahms.

HONG KONG PHILHARMONIC ORCHESTRA

MUSIC DIRECTOR

Jaap van Zweden, SBS

PRINCIPAL GUEST CONDUCTOR

Long Yu

RESIDENT CONDUCTOR

Lio Kuokman, JP

FIRST VIOLINS

Concertmaster

Jing Wang

First Associate Concertmaster

Leung Kin-fung 

Second Associate Concertmaster

Anders Hui

Second Associate Concertmaster

Wang Liang

Third Associate Concertmaster

Bei de Gaulle

Ai Jin

Ba Wenjing

Cheng Li

Gui Li

Li Chi

Yoon Soojeong 

Li Zhisheng

Liu Fangxi

Mao Hua

Rachael Mellado

Zhang Xi

Jia Shuchen #

Li Chun Lam James *

Wang Yue *

SECOND VIOLINS

Zhao Yingna ●

Domas Juškys ■

Leslie Ryang Moonsun ▲

Fang Jie

Gallant Ho Ka-leung

Liu Boxuan

Mao Yiguo

Katrina Rafferty

Vivian Shen

Miyaka Suzuki Wilson

Tomoko Tanaka

Christine Wong

Zhang Yuchen

Zhou Tengfei

VIOLAS

Andrew Ling ●

Li Jiali ■

Kaori Wilson ▲

Cui Hongwei

Fu Shuimiao

Ethan Heath

Li Ming

Damara Lomdaridze

Alice Rosen

Sun Bin

Zhang Shuying

Yeung Sin Hang *

CELLOS

Richard Bamping ●

Fang Xiaomu ■

Dora Lam ▲

Chan Ngat-chau

Chen Yichun

Timothy Frank

Anna Kwan Ton-an

Lee Haedeun

Song Tae-mi 

Song Yalin

Leung Cheuk Yan *

DOUBLE BASSES

George Lomdaridze ●

Jiang Xinlai ◆

Chang Pei-heng

Feng Rong

Samuel Ferrer

Jeffrey Lehmberg

Philip Powell

Jonathan Van Dyke

FLUTES

Megan Sterling ●

Olivier Nowak ■

Josep Portella Orfila

PICCOLO

Linda Stuckey ◆

OBOES

Michael Wilson ●

Wang Yu-po ■

Marrie Rose Kim

COR ANGLAIS

Kwan Sheung-fung ◆

CLARINETS

Andrew Simon ●

John Schertle ■

Lau Wai

BASS CLARINET

Lorenzo Iosco ◆

BASSOONS

Benjamin Moermond ●

Toby Chan ■

Vance Lee ◆

CONTRABASSOON

Adam Treverton Jones ◆

HORNS

Lin Jiang ●

Russell Bonifede ■

Chow Chi-chung ▲

Todor Popstoyanov 

Homer Lee

Jorge Medina

Chuang Yu-hui *

Benjamin Jacks *

Lionel Speciale *

TRUMPETS

Nitiphum Bamrungbanthum ●

Christopher Moyse ■

Douglas Waterston

Robert Smith

Yu Long Ching ∇

TROMBONES

Jarod Vermette ●

Christian Goldsmith

Kevin Thompson

BASS TROMBONE

Aaron Albert ◆

TUBA

Paul Luxenberg ●

Florian Hatzelmann ●*

TIMPANI

James Boznos ●

PERCUSSION

Aziz D. Barnard Luce ●

Raymond Leung Wai-wa

Sophia Woo Shuk-fai

Samuel Chan *

Eugene Kwong *

HARP

Louise Grandjean ●#

● Principal

■ Co-Principal

◆ Associate Principal

▲ Assistant Principal

# Short-term Contract

* Guest Musician 

∇ The Orchestra Academy Hong Kong (TOA) Fellows 

MANAGEMENT ON TOUR

CHIEF EXECUTIVE 

Benedikt Fohr

DIRECTOR OF ARTISTIC PLANNING

Timothy Tsukamoto

ARTISTIC PLANNING MANAGER 

Michelle Wong

DIRECTOR OF ORCHESTRAL OPERATIONS

Vanessa Chan

LIBRARIAN

Betty Ho

ASSISTANT LIBRARIAN

Chan Tim Yan

STAGE MANAGER

Camille Tam 

STAGE SUPERVISOR

Chan Kwok Yee

DIGITAL MEDIA PRODUCER

Arthur Lo

STAGE AND PRODUCTION OFFICER

Isaac Wong 

ORCESTRA PERSONNEL MANAGER

Joseph Wong

ASSISTANT ORCHESTRAL OPERATIONS MANAGER

Apple Li

DIRECTOR OF MARKETING

Dennis Wu

MEDIA RELATIONS & COMMUNICATIONS MANAGER 

Emily Hui 

INTERNATIONAL TOUR MANAGER

Harrison Parrott