Sep 26, 2016 - in the development of the art, we became fixated with the idea that artists ought to possess ...... Arts
l a n o i t a r i Insp Liaisons Concert Series Dedicated to Inspirational Friendships throughout music history September 2016 - February 2017
7:30pm Free Admission Tsang Shiu Tim Art Hall The Hong Kong University of Science and Technology Clear Water Bay Hong Kong Sponsor:
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l a n o i t a r i p s In s n o s i a i L
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his book The Anxiety of Influence, literary critic Harold Bloom posits that “when one speaks a language, one knows a great deal that was never learned. The effort of criticism is to teach a language, for what is never learned but comes as the gift of a language is a poetry already written … every language is a relic of an abandoned cyclic poem.” Composers are influenced by their predecessors, in that they inherit and learn their language from the ‘poems’ of their predecessors. Th¬at is plain enough to see—everyone except from Chopin fell under shadow of Beethoven, Beethoven was himself seen as the second Mozart, Mozart learned from Bach’s Well-Tempered Clavier, Bach from Palestrina, Palestrina from bygone ages. Yet at some point in the development of the art, we became fixated with the idea that artists ought to possess something divine that distinguishes the artist from the artisan. To be an artist is to be original. Originality and ingenuity transcends the mere craftsmanship and mundane hard work of the artisan. ¬us rises the anxiety of influence, the anxiety of finding oneself lacking in originality, engulfed in the shadow of our predecessors. Beethoven, the first true artist in music, was ever in denial of Haydn’s influence as his teacher, despite dedicating the first piano sonatas to him.
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Inspiration, on the other hand, seems to present less of a problem. Inspiration is the misreading of a work, or a person, or some trait; so that something new is assimilated. Inspiration draws out something that is dormant but already within. Beethoven was inspired by the daring violinist George Bridgetower (or perhaps amused would be more fitting). Of the ten violin sonatas he wrote, the Kreutzer stands out for its unashamedly temperamental display of virtuosity. Bridgetower himself wrote of a scene in the rehearsal, where he imitated Beethoven’s cadenza an octave above on the violin, causing Beethoven to stand up and embrace the violinist. Beethoven was happy to dedicate the sonata to Bridgetower and also sent him a tuning fork as a gift, but the relationship had gone sour by the time the work was published and the dedicatee was changed to Rodolphe Kreutzer. The original dedication read “Sonata for a coloured person. Composed for the coloured Bridgetower—great lunatic and coloured composer.” (Translation taken from violinist Peter Sheppard Skærved’s website.) 3
Haydn’s letter to Provincial Observerwalter Roth: December 1787 You wish me to write an opera buffa for you. Most willingly, if you are inclined to have a vocal composition of mine for yourself alone, but if with a view to produce it on the stage at Prague, I cannot in that case comply with your wish, all my operas being too closely connected with our personal circle (Prince Esterhazy’s, in Hungary), so they could never produce the proper effect, which I calculated in accordance with the locality. It would be very different if I had the invaluable privilege of composing a new opera for your theatre. But even then I should risk a great deal, for scarcely any man could stand beside the great Mozart. I only wish I could impress on every friend of music, and on great men in particular, the same depth of musical sympathy, and profound appreciation of Mozart’s inimitable music, that I myself feel and enjoy, then nations would vie with each other to possess such a jewel within their frontiers. Prague ought to strive to retain this precious man, but also to remunerate him; for without this the history of a great genius is sad indeed, and gives very little encouragement to posterity to further exertions, and it is on this account so many promising geniuses are ruined. It enrages me to think that the unparalleled Mozart is not yet engaged by some imperial or royal court! Forgive my excitement; but I love the man so dearly!
Dedication
I am, &c. Haydn Nohl, Ludwig Letters of distinguished musicians: Gluck, Haydn, C.P.E. Bach, Weber, Mendelssohn. Translated from the German. London: Longmans, Green, 1867
Concert I 26 Sep 2016 Monday | 7:30pm
To my dear friend Haydn,
Haydn, Mozart and Beethoven
Haydn Quartet in G major op.33 no.5, “How do you do?” Romer String Quartet Beethoven Violin Sonata in A, op.47, “Kreutzer” Kitty Cheung, violin; Stephen Hung, piano
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Mozart Quartet in G major from “The Haydn Quartets” K 387 Romer String Quartet Vienna - The concert series Inspirational Liaisons explores other instances of how composers struggle between influence and inspiration. Beethoven has a standing in music similar to that of Shakespeare in the English world. They consumed everything before them and made it their own. Prior to that, there were Haydn and Mozart, just as there were Christopher Marlowe and Ben Jonson. Haydn was the pioneer of the string quartet, who imbued this new genre with his unique quirkiness; Mozart was the genius, who responded to Haydn’s quirkiness with something more genial and altogether Mozartean. Growing up in Vienna, Schubert had first-hand experience of Beethoven the man, not just the music, seeing the old master conduct the Ninth Symphony and serving as torchbearer at the funeral. His works were played by the same musicians who played for Beethoven—the Schuppanzigh Quartet played Beethoven’s late quartets and the baritone Johann Michael Vogl sang Pizarro at the premiere of Fidelio. Yet despite the overwhelming presence of Beethoven, Schubert’s inspirations came primarily from literature. His enthusiasm for poetry led him to form reading circles, giving him continuous stimulus to set words to music, including those by his friend Franz von Schober who wrote the text for An die Musik. These ‘Schubertiade’ meetings also provided opportunities to perform his songs, with Vogl his most frequent collaborator. 4
The dedication of the ‘Haydn’ Quartets:
A father who had resolved to send his children out into the great world took it to be his duty to confide them to the protection and guidance of a very celebrated Man, especially when the latter by good fortune was at the same time his best Friend. Here they are then, O great Man and dearest Friend, these six children of mine. They are, it is true, the fruit of a long and laborious endeavor, yet the hope inspired in me by several Friends that it may be at least partly compensated encourages me, and I flatter myself that this offspring will serve to afford me solace one day. You, yourself, dearest friend, told me of your satisfaction with them during your last Visit to this Capital. It is this indulgence above all which urges me to commend them to you and encourages me to hope that they will not seem to you altogether unworthy of your favour. May it therefore please you to receive them kindly and to be their Father, Guide and Friend! From this moment I resign to you all my rights in them, begging you however to look indulgently upon the defects which the partiality of a Father’s eye may have concealed from me, and in spite of them to continue in your generous Friendship for him who so greatly values it, in expectation of which I am, with all of my Heart, my dearest Friend, your most Sincere Friend, W.A. Mozart (Translation taken from Wikipedia)
Companions
Concert II 6 Oct 2016 Thursday | 7:30pm
Schubert: Winterreise und Goethe Gretchen am Spinnrade (Gretchen at the Spinning-wheel) D.118 Poet: Goethe Winterreise (Winter’s Journey) D.911 (Excerpts) Poet: Müller Gute Nacht (Good Night) Die Wetterfahne (The Weather-vane) Gefrorne Tränen (Frozen Tears) Erstarrung (Numbness) Der Lindenbaum (The Linden Tree) Wasserflut (Torrent)a Auf dem Flusse (On the Stream) Rückblick (Backward Glance) Irrlicht (Will-o’-the-wisp) Rast (Resting Place) Frühlingstraum (Dream of Spring) Einsamkeit (Solitude) An den Mond (To the Moon) D.259 Poet: Goethe Erlkönig (The Erl King) D.328 Poet: Goethe Carol Lin, mezzo-soprano; Frankie Liu, tenor Sheung Lee, piano
Schubert’s letter to poet and friend Johann Mayrhofer: Linz, 19th August, 1819 Dear Mayrhofer, If you are as well as I am, then you are in excellent health. At the present moment I am in Linz. I was at the Spauns’, met Kenner, Kreil, and Forstmayer, got to know Spaun’s mother, and also Ottenwald, to whom I sang his “Cradlesong” with my own setting. I enjoyed myself very much in Steyr, and mean to do so again. The country there is heavenly, and round Linz it is lovely too. We—that is to say Vogl and I—are setting out for Salzburg in a few days’ time. I am looking forward so much to ... I recommend to your kindness the bearer of this letter. He is a student from Kremsmnster named Kahl, and is passing through Vienna on the way to his parents in Idria. Please let him have my bed during the time that he is there. I hope that you Will do your best to make him welcome in every way, for he is a very good and friendly creature. Heartiest greetings to Frau von S[ansouci]. Have you written anything yet? I am hoping so—We celebrated Vogl’s birthday with a cantata for which Stadler wrote the words and I the music, and it was a great success. Now goodbye until the middle of September. Herr v. Vogl wishes to be remembered to you.
Schubert’s letter to Goethe: Beginning of June, 1825 Your Excellency, Should I succeed with the dedication of these settings of your poems in expressing my boundless admiration of Your Excellency, and at the same time in earning perhaps something of respect for my unworthy self, the gratification of this wish would be for me the happiest event of my life. With the greatest respect, Your most humble servant, Franz Schubert
Greetings to Spaun. Your friend,
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Franz Schubert Deutsch, Otto Erich. Franz Schubert’s Letters and Other Writings. Translated by Venetia Savile. London: Faber and Gwyer, 1928.
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[In June, 1825, Goethe received Schubert’s compositions (Goethe Diary, 16th June, 1825, edited by order of the “Grossherzogin Sophie” of Weimar, part III, vol. X, p. 68/28) but never acknowledged them. On the very same day Goethe got quartets from Felix Mendelssohn whom he answered in a rather affectionate and benevolent way.] Deutsch, Otto Erich. Franz Schubert’s Letters and Other Writings. Translated by Venetia Savile. London: Faber and Gwyer, 1928.
Liszt and Schumann - Ironically, it is at the peak of the Romantic era—when the concept of the artist was most fully developed and inseparable with that of originality—it is at this point that the musical scene became dominated by one hugely influential figure—Franz Liszt. Robert Schumann was another figurehead, who often made his presence felt in the critical circles through his publication Neue Zeitschrift für Musik and was supported by figures such as the widely acclaimed virtuoso Clara Schumann (his wife) and Johannes Brahms. But Liszt outlived Schumann by almost three decades; his students and entourage included Hans von Bülow, Arthur Friedheim, Siloti, Rosenthal and many others who would become the first batch of pianists to leave their playing on record. Their testaments would speak of an inspirational teacher in Liszt, who did not impose his own way of playing onto the students. Composers such as Grieg and Franck would go and seek his guidance. Joachim Raff was part of that circle for a time as well. But Liszt was like Wordsworth, especially when it comes to composing. His style of writing ingrains itself into his followers, depriving them of originality; as Keats said of Wordsworth, “Life to him would be Death to me.”
Excerpt from The Museum, III. Clara Wieck: Soirées for Piano, Opus 6, written in 1837 for the Neue Zeitschrift für Musik There should also be a female head to adorn our museum. And how better could I celebrate this day, the eve of a beloved’s birthday, than by devoting myself to one of her creations. It may well be that her works derive from so exotic an imagination that mere practice alone will not suffice to pursue these rarely interlaced arabesques—or from so profoundly tempered a spirit that, once the graphic, the representational in her compositions recedes into the background, one does not immediately grasp the dreamlike and the introspective. Thus, the majority will lay them aside after a quick glance; indeed it is easy to believe that contest juries will award these Soirées, among a hundred entries, the last prize rather than the first, so far below the surface lie the pearls and laurel wreaths. Nevertheless, I should be more than usually curious about the verdict of the academicians. For the Soirées betray, on the one hand, and plain for anyone to see, a life effulgent and tender, apparently responsive to the slightest stirring; on the other hand, a wealth of unconventional resources, an ability to entangle the secret, more deeply twisting threads and then to unravel them, something one is accustomed to expect only from experienced artists—and males! Schumann, Robert. Schumann on Music; A Selection from the Writings. Translated by Henry Pleasants. New York: Dover, 1988.
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Concert III 20 Oct 2016 Thursday | 7:30pm
Brahms and Schumann
Excerpt from New Paths, written in 1853 for the 1854 publication Collected Writings about Music and Musicians Many years have passed since I have been heard from in the Neue Zeitschrift für Musik, an arena so rich in memories for me—indeed, almost as many years as I once devoted to editing it—namely, ten. I have often been tempted to speak out, despite strenuous creative activity. A number of important new talents have come along in the meantime, a musical era has appeared to be in the offing, heralded by many rising young artists, even though the latter may be known to a rather small circle. Following their progress with the utmost interest, I felt certain that from such developments would suddenly emerge an individual fated to give expression to the times in the highest and most ideal manner, who would achieve mastery, not step by step, but at once, springing like Minerva fully armed from the head of Jove. And now here he is, a young fellow at whose cradle graces and heroes stood watch. His name is Johannes Brahms.
FAE sonata for violin and piano Kiann Chow, violin; Cindy Ho, piano
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Schumann Adagio and Allegro op.70 for cello and piano Joanne Kim, cello; Cindy Ho, piano Clara Schumann Trio in G minor Vantage Trio Kiann Chow, violin; Joanne Kim, cello; Cindy Ho, piano
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He comes from Hamburg, where he had been working in quiet obscurity, initiated by an excellent and inspired teacher into the most difficult canons of the art. He was recommended to me by an eminent and famous master [Joseph Joachim, the dedicatee of the FAE sonata]. Even in his external appearance he displays those characteristics which proclaim: here is a man of destiny! Schumann, Robert. Schumann on Music; A Selection from the Writings. Translated by Henry Pleasants. New York: Dover, 1988. 8
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Liszt’s letter to Joachim Raff Dear Sir and Friend, Excerpt from Liszt’s letter to Dr Franz Brendel Raffs book “Die Wagnerfrage” [The Wagner Question] has arrived here to-day, and I have already read it. The author is so pleased with himself that it would be a miracle if his readers were joined to him in the same proportion, and Raff is [e]specially at variance with miracles! This book makes on me the effect of a pedagogic exuberance. Even the occasional good views (on harmony, for example) that it contains are obscured by a self-sufficiency in the tone and manner of them, of which one may well complain as insupportable. What Raff wishes to appear spoils four-fifths (to quote the time which he adapts so ridiculously to Lohengrin) of what he might be. He is perpetually getting on scientific stilts, which are by no means of a very solid wood. Philosophic formulas are sometimes the envelope, the outside shell, as it were, of knowledge; but it may also happen that they only show empty ideas, and contain no other substance than their own harsh terminology. To demonstrate the rose by the ferule may seem a very scientific proceeding to vulgar pedants; for my part it is not to my taste; and without being unjust to the rare qualities of Raff ’s talent, which I have long truly appreciated, his book seems to me to belong too much to the domain of moral and artistic pathology for it to help in placing questions of Art in their right light.
p i h s n a m s t f a r C Liszt and Raff Raff Ballade from Klavier-Soli op.74 3 Pieces from Blätter und Blüten op.135a Fantasy op.142 Liszt 8 Etudes from 12 Grandes Etudes S137 (Transcendental Etudes, 1837 version): No 3, 4, 5, 6, 7, 8, 9 and 10 Tra Nguyen, piano
I beg you, dear friend, not to repeat this to anybody, for I could not go against Raff in any but the most extreme case, for which I hope he will not give me any occasion. Against the many charges to which he has exposed himself I even intend to shield him as far as possible, but I am very much grieved that he has mingled so much that is raw and untenable in his book with much that is good, true and right. Farewell, dear friend, and give most friendly greetings to your wife from
Concert IV 27 Oct 2016 Thursday 7:30pm
Yours most sincerely, F. Liszt. August 12th, 1854.
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[Brendel was editor of the Neue Zeitschrift für Musik after Schumann left the post.] Letters of Franz Liszt. Collected and Edited by La Mara. Translated by Constance Bache. London: Grevel, 1894.
It is very pleasant to me to find from your letter that you have taken aright the recognition in my article on the Sleeping Beauty, and see un-equivocally in its attitude a fresh proof of the high estimation in which I hold your artistic powers, as well as of my readiness to be of use to you as far as my insight and loyalty in Art matters will permit me. In this first discussion of a work so much thought of and so widespread, it was most important that I should draw the attention of Art-fellowship to your entire works and higher endeavours during the past six years. You will still give me the opportunity, I hope, later on, of spreading much deserved praise and of placing more in the shade any chance differences in our views. If I have not placed you this time so completely as I should have wished among the musical fellowship of the time, like a Peter Schlemihl [known as the man without a shadow from German fable] this was partly in consequence of your own oft-repeated advice that “one should not exclusively praise men and works if one wishes to be useful to them.” I do not always agree with you in this view, but on this occasion I hope I have hit the happy medium. Accept my best thanks for the friendly interest you have shown in my orchestral compositions in the concert direction of Wiesbaden. Whether I shall be able to comply with several invitations for concerts in the coming winter depends on a good many circumstances which I cannot quite settle beforehand. But in any case I shall be glad if my compositions become more widely spread, and perhaps during your present stay in Wiesbaden the opportunity may offer of conducting one or two numbers of the Symphonic Poems, in accordance with your previous intentions. At the end of next week at latest I set out for Gran, to conduct my Mass on the 31st of August (in celebration of the consecration of the Basilica). Toward the middle of September I go to Zurich, where, if I am not prevented by any special hindrances, for which I always have to be prepared, I think of spending a couple of weeks with Wagner. Fare you well, dear Raff, and send soon some tidings of yourself to Yours most truly, F. Liszt. July 31st, 1856 Letters of Franz Liszt. Collected and Edited by La Mara. Translated by Constance Bache. London: Grevel, 1894. 11
Collaboration
Concert V 14 Nov 2016 Monday | 7:30pm
Bowen, Fauré and Respighi Bowen Phantasy for viola and piano Ringo Chan, viola; Stephen Hung, piano Fauré Sonata no.2 for cello and piano, op.117 Eric Yip, cello; Cindy Ho, piano Respighi Il tramonto Carol Lin, mezzo-soprano; Romer String Quartet
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After Liszt - Like Beethoven and his violinist Bridgetower, Brahms in his twilight years was inspired by the clarinetist Richard Mühlfeld to write two wonderful clarinet sonatas, which were then transcribed and adopted for the viola repertoire. It would take the emergence of Lionel Tertis in the 20th century to inspire composers to write genuine music for this instrument, a challenge that York Bowen undertook on several occasions. Similarly, the elusive Italian composer Ottorino Respighi’s career drew inspiration from two contralto singers— Chiarina Fino-Savio and Elsa Olivieri Sangiacomo who later became his wife. Based on a translation of Shelley’s text, Il tramonto was composed for and dedicated to FinoSavio. Gabriel Fauré needed no inspiration from his instrumentalists, but often consulted them on matters of performance directions. As documented by Neil Heyde in his joint article on ‘creative resistance,’ the articulations in the cello part of the 1st sonata went through several phases before taking its final form in the published version. The process of arriving at that final form can be glimpsed from an engraver’s copy with markings presumably in Gérard Hekking’s hand—the cellist who premiered both the 1st and the 2nd cello sonatas with Alfred Cortot. Although such material is not available in the 2nd sonata’s case, it is reasonable to assume a similar process took place in achieving its final form.
Fauré was among the first composers to break free from Liszt’s language, though the very act of breaking free still implies an influence albeit of a negative kind, and it is known that Fauré also sought Liszt’s opinions on his compositions. The significance of this is that he opened a new path for the would-be ‘impressionists’ Debussy and Ravel. Like Schubert, they drew inspiration from literature (more so than from the impressionist painters). This was also the age of the great Parisian exhibitions, when the world of classical music was suddenly exposed to Oriental arts and the influx of other styles. Perhaps this metropolitan perspective contributed to a change of mentality—almost a reversal, or at the very least an openness to being influenced. “If you have nothing new to say, then you cannot do better, while waiting for the ultimate silence, than repeat what has been well said. If you do have something to say, that something will never be more clearly seen than in your unwitting infidelity to the model.” Ravel’s words, as does his music, show a remarkable grasp of the inherit fallacy in music and in art. It is no wonder that the philosopher Vladimir Jankélévitch held Ravel in such high esteem as to write a book on the composer. Ravel took in influences of every kind—Rimsky-Korsakov’s instrumentation and octatonicism, old French music, music from the New World, a.k.a. jazz and blues. His admiration of Gershwin was reciprocated. Though in turn, Ravel became yet another institutionalised influence and fell under the ire of Satie and the younger generation of French composers.
Vaughan Williams studied with Ravel in 1908, leading to the composition of what scholars identify as the emergence of Vaughan Williams’ personal voice in On Wenlock Edge. Ravel was said to have encouraged individuality in his students, though curiously the third movement of On Wenlock Edge has a very similar melodic shape to Ravel’s Piano Trio, which was composed later than Vaughan Williams’ piece. Vaughan Williams’ case is interesting, for he was two years Ravel’s elder, but was plagued by what he himself described as ‘amateurish technique.’ Ravel on the other hand, was the ultimate technician, labelled by Stravinsky as the ‘Swiss watchmaker.’ We end here with another quote that subverts the Beethovenian paradigm of artistry: “conscience compels us to turn ourselves into good craftsmen. My objective, therefore, is technical perfection. I can strive unceasingly to this end, since I am certain of never being able to attain it.” Sebastian Brook
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Lionel Tertis’ tribute to York Bowen, from the Royal Academy of Music Magazine, Lent, 1962 York Bowen is indeed a great loss to our Alma Mater—The Royal Academy of Music—I have known him for over sixty years. He was a brilliant pianist and a prolific composer. He was an example of how one should plan out one’s daily life systematically and conscientiously use every minute of it to good purpose. He and the late Benjamin Dale were the closest friends. They were both crazy about Wagner and went to every Covent Garden performance. I shall always feel indebted to both of them for their generosity in writing compositions for the viola. York Bowen wrote, amongst other works, two sonatas, a concerto, and a quartet for four violas. Bowen was always full of exuberance and this characteristic permeated his works. He could play most of the instruments of the orchestra and added to all these talents he was a very fine pedagogue. Acknowledgement: Janet Snowman
Vincent d’Indy’s letter to Gabriel Fauré 14 May [19]22 Lionel Tertis writing for Music & Letters introducing the ‘Tertis Viola’.
Dear friend
In 1896, however, a fellow violin student, Percy Hilder Miles, wishing to play string quartets, suggested that I should take up the viola, since there was not a viola-player in the institution. I borrowed an Academy instrument—one that was, as usual, all too small and lacked the sonority proper to the C string. Even so, I was immediately attracted by the characteristic quality, so unlike that of the other members of the violin family. The four of us practised one of Beethoven’s early quartets for a fortnight, and it was then arranged for us to play it to the Principal, Mackenzie. The Academy was still established in a number of old houses in Tenterden and Dering Streets, by Hanover Square—a veritable-warren. Mackenzie sat alone in the concert-room listening to us. Afterwards, when I had, in reply to his question, told him I had been playing the viola for three weeks, he encouragingly said: “Well, in my opinion you will never regret it.”
The viola was at that time generally taught by violinists regarded it as a side-line. I resolved to study the instrument independently. I consider that I learnt my art principally by listening to to Fritz Kreisler, whom I followed about like a dog. Such solo viola-players as there were in those days never attempted the higher positions. One of the violin teachers at the Academy—an early Victorian and a cold player—on occasion took the viola part in Joachim’s quartet. He was very irate with me, after I had given a performance on the viola of Mendelssohn’s violin concerto at the Academy, for having exploited the upper registers, “The viola is not meant to be played high up. That is the pig department! I suppose you will in due course be playing behind the bridge?” A fellow-student in about 1898 lent me a Guadagnini viola. As usual, it had, sad to say, been cut down, but it yielded a far better tone than the Academy instrument and, now becoming enthusiastic, I resolved to be the champion of the rights of the viola as a solo instrument. Tertis, L. (1947). Music & Letters. Vol. 28(3)
I want to tell you how much I am still under the spell of your very lovely Sonata for violincello.
What I found in it was Music, which is something people seem to be forgetting about nowadays as they try to substitute mostly unpleasant agglomerations of sounds. Your andante is a genuine masterpiece of expressive sensitivity, and I like the last movement very much indeed—it’s so lively and engaging. And then the tunes took me back to the joyful days of the beginnings of the National Society when you were writing The Cradles and The Roses of Ispahan. They have the youthfulness of those songs plus the mastery of maturity.
And it’s a beautiful thing!
Ah, you’re a lucky man to stay young like that!
You know, I believe your old pal was thoroughly delighted by your magnificent success and above all by the lovely works that occasioned it, and let me give you all my love and tell you that I love the friend as much as I honour the artist. Vincent d’Indy. Nectoux, Jean-Michel. Gabriel Fauré: His Life Through His Letters. Collected, Edited and Introduced by Jean-Michel Nectoux, translated by J. A. Underwood. London: Marion Boyars, 1984
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Inspiration
Concert VI 28 Nov 2016 Monday | 7:30pm
Ravel, Gershwin and Vaughan Williams Ravel Sonata in G for violin and piano Kitty Cheung, violin; Cindy Ho, piano Gershwin Three Preludes Timothy Sun, saxophone; Cindy Ho, piano
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Vaughan Williams On Wenlock Edge David Quah, tenor; Cindy Ho, piano; Romer String Quartet 17
Vaughan Williams’ recollection of his lessons with Ravel He was much puzzled at our first interview. When I had shown him some of my work he said that for my first lessons I had better “write a little minuet in the style of Mozart.” I saw at once that it was time to act promptly, so I said in my best French, “Look here, I have given up my time, my work, my friends, and my career to come here and learn from you, and I am not going to write a ‘little minuet in the style of Mozart.’” After that we became great friends and I learned much from him. For example, that the heavy contrapuntal Teutonic manner was not necessary. “Complex but not complicated” was his motto. He showed me how to orchestrate in points of colour rather than in lines. It was an invigorating experience to find all artistic problems looked at from what was to me an entirely new angle. Vaughan Williams, Ursula. R.V.W.: A Biography of Ralph Vaughan Williams. London: Oxford University Press, 1964.
Ravel’s conversation with André Asselin during a rehearsal of the violin sonata: “Inspiration—what do you mean? No—I don’t know what you mean. The most difficult thing for a composer, you see, is choice—yes, choice.” Orenstein, Arbie. A Ravel Reader: Correspondence, Articles, Interviews. New York: Columbia University Press, 1990.
Ravel’s Letter to Nadia Boulanger, New York, March 8, 1928 Dear friend, There is a musician here endowed with the most brilliant, most enchanting, and perhaps the most profound talent: George Gershwin. His world-wide success no longer satisfies him, for he is aiming higher. He knows that he lacks the technical means to achieve his goal. In teaching him those means, one might ruin his talent.
Would you have the courage, which I wouldn’t dare have, to undertake this awesome responsibility?
I expect to return home in early May, and will come to see you in order to discuss this matter.
In the meantime, I send you my most cordial regards.
Maurice Ravel
[Gershwin in the end did not have lessons with Boulagner] Orenstein, Arbie. A Ravel Reader: Correspondence, Articles, Interviews. New York: Columbia University Press, 1990. 18
Encore
Concert VII 23 Feb 2017 Thursday | 7:30pm
Encore to Inspirational Liaisons* Vaughan Williams The House of Life Carol Lin, mezzo-soprano; Sheung Lee, piano Ravel Sonata in G for violin and piano Eric Wang, violin; Stephen Hung, piano Gershwin Three Preludes Creston Sonata for saxophone and piano Timothy Sun, saxophone; Cindy Ho, piano
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* The same programme will be performed on11 June 2017 at Carnegie Hall, New York. 21
David Quah Tenor
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inner of the coveted Marianne Mathy Australian Singing Competition, Malaysian born David Quah made his professional debut singing Don Ottavio in Mozart’s Don Giovanni with Opera Queensland. He came back to Hong Kong in 2000 and started teaching singing at the Hong Kong Academy for Performing Arts. He regularly performs in South East Asia and is very active in the local music scenes. David has premiered many roles both locally and overseas. His singing has taken him to different parts of the world, from Australia to Singapore, Malaysia, Thailand, Hong Kong, Taiwan, France, Great Britain and the USA. He recently participated in a concert in Hong Kong and Taiwan as tenor, composer and arranger, paying tribute to the poet Yu Kwang-chung. Although classically trained, David has ventured into many different genre of music, from operas to lieder, from musicals to pop and jazz. He has also composed and arranged many songs for concerts and recording artists. He has also produced many concerts, namely the Musical Moments Series, which were fund raising concerts for Lifeline Express; and the Classical Moments Series, which David started as the founder and artistic director of Bel Canto Singers Foundation, a charitable group that aims at creating an active performance platform especially for homegrown vocal talents, as well as introducing a wider range of vocal music to the general public. David will be performing Schubert’s Winterreise with Timmy Tsang on the 10th of November at the City Hall Theatre.
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Carol Lin Mezzo-soprano
Frankie Liu Tenor
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rankie Liu graduated with a Master degree at San Francisco Conservatory of Music, where he was a recipient of Conservatory Scholarship. He obtained his diploma in performing arts (music) and arol Lin is one of the leading mezzobachelor of music from The Hong Kong sopranos in Hong Kong. Ms. Lin has Academy for Performing Arts. During taken principal roles in opera productions by Hong Kong and international companies his time at the Academy, he was awarded several scholarships, including HKAPA including ”Carmen” (Carmen), “Santuzza” Outstanding Tuition Fees, Peter and Nancy (Cavalleria Rusticana), Maddalena Thompson Scholarship, The Coutts Bank (Rigoletto), Cherubino (Le Nozze di Scholarship, and Hong Kong Welsh Male Figaro), Stephano (Romeo et Juliette), Voice Choir Scholarship. Liu’s opera roles Suzuki (Madama Butterfly) etc. She has been the featured soloists for many concert include Romeo in Gounod’s Roméo et Juliette, Altoum in Puccini’s Turandot, performances by organizations such as 2nd Jew in Strauss’ Salome, Frantz in Boston Philharmonic Orchestra, Aspen Offenbach’s Les Contes D’Hoffmann, Sinfonia, Gunma Baroque Orchestra Prosper in Offenbach’s La Vie Parisienne, of Japan, The Philharmonic Orchestra Kasper in Menotti’s Amahl, Micah in Singapore, Hong Kong Philharmonic Orchestra, Hong Kong Sinfonietta, Musica Floyd’s Slow Dusk, Arsamene in Handel’s Serse, Silango in Gluck’s Le Cinese, Piquillo Viva, Opera Hong Kong, RTHK Radio 4 in Offenbach’s La Perichole, Arsamene and Hong Kong Art Festival. and Bastien in Mozart’s Bastien und A native of Hong Kong, Ms. Lin graduated Bastienne. He has also performed actively from Hong Kong Academy for Performing in different concerts included Mozart’s requiem, Mendelssohn’s Elijah and Brahms’ Arts and holds a Master of Music Degree (Vocal Performance and Opera) from New Liebeslieder. England Conservatory of Music, Boston. She is also a vocal fellow of the Aspen Music Festival in Summer 2006 and 2007. In 2013, she won the regional round of the 32nd International Hans Gabor Belvedere Singing Competition. She has also won First and Grand Prix in the 5th Yokohama International Music Competition in Japan and Third in “Giovani Musicisti - Città di Treviso” International Music Competition in Italy.
“Mezzo-soprano Carol Lin’s versatile singing was breathtaking.” - South China Morning Post
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Joanne Kim Cello
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oanne served as the principal cellist at the Seoul Symphony Orchestra and also performed with the Black Sea City Orchestra at the Black Sea Festival in Romania. Joanne has given solo and chamber recitals at the Seoul Art Performing Center in Korea, and at the Iserlohn kirche in Dortmund in Germany.
Timothy Sun Saxophone
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imothy Sun began his music studies at the age of 7. He studied the saxophone and clarinet with Mr. George Galway at the Ellen Wilkinson High School of Art in England since 1997, and in 2001 became the first Chinese saxophone and clarinet student of the Guildhall School of Music and Drama under a full scholarship for his Bachelor’s degree, where his principal teachShe was awarded the “Best Musician of the ers were the world-renowned saxophonists year” at the Black Sea Festival came second John Harle and Christian Forshaw. He had as part of a string quartet in the young artist also worked with clarinettist Julian Farrell competition in Westfalen, Germany. and flautist Glen Martin and in 2006 completed his Master’s degree under a school Joanne graduated from the Seoul Art scholarship and received the highest score in High School in Korea and studied cello the final recital. under Professor Kim Bong, who was known as an innovator of André Navarra In recent seasons, Sun has appeared in more within Korea at the time. She then than 100 recitals and orchestral concerts in furthered her studies in Germany with Asia and Europe. He performed as a soloist Maria Kliegel at the Musikhochschule with Macau Chinese Orchestra, Hong Köln. She graduated from Künstlerische Kong Sinfonietta, Zhejiang Symphony Grundlagen and Künstlerische Ausbildung Orchestra, Guiyang Symphony Orchestra, at Hochschule für Musik Detmold under Hong Kong Festival Orchestra, Symphonic Professor Gotthard Popp in Germany. Cordiality, New Music Ensemble, CityShe participated in masterclasses given winds Ensemble, Hong Kong Young Musiby Professor Arto Noras in Wien and cians Wind Orchestra, Hong Kong Wind Professor Jens Peter Maintz in Prague. She Symphony, PanAsia Symphony Orchestra, also worked with Professor Heinz Klaus at Belilios Winds, SIU2, Macau Youth OrHochschule für Musik Hannover. chestra and the Macau Youth Symphonic band. He has been interviewed by the As an educator, she was a lecturer of South China Morning Post, UK Chinese string-chamber music and professional Times, Macao Daily, Milk, Mr, Esquire, performance program in several art high Pmagazine, TVB, and the RTHK Radio 4, schools and universities, including Sunhwa which broadcasted his live performance. He Arts School, Busan Arts School, Kaewas also invited to perform at various offiWon High School of Arts and Kyungwon cial functions in Macau, and to perform to University in South Korea. She is the cellist the current Chief Executive of Macau Mr. of the Vantage Trio and she continues to Fernando Chui and former Chief Executive teach and coach chamber music privately in of Macau Mr. Edmund Ho. Hong Kong. Timothy is one of the artists of the “Buffet Group” and “Vandoren Paris”. He is currently saxophone lecturer/coach at the Macau Conservatory, Hong Kong Academy for performing arts and the Baptist University.
Hui Ti Wang (Eric) Violin
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aiwanese-British Violinist Hui-Ti Wang (Eric) is considered one the most promising violinists of his generation and receiving increasing international attention. Recently, he debuted Paul Carroll’s Violin Concerto No. 2 in front of Her Majesty The Queen at the Buckingham Palace. Eric serves as the Concertmaster of the Commonwealth Orchestra and the leader of the London Chamber Players. He has performed at venues such as the Buckingham Palace, Windsor Castle, Barbican Hall, Wigmore Hall and Royal Festival Hall. He studied at The Purcell School and Royal College of Music with a scholarship under Professor Itzhak Rashkovsky. Eric earned top mark in his class and was awarded the Martin scholarship during his studies. Eric was the Guildhall Artist Fellow and has received the Master’s Degree with Distinction under Professor Jacqueline Ross at the Guildhall School of Music and Drama. Eric has won many awards and competitions include the Tai Tsui-Lun Foundation Violin Competition in Taiwan (2001), the Outstanding Merit Diploma at the International Sion-Valais Violin Competition in 2003 and The Ricci Foundation’s inaugural Annual Award in February 2004. Eric worked with Maestro Paolo Olmi. He performed in Ipoh, Penang and Kuala Lumpur in Malaysia, Carman Fantasy by Waxman with the Taipei Philharmonic Orchestra and Mozart Concertos in Italy. Recently, he made his debut recording with the Commonwealth Orchestra at “Abbey Road Studio” and has been invited to perform for the 90th Birthday of Her Majesty Queen Elizabeth II. He plays on a fine Andrea Guarneri of Cremona 1671.
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Kiann Chow, Violin
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Kitty Cheung, Violin
Ringo Chan, Viola
Eric Yip, Cello
Kiann Chow, Violin
Romer String Quartet
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amed after Hong Kong’s endemic Romer’s Tree Frog, the Romer String Quartet is a genuinely local ensemble formed by musicians all born and raised in Hong Kong. The quartet has been recognised locally and abroad as one of the most active string quartets in town since its debut in 2013.
Romer frequently collaborates with composers and multimedia artists. It has given world-premieres of many newly commissioned works, and as a part of a multimedia project titled ‘Muted Situations’ it has performed in a pre-recorded video, which was featured in the Asia Triennial Manchester in UK, Hong Kong Art Basel, and the Hong Kong New Vision Arts Festival.
Romer String Quartet has performed at Carnegie Hall, Shanghai Concert Hall, Sabah Art Gallery in Malaysia, Eastman School Romer String Quartet is dedicated to promoting chamber music of Music in USA, Central Conservatory of Music in Beijing, to the younger generation in Hong Kong and Asia. As teaching The University of Macau, Hong Kong City Hall, Hong Kong artists, Romer String Quartet is the Ensemble-in-Residence Museum of Art, The Chinese University of Hong Kong, The of The Chinese University of Hong Kong in 2014-15, other Hong Kong Baptist University and the HKUST Center for the previous residencies included the Hong Kong New Music Arts. It was featured in the 42nd Hong Kong Arts Festival to perform at the ExxonMobil Vision Series production ‘Images Ensemble’s ‘Modern Academy’ and the Hong Kong Children’s Symphony Orchestra. It has given masterclasses and workshops of Hong Kong’, Hong Kong Leisure and Cultural Services Department’s ‘Our Music Talents Series’, Hong Kong Composers’ at the Hong Kong Institute of Education, Macao Polytechnic Institute and the Kota Kinabalu String Music Festival. The Guild’s ‘Musicarama 2013’ and ‘Musicarama 2014’, Hong Kong quartet was invited as jury member and guest performer at Freespace Fest, and Kota Kinabalu String Music Festival in the Hong Kong ‘New Generation 2014 Concert’ composition Malaysia. It has also been invited to record for Radio Television Hong Kong programmes such as ‘Match-Making Concerts’ and competition. It also serves the community in partnership with the Hong Kong Playground Association, regularly providing free ‘The Works’. educational workshops and concerts to children.
o-founder of Romer String Quartet Chow has performed in various prestigious As an active chamber musician, Chow & Duo Volce (harmonica-violin), tutti concert venues including New York’s appeared as Duo Volce at the 11th Asia violin at the Hong Kong Sinfonietta and Avery Fisher Hall, London’s Royal Albert Pacific Harmonica Festival (2016) in Hall and Cadogan Hall. She recorded Taiwan, and the Duo was awarded the violin tutor at the Yip’s Children’s Choral First Prize of the Original category. The & Performing Arts Centre, Kiann Chow Academy’s album on Frank Zappa’s Duo also received invitations from the began her violin studies at the Yip’s with music as a member of Academy Manson Wing-Shun Li and Professor Shi-Sheng Ensemble in London and was featured in Hong Kong Harmonica Association to Zheng from the Shanghai Conservatory the RTHK Radio 4 programme ‘Young record and perform, including RTHK Music Makers’. In 2012, she was appointed Radio “Community Involvement of Music. Under the tutelage of Professor to be a member of the Academy & Broadcast: ‘Breathe’ with the Harmonica” Mayumi Fujikawa, she later received her Juilliard Symphony Orchestra, which had (2015) as well as “‘Breathe’ with the Master of Arts in Violin Performance with distinction and Licentiate Diploma performed at the Lincoln Center Festival in Harmonica - Unlock the World of Classical Music” under the Community in Teaching (LRAM) from the Royal New York and the BBC Proms in London. Academy of Music, London. Cultural Ambassador Scheme (2014), organized by the Leisure and Cultural Services Department, Hong Kong.
Ringo Chan, Viola
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orn and raised in Hong Kong, Ringo Chan is the co- founder of the Romer String Quartet and the Trio Cilliupe (Flute, Viola and Harp Trio). He was the winner of the CCM Chamber Music Competition twice in 2009 and 2011, and has toured in the United States and South Korea. Chan worked closely with Awadagin Pratt and his “Wired” String Ensemble, and was frequently featured as a soloist. He has performed in the 38th International Viola Congress in 2010.
Chan was appointed to be a member Graduated from the University of Cincinnati, College- Conservatory of of the Asian Youth Orchestra in 2007. He was also appointed to be the Music, Chan got his Master of Music, Assistant Principal of the 18th- Century and is going on his doctoral study with the University Graduate Scholarship Orchestra of the Dutch Orchestra and Ensemble Academy in summer under the guidance of Masao Kawasaki and Dr. Catharine Carroll. Prior to 2009. Before returning to Hong Kong, Chan was working with the Lexington Cincinnati, Chan was a graduate from Philharmonic Orchestra and the the Hong Kong Baptist University and the Hong Kong Academy for Performing Springfield Symphony Orchestra. He Arts with Jensen Lung and Wai Ming is now working with the Hong Kong Wong respectively. Sinfonietta as a tutti violist.
Eric Yip, Cello Kitty Cheung, Violin
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Symphonic Society (Malaysia). As a member of the Romer String r. Kitty Cheung, Associate Concertmaster of the Hong Kong Quartet she performed at Carnegie Hall, and taught chamber music Sinfonietta, first violinist of Romer String Quartet, co-founder of Contrast Trio (violin-saxophone-piano), and adjunct lecturer at at The Chinese University of Hong Kong (Ensemble-in-Residence the Hong Kong Baptist University. In the past she had performed in 2014-15), Macao Polytechnic Institute, Modern Academy 2014, and London Symphony Orchestra and Rochester Philharmonic OrchesKota Kinabalu String Music Festival. She also often gives educational tra, and has worked with conductors including Valery Gergiev, Pierre workshops, including the Chamber Tots Series in Wigmore Hall, London. Boulez and Sir Colin Davis. She led ensembles which had made recordings for Loft Records, New World Records and Bridge Records, Cheung holds Doctor of Musical Arts degree and Performer’s the latter of which was nominated for a Latin Grammy. Certificate from the Eastman School of Music, where she also won She has given solo recitals in Germany, Vienna, UK, USA, Thailand, prizes in excellence in teaching, excellence in chamber music and LecHong Kong and Shanghai, and made solo appearances with orchesture Recital Prize for the best doctoral lecture recital. She was also appointed the Teaching Assistant of Professor Charles Castleman. tras including the Hong Kong Sinfonietta and Hong Kong City Chamber Orchestra. She also recorded broadcast performances for Prior to that, she received Master of Music and Master in Music BBC Radio 3 and Radio Television Hong Kong. She has given masPerformance (Guildhall Artist) degrees, both with distinction from terclasses at Lakes Area Chamber Music Festival (USA), Princess the Guildhall School of Music and Drama. Her teachers included Galyani Vadhana Institute of Music (Thailand), Hong Kong Baptist Lin Yao-Ji, Ho Hong-Ying, Charles Castleman, David Takeno and University, Hong Kong Institute of Education, and Kinta Valley Zvi Zeitlin.
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Sinfonietta and a freelance player of performer in 2013 and 2014. He the Hong Kong Philharmonic Orplayed the Tchaikovsky Pezzo chestra. Before returning to Hong Capriccioso with the Hong Kong Kong, he was a member of the Civic Symphonic Cordiality on their TaiOrchestra of Chicago. In 2010, Eric wan tour in April 2013 and he has just given his solo debut in Malaysia participated in the Pacific Music Festival as principal cellist. playing the Haydn Cello Concerto in C major. Outside the orchestra scene, Yip is active as a chamber musician and From 2011-2013, he was a member soloist. He is a founding member of of the faculty of Macau Youth Symthe Romer String Quartet. He has phony Orchestra and University of been giving chamber recitals in ItaMacau. Like last summer, he has just given masterclasses in the Hong ly, Portugal, Japan, Malaysia, China Kong Youth Music Camp upon the and the United States, where the Romer String Quartet made their invitation of the Music Office of Carnegie Hall debut in February the Leisure and Cultural Services 2016. He was featured in the Hong Department this summer too. Kong Arts Festival as a guest
orn and raised in Hong Kong, Eric received his education in his hometown and in the United States of America. With the Hong Kong Jockey Club Dance and Music Fund, Eric received his Master of Music from the Chicago College of Performing Arts under the tutelage of John Sharp and Richard Hirschl. Prior to the CCPA, Yip graduated from the Hong Kong Academy for Performing Arts with the Bachelor of Music and his principal teacher was Professor Ray Wang. Experienced in orchestral playing, Eric is active in the major orchestras in Hong Kong. He is currently a member of the Hong Kong
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Inspirational Liaisons Grand Concert Series Dedicated to Inspirational Friendships All Through the Ages September 2016 - February 2017 7:30pm Free Admission Tsang Shiu Tim Art Hall The Hong Kong University of Science and Technology Clear Water Bay, Hong Kong
Tra Nguyen Piano
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ritish-Vietnamese pianist Tra Nguyen’s performances have been praised as “coruscating” (The Independent), “sophisticated” (Rheinpfalz-Zeitung) and possessing “surpassing keyboard artistry and passion” (American Record Guide). Her recent recordings on Sterling and Grand Piano Naxos were chosen twice as Album of the Week by The Independent, in March 2010 and April 2012. Tra’s imaginative programming balances core repertoire and lesser-known music. She worked with Sterling Records to produce premiere recordings of music for piano and orchestra by Joachim Raff with conductors Andrea Quinn, Roland Kluttig and the Symphony of Norrlands Opera. The recent chamber music CD with clarinetist Sabine Grofmeier has been released on ARS Produktion, featuring works of the German romantics and their contemporaries. Her critically acclaimed recent 6 CDs of Joachim Raff on Grand Piano (now also available in a complete box set) are recognised as firm introduction to his piano works.
Sheung Lee Piano
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heung Lee received his musical training at the Royal Academy of Music and was awarded a Commended Honour in the Christian Carpenter Prize in Piano Accompaniment, which was greatly indebted to his teacher Julius Drake - one of the most celebrated pianists specializing in the field of chamber music. Sheung’s performances were described as ‘engaging and arresting, effective and enjoyable’.
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His passionate interest in songs and ensemble music had led to diverse performances with his peers in most of the British conservatoires including the Royal Academy of Music, the Royal College of Music, the Royal Northern College of Music and the Guildhall School of Music and Drama.
Hung graduated from London’s Royal Academy of Music with a master’s degree dissertation on transcriptions. Since then he has amassed a growing portfolio of new piano transcriptions including the organ preludes and fugues in E minor (the “Wedge”), E-flat major (“St Anne”) and A minor, and the chaconne from the D minor violin partita.
Sheung has collaborated with many outstanding artists for Western art songs & chamber music performances at the Hong Kong City Hall and is frequently invited to perform Chinese art & folk songs at the Concert Hall of the Hong Kong Cultural Centre. Recent highlights include Tra gave her first performance at the Hanoi “The Secret Gift” at the Shanghai Concert Opera House when she was ten and has Hall (China); “Wish” at the Hong Kong continued to engage audiences in other presCity Hall; and “Charms of Love” at The tigious venues worldwide (Queen Elizabeth Helena May (HK). Concerts in the present Hall, Wigmore Hall, the Kennedy Center and schedule include tours of the U.S. Carnegie Tokyo Opera City amongst others). Tra acHall and the music series “Inspirational quired wide range of repertoire with complete Liaisons” at the Hong Kong University works for piano and orchestra of Beethoven, of Science and Technology with Vantage Brahms and Chopin; complete Schubert Music Artists. Piano Sonatas (including the incomplete sonatas), Liszt Transcendental Etudes version Sheung received a Licentiate from the Royal 1837 are the projects undertaken. Tra is a Academy of Music and serves as the Direckeen chamber music partner. tor of Programme Development of the Royal Academy of Music Hong Kong Alumni Tra studied with Lev Naumov in Moscow Association. He is recently appointed as the Conservatory and Christopher Elton at the Managing Director of the Vantage Music Royal Academy of Music, London. Tra has Limited; supporting local and overseas been awarded with ARAM (Associate of the development of the Young Musicians Series. Royal Academy of Music) for her “significant contribution to the music profession” in May 2013.
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Stephen Hung Piano ianist Stephen Hung has played Bach recitals in London, Hong Kong and various towns in Germany with programmes ranging from contrapuntal works to dance suites and transcriptions. He has played concertos such as the Bach D minor and D major and Beethoven’s ‘Emperor’ with the Hong Kong Chamber Orchestra and the Hong Kong Medical Association Orchestra.
Apart from the piano, Hung is a freelance writer and wrote programme notes for the Royal Academy’s Free on Fridays series, the 2014 Cantata Series, and more recently in 2015 Vantage Music’s Opus Medtner series. He is also Editor of the music magazine Vantage. Hung’s previous piano teachers include Daniel-Ben Pienaar, Colin Stone, Hui Ling, Genevieve Wong and Law Pui Gar. He also plays the organ, the harpsichord and the violin.
Cindy Ho Piano
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n active soloist and chamber musician, Hong Kong born pianist Cindy Yan Yan Ho performs internationally. Recent highlights include concerts at Shanghai Concert Hall, Shenzhen Piano Music Festival, collaborating with Romer String Quartet at Kilbourn Hall of Eastman School of Music and Carnegie Hall in New York. In March 2016, she was awarded the Associate of Royal Academy of Music (ARAM) for her contribution in music. In 2015, Cindy completed “Opus Medtner”- recital series at the Hong Kong University of Science and Technology (HKUST) to recount the life of the composer Nikolai Medtner. The programme included complete Medtner violin sonatas with violinist Kitty Cheung. In 2013, she performed “Yellow River Concerto” with New Tune Chinese Orchestra at Hong Kong Cultural Centre. In 2005, she was invited to make a concerto appearance with the Ho Chi Minh City Ballet and Symphony Orchestra at the City Opera House, Ho Chi Minh City, performing Liszt’s second Piano Concerto. In Europe, Cindy has performed in Italy, Spain, Norway and France whilst in the UK, she has given both chamber and solo recitals at Edinburgh Fringe Festival, St Martin-in-the-Fields in London as part of the Pianists of the World Series, Malvern, Oxford, Windsor, Aylesbury, Manchester, Buckingham University and the Pump Room in Bath. Future engagement includes a concert at the International Macau Music Festival collaborating with Saxophonist Timothy Sun in September 2016, a chamber concert with Thymos Quartet in May 2017 and further chamber recital at Carnegie Hall in June 2017. Cindy received both her Bachelor and Master’s degrees in music from King’s College, University of London, with high distinction in performance studies. In particular, she was awarded a scholarship from the Sir Richard Stapley Educational Trust for her Master’s degree. This was followed by two years of postgraduate work at the Royal Academy of Music. Cindy is currently the Chairperson of the Royal Academy of Music HK Alumni Association. She is also a co-founder of the “Young Musicians Series”, a concert series providing young and outstanding soloists and chamber ensembles more performing opportunities. She also founded Vantage Music to promote classical music in Hong Kong and the surrounding regions. Cindy’s teachers include Choi Sown Le, Ruth Nye, Aaron Shorr and Alfred Lee.
I. Dedication 26 Sep 2016, Mon II. Companions 6 Oct 2016, Thu III. Adoration 20 Oct 2016, Thu IV. Craftsmanship 27 Oct 2016, Thu V. Collaboration 14 Nov 2016, Mon VI. Inspiration 28 Nov 2016, Mon VII. Encore 23 Feb 2017, Thu Programme Notes Sebastian Brook Compilation of Letters and Writings Stephen Hung Photo credit Jacky Chee Organiser hkustcfa | http://artsctr.ust.hk
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Acknowledgement
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