d1fwnu47pld3sa.cloudfront.net · 2021. 1. 23. · The Brazilian Guitar Quartet ... The Quartet’s debut CD, Ess˜encia do Brasil, was chosen by Audiophile Audition’s for the ‘Best

The Hong Kong Arts Festival is a prominentarts event in the cultural calendar of Hong

Kong and the Asia Pacific region. Proudlystepping into its 33rd year, the Festivalcontinues its vigorous pursuit of innovativedevelopment; the presentation of new worksand the provision of quality arts.

In terms of the number and diversity ofprogrammes, the 2005 Festival is one of thelargest festivals to date, offering a wide varietyof inspiring art, music and culturalprogrammes by prestigious internationalartists and leading local talents. I am sure thatthe Festival will further enhance Hong Kong’sstatus as an international cultural metropolis.

I extend our warmest welcome to allparticipating artists and wish all local andoverseas members of the audience a mostenjoyable time.

TUNG Chee HwaChief ExecutiveHong Kong Special Administrative Region

2005

2005

Message from the Chairman

I warmly welcome you to the 33rd Arts Festival.As a premier event in the Hong Kong cultural

calendar as well as the Asia Pacific region, theFestival presents the finest international andregional artists in an intense series of concerts andperformances, as well as showcases the creativityof artistic talent in Hong Kong.

Appreciation and thanks are due to our mainsubventing organisations – the Hong KongGovernment, through the Leisure and CulturalServices Department, and the Hong Kong JockeyClub Charities Trust. Their long and continuedpatronage are what make these culturalpresentations possible.

In addition, we gratefully acknowledge thegenerous support of many corporate sponsors,arts institutions and individuals.

The Festival has always made our programmesaccessible to students and young audiencesthrough half-price student tickets and our YoungFriends Scheme. These schemes are funded by thegenerous donations from numerous corporateand individual donors.

The 2005 Festival offers a rich and stimulatingprogramme, with a variety of captivatingperformances and choices, presenting a diverse rangeof tastes with artistic excellence. We hope to offersomething enjoyable and of interest to everyone.

Above all, I would like to thank you, our patrons, foryour support and participation in the 2005 Festival.

Charles Lee

The Hong Kong Arts Festival is made possible with the funding support of:

2005

7A89268

2005

Message from the Executive Director

The starting point for the programming of this 2005Festival was the idea of contrasting opposites – ‘sacred

and profane’. Both of these elements are rich sources ofcreative impulses for the performing arts in most culturesand this thematic link is evident in much of ourprogramming. We hope these connections and contrastswill make your Festival experience more engaging andmemorable.

Alongside all of our international artists, we are proud topresent many outstanding Hong Kong artists. For example,the Hong Kong Philharmonic Orchestra and the HongKong Repertory Theatre, as well as the fine young HongKong musicians, pianist Rachel Cheung and the Fresh AirBrass Quintet. Other important Hong Kong artists takingpart include Cantonese opera stars Mui Suet-see and LeeLung; Class 7A Drama Group; Chung Ying Theatre; Group89268; the Material Girls; choreographer Daniel Yeungand the remarkable combined talents of Lee Chun-chow,Faye Leong, Gabriel Lee and Chong Mui-ngam in TheFrench Kiss.

In addition, our commitment to commissioning new workfrom Hong Kong and around the world continues, withpieces such as Amber, The Nightingale, All That ShanghaiJazz, Material Girls, i-City, The French Kiss, Come Out &Play and Little Prince Hamlet.

The 2005 Festival will offer a total of 124 performanceswith 42 performing groups (32 overseas and 10 local), twoexhibitions and our Festival Plus programme of talks,seminars and meet-the-artist sessions.

This is one of our largest Festivals to date, in terms of thenumber and the diversity of programmes. I am sure too,that it will be one of our most enjoyable and inspiring. Weare delighted that you could join us.

Douglas Gautier

The Quartet Everton Gloeden and Luis Carlos Mantovani — 8-string guitars

Tadeu do Amaral and Edson Lopes — 6-string guitars

To make this performance a pleasant experience for the artists and other members of the audience, PLEASEswitch off your ALARM WATCHES, MOBILE PHONES and PAGERS.

Eating, drinking, smoking, unauthorised photography and audio or video recording are forbidden in theauditorium. Thank you for your cooperation.

Concert Hall, Hong Kong City Hall

10 - 11.3.2005

For programme details

Page 18

1 45

Running Time:approximately 1 hour and 45 minutes,

including one interval

7

20004 92 Y

2000

2004 62001

Ess~encia do Brasil Audiophile Audition1999

2000Encantamento 2001 11

Quartet Profile

»

© Susane Medeiros Vianna

From left to right: Luiz Carlos Mantovani, Everton Gloeden, Edson Lopes, Tadeu do Amaral

9

The Brazilian Guitar Quartet

In Brazil the Brazilian Guitar Quartet is called the “Dream Team” because the fourQuartet members are considered the most brilliant guitarists living in the country.The first US tour in April 2000 included a New York debut at the 92nd Street Y aswell as appearances in Washington DC, Boston, Dallas, Los Angeles, San Francisco,Phoenix, Portland, Vancouver. From coast to coast, their performances were metby ecstatic audience responses, rave reviews and sold out halls.

The Quartet has quickly become one of the world’s most sought-after guitarensembles, with successful annual North American tours from 2000 to 2003.Among their prestigious recent and upcoming engagements are the ColemanChamber Music Series at Caltech, Spivey Hall in Atlanta, Shriver Hall at JohnsHopkins University in Baltimore, the Chautauqua Festival, the Florida InternationalFestival, the Carmel Bach Festival and the Dumbarton Concerts in Washington DC.They have appeared in Anchorage, Miami, Jacksonville, Indianapolis, Salt Lake City,St Louis, and at international festivals in Guatemala, Puerto Rico and throughoutEurope.

The Brazilian Guitar Quartet were ‘headliners’ at the inaugural World GuitarCongress in Baltimore in June 2004, where together with the Baltimore Symphony,they gave the world premiere of a specially commissioned concerto by Brazil's 2001‘Composer of the Year’, Ronaldo Miranda.

The Quartet’s debut CD, Essencia do Brasil, was chosen by Audiophile Audition’sfor the ‘Best Recordings of 1999’ list and has been showered with praise not onlyin the US and Brazil but also in France, England and Japan. Their second CD, Bach’sOrchestral Suites, made the ‘Best Recordings of 2000’ list. Their latest CD,Encantamento, featuring works by seven Brazilian composers, was released inNovember 2001.

The Brazilian Guitar Quartet appears by arrangement with Lisa Sapinkopf Artists

Quartet Profile

»

All photographs © Susane Medeiros Vianna

Members of the Brazilian Guitar Quartet are flown in by

11

Everton Gloeden8-string guitar

A native of São Paulo, Everton Gloeden participated in various guitar courses inSpain, Germany and Brazil, where he studied with Abel Carlevaro, GuidoSantorsola, Alvaro Pierri and José Luis Rodrigo, among others. He also won ascholarship to Cambridge, England, to study with Chris Kilvington.

Gloeden was awarded the Second Prize in two important guitar contests, thePalestrina International Competition in Porto Alegre, Brazil, and the HofInternational Competition in Germany.

Throughout a 20-year career, he has appeared as a soloist and chamber musiccolleague alongside some of the most important musicians in and out of Brazil. Hegave the first performance in Brazil of the complete lute works of Bach; and hasgiven recitals at the Hall of the Americas in Washington, DC as well as recitals inEngland, Germany and a recent opening recital at the International Festival ofCaracas, Venezuela.

His albums include a disc of Latin American guitar music for the American OEAlabel; a recording of Bach’s complete lute music; and a recital CD including worksby Ponce, Antonio José and Nuccio D’Angelo for the Brazilian label EGTA.

Biographies

13Biographies

Quadrivium

Luis Carlos Mantovani8-string guitar

Luis Carlos Mantovani won the coveted Pro Musicis International Award; First Prizeat the Boston Modern Orchestra Concerto Competition; top prizes at the SchadtString Competition in Pennsylvania; and the Radio Ministry of Education andCulture National Music Competition in Rio de Janeiro.

He is the first and only guitarist to receive the prestigious Artist Diploma from theNew England Conservatory of Music (NEC) in Boston. Mantovani holds a Master’sdegree with honours from the NEC and a Bachelor’s degree from the University ofRio de Janeiro. His teachers were David Leisner, Nicolas Barros and Antônio Guedes.

Mantovani has performed extensively as a soloist and chamber musician in famousvenues in the US, Brazil and Europe. He co-founded the guitar quartet Quadrivium,which performed for more than 6,000 children and teenagers in rural Kentucky, US.

His solo repertoire spans five centuries, from his own transcriptions of early musicfor plucked instruments to works written for him by composers who includeAmerican David Leisner, Israeli Lior Navok and Brazilian Raul do Valle.

Mantovani teaches at the State University of Santa Catarina in Brazil, where hiseducational, performance and outreach projects are gaining local and nationalrecognition.

15Biographies

1985

EGTA

Tadeu do Amaral6-string guitar

Born in São Paulo, Tadeu do Amaral studied with important Brazilian musicians,such as Leo Soares, Cláudio Santoro and the legendary guitar teacher, Isáias Sávio.He has also taken part in many music seminars including one led by AlbertoGinastera.

Apart from a solo career performing in the major concerts halls in Brazil, he hascollaborated with many prominent Brazilian musicians including Flávio Stein,Eduardo Gramani, Angela Barra and Ricardo Lopes Garcia.

Resident in the state of Santa Catarina, Tadeu do Amaral has been a pioneer inteaching and widening the appreciation of the guitar in a region where it is almostunknown. Since 1985, when he gave a series of recitals of works by Englishcomposers, he has specialised in presenting comprehensive cycles by composers,such as the complete guitar works by the Polish composer Alexandre Tansman andthe complete lute works of Bach.

In recent years, do Amaral has been closely involved in launching Brazil’s EGTAlabel, and among his projects as producer and editor were the series GreatGuitarists and The History of Brazilian Music.

17Biographies

Edson Lopes6-string guitar

Edson Lopes studied in Brazil at the Conservatory of Musical and Dramatic Arts inTatuí, and in England at Trinity College London. He performs throughout Brazil asa soloist and in duos, trios and with orchestras. He won the First Prize at the YoungInstrumentalists Competition and the 1st National Guitar Competition.

Edson Lopes has participated in major guitar and music courses. These haveincluded the course given by guitarist Turíbio Santos at the Campos do JordãoFestival in Brazil; the Chamber Music Seminar given by Peter Feuchtwanger inEngland; and Musica en Compostela in Spain where, under the supervision ofAndrés Segóvia’s assistant, José Tomás, he received the Most Exceptional StudentAward and a scholarship for the following year.

A professor at the Conservatory in Tatuí, Lopes teaches advanced guitar studentsand directs the guitar ensemble Octopus, which has released two CDs.

18

BWV 1069

I II

Programme

Johann Sebastian Bach Orchestral Suite No 4, BWV 1069 (excerpts)OuvertureMenuets I & IIRéjouissance

Alberto Nepomuceno Intermezzo from Quarteto Brasileiro No 3

Heitor Villa-Lobos Quartet No 5Poco andantino / poco vivo / tempo primo /lento / allegro / vivo/prestoVivo energico / lento / tempo primo / molto lentoAndantino / tempo giusto e ritmato /adagio / andantinoAllegro

– 15 minute interval –

Isaac Albéniz Rondeña from Iberia

Ronaldo Miranda Variações Sérias

Camargo Guarnieri Dança NegraValsa No 8Dança Brasileira

Francisco Mignone Serenata HumorísticaLenda SertanejaCongada

The audience is kindly requested to hold their applause until the final movementor piece by each composer is completed

21Programme Notes

BWV 1069 (1685-1750)

1717 1723

(1864-1920)

23

(1887-1959)

1992

Programme Notes

27

(1860-1909)

1860

(1948-)

2001

1977

2004

Programme Notes

29Programme Notes

(1907-1993)

(1897-1996)

31Programme Notes

Orchestral Suite No 4, BWV 1069 (excerpts)Johann Sebastian Bach (1685-1750)

Bach’s four Orchestral Suites were written during the years 1717 to 1723, whenhe was Kapellmeister at the court of Prince Leopold of Anhalt-Cöthen. There hehad one of Europe’s finest orchestras at his disposal and the happy coincidencethat the prince was a Calvinist whose court’s ascetic religious services did notrequire Bach to write weekly church music.

As a result, he devoted most of his efforts during this period to orchestral andinstrumental composition, and produced an unprecedented string of masterpieces,including Book I of the Well-Tempered Clavier, the French and English keyboardsuites, the sonatas and partitas for solo violin, the Brandenburg Concertos and theOrchestral Suites. The suites were composed for varying instrumentalcombinations, with Bach himself playing harpsichord. The movements are basedon popular dance rhythms of the day.

Intermezzo from Quarteto Brasileiro No 3Alberto Nepomuceno (1864-1920)

Alberto Nepomuceno studied in Rome, Vienna, Berlin and Paris, yet he isconsidered Brazil’s first ‘nationalist’ composer. He earned this title for his systematicuse of Brazilian folk and popular music, and the Portuguese language in his songs,in opposition to the prevailing Italianism in Brazilian classical music.

While he was a student in Berlin, he had the opportunity to attend concertsconducted by Brahms. This was a crucial period in his musical life. In Norway, itwas his contacts with Edvard Grieg (a pupil of whom he eventually married) thatset him on his ‘nationalist’ course.

He composed three quartets in his youth, which remained largely undiscovereduntil the 1950s. Quartet No 3 was composed in Berlin; its third movement,Intermezzo, reappears in the composer's landmark orchestral work, Série Brasileira.It has a very characteristic melody, enlivened by an Afro-Brazilian dance rhythm (thelundu), capturing the spirit of a rowdy public celebration.

33

Quartet No 5Heitor Villa-Lobos (1887-1959)

Brazil’s most famous composer, Heitor Villa-Lobos, launched the movement ofartistic nationalism in Brazil when his music was featured at the ‘Week of ModernArt’ in 1922 in São Paulo. Villa-Lobos tried to break away from the 19th CenturyEuropean tradition, drawing inspiration instead from the music of the chorões –popular musicians of Rio de Janeiro – with whom he toured extensively in his youth.

As a composer of string quartets, Villa-Lobos had great formal discipline, althoughhe disregarded the structures of the classical European tradition, such as strictsonata movements, variations, rondos, etc. In his quartets, he adhered to the spiritof his most famous quotation: “I am folklore”. They form a highly personalexpressive world, with a great variety of invention, contrasts, tone-colourdiscoveries and skilful superpositions of melodic, harmonic and rhythmic elements.

Quartet No 5 is the least formal, and most rhapsodic, of the seventeen. It was thefirst to have an overtly Brazilian character, and the composer gave it a very explicitsubtitle: Quarteto Popular. He said that this would be the first of his “popular”quartets, making clear his intention to create a series of popular works in a genrethat is not exactly popular.

It was from this work onwards that the composer started to show a true originality,a voice completely his own in the realm of the string quartet. The first movementis based on an insistent rhythmic figure, like a playful ostinato, that appears at theoutset and serves as the framework for richly polyphonic writing. Then comes acantabile section in which the composer sets forth some interesting harmonicclashes and later, a third section in which both moods are present – the powerfulrhythmic drive and the long melodic phrases. The conclusion of the movement is alively and stylised dance, full of syncopations and displaced accents, to which Villa-Lobos adds a sort of sentimental song. This movement contains the children’s song,Eu fui no Itororó (I’ve been to Itororó).

In the second movement, the focus is on polyrhythmic constructions set againstsome slow sections that seem to belie the movement’s title. The two finalmovements are in the spirit of children’s songs and the fourth is based on onecalled Carneirinho, Carneirão (Little Sheep, Big Sheep).

Interestingly, Quartet No 5 comes from the same period as the composer’s GuiaPrático or Practical Guide, which served as the basis for a national music educationproject, the culmination of which was when Villa-Lobos managed to assemble40,000 choral singers together for a performance in a soccer stadium.

– 15 minute interval –

Programme Notes

35

Rondeña from IberiaIsaac Albéniz (1860-1909)

Isaac Albéniz, one of Spain’s greatest composers, was born in 1860 in Catalonia, wheregypsy music strongly influenced him. A child prodigy, by age four he was giving publicpiano performances and being accused of using trickery in his playing. At 12, he stowedaway on a ship to South America. There he led a haphazard life of touring andperforming in Argentina, Uruguay, Brazil, Cuba, Puerto Rico and eventually the US,where he appeared in a vaudeville act playing piano behind his back. He finally settledin Paris, where he became close friends with the major impressionist composers.

Iberia, his last composition, is a set of 12 pieces for solo piano divided equally intofour volumes. As in much of Albéniz’ music, the guitar’s spirit permeates the work.Subtitled 12 nouvelles impressions, the majority of the pieces indeed combine animpressionistic quality with typical Spanish melodies. Pianists, composers andmusicologists have universally praised its rich harmonic vocabulary, rhythmiccomplexity, and the ambitiousness of its architectural design. Messiaen hailed it asa pianistic marvel and the greatest masterpiece of Spanish music.

Rondeña, the opening piece of Book II of Iberia, may refer to the ancient city ofRonda in the province of Malaga, where Rilke once lived. It has a mixed rhythm,very popular in Spanish music, in which the play of 3/4 against 6/8 time ismaintained throughout the whole piece.

Variações SériasRonaldo Miranda (1948-)

Ronaldo Miranda, a native of Rio de Janeiro, was awarded the Carlos Gomes Prize asBrazil's Composer of the Year in 2001. One of the two most active Brazilian composersalive today, he is also a journalist, and for many years was a critic for the Jornal do Brasil.

His career was launched in 1977 when he received the First Prize for ChamberMusic at the 2nd Biennial for Contemporary Brazilian Music. Numerous nationaland international prizes followed. His works, which range from atonal to neo-tonal,include solo instrumental pieces, chamber works, symphonies and the opera DonCasmurro. They have been performed in major venues such as the SalzburgMozarteum, Carnegie Hall, and the Zurich Tonhalle.

The Variações Sérias (Serious Variations), the title paying homage to Mendelssohn'spiece of the same name, were originally composed for a wind quintet. The themeis from the ballad Rasga o Coração (Tear My Heart) which was very popular in theearly 20th Century, and was also used by Villa-Lobos in his Chôros No 10.

Miranda has written a concerto for the Brazilian Guitar Quartet, which had itsworld premiere with the Baltimore Symphony in 2004.

Programme Notes

37

Dança NegraValsa No 8Dança BrasileiraCamargo Guarnieri (1907-1993)

Camargo Guarnieri, the son of Italian immigrants, was born in a rural part of thestate of São Paulo, where there was still a strong and constant contact with folktraditions. His mentor, Mário de Andrade, one of Brazil’s most brilliant intellectuals,was one of the driving forces behind the ‘Week of Modern Art’, who upheld theideal of art being rooted in popular culture. Guarnieri was the first Braziliancomposer to use Portuguese terms as an indication of character and form. His setof 50 Ponteios (Preludes) for piano is one of Brazil's most important piano cycles.

He originally wrote Dança Brasileira (Brazilian Dance) and Dança Negra (Afro-Brazilian Dance) for piano (his favourite instrument), later incorporating them intoan orchestral suite. His ten waltzes (valsas), all in minor keys, are formally andstylistically in the Romantic tradition, but with a strong Brazilian character.

Serenata HumorísticaLenda SertanejaCongadaFrancisco Mignone (1897-1996)

Francisco Mignone, also the son of Italian immigrants, was born in the capital ofthe state of São Paulo, where Italian opera was the principal musical attraction. Hewrote a vast quantity of solo piano music, from which Tadeu do Amaral transcribedthe Serenata Humorística.

The composer described his Lenda Sertaneja (Legend of the Outback) No 9 as themost romantic, and most Brazilian, of the set of ten. Although not inspired byspecific folktales, the Lendas are permeated with a folk-like atmosphere.

The Congada is an energetic dance of African origin. It has been described as “aroyal procession accompanied by chanting, for the enthroning of a king”. Mignonewrote his Congada at the age of 24 as part of the second act of his operaO Contratador de Diamantes (The Diamond Merchant). The popularity of hisCongada led the composer to create versions for solo piano (on which thistranscription is based) and four-handed piano. It was performed by the ViennaPhilharmonic conducted by Richard Strauss during their tour of Brazil in the 1920’s.

Programme notes provided by the Brazilian Guitar QuartetTranslated and edited by Lisa Sapinkopf

Programme Notes

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Patron

The Honourable Tung Chee-hwa

Honorary Life PresidentSir Run Run Shaw, CBE

Executive Committee

Mr Charles Y K Lee, GBS, JP

Mr Rafael Hui, GBS, JP

Mr Billy Li

Mr Wayne LeungMr Peter Thompson, SBS, OBE, LLD, JPDr Allan Zeman, GBS, JPMrs Mariana Cheng, BBS, JPMrs Clara WeatherallMr Ronald Arculli, GBS, JPMs Teresa HongMr Timothy Cheung

Programme Committee

Mr Rafael Hui, GBS, JP

Prof Lo King-man, MBE, JP

Prof David Gwilt, MBEMr Nicholas JamesDr Joanna C LeeMr Nelson LeongMr Fredric MaoMr Tam Wing-pong, JPMrs Clara WeatherallMs Yao JueMr Daniel Ng

Mr Joseph Seelig

Finance and Management Committee

Mr Billy Li

Mr Rafael Hui, GBS, JP

Mr Wayne LeungMr Nelson Leong

Development Committee

Mr Wayne Leung

Dr Allan Zeman, GBS, JPMrs Leong Yu-san

Mrs Clara WeatherallMrs Mariana Cheng, BBS, JPMrs Igna DedeuMs Deborah BiberMs Alexandria J AlbersMs Peggy Liu

Honorary SolicitorStevenson, Wong & Co

Hong Kong Arts Festival Trust

Mr Angus H Forsyth

Mr Darwin Chen, SBS, ISOMrs Mona Leong, BBS, MBE, JPMr John C C Chan, GBS, JPMr Rafael Hui, GBS, JP

Mr Martin Barrow, GBS, CBE, JPMr Thomas Kwok, JPDr The Hon David K P Li, GBS, JPMrs Mona Leong, BBS, MBE, JP

PricewaterhouseCoopers

Address: 12th Floor, Hong Kong Arts Centre, 2 Harbour Road, Wanchai, Hong Kong Telephone: 2824 3555 Fax: 2824 3798 / 2824 3722 Website: http://www.hk.artsfestival.org Email: [email protected]

Staff

Douglas Gautier

Programme

Grace Lang

So Kwok-wanMio Margarit Chow

Linda Yip (on study leave)

Eddy Zee

Marketing

Katy Cheng

Alexia ChowChris LamAndy Yau

Development

Angela Hui

Eunice Chan

Accounts

June Yun

Bonia Wong

Administration

Carmen Chu

Virginia Li

Tony Cheng

Staff (contract)

Programme

Elvis King

Tiffany YiuRoy Leung

Andrew Chan

Eva Lau

Christina Lee

Billy ChanCat ChengRufina FungNancy LamKathy LeeGary Leung

Joey Chan

Publication

Daisy Chu

Mya Kirwan Mya Kirwan

John Wong

Marketing

Agatha Ho

Michelle Yeung

Ada Mak

Alfee SoWu Kai-yinPang Leo

Development

Michelle Ching

Administration

Dicky Chan

Published by Hong Kong Arts Festival Society Limited Printed by A.Plus Design Reproduction in whole or in part without written permission is strictly prohibited.

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