Violin Recital by Ray Chen

【Additional Tickets for Sale】 

Due to overwhelming response, there are a limited number of tickets (including seats with restricted view) for each performance available for sale at URBTIX (website and mobile ticketing app only) from 10am on the respective day of performances (7-8 Jun 2024).  Each person can purchase a maximum of 2 tickets per transaction on a first come, first served basis.

The performance will run for about 1 hour 30 minutes including a 15-minute intermission.

Members of the audience are strongly advised to arrive punctually.  Latecomers and those who leave their seats during the performance will only be admitted and allowed to return to their seats respectively during the intermission or at a suitable break.  The presenter reserves the right to refuse admission of latecomers, or determine the time and manner of admission of latecomers.

The programme does not represent the views of the Leisure and Cultural Services Department.

The presenter reserves the right to change the programme and subsitute artists.

【Additional Tickets for Sale】 

Due to overwhelming response, there are a limited number of tickets (including seats with restricted view) for each performance available for sale at URBTIX (website and mobile ticketing app only) from 10am on the respective day of performances (7-8 Jun 2024).  Each person can purchase a maximum of 2 tickets per transaction on a first come, first served basis.

The performance will run for about 1 hour 30 minutes including a 15-minute intermission.

Members of the audience are strongly advised to arrive punctually.  Latecomers and those who leave their seats during the performance will only be admitted and allowed to return to their seats respectively during the intermission or at a suitable break.  The presenter reserves the right to refuse admission of latecomers, or determine the time and manner of admission of latecomers.

The programme does not represent the views of the Leisure and Cultural Services Department.

The presenter reserves the right to change the programme and subsitute artists.

Ray Chen (Violin)

Violinist and online personality, Ray Chen redefines what it means to be a classical musician in the 21st century.  With a global reach that enhances and inspires a new classical audience, Chen's remarkable musicianship transmits to millions around the world, reflected through his engagements both online and with the foremost orchestras and concert halls around the world.  Beyond the performing arts, his work has also contributed to philanthropy, popular culture and educational technology.

Initially coming to attention via the Yehudi Menuhin (2008) and Queen Elizabeth (2009) Competitions, of which he was First Prize winner, Chen has built a profile in Europe, Asia, and the USA as well as Australia.  Signed in 2017 to Decca Classics, the summer of 2017 has seen the recording of the first album of this partnership with the London Philharmonic Orchestra as a succession to his previous three critically acclaimed albums on SONY, the first of which (“Virtuoso”) received an ECHO Klassik Award.

Profiled as “one to watch” by the Strad and Gramophone magazines, Chen’s profile has grown to encompass his featuring in the Forbes list of 30 most influential Asians under 30, appearing in major online TV series “Mozart in the Jungle”, and performing at major media events such as France’s Bastille Day (live to 800,000 people), the Nobel Prize Concert in Stockholm (telecast across Europe), and the BBC Proms.

He has appeared with the London Philharmonic Orchestra, National Symphony Orchestra, Los Angeles Philharmonic, New York Philharmonic, Pittsburgh Symphony, Berlin Radio Symphony, and Bavarian Radio Chamber Orchestra.  He works with conductors such as Riccardo Chailly, Vladimir Jurowski, Manfred Honeck, Daniele Gatti, Kirill Petrenko, and many others.

More recently, Chen co-founded “Tonic”, an independent startup that aims to motivate musicians and learners around the world to practice their craft together.  Although new, the innovative app has cultivated a highly engaged and supportive community.  His commitment to music education is paramount, and inspires the younger generation of music students with his series of self-produced videos combining comedy, education and music.  Through his online promotions his appearances regularly sell out and draw an entirely new demographic to the concert hall.

Raised in Australia, Chen was accepted to the Curtis Institute of Music at age 15, where he studied with Aaron Rosand and was supported by Young Concert Artists.  He plays the 1714 “Dolphin” Stradivarius violin on loan from the Nippon Music Foundation.  This instrument was once owned by the famed violinist, Jascha Heifetz.


Julio Elizalde (Piano)

Praised as a musician of “compelling artistry and power” by The Seattle Times, the gifted Hispanic-American pianist Julio Elizalde is a multifaceted artist who enjoys a unique career as soloist, collaborator, curator, and educator.  Elizalde has performed at many of the world’s major music centers including Walt Disney Concert Hall (Los Angeles), Davies Symphony Hall (San Francisco), Tokyo Opera City Concert Hall, Seoul Arts Center, Teatro Colón (Buenos Aires), St. Paul’s Knightsbridge (London), National Centre for the Performing Arts (Beijing) and the Esplanade Concert Hall (Singapore), among many others.

For nearly a decade, he has appeared as recital partner to famed violinists Ray Chen and Sarah Chang, and has collaborated with renowned artists and string quartets.  As a founding member of the N-E-W Trio with violinist Andrew Wan and cellist Gal Nyska, he won the grand prize at the Fischoff National Chamber Music Competition and received the Harvard Musical Association’s prestigious Arthur W. Foote Prize.

Originally from the San Francisco Bay Area, Elizalde is a graduate of the San Francisco Conservatory of Music, where he earned a bachelor’s degree with honors as a student of Paul Hersh.  He holds master of music and doctor of musical arts degrees from the Juilliard School, where he studied with Jerome Lowenthal, Joseph Kalichstein, and Robert McDonald.  Since 2014, Elizalde has served as artistic director of the Olympic Music Festival outside Seattle, Washington, and he currently teaches at the San Francisco Conservatory of Music.
 

Information provided by the artists

Sonata in G minor, “Devil’s Trill”
Giuseppe Tartini (1692-1770) (Arr. Fritz Kreisler)

Tartini’s Sonata is a compelling masterpiece combining technical virtuosity with rich musical storytelling.  Allegedly inspired by a dream where Tartini made a pact with the Devil, it encapsulates the struggle between awe-inspiring talent and the overwhelming shadow of inimitable perfection heard in Tartini's dream, which he could never quite replicate in real life.  This piece was likely composed much later in his life, probably around the 1730s or 1740s, rather than the initially claimed 1713, due to its maturity.

Arranged by Fritz Kreisler in the early 20th century, the sonata gained a new dimension with added harmonics and stylistic adaptations that enhanced its appeal to contemporary audiences.  Kreisler’s contribution includes a technically challenging cadenza that demands speed, precision, and a deep emotional connection to the music to convey the original composition's almost supernatural aura.

This sonata is not just a technical display but a journey through contrasting moods and shades, from the melancholic opening to the fiery complexities of the final movement. It features some of the earliest known uses of extended trilling combined with arpeggiated chords, a technique that dramatically illustrates the piece’s “devilish” theme.  The sonata becomes a favourite among violinists and a thrilling experience for the audience.  It has permeated various forms of media and culture, influencing ballets, films, and even manga, attesting to its captivating allure and the mystery surrounding its creation.


Sonata No. 7 in C minor, Op. 30, No. 2
Ludwig van Beethoven (1770-1827)

　 Allegro con brio
　 Adagio cantabile
　 Scherzo: Allegro
　 Finale: Allegro; Presto

Beethoven’s increasing deafness during his middle period profoundly influenced his compositional approach, introducing more originality and emotional expression into his works.  This sonata, composed between 1801 and 1802, during such a transformative time, reflects his personal struggles and his defiance against his physical limitations, making it a pivotal repertoire piece.  It was dedicated to Tsar Alexander I of Russia, showcasing Beethoven’s mastery in blending emotional depth with sophisticated musical structure, introducing his innovative symphonic style in chamber music.

I. Allegro con brio
This opening movement is remarkable for not repeating the exposition, a divergence from Beethoven’s usual sonata form. Such compositional approach adds to the work’s dramatic character.  The development also introduces new themes, enhancing the movement's complexity and intensity.

II. Adagio cantabile
Set in A-flat major, this movement, originally sketched in G major, features lyrical beauty with a serene and contemplative quality.  It is marked by lush and expansive melodic lines played on the violin.

III. Scherzo: Allegro
In a light-hearted C major, the Scherzo provides a playful contrast with quick, whimsical passages, reflecting a jesting nature that momentarily lifts the sonata’s overall seriousness.

IV. Finale: Allegro ; Presto
Returning to the tumultuous and urgent nature of C minor, the final movement culminates in vigorous and fiery themes, concluding with a powerful and rapid coda that reasserts the sonata’s dramatic and emotional depth.


Violin Partita No. 3 in E, BWV 1006
Johann Sebastian Bach (1685-1750)

　 Preludio
　 Loure
　 Gavotte en Rondeau
　 Menuett I & II
　 Bourrée
　 Gigue

Bach’s Partita No. 3 was completed around 1720 during his tenure in Cöthen.  The piece is a radiant example of Baroque instrumental music and is particularly notable for its vivacity and the technical demands on the performer, embodying a festive and elaborate style.

I. Preludio
The lively prelude sets a celebratory tone with its continuous semiquaver movement, which demands precise articulation and dynamic phrasing.

II. Loure
This is a rare dance form in Bach's compositions, providing a noble and dignified air, transitioning smoothly from the exuberance of the Preludio.

III. Gavotte en Rondeau
The movement is playful and retains a folk-like quality, reminiscent of the dance music played at village festivals during Bach’s era.

IV. Menuett I & II
These movements as a pair are graceful and delicate, with Menuett II offering a slight contrast in its minor key, adding depth to the overall lightness of the suite.

V. Bourrée
This movement stands out with its robust and lively rhythm, contributing to the diversity of the Partita's overall character.

VI. Gigue
Concluding the suite, the Gigue is spirited and fast-paced, encapsulating the dance-like vitality that pervades the Partita.

The piece highlights Bach’s mastery of polyphony and his ability to infuse emotional elements into a technically demanding solo violin work.  The appeal of this Partita is evident in its frequent use and adaptation in various musical contexts, including transcriptions by Bach himself.


Sonata No. 8 in G, Op. 30
Ludwig van Beethoven (1770-1827)

　 Allegro assai
　 Tempo di Minuetto, ma molto moderato e grazioso
　 Allegro vivace

Composed during a notably productive period of Beethoven’s life around 1801-1802, this Violin Sonata emerges as a work of delightful contrasts and sprightly spirits.  It reflects a lighter, more playful side of the composer, often considered a lyrical interlude amid his more serious and tumultuous compositions.

The sonata, dedicated to Tsar Alexander I of Russia, unfolds in three movements.  The first, Allegro assai, is notable for its lively and engaging dialogue between violin and piano, structured around simple yet compelling scale figures and chordal patterns.  This movement encapsulates Beethoven's knack for transforming straightforward musical ideas into captivating compositions.

The second movement, Tempo di Minuetto, ma molto moderato e grazioso, is a beautifully lyrical piece that, despite its name, strays from the traditional minuet dance form to explore more free-flowing and expressive themes, primarily in E-flat major.  This segment of the sonata is particularly noted for its elegant grace and subtle shifts between major and minor modes, offering a gentle reprieve from the energetic opening.

Concluding the sonata, the third movement, Allegro vivace, is robust and energetic, characterised by its vigorous athleticism and rustic charm.  Here, both the violin and piano are given equal footing to showcase their virtuosity, making this finale a spirited and dynamic close to the sonata.


Sonata No. 1 in D minor, Op. 75
Saint-Saëns (1835-1921)

　 Allegro agitato – Adagio
　 Allegretto moderato – Allegro molto

Composed in 1885, this sonata is a work of compelling contrasts and technical brilliance; it blends heroism with lyrical beauty, and is structured unusually in two pairs of movements, reflecting a pattern that Saint-Saëns explored further in his famous “Organ” Symphony.

I. Allegro agitato – Adagio
The sonata opens with an Allegro agitato that showcases the violin's dramatic capabilities, followed seamlessly by an Adagio that introduces a hauntingly beautiful theme, providing a lyrical contrast to the vigorous opening.

II. Allegretto moderato – Allegro molto
The second pair begins with an Allegretto moderato, characterised by a lighter, dance-like quality that offers balance to the sonata’s earlier intensity.  This movement continues without pause into the Allegro molto, which is marked by its perpetual motion, concluding the work with virtuosic flair.

Saint-Saëns referred to this sonata as a “concert sonata”, designed to create a brilliant effect in performance, particularly in the finale's moto perpetuo motif.  It was well-received, quickly becoming popular among violinists and pianists for its expressive range and the technical demands it places on the performers.


Violin Partita No. 2 in D minor, BWV 1004, V. Chaconne
Johann Sebastian Bach (1685-1750)

The Chaconne, the fifth and final movement of Bach’s Violin Partita No. 2 in D minor, is one of the most celebrated and challenging pieces in the solo violin repertoire.  Composed between 1717 and 1723 during Bach’s tenure at the court of Köthen, the Chaconne is renowned for its profound emotional depth and technical complexity.

The piece begins with a stately theme, followed by intricate variations.  This structure, typical of the chaconne form, involves a repeated bass line over which Bach weaves a tapestry of contrasting textures and moods, showcasing Bach’s mastery in transforming a simple harmonic progression into a profound musical journey.  The piece is often regarded as a monumental exploration of grief and resilience, with some scholars suggesting it was written in memory of Bach’s first wife, Maria Barbara Bach.

Upon discovering the Chaconne, composer Johannes Brahms was deeply moved by its profound depth and intricate complexity.  He noted that Bach had managed to encapsulate a whole world of powerful emotions and profound thoughts within the constraints of a single stave and a solo instrument.  Brahms found the composition so overwhelming that he believed the sheer intensity and emotional depth would have driven him out of his mind if he had been its creator.  Inspired by his admiration, Brahms transcribed the Chaconne for piano left-hand alone, a version that paved the way for further transcriptions, including those by Ferruccio Busoni for piano and Andrés Segovia for guitar.


La Ronde des Lutins, Op. 25
Antonio Bazzini (1818-1897)

Bazzini’s The Dance of the Goblins (1852), showcases virtuosic violin playing that has captivated audiences and performers alike with its spirited and fantastical qualities.  This piece, often called a “Scherzo fantastique”, is renowned for its rapid string plucking and lively melodies that mimic the imagined movements of mischievous goblins.  It features demanding technical challenges, including rapid double stops, left-hand pizzicato, and a brisk staccato that demands both dexterity and precision from the performer.  This work is not only a test of violinists’ technical skills but also an opportunity to explore expressive storytelling through the instrument, making it a beloved performance piece that often leaves audiences in awe of the violinist's prowess and the charming lore of its goblin-themed antics.

Bazzini was known as a violin virtuoso before he turned to be a composer and teacher.  His most famous student, Puccini, and other notable composers like Mascagni and Catalani, were influenced by his demanding yet expressive style.  Despite his significant contributions to music through teaching and composing, Bazzini is often remembered almost exclusively for this particular piece, overshadowing his other works, which includes operas and chamber music.


Slavonic Dance No. 2 in E minor, Op. 72
Antonin Dvořák (1841-1904) (Arr. Fritz Kreisler)

The Slavonic Dance Op. 72 is a sublime illustration of Dvořák’s ability to blend traditional Slavic folk music with classical forms.  Originally composed in 1886 as part of a commission that followed the successful release of his earlier Slavonic Dances Op. 46, this piece is a "dumka". It is a musical term borrowed from the Ukrainian “duma”, indicating a thoughtful, reflective composition.  Unlike its lively counterparts, the dumka often contrasts a melancholic section with more upbeat, cheerful passages, creating an engaging interplay of moods.  Dvořák’s Slavonic Dances are celebrated not only for their melodic beauty and rhythmic vitality but also for their role in promoting Czech music on the global stage, illustrating how nationalistic folk influences can profoundly enrich classical music.

The dance no. 2 with its evocative minor tonality and intricate interplay between the piano and violin, reflects Dvořák's fascination with nationalistic elements in music, which he used to convey the cultural essence of Slavic folk music.  Kreisler’s arrangement remains a favourite in the repertoire.  It is noted for modifying the tempo from Dvořák’s original Allegretto grazioso to Andante grazioso quasi Allegretto, adding a subtle but distinct change to the piece’s character and expressiveness.


Spain
Chick Corea (1941-2021)

Spain appeared in Corea’s 1972 album Light as a Feather with his band Return to Forever.  The piece is celebrated for its virtuosic amalgamation of jazz fusion with flamenco rhythms and melodies, reflecting Corea’s deep admiration for Spanish music and culture.

The opening theme begins by adapting the adagio from Joaquín Rodrigo’s Concierto de Aranjuez, renowned for its emotional depth and beauty.  This classical guitar concerto profoundly influenced Corea.  After this lyrical beginning, the piece swiftly transitions into a vibrant, samba-like rhythm that carries much of the composition.  The main theme is energetic and complex, demanding technical proficiency and expressive depth from performers.

Corea’s Spain has not only become a standard in the jazz and fusion repertoire but has also been adapted into various arrangements, including settings for sextet and orchestra, for which Corea received a Grammy Award in 2001 for Best Instrumental Arrangement.

Many artists have covered and reinterpreted the piece across different genres, underscoring its wide appeal and versatility.  It also features a chord progression during the improvisation section that echoes the harmonic patterns of Rodrigo's concerto, blending jazz improvisation with classical structures in a way that has become a hallmark of Corea’s style.
 

Programme notes by Koho
(Researcher in performance studies, travelling musician in Europe)

Violin Recital by Ray Chen

DATE

VENUE

PRICE

07.06.2024 (Fri)
20:00

08.06.2024 (Sat)
20:00

Concert Hall, Hong Kong City Hall

$650, $550, $400, $250

BUY NOW

DATE

07.06.2024 (Fri)
20:00

08.06.2024 (Sat)
20:00

VENUE

Concert Hall, Hong Kong City Hall

PRICE

$650, $550, $400, $250

BUY NOW

Tickets available from 30 April at all URBTIX outlets, self-service ticketing kiosks, on internet, by mobile app and telephone.

(Maximum 4 tickets per purchase per person on the first day of ticket sale and maximum 40 tickets per purchase per person from the second day onwards.)


Half-price tickets available for senior citizens aged 60 or above, people with disabilities and the minder, full-time students and Comprehensive Social Security Assistance (CSSA) recipients (limited tickets for full-time students and CSSA recipients available on a first come, first served basis).

"Great Music" Package Discount
For each purchase of standard tickets for ‘Violin Recital by Ray Chen’, ‘Piano Recital by Víkingur Ólafsson’ and ‘Basel Chamber Orchestra’, the following concession applies:
10% off for any 2 programmes, 15% off for all 3 programmes.

"Great Music" Group Booking Discount
For each purchase of standard tickets for ‘Violin Recital by Ray Chen’, ‘Piano Recital by Víkingur Ólafsson’ and ‘Basel Chamber Orchestra’, the following concession applies:
10% off for 4-9 tickets, 15% off for 10-19 tickets, 20% off for 20 or more tickets.

Patrons can enjoy only one of the above discount offers.


Programme Enquiries: 2268 7321
Ticketing Enquiries and Customer Service: 3166 1100
Telephone Booking: 3166 1288
Internet Booking: www.urbtix.hk
Mobile App: URBTIX

7 June 2024 (Fri) 6:45pm
From Baroque to Fusion Jazz: Unveiling the Magical Journey of the Violin
Speaker: Albert Ho (Music Practitioner)


8 June 2024 (Sat) 6:45pm
Original Works and Arrangements
Speaker: Ernest Wan (Music Critic)


Venue: Committee Room North, 7/F, High Block, Hong Kong City Hall

Conducted in Cantonese.  Each talk will run for about 1 hour.

Admission free on a first come, first served basis. 

Violin Masterclass with Ray Chen

Date: 6 Jun 2024 (Thu) 

Time: 3pm

Venue: AST 916, 9/F, Au Shue Hung Building, Ho Sin Hang Campus, Hong Kong Baptist University

Conducted in English.  The mastercalss will run for about 1 hour. 

Admission free.  Online registration available from 20 May at 10am on a first come, first served basis. 

Co-organised by Hong Kong Baptist University

Enquiries: 2268 7321 (LCSD)