Mandolin master Avi Avital performed with period instrument ensemble Il Pomo d’Oro in Hong Kong in January, presenting a program of Baroque concertos. The concert featured works by Vivaldi (RV 93 and RV 425), Galuppi, Durante, Barbella, Hasse and Paisiello.
The performance included the Hong Kong premiere of several 18th-century mandolin concertos rarely heard in modern concert halls. Avital demonstrated technical proficiency in the rapid passages of Vivaldi’s works, while the slower movements showcased the mandolin’s lyrical qualities. Il Pomo d’Oro provided accompaniment on period instruments.
The concert concluded with Paisiello’s Concerto in E-flat major and an encore featuring folk-inspired improvisation. This marked Avital’s third performance in Hong Kong under the Premiere Performances series.
Premiere Performances presented an evening of Romantic chamber works at Hong Kong City Hall, featuring pieces by Spohr, Mendelssohn, and Bruch. The program opened with Spohr’s Potpourri No. 2, performed by violinist Ning Feng, the Verona Quartet, and double bassist George Lomdaridze.
The Sitkovetsky Trio followed with Mendelssohn’s Piano Trio No. 2, navigating its dramatic contrasts with precision. After intermission, violinist So-Ock Kim, violist Adrien La Marca, and pianist Wu Qian performed selections from Bruch’s Eight Pieces, highlighting the viola’s lyrical warmth.
The concert concluded with Mendelssohn’s String Octet, played by a combined ensemble led by Ning Feng and the Verona Quartet. The work’s energetic finale capped off the evening, showcasing tight ensemble playing. The event demonstrated the enduring appeal of Romantic chamber repertoire.
Pianist Niu Niu joined principal string players from the Hong Kong Philharmonic for a chamber music performance at HKU’s Grand Hall. The program featured Richard Hofmann’s chamber arrangement of Chopin’s Piano Concerto No. 1 in E minor, followed by Schubert’s “Trout” Quintet.
The ensemble, comprising violinists Jing Wang and Wang Liang (for the Chopin), violist Andrew Ling, cellist Richard Bamping, and double bassist George Lomdaridze, delivered both works with cohesive ensemble playing. Niu Niu’s piano technique was particularly prominent in the Chopin concerto reduction, while the unconventional instrumentation of Schubert’s quintet allowed each string voice to shine. The concert demonstrated effective collaboration between soloist and orchestral principals in a chamber music setting.
Chiaroscuro Quartet’s Hong Kong Debut (1–2 March)
The Chiaroscuro Quartet made their debut in Hong Kong with two concerts. The first performance showcased Beethoven’s “Razumovsky” Quartet and Schubert’s “Death and the Maiden”, while the second featured Mozart’s “Dissonance” Quartet and Haydn’s “The Seven Last Words of Christ”. Renowned for their use of gut strings, the ensemble breathed new life into these iconic works through historically informed interpretations.
Kundera and Beethoven’s Eternal Quest (Czech Philharmonic Principals Quartet) (22 March)
The existential question “Muss es sein? Es muss sein!” (“Must it be? It must be!”) from Beethoven’s final quartet, Op. 135, echoes through Milan Kundera’s novel The Unbearable Lightness of Being. The Czech Philharmonic Principals Quartet took us on a captivating journey that intertwined the works of these two titans. The concert opened with a “Music in Words” talk with music demonstration, followed by performances of Beethoven’s Op. 135 and Janáček’s “Kreutzer Sonata” quartet. This thoughtfully crafted programme deepened the appreciation of the rich interplay between music and literature.
Quatuor Ébène (4 April)
Quatuor Ébène delivered a breathtaking performance that spanned Beethoven’s career, from his early Op. 18 No. 1 to the complex Op. 130 with its original Grosse Fuge finale. The programme also featured the Hong Kong premiere of a co-commissioned work, Tetrhappy by their former cellist, Raphaël Merlin, offering a contemporary counterpoint to Beethoven’s works. The quartet displayed their impeccably articulated exuberance across both classical and modern repertoires.
Belcea Quartet (5 April)
The Belcea Quartet made their long-anticipated Hong Kong debut with a transcendent performance of Schoenberg’s expansive First Quartet and Beethoven’s seven-movement
Op. 131. This programme was specially curated to celebrate the Belcea Quartet’s thirtieth anniversary, a significant milestone they have reached this year. They demonstrated meticulous attention to the structural and emotional complexities of both works, evoking a sense of fragility and vulnerability that reflects the human condition we all face in today’s world.
Quatuor Duplex (6 April)
After their individual concerts, the Belcea and Ébène Quartets joined forces for a captivating double-quartet performance. This concert featured two remarkable octets by Mendelssohn and Romanian composer George Enescu, which laid the groundwork for later octets. Celebrating music and friendship, these two finest quartets displayed a perfect balance between individual voices and ensemble cohesion, creating a seamless musical experience.
Hannes Minnaar and Hong Kong Philharmonic (11 May)
The HK Philharmonic’s string principals are set to join Dutch pianist Hannes Minnaar on 11 May in a performance that will mark the conclusion of the String Quartet Festival. The programme includes the world premiere of HKU student Charles Lee Gai-ho’s “A Fairytale Retold”, Shostakovich’s intense Eighth Quartet, and an arrangement of Beethoven’s Fourth Piano Concerto for piano and string quintet. This varied programme offers an opportunity to hear orchestral principals in a chamber music setting.
The Chamber Resonance series opened its new season with an intimate and innovative performance at RTHK Studio 2, led by saxophonist Timothy Sun. The eclectic programme blended minimalism, filmic soundscapes, and local influences.
Highlights included Michael Nyman’s Shaping the Curve, where Sun’s precise articulation drove the rhythmic pulse, and Ryuichi Sakamoto’s Fantasia, a hauntingly beautiful piece that lingered in the air. Christian Forshaw’s This S’way mesmerized with its fluid, jazz-inflected lines that showcased Sun’s improvisational flair.
Local works stood out, particularly Evelyn Chang’s A Tale of Rua Cinco de Outubro, which wove nostalgic storytelling through delicate harmonies. It was followed by world premiere of Julie Kuok’s Doscientos uno – a piece inspired by Sun’s own studio and performed with vibrant spontaneity.
The unusual pairing of Ramiel Leung’s harmonica with Sun’s saxophone added a playful yet poignant layer to Pong Law’s Waltz and Ng Cheuk-yin’s The Mirror.
Timothy Sun, whose long-standing collaboration with composer Fung Lam took center stage through eight miniature pieces, some receiving their names just for this occasion. These intimate works, written for Sun over the years, unfolded like pages from a shared diary, blending delicate lyricism with playful spontaneity.
Eunice Chow, the host of this event shared brief insights with Timothy between pieces, making contemporary music feel accessible. While some avant-garde moments challenged the audience, the chemistry between musicians – particularly Sun and pianist Rod Yu – kept the energy cohesive.
A thought-provoking evening that balanced global and Hong Kong influences, proving that contemporary chamber music can be both intellectually stimulating and emotionally resonant.
