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CHENG Lee 鄭重言 Lee Cheng is an interdisciplinary artist-teacher and researcher. His research and artistic interest interdisciplinarize music, technology, education, immersive and interactive media, digital and sonic arts, law and policy. His works have been featured as part of, amongst others, International Symposium on Electronic Art (ISEA), International Computer Music Conference (ICMC), World Stage Design, and Mana Contemporary Chicago; his research articles have been published by top-ranked journals including Music Education Research, Journal of Knowledge Management, Technology, Pedagogy and Education. Cheng received his Doctor of Philosophy, Master of Law, Postgraduate Diploma in Education, Bachelor of Engineering and Bachelor of Business Administration from The University of Hong Kong (HKU) and The Education University of Hong Kong (EdUHK). He also attained the LTCL for flute (Distinction) and LMusTCL at London Trinity College, and DipABRSM (Principles of Instrumental Teaching) at Associated Board of the Royal Schools of Music (ABRSM). He is currently working as Assistant Professor of the Department of Cultural and Creative Arts at The Education University of Hong Kong. He is currently serving as Convenor of the Music Technology Special Interest Group at International Society for Music Education (ISME), Theory Examiner of the Associated Board of the Royal Schools of Music (ABRSM), and Arts Education Examiner of the Hong Kong Arts Development Council (HKADC). 鄭重言是一位跨學科藝術家教師及學者，其藝術及研究範疇跨越音樂、科技、教育、沉浸及互動媒體、數碼及聲音藝術、法律及政策學科，作品及學術論文曾於多個國際藝術展覽、研討會、期刊等發表。 鄭氏畢業於香港大學及香港教育大學，獲頒工商管理學士（資訊科技）、工程學士（電腦科學）、學位教師教育深造文憑（專業及職業教育）、法律碩士（信息技術知識產權法）及哲學博士（科技及音樂教育）學位 ，亦於 2013 年及 2011 年考獲聖三一音樂學院長笛高級演奏文憑（LTCL）及音樂理論高級文憑（LMusTCL）並取得優異（Distinction）成績。 鄭氏現於香港教育大學文化與創意藝術學系任職助理教授，亦於國際音樂教育協會（ISME）擔任音樂科技小組的召集人及英國皇家音樂學院（ABRSM）擔任考官，亦為香港藝術發展局（HKADC）的藝術教育審批員。 MAJOR WORKS 主要作品 Shanshui 山水 (for flute and interactive media) Sound Map V (for MIDI keyboard & audio samples) DingDing 叮叮 (for violin, viola, cello, piano with tape) Canonic (graphic score for 12 players) Sketch of Tai Nan Street 大南街剪影 (for bass clarinet, viola, double bass) Back

The Calls of Vigilance Resonate 《我聽見警號在迴響》 Chung Yan-qiu 鍾昕荍 Chung Yan-qiu’s journey into composition began at an early age when she started creating melodies as a child. Currently a first-year undergraduate composition student at the Hong Kong Academy for Performing Arts, she views music as an essential element across all artistic disciplines. Drawing from a wide range of styles, from pop to contemporary classical, Chung strives to explore her artistic voice. She sees the diversity of art forms as essential inspirations for her creative processes, from sounds and music to the lighting in film. She also enjoys wandering through cities with her camera, capturing the interplay of shadows on the streets. Each new city enriches her cultural and artistic perspective and inspires her music compositions. She also studies how camera movements and music in films enhance the storytelling and evoke emotions, further connecting her interests in visual and auditory art as she continues her artistic journey. I hear the cries, I hear the struggles, I hear the anger... I hear the sirens echoing. A turmoil of unease and anxiety rises within me, struggling in darkness, in fear, in confusion, unable to find an exit. This fear follows me like a shadow, tightly entwined, binding me like a shackle, suffocating me. Previous Next

LAI Miu-yeung 黎渺揚 Israel LAI Miu-yeung is a composer, arranger, piano accompanist, conductor, orchestral violinist, translator and hyperpolyglot from Hong Kong. He is currently an Esther Yewpick Lee Millennium Scholar reading for an MPhil in Music (Composition) at the University of Oxford, studying with Prof. Martyn Harry and Prof. Robert Saxton, following his graduation from the Chinese University of Hong Kong in 2018 with a first-class honours Bachelor of Arts in Music, where he studied composition with Prof. Lee Wan-ki Wendy, Dr. Chan Kai-young, and Prof. Chan Wai-kwong Victor. He was previously an exchange student at Lund University, Sweden. He is a member of the Hong Kong Composers’ Guild, the Composers and Authors Society of Hong Kong, and the American Guild of Organists (Hong Kong Chapter). Growing up in a Christian environment, Lai has served as pianist, assistant conductor and composer in residence at his church and made chamber arrangements of hymns, such as Christmas Suite (2016), as well as forays into the field of modernised Cantonese Christian music, such as Seven Last Words from the Cross (2018). Lai is eager to explore ways of combining and incorporating different musical idioms inside his compositions, from classical to modern to ethnic, from homogeneous to constantly changing. He is interested in a variety of instrumentations, especially woodwinds and large ensembles. Fascinated by large-scale classical forms, he has worked on his suite of Swedish Rhapsodies (2015-) for chamber ensembles and his Concerto for Clarinet and Orchestra (2015-18). On the chamber side, his Rondo (2017) for wind quintet was acclaimed at the premiere, and Introduction and Intermezzo (2017) was broadcast on radio at the finals of New Generation Hong Kong 2017 competition. He gained international exposure with his Theme and Variations (2017) at the highSCORE Festival, Italy, Winter (2017) in Taiwan, and recently, his Playwright (2018), played by the renowned Mivos Quartet. He is always open to new influences and inspirations, and particularly interested in the applications of polytonality. MAJOR WORKS 主要作品 Chamber re | DIS connect/ED (2020) for jiwu and guzang commissioned by the HKADC Arts Go Digital Platform Scheme after some tomorrows (2020) – duet for no.2 bridge for alto flute and bass clarinet Suite (2020) from the opera Bou6 for string quartet To Distance (2018) for string quartet In the Unknown (2013 rev. 2018) for saxophone, bassoon, and viola Violin duet (2018) Playwright (2018) for string quartet Clash (2018) for alto saxophone, violin, and piano Icecrack (2018) for wind quintet Introduction and Intermezzo (2017) for clarinet, viola, cello, and piano Rondo (2017) for wind quintet Moto ostinato (2017) for horn and organ Spring (2016) for flute, horn, violin, and cello After a Reading of The Rider on the White Horse (2016) for bass trombone and harp Autumn (2015) for viola and two double basses arranged for violin and two cellos (2016) Large ensembles Summer (2020) A Symphonic Metamorphosis Dusk in Chiufen (2019) for symphony orchestra Concerto (2015-18) for clarinet and orchestra Arashiyama (2017) for string orchestra Multimedia Bou6 (2019) A chamber opera on manufactured truth and reflected lies Blindspot (2019) for chamber ensemble and video Choral Gniew Świtezianki (2017) for soprano, tenor, SSAA choir, and chamber orchestra / Text adapted from Adam Mickiewicz Świtezianka These are thy wonders (2020) for SSATB mixed choir a cappella / Text adapted from George Herbert In paradisum (2020) in memory of grandma for soprano solo, SAT choir, and organ OR piano and violin Esclesia (2019) for SATB mixed choir a cappella with divisi Seven Last Words from the Cross (2018) for violin, organ, and SAT choir Back

CHUNG Chun-yiu 鍾振耀 MAJOR WORKS 主要作品 Back

TING Chung-wai Brian 丁宗偉 Brian Ting received his Master's degree in music composition from The Chinese University of Hong Kong under the supervision of Prof. Wendy Lee. He previously studied composition with Prof. Victor Chan and Dr. Lo Hau-man. His music has been premiered by Atlas Ensemble, Hong Kong Kamerata, Trio de TST and Chinese Music Virtuosi. His composition for Chinese Music Virtuosi, "Slashes of Frost and Wind", was awarded both the David Gwilt Composition Prize and audience prize. His composition "Flower Burial under a Pallid Moon" won the second prize in New Generation 2012 organized by Hong Kong Composers' Guild. He is also the recipient of numerous musical awards, including the Bernard van Zuidan Music Prize and the Composers and Authors Society of Hong Kong Scholarship. 丁宗偉現為香港中文大學作曲碩士，師隨李允琪教授。丁氏亦曾跟隨陳偉光教授及盧厚敏博士研習作曲。丁氏的作品曾由Atlas Ensemble, 管樂雅集、TST三重奏及龢鳴樂坊首演。他為龢鳴樂坊而作的作品「風刀霜劍」獲頒紀大衛作曲獎之餘亦被觀眾選為當晚最佳作品。他的「殘月葬花」贏得音樂新一代2012的第二名。他亦獲頒多個獎學金，包括Bernard van Zuidan 音樂獎以及香港作曲家及作詞家協會獎學金。 MAJOR WORKS 主要作品 Back

MUSICARAMA 2017: CHORAL & VOCAL MUSIC CONCERT Concert Date & Time: October 13, 2017 (Friday) at 8 p.m. Venue: Theatre, Hong Kong City Hall Programme by the Hong Kong Children's Choir Conductors: Albert Lim, Vivian Suen Hui Cheung-wai - The Bamboo Grove (2014)(3’40”) Leung Chi-hin - Thoughts of Separation (2016)(4’) Thomas Wong - Here’s to Life (2016)(4’30”) Wong Kong-yu - Two Poems of Chen Zi-ang (2017)(5’30”) Viola Yuen - On a Sleepless Night (2016)(7’10”) Li Kar-yee - Waiting for…x3 (2017)(5’40”)* Chan Sze-rok - The Superstitious Ghost (2017)(5’)* Vocal works: Lin Sheng-shih - Four Cancrizans Poems by Su Shi (1963-65)(12’) Chan Kai-young - Poem Without a Title: Hard it is to Meet and Part (2014)(4’30”) Galison Lau - When I have Thought of You (2017)(6’)* Austin Yip - The Poetess (2011)(7’) Anthony Cheng - Chanson Triste (2002, rev. 2017)(8’) Lee Kar-tai - Nostalgia in Four Rhymes (2013)(5’) Tam Chin-fai - Liao Zhai: Wailing Ghosts (2017)(6’)*

Stonescape 《石景》 Cheung Ho-ming Felix 張浩銘 Cheung Ho-ming Felix is currently a doctoral student at The Chinese University of Hong Kong, studying composition with Professor Lee Wan-ki Wendy. He focuses on exploring the spectrum of elements of a concert performance and composes his pieces by adopting those elements to create an immersive concert-going experience. In recent years, he also explores and composes ambient music for his multi-media works. He graduated from the Royal Conservatoire of The Hague, Netherlands, with a Master of Composition Research degree under the guidance of renowned contemporary composers Martijn Padding, Jan van de Putte, and Alison Isadora. He was also awarded a Master of Music (Composition) degree at the Royal Birmingham Conservatoire and a Bachelor of Arts in Music degree at Brunel University London. During which he was tutored by renowned composers Peter Wiegold, Jennifer Walshe, Ed Bennett, and Andrew Toovey to gain exposure to a wide variety of performing arts, ranging from conventional contemporary genres to improvisations and theatrical performance. Stones come in different shapes as they are the fantastic crafts of Mother Nature. Going through thousands of years of harsh and gentle weather, each tells a story of where it belongs. Therefore, they often resemble different landscapes such as mountains, lakes or rivers, and even shapes of different kinds of animals or sculptures. The beauty of stones has been appreciated since the Tang Dynasty in China and later influenced the development of different forms of stone appreciation in Japan and Korea respectively. Although stones give us an impression of being staunch and tough, their beauty often comes from their surrender towards Mother Nature. This seems to resemble our relationship with nature. Previous Next

YAU Yuk-fung 邱玉鳳 MAJOR WORKS 主要作品 Back

NEW GENERATION First held in 1989, the New Generation programme aims at encouraging music creativity among young composers in Hong Kong by providing a platform for performance and exchange of musical ideas. The programme is organised by Hong Kong Composers’ Guild Limited, in association with Radio Television Hong Kong Radio 4; sponsored by the Composers and Authors Society of Hong Kong Limited. New Generation 音樂新一代 2025 Past Events New Generation 音樂新一代 2023 New Generation 音樂新一代 2022 New Generation 音樂新一代 2020/21 New Generation 音樂新一代 2019 New Generation 音樂新一代 2018 New Generation 音樂新一代 2017

LEUNG Pak-hei 梁柏希 To be updated. 稍後更新。 MAJOR WORKS 主要作品 Orchestral / Large Ensemble Three Poisons 三毒 (2020) - 7'30" for orchestra Swing and Swirl in the Saha World 娑婆中婆娑 (2020) - 6' for 38-player Chinese ensemble Flyer II 飛行者二號 (2019) - 6'30" for piano and chamber orchestra A Labyrinth of Rays 光束迷宮 (2019) - 6’30” for symphony orchestra (co-written with Prof. Wendy Lee, Alvin Wong and Kev Wong) Migrations 徙 (2018) - 17’ for 15 musicians Between the Virtual and the Actual 虛實之間 (2018) - 5’ for Chinese plucked strings and percussion instruments Come along this way, go along that way 這一路走來，那一路走去 (2014) - 3’ for chamber orchestra Chamber A Mystical Maze 迷離迷宮 (2020) - 2'30" for piccolo, bass clarinet, alto saxophone, trumpet, horn and trombone Anyone Here? 有人在嗎？ (2020) - 7'30" for string quartet Vespertine Visions 暮景 (2020) - 4'30" for flute duo Gulu Guru 咕嚕專家 (2019) - 6’ for alto recorder and water percussion Nill and Void 空相 (2019) - 3’30” for sheng, zheng, cello and drum set Prelude to the Afternoon of a Nerd 宅男的午後前奏曲 (2019) - 7’30” for clarinet, cello and piano Lake Ad Excellentiam Sketch 湖山影未圓 (2019) - 6’ for alto saxophone and Chinese plucked strings Melancholie 憂郁 (2018) - 7’30” for piano trio Martial Arts Contest on Mount Hua 華山論劍 (2018) - 5’ for woodwind quintet Wandering Frog 遊蛙 (2018) - 3’ for xiao, zhongruan, guqin and erhu Caress 抱擁 (2018) - 10’ for soprano saxophone, violin and piano Vain 徒勞 (2018) - 4’40” for flute and piano Consolation苦…慰 (2017) - 5’30” for violin and viola Deep Blue Heart 心藍 (2017) - 10’ for alto saxophone, viola and piano 3 Nocturnes 三首夜曲 (2017) - 6’ for alto recorder and piano Brightened 明 (2017) - 5’ for saxophone, pipa, percussion, erhu and cello Long Night, Short Dreams 夜長夢多 (2016) - 5’ for saxophone octet Shazam! 變！ (2015) - 6’ for chamber octet Hyper Dance 狂舞 (2014) - 5’ for string quartet (cello quartet ver. available) Solo Muted World 靜音世界 (2020) - 5' for piano Instinctive Movement (2020) - 1'30" for cello In the Name of Peace 以和平之名 (2020) - 3'30" for flute I Am Washing My Hands In A Room (2020) - 2' for voice, soap and a bowl of water Suffocating Sweetness 窒息的甜蜜 (2020) - 4' for solo B-flat clarinet Staged Works Nocturnal Angels 夜行天使 (2020) - 12' a micro-opera for three female singers and piano Voyage of Voice 尋聲記 (2018-2019) - 20' a choral drama for chamber treble choir, chamber SATB choir, string quartet and piano Choral / Vocal Rain Fragments 是，你還是害怕忘記想起來了 (2020) - 5' for SATB a cappella with beatboxing Perhaps 也許 (2019) - 6’ for SATB choir and piano Wooden Heart 草木非人 (2019) - 12’ for baritone and piano A Hundred Kinds 百種 (2018) - 5’ for SA choir and chamber orchestra Narcissus by the Water 水邊的納西瑟斯 (2018) - 6’ for overtone singing and tenor recorder Tears of Separation 離人淚 (2017) - 4’ for SATB choir, string quartet and piano Freefall, For Free? 快落。快樂？ (2016) - 6’ for baritone, clarinet, violin, cello and piano Remember (2016) - 3’ for chamber orchestra and SA(T)B choir Electronic / Electroacoustic Manipul(able) (2021) - 5'20" for gestures and fixed media A Baby's Breath of Fresh Air (2020) - 7' for voice and live electronics Escalating Ecstasy 高漲的狂喜 (2020) - 3' for MIDI controller and electronics Post-Apocalyptic Dawning 後末日的清晨 (2020) - 5'15" for multi-track voice and electronics Infinity Net II 無限之網II (2020) - 4' for snare drum and fixed media Infinity Net 無限之網 (2020) - 5'12" for fixed media Terror Unraveled... Love Undefended. (2019) - 7'18" for fixed media Instant Noodles Daydream 我現時自己肯淥麵 (2019) - 3' for fixed media Back

TUNG Lai-shing 董麗誠 Hong Kong composer Tung Lai Shing is among the first generation of graduates from the Music Department of the Chinese University of Hong Kong in the 70s. He went on to pursue his study in composition at the University of Pennsylvania, where he studied with George Crumb and obtained his PhD. His major compositions include the Book of Laughter and Forgetting for symphonic orchestra and Cantonese Opera singer, commissioned and premiered by the Hong Kong Sinfonietta. 香港作曲家董麗誠為1970年代香港中文大學音樂系第一代畢業學生之一。其後赴笈美國賓歹凡尼亞大學繼續進修作曲，在喬治．克拉姆的指導下完成作曲（哲學）博士課程。其主要作品包括由香港小交響樂團委約、為管弦樂團及粵劇演員而寫的《笑忘書》。 MAJOR WORKS 主要作品 Back

LAU Cheuk-Ho Fredrick 劉卓豪 Graduating with First Class Honours in Bachelor of Arts in Music from the Chinese University of Hong Kong, Frederick LAU currently pursues Master of Music in Composition at McGill University under the supervision of Prof. Melissa HUI. His undergraduate and graduate studies were funded by numerous scholarships, including the Hong Kong Scholarship for Excellence Scheme, HSBC Overseas Scholarship Scheme, C. F. Hu Postgraduate Memorial Scholarship, Bernard Van Zuiden Music Prize, etc. Recent works include compositions written for solo marimba, solo carillon, tape, solo violin and electronics, and horn trio. The tape composition, Interbeing, was selected to be performed at the annual conference of Canadian University Music Society in the Congress 2021 of the Humanities and Social Sciences. Having studied composition with Prof. Wendy LI, Prof. Stephen CHATMAN, and Dr. William SO, LAU’s compositions have been premiered by various professional musicians, e.g., Between Contrasts (2018) performed by Contrast Trio, A Game of Banality (2018) performed by Hong Kong Wind Kamerata in the New Generation Composition Competition 2018 held by Hong Kong Composers’ Guild, and Tiptoes (2020) by Cong Quartet. During his undergraduate exchange studies at The University of British Columbia (UBC), LAU composed three compositions that were premiered at Roy Barnett Recital Hall. 劉卓豪以一級榮譽取得香港中文大學音樂文學士（作曲）學位，作曲師隨蘇偉雄博士、李允琪教授及Stephen Chatman 教授。在學期間，更屢獲獎學金，如滙豐海外獎學金計劃、萬瑞亭音樂獎等。劉氏現為麥基爾大學作曲碩士一年級生，師隨Melissa Hui教授，並獲香港卓越獎學金計劃全額資助。 劉氏對室內樂的創作尤感興趣，其作品曾被不同樂團公開演奏，包括由 Contrast Trio 公開首演的《異中見同》（2018），由管樂雅集公開首演的《亦如俗戲》（2018）。以及由Cong Quartet首演的《悄步》（2020）。在英屬哥倫比亞大學交流學習間，劉氏的三首新作在當地首演。於麥基爾大學在學期間，劉氏的唯聲音樂作品 (acousmatic composition)《互即互入》（2020）更被選中於Canadian University Music Society（MusCan）年度研討會（2021）中公開演出。 MAJOR WORKS 主要作品 2021 Gossamer for Solo Marimba (2021), ca. 8’ Eidos and Eikôn for Solo Violin and Electronics (2021), ca. 11’ The Hour Before the Dawn for Violin, Horn and Piano (2021), ca. 5’ 2020 Interbeing for Stereo Fixed Medium (2020), 7’36’’ – selected to be performed at Canadian University Music Society (MusCan) in the 2021 Congress of the Humanities and Social Sciences in Canada Omnes Una Manet Nox for Solo Carillon (2020), ca. 8’ Tiptoes for String Quartet (2020), ca. 5’30’’ – premiered by Cong Quartet Vox Nihili for Violin, Cello, Clarinet and Percussion (2020), ca. 5’ 2019 Because of the Wind for SATB and String Octet (2019), ca. 12’30” Four Landscapes for Guitar Quartet (2019), ca. 9’ Night Piece for Soprano and Guitar (2019), ca. 6’ 2018 Duo for Clarinet and Piano (2018), ca. 6’ A Game of Banality for Wind Quintet (2018), ca. 5’ – selected as a finalist of New Generation 2018 by Hong Kong Composers’ Guild; premiered by Hong Kong Wind Kamerata Between Contrasts for Violin, Saxophone and Piano (2018), ca. 8’30’’ – premiered by Contrast Trio Hat Alles Seine Zeit for SATB Choir (2018), ca. 3’30’’ Little Dance Suites for Recorder and Guitar (2018), ca. 6’30’’ A Trio of Tango for Guitar, Erhu and Yuan (2018), ca. 4’ 2017 Four Movements for Flute and Clarinet (2017), ca. 8’ Fugue on the theme L’homme Arme for Strings Quartet (2017), ca. 3’’ Back